INDEX
A
Accordion-fold bindings
example, 83f
as folding book, 121
Adbase, 195
Adduci, Brian, 242
Adhesive binding, 76
Adobe Bridge, 147
Adobe Flash
digital portfolio creation, 148
expert advice, 178
website development, 181
website introductions, 169
Adobe Illustrator
color schemes, 55
digital portfolio export, 147
interactive sequence design, 179
printer color management, 124
VioVio, 87
Adobe InDesign
digital portfolio creation, 147
grid structure, 101
printer color management, 123, 124
Adobe Lightroom, 147
Adobe Photoshop
color design strategies, 56–57
digital portfolio export, 147
interactive sequence design, 179
printer color management, 124
website design, 147
Adobe RGB, 124
Agency Access, 195
Alignment
grid structure layout, 95, 95f
paragraphs, 106
resume/CV, 212
The Americans (Frank), 113–114
American Society of Media Photographers (ASMP), 187
Animation
demo/show reels, 183
web advantages, 159
website example, 160f
website introductions, 169
Apple Photo Books, 86
Appropriation
in cover design, 57
vs. iconography, 60
Artist's book binding, 80f
ASMP, see American Society of Media Photographers (ASMP)
Aspect ratio, layout imagery, 92
Asukabook, 87
ATG adhesive, in book construction, 133, 134, 139
Audience
digital portfolios, 148
marketing and self-promotion, 194–195
portfolio development, 4
resources for finding, 195
website architecture, 170
Audio
in brand identity, 31
web advantages, 159
Authenticity, in brand identity, 30
B
Back-to-back bindings
characteristics, 76
example, 76f
as folding book, 121
Barcinski & Jeanjean
building imagery, 67
digital portfolio advice, 150–153
website, 241
Barral, Fabien, 242
Bernard, Kristen, 21f, 22, 103f, 240, 241, 242
Bindings
bone closures, 80f
clasp, 80f
flag books, 85
magnetic closure, 80f
metal, 82f
pop-up books, 85
softbound vs. hardbound, 79, 86f
spine, hinge, clasp, 80
spiral, 76
stitched, 82f
The Black Book, 198
Blogs, and digital portfolios, 147, 167
Blood Makes the Grass Grow (Georgis), 110f, 193f
Board covers
book block, 139
cutting techniques, 127–128, 127f
hardbound books, 79
post and screw binding, 127–132
Body of Work (Hische), 41–43, 41f
Bone closures, 80f
Bone folder tool, 130, 134, 140
Book block
back-to-back binding, 137
with board covers, 139
as book part, 121
Book cloth
closed spine, 80
post and screw book, 128
preparation, 122
softbound vs. hardbound covers, 79
Bookmaking, see also Portfolio book construction
portfolio book as, 38
Bowman, Glenn, 164–165, 164f, 241
Brainstorming techniques
moodboards, 47
sketches, 47
word associations, 47
Brand attributes
defining concept, 40
definition, 14
strong brands, 15
Brand book, creation exercise, 26–27
Brand identity
audio and motion components, 31
basic considerations, 30
design approach, 38
verbal components, 30
visual components, 31
Branding
basic considerations, 14
color relationship, 56
digital portfolios, 149, 150–153
expert advice, 8, 9, 11, 34, 35
importance of concept, 40
research and analysis, 15
strong brand qualities, 15
Brand statement
defining concept, 40
definition and example, 26
Briefs, digital portfolios, 148
Brightness, color perception, 55–56
Bringburt, Robert, 106
Broadcast designer demo/show reels, 183
Bryant, Will, 28f, 40f, 66, 66f, 96f, 219f, 240, 241
Business cards
Capsule business card, 216f
Cardell, Lena, 45f, 209f, 219f, 240, 242
Career advice, 8, 9, 22, 28, 34, 48–51, 90, 201, 223
Carter, Rob, 106
Case, as book part, 121
Chipboard, 122
Cho, Hyun Sun Alex, 90
Chong, Jeanie, 194f, 213f, 242
Clasp, characteristics, 80
“Clean and clear” compositions, 69
Closed vs. open spine, 80
Cloth tie, for book closure, 80
