- 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
ANY TOOL YOU USE IS LEGITIMATE. THE KEY TO THE TOOL IS WHETHER IT HAS THE DIMENSIONS TO DEAL WITH WHAT HAVE BECOME YOUR QUESTIONS.
I consider art as a thought form
more than anything eise.1
ROBERT IRWIN
Artist, (”The State of the Real, Part 1,” conversation with Jan Butterfield, Arts 46, no. 10 (June 1972), p. 49)
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