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π
This small cardboard box was sent by
freelance designer Steven Swingler to a
variety of design agencies in East Sussex,
United Kingdom. “Christmas Wishes from
Steven Swingler” is stamped on the lid, and
inside are polystyrene balls used for packing.
When all the balls are removed, the recipient
is rewarded with the message “Snowed
under?”
STEv EN SwINGLEr
√
This box of real fortune cookies contained
fortunes only Capsule could predict. Telling
fortunes like “You’re going to get up in the
morning and go to work” and “You may find
yourself inside an office building soon” was a
humorous way to reach out to their client base.
cAPSu LE
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π®
Subplot strives to design a holiday card
that’s not only a festive greeting but also a
useful guide to help navigate life. One year,
it was The Truth Behind Design Jargon:
An Illustrated Manual; another year, it was
Trash to Treasure: Learn to Turn Spam into
Treasured Gifts.
It’s in the same spirit that Face Plot was
created. Subplot drew on their many years of
experience in deciphering the cryptic and often
unintelligible reactions of clients and suppliers.
Armed with this indispensable, handy set of
cards, you will never be in doubt as to what
they’re thinking again, whether it’s in a design
presentation or on Christmas morning.
SubPLoT
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†®
Each year Real Art Design Group creates
a unique gift during the holiday season, and
the 2008 gift took personalization to a whole
new level. A set of cards showcasing the
puppet version of the Real Art employees
invited clients, friends, and family members
to log on to A New Year, A New You and
create a puppet version of themselves. The
Real Art team then crafted the puppets and
shipped them to their new homes neatly
packaged with instructions for completing
the “new you” transformation. Keeping New
Year’s resolutions is never easy, but with the
New You puppets, Real Art gave people the
opportunity to accomplish their goals—even if
it was through a puppet version of themselves.
At the same time, Real Art was able to
promote both their print and multimedia
capabilities in a unique and fun fashion.
rEAL ArT DESIGN GrouP
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Portfolio Components
HOW YOU SHOW IT
“Curb appeal” isn’t just for houses anymore. How you put your portfolio together—namely the materials used to house your
portfolio—is often as important as what goes inside. Historically speaking, portfolios have traditionally come in two formats:
books or binders. You know the ones—sleek black cases tucked under the arms or in the tight grip of creatives of all
shapes and sizes.
Sometimes referred to as “show port-
folios,” these sophisticated renditions
have garnered work for individuals
and agencies alike. Remember,
potential clients and employers get an
immediate impression of you at first
glance, so your portfolio format—both
the exterior and interior—needs to be
an extension of you or the company
you represent.
Utilize a case that exudes profes-
sionalism and offers some distinction
while reflecting the contents within.
A custom case, albeit expensive, can
be a perfect option. Local art supply
stores also offer a wealth of in-
novative portfolio cases, binders, and
boxes that may perfectly meet your
specific portfolio needs.
Whether you mount your work or slide
it into acetate sleeves, ensure that ev-
erything is clean, square, and without
bent corners. “The substrate should
be neutral and take a backseat to the
work,” says Neil Tortorella, marketing
consultant and founder of Tortorella
Design. “I’ve seen too many books with
mattes and mounting methods that
outshined the designer’s work.”
Make sure the case is clean and
doesn’t look like it was made in 1942,
unless it’s supposed to look like it’s
from 1942. The case is the first thing
a prospect sees, and it sets the stage
for the presentation.
Tortorella suggests you find a way to
make your portfolio stand out. This
is especially important for drop-off
versions. That might mean a custom
case or a clever, yet functional, way
to mount the pieces. If it’s mounted,
be sure all work is mounted on a
standardized board such as 16 ×
20 inches (41 × 51 cm) or 20 × 24
inches (51 × 61 cm). Different-size
boards are distracting and awkward.
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The physical act of opening a box has
symbolic relevance to the start of any
new partnership. The act of giving
a box or kit to a prospective client
reveals what you are as a firm or
individual—giving a brief glimpse into
how you do what you do.
Creating a box is a personal effort,
and it really shouldn’t be mass-
produced. When a box is delivered,
it should feel like it was created for
that individual within that company.
If it feels like a template and that
you just dropped off three others
around town, the resulting effect on
the participant will be lessened. This
requires a production and assembly
method that balances personalization
with efficiency.
Finding a stock box and making it
your own is a place to start—or make
your own. Whatever is designed,
it should offer the chance to be
consistently produced with the
optimal efficiency in production and
personalization. Not all boxes stay
inside the box.
Capsule has created many forms of
the box or kit idea in their experi-
mentations to find the match for their
brand. From a small metal box lined
with green fur to a handmade wooden
box with pencil holes, Capsule has
found that these kinds of promotions
make a lasting impression.
DIMENSIONAL KITS
π
The wooden box was created for a
multibillion-dollar toy manufacturer. Only
two of these boxes were created, and they
were hand-delivered to summarize a large
presentation. The result was a significant
amount of work from this toy manufacturer
and a lasting relationship.
The green fur box was created using leftover
materials from two clients: The fur came from
a client that produced stuffed animals, and
the boxes were from a beauty supply chain.
The results came together nicely, but offered
a price challenge when replicating the idea.
cAPSu LE
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