Portfolio Design Harold Linton 3rd alenovtibta.gq - Ebook download as PDF File . pdf), Text File .txt) or read book online. their full potential. It contains examples of outstanding student portfolios as well as interactive instructive approaches for architecture and design students. From PORTFOLIO DESIGN, fourth edition, by Harold Linton. Copyright © Full color and the latest in presentation techniques convey the quality and diversity of today's print and electronic portfolios. Harold Linton's Portfolio Design has.
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Portfolio Design (Fourth Edition) Download by Harold Linton, Cesar. Pelli pdf $ by Harold Linton and Cesar Pelli download Portfolio Design (Third Edition). Portfolio Design (Fourth Edition) [Harold Linton, Cesar Pelli] on alenovtibta.gq * FREE* shipping on qualifying offers. Full color and the latest in presentation. Harold Linton's Portfolio Design has been the standard reference for students and young professionals in architecture, urban planning.
X 10 "'. In adctition. But even in this case. The average portfolio contains at least twenty to forty pages depending on whether you use single. A w ell organized.
On the "storyboard" form page Through a wide ful. T he form on page 70 top is one William Allen. Arrange w ha t you have chosen in order of impor- tance. Too many samples reveal to reviewers an inability to be selective. I am able to quickly com- important because you are preparing work to municate and explore design images that are: During the portfoHo auctit. This is the process by strates the depth of involvement of the designer.
Without prelimi- Design nary notes of some kind. Analyzing your portfolio objectives i. In this sense. Professor that my students use to get into the habit of Department of Architecture and Landscape making a thorough outline. Discard the weaker projects. Mit' me Atf.
Pier Park Development Concept. The selec- tions shown here demonstrate th e student's high-ca liber rendering skills. From top to bollom.
Clive Lonstein. University of Miami. The sequence demonstrates a remarkable sensitivity to the arts of animation and choreography. The final impression is a lmost as important as the first impression. Choose your very best work as the main supports.
And it is why your portfolio should be designed to be frequently updated and reassembled. T he remaining work se.
Sequencing is a complex issue we will take up in the next chapter. A strong piece of work should open the portfolio.
Sometimes this is a difficult decision to make. Set aside weak projects. There should be nothing in the porlfolio that. If you have enough work. The advice to place strong projects in a particular location wiU1in a portfolio is not a license to put weak or poorly executed pro- jects between them. Preparing a thoroug h outline and storyboard of the work to be included is essen- tial to avoid prob- lems during the CcmpU!
Whetl1er on a sim- p le list. Most portfolios are project oriented. As you audit your work. Such illclusions are embarrassillg and counterpro- ductive. Nothing in your portfolio should be simply filler.
Note whether the items are drawillgs or photographs. You are choosing among your good projects and your best projects. Professionals who review portfolios frequently say that one of the most common failings of graduates is to illclude too much work that is only average in quality. They are illterested as much ill concept development as the finished project. As noted earlier. When you have made your choices about these issues. The student should not presuppose Include in the audit procedure what text what an employer or institution wants to sec.
The most frequen t choice is still wb. O nce you have selected a body of work. For mounting art. M any students explore a wide range of paper products in their search for innovative materials. Note the appropriate folios to impart a degree of individuality and reproduction method. Textured papers may be appropri- ate for original art. A resume is appropriate if the portfolio is a Tom DiSanto general presentation of your work for further Architect and lecture r schooling or employment A listing of course College of Architecture and Environmental Design work.
Specialty materials such as translu- cent bond. The portfolio audit is complete when you have assembled all the work to be included. Thumbnail layout sheets see illustration give you the opportunity to sketch out the relative size and position of the work you have selected in more detail than the story- board.
Extra prints of photographs and a supply of extra art materials are useful to have on hand. Careful thum bnailing prevents mis- Sample thumbnail sketches. Photostats provide b.
You must match the reproduction technique to the artwork and decide what will work best for each image. This may not be necessary for practice or "rehearsal " port- folios you prepare while learning to design them. Reverse images- that is. Plan to make at least one dupli- cate portfolio for yourself. Decisions about sizing art or photographs and the treatment of them depend upon the amount or detail they contain and their dra- matic impact on the page. The more thought you put into the audit process.