Coated glossy paper, 123
Collage, 66
Color
brand relationship, 56
and connotative meaning, 64
hue, brightness, saturation, 55–56
printing issues, 46
Color-managed workflows, and software, 124–126
Color management
commercial book binding, 87
Color palette
dominant, subordinate, accent, 55, 55f
subordinate elements, 52
Color tone
color management, 123
color palette, 55
matching, 57
neutral colors, 56
and papers, 123
via RGB values, 124
in sequencing, 113
Columns and rows, grid structure, 94–103
Comic book covers, 79
Communication Arts, 198
Competitions, as marketing tool, 193
Composition
grid, see Grid structure
hierarchy, 69
negative space, 69
nongrid, see Nongrid structure
overview, 69
and page spread, 91
Concept
brainstorming techniques, 47
card catalog example, 45–46, 45f
expert advice, 8, 22, 28, 48–50, 150–153, 199
methodologies, 46
promotional materials exercise, 47
Connotative meaning
definition, 61
Contact information
in resume/CV, 206
on websites, 177
Content, on websites, 167, 170
Context, colors, 56
Contracts, for photographers, 220–221
Contributors list, 240
Copy, cover design typography, 71
Cover design
appropriation and visual references, 57
back-to-back binding, 76, 137–139
color and emotion, 56
color palette, 55
commercial book binding, 86–87
composition, 69
cover as book part, 121
denotative/connotative meaning, 61
dominate elements, 52
element composition, 52
flag books, 85
folded pages, 85
formal references, 53
iconography, 60
illustration vs. photographic imagery, 67–68
imagery and visual references, 57
logos, 53
“look and feel,”, 57
material choices, 53
pop-up books, 85
post and screw binding, 77, 131–132
sewn pamphlet binding, 77
softbound vs. hardbound, 79
spine, hinge, clasp, 80
spiral binding, 76
stab binding, 77
subordinate elements, 52
windows, cutouts, insets, 82–83
wood, metal, alternative materials, 82
Creative brief, digital portfolios, 148
Creative placement agencies, 200
Creative self, describing, 5
Cultural color combinations, 56
Cutouts, in cover design, 82–83
CV, see Resume/CV
D
Dadaist style, 72
Dahmen, Marc, 241
Day, Ben, 106
Demo/show reels, 183
Denotative meaning, 61
Designers
creative placement agencies and reps, 200
marketing tactics, 194
portfolio basics, 5
pricing resources, 221
sequences in layouts, 108
Destination profiles, printer color management, 123–124
Differentiation, in brand identity, 30
Digital/online portfolios, see also Website development
animation/broadcast design reels, 183
animations example, 160f
blog structure, 167
design considerations, 149
experienced creators, 148
fluid spaces, 160
goals, 148
inexperienced creators, 147
moderately experienced creators, 148
printed vs. online advice, 8, 9, 28, 34, 35, 41–46, 50–51, 90, 178, 182–183, 199, 200–201, 223
required skills, 146
research for, 149
target audience, 148
traditional website design, 160
usability, 149
Direct referral, 113
Distinctness, in brand identity, 31
Dominate elements, 52
Double-sided printing, 126
Double-stick tape, 133, 134, 139
Dummies
book construction, 127
layout evaluation, 117
E
Editing process, portfolio development, 4
Editorial Photographers (EP) Resources, 58
Elam, Kimberly, 106
Electronic vs. hard copy mailings, 187–191
Elements, in cover design, 52
The Elements of Typographic Style (Bringburt), 106
Emotional response, to color, 56
Endpapers
back-to-back binding, 137
EP, see Editorial Photographers (EP) Resources
Evaluation process, portfolio development, 4
Exercises
client–creative role reversal, 5
promotional materials, 47
Exhibitions, 198
Expert advice
Adobe Flash, 178
