- Front Cover
- Half Title
- Title Page
- Copyright
- Dedication
- Contents
- Acknowledgement
- Author’s Note
- Introduction
- Step 1: Evaluate and Edit
- Introduction
- What Constitutes an Effective Portfolio?
- Evaluate, Edit, and Define
- For the Photographer
- For the Designer
- Note: Rework!
- How to Start: Describe Yourself as a Creative
- Exercise: Reverse View/Reverse Roles
- Help: Get Feedback
- How to Sort Your Work
- Q&A: Interview with Mary Virginia Swanson, Marketing Consultant and Educator (© 2009, Mary Virginia Swanson)
- Q&A: Interview with Richard Gref é, Executive Director, AIGA
- Q&A: Interview with Joe Quackenbush, Associate Professor of Design at Massachusetts College of Art and Design
- Introduction
- Step 2: Branding
- Step 3A: Cover Design
- Introduction
- Concepts
- Brainstorming Techniques
- Design Focus
- Color
- Images & Iconography
- Note about Copyright and Appropriation
- Understanding Copyright Law: Basics and Resources
- Iconography
- Using Iconography versus Visual Icons
- Q&A: Interview with Naomi Harris, Photographer
- Denotative and Connotative Meaning
- Building Visual Texts
- Building Imagery: Illustration versus Photographic Imagery
- Composition
- Typography
- Visual Techniques
- Step 3B: Materials and Forms
- Introduction
- Binding
- Glued Back-to-Back Binding
- Spiral Binding
- Covers: Softbound versus Hardbound
- Spine, Hinge, and Clasp: Closed versus Open
- Variation: Sewn or Stitched Bindings or Nonadhesive Bindings
- Wood, Metal, and Alternative Materials
- Windows, Cutouts, and Insets
- Accordion-Fold Bindings and Concertina Bindings
- Folded Pages and Inserts
- Flag Books
- Pop-Up Books
- Embossing
- Commercially Available Book Binding
- Consumer Retail Services
- Professional Services: Asukabook, Paperchase, and Pitko Photobooks
- Color Management
- Web Links
- Introduction
- Step 4: Layout
- Step 5: Construction
- Step 6: Digital & Online Portfolios
- Step 7: Promotional Materials
- Promotional Materials
- Introduction
- Professional Organizations and Networks
- Mailings: Electronic versus Hard Copy
- Marketing Tactics for Photographers
- Have a Plan
- Competitions as Marketing Tools
- Marketing Tactics for Designers
- Marketing and Self-Promotion: What to Do, and Connecting to Your Targeted Audience
- Resources for Finding Your Audience
- What Happens When It Works?
- Your Other Work?
- Get Listed
- Showings and Exhibitions
- Note about Photographer Representatives (Reps)
- Q&A: Interview with Heather Morton, Independent Art Buyer
- Creative Placement Agencies and Reps for Designers
- Q&A: Interview with Kim Wachter, Senior Staffing Consultant, Hollister, Inc.
- Q&A: Interview with Bryn Mooth, Editor, How Magazine
- Promotional Materials
- Step 8: Professional Materials
- Endnotes
- Appendix A: Resources
- Appendix B: Interviews
- Appendix C: Contributors
- Index
The type of book CANNOT BE ARBITRARILY CHOSEN AND THE CONTENTS STUCK INTO IT.
The binding and display will alter the contents and one type of book will allow better development of an idea than another.1
KEITH SMITH
Book Artist p. 10
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