The first decision is between vertical and horizontal formats. Smaller formats offer handling conve- nience and p erhaps greater intimacy. Some materials demand a large. Like any other complex project. Keep your audit notes at hand during all stages of the procedure.
Students often use two facing vertical pages of medium size to create a large horizontal fonnat. Never choose a format based on the idea that you can lay out some pages verti- cally and others horizontally. What is gained here is the convenience of carrying and storing the portfolio in the smaller format.
The next step is to fitlhe selected projects into a general format and choose the page size and enclosing system. The more exact this is. Review your material and consider which orientation will give you the greatest freedom of design.
Will your pages or plates and your enclosing system be unusual and handcrafted. Looking at your work. If the largest piece fits. The color. Review your portfolio audit and note the largest sizes of the visual materials that you have planned to include. Generally speaking. Earth tones and pastels can be used if. This will generally point you toward the correct page size. Standard page sizes. The actual page size is detemlined in part by your design decisions and in part by your technical and financial resources.
A neutral color- white. Whether you choose smooth or textured stock.
Portfolio Design Harold Linton 3rd Edition.pdf
The enclosing system must be coordinated with the graphic. Most portfolios use one of the traditional book-binding sys- te ms above. Format-the physical de finition or your portrolio-includes the me thod or page con- struction and binding system. Once you have determined the size of the pages or plates and format. Most commerdally manu- factured cases are sold with these acetate sheets. For tbis reason. They are convenient. You can cut open these ocetate inserts to customize the insertion of 8 " x 14" or 11 " x 17" vertical or horizon- tal formats.
Commercially manufac- tured portfolio cases come in a number of standard sizes designed to conform to stan- dard paper sizes. The first question to ask yourself is whether the pages fit into commercially available binders. One frequently used strategy is to prepare reproductions of highly detailed drawings. Though you may not want to include origi- nal drawings if your portfolio is going to cir- culate out of your hands.
Although for purposes of discussion we deal with these items individually. NonstandaTd or oversize pages stand out. Tf you can't comfort- ably carry and view your portfolio. A large or nonstandard page size will almost certainly compel you to use a binder. Sleeves add a reflective barrier that makes viewing of the artwork more difficul. And in choosing an unusual format.
Pages that fall to the floor are soon damaged. Brad Burkhardt. Several loose-leaf-style binders are shown. A number of nonstandard and band- crafted enclosing systems are shown on pages You can size inlages with much greater freedom.
Stronger plastic protec- tive sleeves are available. Projects and text w ere carefully chosen for legibility at the reduced size format. His successful presen ta- tion of well -composed sheets brought him the Malcolm Reynolds Prize for new Master of Architecture students.
Parsons School or Design. A binder that falls apart in the hands of the reviewer or is difficult to handle makes a poor impression. J oshua Beck adbered to the strict submission requirement for portfo- lios at the University of California. Your portfolio will be passed. In choosing an enclosing system. Jason Foster. Hampton University. University of Caliromia A series of carefuUy composed sheets contains all of the necessary design elements for application to graduate school Joshua Beck A defec- tive mechanism in t11e binder will irrita te those who must open it.
The package should not be more exciting than its contents. With unbound plates. Most commercial binders are businesslike in design. AlA Associate Dean a bearing on the sequenci ng of materiaL T he School of Architecture and Planning double -page spreads of a binder force you to Howard University consider exaclly how long each section of the. Hand- made enclosing systems provide the greatest opportuni ty for crea tive experiment.
In terms of style. Unbound plates or ring binders make it easy to rearrange or add new projects over the years. Spiral or permanent binders are more suitable for a "dedicated " project that is unlikely to need updating. The use of basic materials in a well- a ttention to the sturdiness of the design and designed product Indicates many things. The enclosing system you choose a Iso has Kathryn T. It must be designed to en- dure use. Pay particular pulling forth the maximum effort when designing a porUollo.