on career, 8, 9, 22, 28, 34, 48–51, 90, 201, 223
concept, 8, 22, 28, 48–50, 150–153, 199
cover design typography, 71
design trends, 9
digital/online portfolios, 147, 148
good portfolio characteristics, 8, 10–11, 35, 41–46, 50–51, 178, 182–183, 199, 200–201
interviewing tips, 201, 222, 223
layout design typography, 106–107
“look and feel,”, 35
photographers, 8
printed vs. online portfolio, 8, 9, 28, 34, 35, 41–46, 50–51, 90, 178, 182–183, 199–201, 223
project scope, 8, 10–11, 34, 35, 41–46, 51, 183, 199, 200–201
reels, 183
self-promotion, 28
visual identity, 8, 9, 34, 35, 199
F
Fabrics, in cover design, 79
Fairey, Shepard, 58
Fair use, 58
Feedback, importance, 6
Felton, Nicholas, 40f, 189f, 240, 242
Flickr account, 147
Fluid spaces, 160
Focus, as brand attribute, 24–25
Folded pages
characteristics, 85
example, 84f
Folio, as book part, 121
Fore edge, as book part, 121
Formal references, in cover design, 53
Full bleeds example, 99
Functional color, 56
Functionality, digital/online portfolios, 149, 156–157
Funnel: The Fine Commercial Art Practice of Eric Kass, 219f, 242
G
Gehle, Ken, 46f, 219f, 240, 242
Genres
as brand inspirations, 17
defining concept, 40
Georgis, Anthony, 110f, 193f, 241
Glued binding, see also Back-to-back bindings
accordion-fold bindings, 83
book construction, 126
characteristics, 76
softbound vs. hardbound covers, 79
Grain, papers, 126
Graphical elements, resume/CV, 209–210
Graphical user interface (GUI), website design, 174
Grefé, Richard, 9
Grid structure
via Adobe InDesign, 101
alignment and proximity, 95
component examples, 99
example, 94f
for page layout design, 93
and sequence, 100
visual identity extension, 103
in website design, 167
Grid Systems in Graphic Design (Muller-Brockmann), 106
GUI, see Graphical user interface (GUI)
Gusset, back-to-back binding, 137
Gutter space
as book part, 121
grid structure layout, 93, 94f
H
Hardbound covers
back-to-back glued bindings, 133–139
example, 86f
vs. softbound, 79
Hard copy vs. electronic mailings, 187–191
Harris, Naomi, 18f, 60–61, 61f, 62, 219f, 240, 242
Hayman, Beverly, 48–50, 78f, 152f, 153f, 240, 241
Head, as book part, 121
Heller, Steven, 38
Hierarchy
in composition, 69
interior page layout, 91
typographic, in layout design, 105
website maps, 172
Hinge
as book part, 121
characteristics, 80
Hische, Jessica, 41–43, 41f, 43f, 186f, 240, 242
Hollis, Richard, 106
I
ICC workflow
book construction, 122
commercial book binding, 87
Iconography, in cover design
denotative/connotative meaning, 61
overview, 60
subordinate elements, 52
Icons, defining concept, 40
Ideation, promotional materials exercise, 47
Illustration vs. photographic imagery, 67–68
Images, in cover design
collage/montage/compositing, 66
compositing, 66
in cover design, 57
defining concept, 40
denotative/connotative meaning, 61
photographic, vs. illustration, 67–68
subordinate elements, 52
Images, in layout, 92–93, 96–97
nongrid, relationships, 109–112
number and size, 92
quality, 92
across multiple pages, 113
for digital portfolios, 147
web advantages, 159
Inkjet devices
Inkjet papers
book covers, 132
paper stock, 210
Inserts
characteristics, 85
Insets
book construction, 142–143, 142f
Inspiration, in brand development, 17–21
Integrated media, in website design, 161
Interactivity, web advantages, 159
Interior page layout
card catalog example, 45f
checking by printing, 100
design examples, 43f
effective presentation, 38
grid structure
via Adobe InDesign, 101
alignment and proximity, 95
component examples, 99
composition, 93
margins of space, 98
negative space, 97
and sequence, 100
hierarchy, 91
labels, 93
nongrid structure