With bound pages. Unbound plates may also get out of order: The materials. Tt should be obvious that you can- not prepare a portfolio in a completely linear fashion. You must learn to think not only in terms of wha t to include. The number of pages devoted to each section may have to be modified to take facing-page design into account.
If one project ends on a verso l eft-hand page. University of Florida. Translucent pages offer the opportunity 10 overlay conceptual sketches and text on developed models. Once you have decided on portfolio content. Careful thumbnailing will prevent mistakes that could force you to abandon work at midpoint and start over from scratch.
Developing the layout l et's first begin by discussing a few early deci- sions and suggestions that will help you develop your layout design carefully and efficiently. Thumbnail layout sheets like those on pages The grid should take into consideration the character of the images: Break down the pages into imaginary blocks of space of stylistically-related appearance. Now you can determine the final size and position of the artwork. Eight ways of aranging columns of text or the page may be divided into two.
J[I[J showing the evolution of a concept. Using the thumbnail layouts you pre- DODD pared during formatting. Begin by designing a grid. TI1is is a process of trial and error and constant adjustment to solve conceptual on horizontal and vertical formats. It is really a set of assumptions about the permis- sible sizes and shapes of images and blocks of text and it helps you achieve some design consistency throughout the portfolio..
Text and images may run across the entire width of the page. The grid helps you to size and posi - tion the images in a coherent design. Any point on this line will produce a different-sized image that remains propor- tional to the original image see overleaf. For an important portfolio Remember that the grid of a well-organized page should be essentially I.
The scale tells you Is a project based on a class with headings. Seldom are all these elements necessary: Even easier I I II I I You can resize images easily with a propor- tional scale available almost art-supply Sample layouts for a horizontal formal stores.
As you develop the page layout from sketch to actuaUty.. Is a design statement helpful? Do captions repeat what is obvious in the illustrations. Keep the text clearly separate from the images. There are many options for the placement of text elements. While there are thousands of typefaces available. Legibility is a prime concern. Are relationships between visu-.
And don't forget that you must clearly label your portfolio. It is counterproductive. A nan1boyant or overly ble of doing.
Simple or complex. Do details need explanation1 U I ' your portfolio consists of tmbound plates. AlA headline style that works well for one project School of Architecture work equally well for all the projects? Refine the presentation. Does the type and Arthur L Kaha. Serif type- faces are elegant.. Highly styled typefaces may be appropriate for heads. Study the typefaces used in books and you have done a nd how you did it.
The vertical layout.. Michael D. G rcigg.. University of Maryland In this way Carlos Brun began with a transparent over- lay of typographic elements that also defines the grid pattern for the smaller peripheral graphic images on subsequent pages page Greigg's grid has three columns on a horizontal format opposite..
But even with this highly structured approach Michael D Ne lson left uses a grid structure to crea te visual intrigue and to align images and text Text and photographs are laid on top of other images at an ang le to break the rigidity or lbe grid pattern and convey a feeling of openness and drama Eric Robert Jacoby used a three-column page structure and creatively arranged the Highly legible layout design is based on the images.
The combination of simple.. James C The of both to a visible grid The portfolio of James C University of Mlarnl. Carlos Brun. Matthew Coates used a vertical format with text overlays and folded panels.
In Taha AI-Douri's imaginative and graphi- cally sophisticated portfolio. A translucent page of explanatory notes accompanies each design project. He em- ployed bifold and trilold plates for his design projects. Karl Muegge made a series of individual booklets representing each of his design pro- jects. The portfolio of James P. Eric Robert Jacoby. Ryan Associates. Salt colors using special inks with a metallic Lake City. In his portfolio. A porllolio design created in AutoCAD. The simplicity of her page layout and type design underscores the importance of visual evidence and art- work in her approach.
Adam C. Candace Law's portfolio of plates has an enclosing folder system to organize the evidence of her de- sign process and project solutions for work in architectural illustration. Pew created a handmade box with chipboard.
The use of the 35mrn frame is a unifying feature. Four rehearsal portfolios pages University of Utah. Low renee Technological University. Candbce l. Lawrence Technological Unlversity.