compound image on single page, 114–115, 114f
dummies and proofs, 117
image relationships, 109–112, 112f
scaling and legibility, 117
sequencing across multiple pages, 113
size considerations, 117
one page layout, 121
one page vs. spread, 91
paragraphs, 106
purpose, 90
typeface suggestions, 107
typographic hierarchy, 105
typographic range, 104
typographic systems, 104
typography for nondesigners, 107
Interviewing tips, 201, 219–220, 222, 223
Interviews, see also Expert advice
Bryn Mooth, 28
Jamie Burwell Mixon, 50–51, 236
J
Job listing resources, 223
Justification, paragraphs, 106
K
Karaca, Rachel, 22f, 24f, 25f, 240
Kates, Stephanie, 32f, 53f, 240
Kim, Kenny, 19f, 32f, 210f, 240, 242
Kodak Gallery, 86
L
Labels
page layout, 93
techniques, 93
LATCH organization, 170
Layering, in website design, 161
Layout, see also Interior page layout
website tips, 167
Leadership skills, 207
Leading, text layout design, 106
Left/right page balance, 99
Legibility issues, in layout design, 105, 105f, 117
“Less is more” approach, 73
Licensing resources, 221
Lindsey, Meredith, 112f, 180f, 241
Logos
in cover design, 53
Logotype, 52
“Look and feel,”, see also Style
brand attributes, 24
cover design typography, 70
via cover materials, 82
expert advice, 35
via moodboards, 47
premade web templates, 147
resume/CV, 206
subordinate elements, 52
visual properties, 73
visual references, 72
website design goals, 148
Lupton, Ellen, 106
Luster papers, 123
M
Magnetic closure, 80f
Mahon, Yvette, 67–68, 68f, 166f, 168f, 242
Mailings, electronic vs. hard copy, 187–191
Mansour, Kristina, 59f, 65f, 240
Marketing
via competitions, 193
for designers, 194
for photographers, 192
target audience considerations, 194–195
Materials, see also Professional materials; Promotional materials
for post and screw binding, 127
Meaningfulness, in brand identity, 31
Meggs, Philip B., 106
Memorability
Metal cover materials, 82, 82f
Metaphor, conceptual methods, 46
Methyl cellulose, in PVA glue, 142
Miller, Harold Lee, 189f, 216f, 219f, 242
Montage, 66
Mood
brand identity, 31
via color, 56
website design, 160
Moodboards, as brainstorming technique, 47
Morton, Heather, 199
Motion
in brand identity, 31
web advantages, 159
Mullen, Aisling, 44f, 63f, 197f, 240
Muller-Brockmann, Josef, 106
Multimedia, web advantages, 159
Multisignature book, 120
Murphy, Alison, 84f, 102f, 209f, 241, 242
N
Narrative
conceptual methods, 46
example, 46f
Nash, Gretchen, 91f, 101f, 116f, 241
Nathan, Emily, 115–116, 115f, 241
Navigation
hiding/revealing menus, 176–177
website architecture, 170, 172
Negative space
and alignment, 95
in composition, 69
in layout design, 97
resume/CV, 209
Neibert, Dana, 39f, 84f, 98f, 153f, 173f, 240, 241
Nelson, Amanda, 77f, 80f, 81f, 241
Neutral colors, 56
The New Typography (Tschichold), 106
Nongrid structure
compound images, 114–115, 114f
dummies and proofs, 117
image relationships, 109–112, 110f, 112f
scaling and legibility, 117
sequences, application, 113–114
sequencing across multiple pages, 113
size considerations, 117
O
One page layout
as folding book, 121
vs. page spread, 91
Online photo-finishing services, 86
Online portfolio directories
for digital portfolios, 147
Online portfolios see Digital/online portfolios; Website development
Open vs. closed spine, 80
Orientation, layout imagery, 92
P
Page spread example, 99
and margins, 99f
recto vs. verso, 99f
vs. one page, 91
Pamphlets
definition, 120
Paperchase, 87
Papers
for book construction, 122–123
for book covers, 132
grain, 126
Paragraphs
alignment, 106
layout design, 106
Parody, conceptual methods, 46
for digital portfolios, 11, 147