Each pl ate is conMined in 11 black. Lawrcnco Technological University. Korl Muegge. Lawrence Technological Univcrsily. Although the shrinkw rap creates a reflective surface. Pennsylvania State University. Uni versity Park. The color illustrations are enclosed in a professionally handcrafted wooden box with a brass hinge and clasp for security during mailing.
I like to see evidence that the experience of compiling like the chapter opening in a book. It of images within each project.
Such ambitious promotional brochures are natu- rally much more costly lha. Preliminary decisions about the ordering of material are made during the portfolio audH.
Con- take on a role of dominance and do little to com- sider developing a standard cUvider page. T he final problem of portfolio design is achievjng the best possible sequence of im- ages for the most effective impact on the re- viewer. Environmental Design project at the top or bottom of each page. Another aid to the viewer is a "runnin g" bead identifying the Or. Two levels of sequencing need to be considered: The confusion occurs especially bilities of software at the expense of the work when cUfferenl mecUa.
Julie Rogers Program Coordinator. Start with a simple black- and -white sketch thai Jays out the problem.
Sequences should have some logic or moti- vating force. It serves as the score for orchcs. Search for a narrative prin- ciple conveyed in graphic terms. Neville Clouten. Dean And all thi. AU of the simplest level. At the stage of development is essential. To test your choices. Remember that in a bound portfolio the viewer's eye falls first on Ute right side of the right-hand page. This handmade hard-back binder witb bi- and lri-!
From UJe gYaduate portfolio of a landscape architecture student. This is part of a promotion piece prepared by J. Tbe 9" x 12" brochure demonstrates sophisticated use of presentation tools: James P. These pieces from a student portfolio display strong computer skills: Building positive intpressions quickly is your goal. His grad- uate portfolio was created as a graduation requirement for the master's program at Yale University School of Architecture. You have lo compress four or five separate projects into hventy to twenty-five pages.
The design of the portfoHo was intended to be predomi- nantly visual. A solid. Yale University. In a half-hour or hour-long interview. New Haven. The portfolio is bound like a. Robert Zirkle.
His designs were executed in a combination of InDesign. Images were manipulated in Photoshop while the layout and text was organized using illus- trator. Accu- render.
This technique drew attention to the content by utilizing the largest images possi- ble. Each project is introduced with a mylar page and an offset black and while square image. The whHe space of the page is masterfully used to accentuate an asymmetrical layout design which relies completely on the quality of sharp.
The images Zirkle presents are a combi- nation of photographs of physical models. Some double-page spreads comprise one entire image. Archi- tects in Chicago: While the organization and form ol Robert Zirkle's portfolio are very intriguing.
This portfolio is a beautiful example of a minimalist approach.. The graphic design is consistent and im- peccable. The lack of background information is a strength that cre- ates interest in learning more about the student. Sequence also implies progression in U1e design process from preliminary conceptual studies to fully rendered illustrations and models. At some point it becomes irrelevant where to begin reading the portfolio. Defining an object with very consistent layers or visual information creates a seductive path- way to understanding its contents.
His intro- ductory pages are typographic. Tisdale's pages show early drawings overlaid on the developed model pages The format's precision and clarity make it a very intuitive presentation. It triggers the need of talking to him in person about his work. The absence of a table or contents conveys a sense of the portfolio as a compendium or montage-a book of design ideas. Clive Lonstein takes a somewhat bolder approach opposite and page Both subtle and provocative.
At first. The tension between the predictability of the organrtation and Zirkle's ability to strip down and present his design ideas in every image make a very strong im- pression over time.
Clive Lonstein University of Miami The carefu l application of gray values and the abundant white space a round the drawings give them a jewel- like character. Pra u Institute. Tltierry Landis. Arranged in clustered chambers on opposite sides of an axis. Tho illustrations that follow are a dramatic change of pace. The portfolio of Tun Collett page 1 14 is a good example of careful pacing. A full-page self-portrait in the middle of the portfolio not shown signals the Introduction too sequence of architectural sketches cen- tered in white space.
Another dramatic transition with the sequence of computer-generated images that move from a small exterior view positioned at the top of the page through a progression of increas- ingly larger views of the interior design space.
In order to separate one project from tho next. Collett has grouped his projects in individual suites by delicately sewing togethe r all the pages associated with each project. Sequencing is as much a problem for the novelist or nonfiction writer as the designer. John Maze's portfolio page Technical University of Nova ScoUa.
It is difficult to lay ou t rules for se- quencing because it is such an intuitive process. Tw1 Collett. Another use of translucent overlays.. The graphic designer must accomplish a! Is there a logical and inte resting now to the work. Reactions to the effect of a particular graphic design are more var-. Changes of scale. J oh n Maze San Francisco The home page and other pages on the Web site of Frederick C When you achieve desired placement.
We will then dis- cuss pasting. Now that you have carefully prepared a layout design. Digital Strategies: Images and Text Auof the portfolios presented in this chap- ter are examples of work created with digital media.
In this chapter you will learn how to prepare the design content of your work for digital presentation by iden- tifying images and text to be used. The personal computer packaged with With the "portfolio as design presentation" goal.. By approac-hing to Lhe computer.
Once an wo find a project's design can much more readily Incorporate the process of design. Professor relatively accessible task. Digital technology has also made it possible for designers to easily pro- duce multiple copies of their portfolios w ith slight variations for different purposes e.
A practical bene- printers. CD and DVD - fit is that the portfolio. The advantages of using electronic media in portfolio design and delivery include signi- ficant quality control. Richard ColA. Universities and design centers typically have such equipment available..
One of J J the most frustrating aspects of computer j graphics is the coordination between printer It demonstrates an effective rela - a!: J and computer As with any medium Text paragraphs wrap or cra- Cover d esign and sample pag es from lhe d le the comers of the visuals throughout the Master of Architecture tbesis presentation of MatLhe w Coates If the final presentation is a 2-inch- r wide iroage on a Web page.
This is why it is inlportantto make test prints.. University of Illinois. The guidelines for planning a successful layout in traditional media also apply to digital portfolios.
San Lui s Obispo. These pages utilize strate creative brainstorming a nd original full-page bleeds. Linear elements an d photo- graphs. Once the s tory- board is established. It is also instrume ntal in directing the digital processes of media pre- paration. The raw visual materials of CAD Many powerful tools are available to the digital designer. Not only is lhe initial layout design fundamental to es- tablishing the desired footprint. Because these images require a large amount of memory..
California Polytechnic State Unlversity. These can then be im- ported into Photosbop as two -dimensional images where their representation can be further enhanced or adjusted. Since CDs can store up to mega- bytes. One useful trick you can use is to model your designs using a good three-dimensional modeling tool. Always be. Another option is to bum the images onto a CD.
The final page layout and layering of text was done using Macromedia FreeHand. Each project is.
An Enviable Design Portfolio
The cover page is a simple array of colored squares varying in hue and saturation. This is usually sufficient to provide clear results. A good resolution for print material ranges from to dpi dots per inch. This grid serves as the frame- work. Many of the images me views of three-dimensional mod - els. The in1ages pre - sented were scanned and adjusted for size. A more comprehensive portfolio by Bryan Ridley demonstrates further layout strategies.
The slight separation between. To present Skidmore. Resolutions of less than dpi may result in.. U the ef! San Luis Obispo. California pylene-heavy gauge plastic-brilliant white Polytechnic Stale University. It also serves as a table of contents. After the image has been converted to digital for- mat. The JPEG file for- mat. Image-editing soft- ware provides directions on how to accom- plish this for individual systems: Some printers can only print files with a particu Lar dpi.
This degra- dation is particularly noticeable after editing and repetitive operations. Adjust settings to provide for the best range of values and colors for an original docwneot.
To maintain consisten cy. Visual information is gen erally saved as TIFF files because they are high quality and have minimal compression. O nce your monitor is calibrated. Not every scanner provides a perfect representa- tion of the source material. Sharpness is not the only goal: Some control is offered through image-processing filters that sharpen or soften the texture of an image.
Sharpness refers to the texture or graininess of an image. File man- agement. The work of Paul Matelic and Julie Kim. Images strong in contrast maintain their definition on the computer and in print.