for VioVio submission, 87
Phillips, Meghan, 83f, 85f, 241
Photo collage, 66
Photographers
brand inspirations, 17
contracts and pricing, 220–221
expert advice, 8
marketing tactics, 192
nongrid structure layout, 108
portfolio basics, 5
portfolio example, 79f
pricing, licensing, salary resources, 221
Photographic imagery vs. illustration, 67–68
Photo montage, 66
Photoserve, 198
Pillsbury, Christine, 34
Pitko Photobooks, 87
Plastic cover materials, 82
Pop-up books, 85
Portfolio basics
assessment guidelines, 6
audience, 4
creative self, 5
for designers, 5
editing and evaluation, 4
expert advice, 8, 10–11, 35, 41–46, 50–51, 178, 182–183, 199, 200–201
featuring skills, 5
importance of feedback, 6
overview, 4
for photographers, 5
project scope, 6
qualities, 4
questions to guide development, 4
reworking projects, 5
specialty, 5
standards, 5
visual character/style, 5
Portfolio book construction
back-to-back glued binding, 133–139
dummies, 127
duplex printing, 126
duplex printing alternatives, 126–127
folding book types, 121
grain issues, 126
materials for, 122
methods and terminology, 120
overview, 120
post and screw binding
board cutting techniques, 127–128, 127f
book cloth, 128
materials and measurements, 127–132
printing
printers, 122
software and color-managed workflows, 124–126
sewn/stapled pamphlet, 140–142
simplicity and flexibility, 120
tools for, 122
Positivity, as brand attribute, 24–25
Postcards
electronic vs. hard copy, 187
Post and screw binding
book cloth, 128
characteristics, 77
definition, 121
example, 77f
PPA, see Professional Photographers of America (PPA)
Preloaders, as website introductions, 167–169
Print design, portfolio book as, 38
Printers
for book construction, 122
types, 122
Printing
for checking layouts, 100
and color saturation, 46
duplex printing, 126
duplex printing alternatives, 126–127
Print on demand, 86
Problem-solving skills, 219
Pro bono work, 221
Professional listings, 198
examples, 209f, 210f, 213f, 216f, 219f
photography contracts and pricing, 220–221
pro bono work, 221
Professional organizations, 187, 207
Professional Photographers of America (PPA), 187
Professional resources, 223
Profiles
printer color management, 123–124
Project scope, expert advice, 8, 10–11, 34, 35, 41–46, 51, 183, 199, 200–201
Promotional books, examples, 91f, 101f, 116f, 197f
Promotional materials
brochure, 40f
competitions as marketing, 193
designer marketing tactics, 194
designer representatives, 200
electronic vs. hard copy mailings, 187–191
examples, 18f, 19f, 27f, 33f, 39f, 44f, 46f, 63f, 70f, 72f, 79f, 84f, 98f, 186f, 189f, 193f, 194f, 197f
marketing and self-promotion, 194–195
photographer marketing tactics, 192
photographer representatives, 198–199
professional listings, 198
professional organizations/networks, 187
resources for finding audience, 195
sample exercise, 47
self-promotion process, 195–197
self-promotion projects, 197
showings/exhibitions, 198
Proofs, layout evaluation, 117
ProPhoto RGB, 124
Proportion
Protective spray, for papers, 123
Proximity
grid structure layout, 95
resume/CV, 212
Q
R
Research, design research, 15, 149
Reed-Silver, Judy, 18f, 219f, 240, 242
Reels
animation/broadcast design, 183
expert advice, 183
Referral, definition, 113
Representatives
for designers, 200
Resources
designer pricing, 221
finding audience, 195
job listings, 223
pricing, licensing, salary, 221
professional, 223
Resume/CV
bars, rules, graphical elements, 209–210
on websites, 177
RGB, printer color management, 124
Rule of thirds concept, 102–103
S
Salary resources, 221
Saturated colors, printing issues, 46