The goal is to be able to balance high-quality images with small file size. If you increase the dpi. Images lacking a clear range of Light and dark will appear blurred and lose detail and visual interest. The size and scale of original images can be maintained or ad- justed according to portfolio layout require- ments.. Color correction generally includes modifications to hue. Especially important is the range and balance of value contrast in original images scanned into the computer.
Paul Malelic and Julie Kim.. ML 8"x 10".. I 1 By mingling computer illustration.. Price's larger. A mini-portfolio or brochure con- taining a resume and sample projects is use- ful for introducing yourself to a prospective employer. Clllilomiu Polytechnic State University. The best inkjet printers can yield a print quality up to dpi.
T est printing on the printer of choice at the early stages of image creation and manipula- tion is very important. This can be corrected by manually calibrating your moni- tor to match the printer color range.
High-end laser and dye-sublimation printers are now achieving a quality of reproduction that rivals traditional photolithography. Pages from the book and brochure by Price were produced on a Macintosh a nd test printed on an Epson Color Sylus printer.
The age of print cartridges may also affect print quality. Gamma adjustments can also affect the lightness. Less expensive inkjet printers are another option. Many different imaging techniques can be used. Printers vary in density.
You can use different color set- tings when saving files: A detail of the etching-a graphic formed at the inter- section of tvto lines. Jmatani's portfolio design reflects graduate school application restric- tions and requirements that limit the number of pages and the size of the portfolio. On the project pages. The project introductory pages. Smaller areas contain fields of additional informa tion such as a combination of diagrams.
A single vertical crimson bar-similar to those typically used to portray a timeline- serves as a datum to balance the horizontal text of the contents page.
Each field is framed by a white line which. Thick and thin colored lines in either crim- son or yellow are used to organize informa- tion. Large areas typically contain photographic images of physical models or renderings of computer-generated models.
Best Design Portfolio for The portfolio is contained in an elegant black. University ol Colorado. Claire lmatani. The selection and use of color is important in this portfolio. It is successful not only in its visual consistency but in its visual manipulation of the fields of information for each project. Imatani's portfolio is high in visual impact.
In my opinion. Associate centrate on refining. In addi- tion.
I look for clarity of thought. The simple color palette is dramatic and cre- ates a strong visual rhythm throughout the entire portfolio. It should be updated during attention to itself. Because it Is a end. I review a few dozen portfolios every year as part of the graduate admissions process at Cran brook.
Peter Lynch. When I examine the portfolios. All of the project pages feature a black matte background allowing the images to stand out.
The crimson and yellow colored lines provide a visually linear progression of the information presented. The portfolio is a means to an available for past design projects. W ith the time pressures placed ample or clarity. New Jctscy desc riptions. Ugh resolution.
Graphic design overload may once have been trendy. I wonder if they use graphic technique as camouflage. Please resist. She could have surrounded them with more white space. On the other hand. It would have bee n better if she bad chosen a more conve n- tional format.
Do not lavish time and expense on elaborate graphics. Many students have a strong temptation to overlay images from their projects. The use of black. I feel that Claire Jmatani's portfolio is carefully prepared but a bit overdone. To me. At the same time. I must commend her for the amplitude of the presentation: Given this basic outlook. Ugh quality. Cleruly identify your specific contribution to collective projects.
Gen- erally. University of Virginia. For high- quality image printing. The portfolio created by Rori Dajao com- bines papers of varying opacity to achieve a layered presentation of typographic design. For all practical purposes. Certain papers are better suited for differ- ent types of printing and there are countless different types of paper on the market.
Cover stock. The portfolio was created with PageMaker. You now must decide whether to print the portfolio at a service bureau or use your. It is prefer- able to keep both the layout docwnent and the images on the same disk. The work or Julie Kim reOects the integration own printer. Before you decide on the final print qua[jty. Service bureaus often have color laser printers. The work of Julie Kim. Printing at a service bureau is usually more expensive. There are several key software pack- ages for digital imaging in portfolio design.
S oftware for creating and altering digital images is a new tool for architects and those in the allied fields of landscape design. Text can be inte- grated with images and altered in equally varied ways. With illustration programs such as Adobe Illustrator. Any image can be sharpened. Adobe Photoshop. All of these software packages allow the designer to easily change and cor- rect digital images or to alter them to produce new images.
Even a relatively easy program like Photoshop c. More than saving time. The many tools. Images can also be layered by adjusting their respective transparencies. You can adjust con trast and brightness and blend. Tbis is why it is so important to define what final product is desired. This range of possibilities is a great advantage of imaging soft ware.
A good rule of thumb is to know what you want to do before you start working on the computer.
The work of Gerardo Aponte page demonstrates photo manipulation in Photoshop with photographic distortion and text layered over visuals. Recent graduates from pre-professional degree programs B. Arch and M. Arch enter the field through the interview process, demonstrating their talent and abilities with portfolios in hand. As one progresses in the profession, an up-to-date portfolio demonstrates accomplishments from position to position. Your vision of the world has something of value to offer.
Invest in a design presentation that clearly communicates and supports your vision. Regardless of its format, the portfolio design should set in motion a well-conceived visual discourse, one that will capture, arrest, and hold the attention of the intended audience. An increasing number of students and young professionals are linking a PDF of a well-designed print portfolio to their Web site, thereby establishing a coordinated design format as both an online presence and a leave-behind print piece.
The need for portfolio media to being cross-platform PC and Mac is a necessity. Advantages are that they can reach a larger audience quickly, and they will likely connect with the more technologically savvy design employers.
Architecture students are inventing teaser portfolios or mini-versions of full portfolios. Students are also attending large career day events, at which a career day sheet of their work is the status quo.
These employers see numerous students and samples of work; the career day page is portable and easy for them to take back to the office. There, they can use the page to aid discussion with colleagues, which may lead to an invitation to the new graduate to present a full portfolio and interview for a position.
Since buildings, landscape designs, and interiors are impossible to transport, and even models and renderings can be large and impractical to carry, the print portfolio is the enormously practical instrument and still the standard in the industry. In the course of a career, a designer will likely prepare several portfolios, each one adapted to a different purpose. In each case, your portfolio needs immediate and dramatic impact to distinguish you from others with whom you are competing, and it has to clearly answer the questions in the minds of those reviewing your work for whatever purpose.
The portfolio is a graphic history of skills and accomplishments, and it must be seen not only as a problem in design but also as a tool to promote you to prospective employers and clients. Each year, architecture and allied design students landscape, interiors, planning, and the like enter the job market, and the competition grows increasingly intense. Much like in a building, there is a great deal of freedom within the physical limits set by the medium and the cultural limits set by convention, and I can tell about the judgment of the designers by how constrained they have been by these limits or by how much freedom they have taken with them.
I can even judge how well they have managed their time in either overdoing the portfolio design or in having established an efficient process for preparing it. Preparing a portfolio requires you to take a step back from your own design work and make an evaluation as unemotionally as possible.
Learning to be observant about the strengths and weaknesses of your work encourages the development of a critical and unbiased eye useful to the portfolio design process and to your professional career generally. Inviting the opinions of trusted advisors and colleagues also helps eliminate the initial fears many people have about putting together a portfolio. Planning a portfolio presentation also requires a keen sense of organization and an ability to arrange various written and visual materials into a unified graphic package as well as the ability to maintain a focused vision throughout the development of the presentation.
It is important to consider the audience and the skills and elements they may be attracted to or looking for. In general, all of those people who review portfolios will be looking for a businesslike attitude and a pragmatic soundness in the work as well as creativity and pure grace and beauty.
Creativity is important, but employers want designers who are able to solve problems economically and quickly.
Student designers with a creative future will have a natural curiosity about life and the world. A portfolio not only represents a body of work acquired throughout academic and professional life, but it displays this work in such a way that a design philosophy is made manifest.Then physical.
Architecture created three identical boxed sets of plates Department as part of a successful application to gradu- Pennsylvania State University ate school. Uons from this book. Arranged in clustered chambers on opposite sides of an axis. There, they can use the page to aid discussion with colleagues, which may lead to an invitation to the new graduate to present a full portfolio and interview for a position. New York: W.
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