Saturation, color perception, 55–56
Scale
and layout, 93
and legibility, 117
and negative space, 69
and tone of voice, 71
typography, 70
for visual emphasis, 91
and visual identity, 52
and visual properties, 73
and website navigation, 174–175
Self-promotion
expert advice, 28
suitable projects, 197
Separation, in website design, 161
Sequences
across multiple pages, 113
and grid structure, 100
interactive, website design, 179–180
in nongrid layouts, 108
Sequential structure, website maps, 172–173
Sewn bindings
book types, 120
pamphlet construction, 140–142
Shade, creating neutral colors, 56
Shadow Bocce (Volk), 111f
Showings, 198
Shutterfly, 86
Side-sewn books, 120
Signature
as book part, 121
definition, 120
SiteGrinder, 147
Site maps, website architecture, 172–173
Size
in layout design, 117
Sizing, for cover design, 79
Sketches
as brainstorming technique, 47
cover design visual techniques, 73
student example, 180f
Skill level
binding methods, 76
digital portfolio creation, 146
with software, 207
typography, 71
website development, 181
Skill set
brand statements, 26
emphasizing, 5
leadership, 207
problem-solving, 219
strategic skills, 206
Smith, Allison V., 79f, 186f, 189f, 232
Smith, Keith, 113
Snapfish, 86
Social networking, 159
Softbound covers
back-to-back glued bindings, 133–139
example, 86f
vs. hardbound, 79
Software
Adobe Bridge, 147
Adobe Lightroom, 147
color-managed workflows, 124–126
for digital portfolio export, 147
Flash, see Adobe Flash
Illustrator, see Adobe Illustrator
InDesign, see Adobe InDesign
Photoshop, see Adobe Photoshop
resume/CV skills, 207
SiteGrinder, 147
for website development, 181
Specialty, portfolio basics, 5
Spine
back-to-back binding, 137
as book part, 121
characteristics, 80
Spiral binding, 76
Standards, portfolio examples, 5
Stapled pamphlets, 77, 77f, 140–142
Stitched bindings, 81–82, 81f, 82f
Storyboard examples, 179f, 180f
A Story of Roses (Volk), 65f
Strategic skills, 206
The Structure of the Visual Book (Smith), 113
Stuckey, Wesley, 33f, 63f, 219f, 240, 242
Student projects
image relationships, 112f
logos, 53f
portfolios, 19f, 20f, 21f, 22f, 24f, 25f, 28f, 33f, 40f, 43f, 44f, 45f, 63f, 66f, 78f, 84f, 96f, 102f, 103f, 152f, 153f, 168f, 180f, 212f
professional materials, 209f, 210f, 219f
promotional books, 91f, 101f, 116f, 197f
promotional materials, 63f, 70f, 72f, 79f, 186f, 194f, 197f
sketches, 180f
Style, see also “Look and feel”
as brand inspirations, 17
design approach, 38
subordinate elements, 52
Style guide
layout design, 104
Subordinate elements, in cover design, 52
Suffragio Triptych (Volk), 109f
Support materials examples, 63f
Swampscott (Volk), 109f
Swanson, Mary Virginia, 8
Swiss Graphic Design (Hollis), 106
Symbolism
colors, 56
conceptual methods, 46
defining concept, 40
T
Tail, as book part, 121
Technical brief, digital portfolios, 148
Text block, as book part, 121
Theoretical Universe, 219f, 240, 242
Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (Lupton), 106
Thorn, Kylie M., 70f, 79f, 240, 241
Three-dimensional projects
digital portfolios, 150–153, 151f
imagery layout, 92
360-degree advertising strategy, 152
Time-based media, 166
Tint, creating neutral colors, 56
Tone, see also Color tone
brand attributes, 14
brand identity, 31
building visual texts, 65
via color, 54
as visual artist, 73
via website animations, 169
website design, 160
in writing, 71
Tone of voice, 30
Transitions
demo reels, 183
fluid spaces, 160
storyboards, 179
Travel Japan (Bowman), 164–165, 164f, 241
Trends
blog-based portfolios, 167
color, 54
in design, 9
hide/reveal website navigation, 176–177
postmodern digital and urban graffiti, 18
staying current, 8
tracking, 187
visual references, 72
website development tools, 181
Tschichold, Jan, 106
Turnstyle Studio, 32f, 216f, 240, 242
Typefaces
business cards, 216
cover design, 70
cover letters, 213
genre considerations, 70
in layout design, 104
legibility, 105
“look and feel,”, 52
nondesigner considerations, 107
resume/CV, 208
style guide, 104
subordinate elements, 52
suggestions, 107
for visual differentiation, 209
as visual properties, 31
Typographic Design: Form and Communication (Carter, Day, Meggs), 106
Typographic Systems of Design (Elam), 106
Typography
in cover design
copy, 71
examples, 70f
expert advice, 71
overview, 70
in digital portfolios, 152–153
in layout design
hierarchy, 105
range, 104
systems, 104
legibility, 105
paragraphs, 106
suggestions for nondesigners, 107
U
Uelsmann, Jerry, 66
Uniqueness, in cover design, 73
Universal colors, 56
U.S. Copyright Office, 58
Usability
in composition, 69
digital portolios, 149
User interface, websites, 174
User testing, digital portfolios, 149
V
Value, color perception, 55
Verbal components, brand identity, 30
Vidal, Javier Ferrer, 159f, 169f, 232
Video
web advantages, 159
Video sequence, for digital portfolios, 147
Vinyl cover materials, 82, 82f
VioVio, 87
Visual components, brand identity, 31
Visual concept, importance, 40–41
Visual emphasis, in layout, 91
Visual icons vs. iconography, 60–61
Visual identity
digital portfolios, 152
effective portfolio, 4
expert advice, 8, 9, 34, 35, 199
in layout design, 103
subordinate elements, 52
Visual references, in cover design, 57, 72
Visual style
characteristics, 5
cover design typography, 70
for visual character, 57
Visual system, 40
Visual techniques, in cover design
experimentation, 73
“less is more” approach, 73
properties, 73
uniqueness, 73
visual references, 72
Viterbo Diptych (Volk), 111f
Volk, Larry, 65f, 109f, 111f, 240, 241
W
Warhol, Andy, 67
Website development, see also Digital/online portfolios
categories and labels, 171–172
for commercial book binding, 87
composition issues, 154–169, 154f
concept, 178
contact info, 167
CV, 177
development tools, 181
digital portfolio templates, 147
Flash vs. no Flash, 178
fluid spaces, 160
going live, 182
grid system design, 167
grouping content, 170
hiding/revealing menus, 176–177
integrated media, 161
interactive sequence design, 179–180
keeping up-to-date, 177
LATCH organization, 170
layering and separation, 161, 161f
layout and content, 167
movements and transitions, 164–166
online portfolio collections, 149
optimization for, 181
sections via language, 115–116, 115f
target audience, 170
time-based media, 166
traditional design, 160
user interface design, 174–177
Website examples
allaboutjames.co.uk, 161f, 168f, 241
animation, 160f
barcinski-jeanjean.com, 68f, 151f, 241
bio-bak.nl, 154f, 241
blackbeltmonkey.com, 162f, 241
categories, 171f
dananeibert.com, 153f, 173f, 241
dantestyle.se, 155f, 241
diegutgestalten.de, 163, 163f, 241
glennbowman.com, 164–165, 164f, 241
javierferrervidal.com, 159f, 169f, 232
lisacrowleydesign.com, 168f, 241
naomiharris.com, 18f, 61f
porliniers.com, 165f, 168f, 241
rodrigomanfredi.com/08/, 176f, 242
selftitled.ca, 177f, 242
serialcut.com, 155f, 242
storyboard, 179f
thibaud.be, 175f, 242
trollback.com, 171f, 242
yvettemahon.com, 67–68, 68f, 166f, 168f, 242
Windows
in book construction, 142–143, 142f
Wood cover materials, 82
Word associations, as brainstorming technique, 47
Workflows
ICC, see ICC workflow
Work-for-hire, 221
Wright, Micah, 60
Wurman, Richard Saul, 170
Y
Z
Z-axis, web compositions, 154–155
Zines, softbound covers, 79