CONTENTS
What Constitutes an Effective Portfolio?
How to Start: Describe Yourself as a Creative
Exercise: Reverse View/Reverse Roles
Q&A: Interview with Richard Gref é, Executive Director, AIGA
Defining Your Own Brand Attributes
Reflect on Yourself and Interests
Q&A: Interview with Kristen Bernard, Graphic Design Student, Endicott College
How to Identify Key Brand Attributes
Note: A Brand Identity isn't for Everyone
Q&A: Interview with Jeremie Dunning, Senior Web Designer, Burton Creative Services
A Note about the Interior Layout
Q&A: Interview with Gail Swanlund, Co-director and Faculty, CalArts, Graphic Design Program
Understanding the Range of Possibilities
Conceptual Methodologies Defined
Sketches and Word Associations
Q&A: Interview with Beverly Hayman, Recent B.F.A. Graduate, Mississippi State University
Q&A: Interview with Jamie Burwell Mixon, Professor, Mississippi State University
Consider Material and Formal References
Color Palette: Dominant, Subordinate, Accent
Hue, Brightness, and Saturation
Need Help: Three Different Strategies
Note about Copyright and Appropriation
Understanding Copyright Law: Basics and Resources
Using Iconography versus Visual Icons
Q&A: Interview with Naomi Harris, Photographer
Denotative and Connotative Meaning
Building Imagery: Illustration versus Photographic Imagery
Visual Properties and Techniques
Making Something New and Unique
Covers: Softbound versus Hardbound
Spine, Hinge, and Clasp: Closed versus Open
Variation: Sewn or Stitched Bindings or Nonadhesive Bindings
Wood, Metal, and Alternative Materials
Accordion-Fold Bindings and Concertina Bindings
Commercially Available Book Binding
Professional Services: Asukabook, Paperchase, and Pitko Photobooks
Q&A: Interview with Hyun Sun Alex Cho, Associate Creative Director, Ogilvy and Mather, New York, NY
One Page versus the Page Spread
Grouping: Alignment and Proximity
Composition: Working with Images
Creating Interplay and Image Relationships
Image Sequencing across Multiple Pages
Compound Image on a Single Page
Methods to Construct a Book and Book Terminology
Software and Color-Managed Workflows
Alternatives to Duplex Printing
Post and Screw Binding with Board Covers
Measure and Cut the Book Cloth
Punching Holes in Your Covers and Book Block
Step 6: Digital & Online Portfolios
Tips for the Moderately Experienced
Q&A: Interview with Mark Barcinski, Partner, and Adrien Jeanjean, Partner, Barcinski & Jeanjean Interactive Studio, http://www.barcinski-jeanjean.com/
Keeping the Brand Voice Consistent
The Uniqueness of a Web Composition
LATCH and Other Organizational Schemes
Defining Categories and Labels
Q&A: Interview with Chris Wooster, Group Creative Director, T3
Designing Interactive Sequences
Q&A: Interview with Andrew King, Partner, and Mike Wislocki, Partner, SquareWave Interactive
Animation/Broadcast Design Reels
Professional Organizations and Networks
Mailings: Electronic versus Hard Copy
Marketing Tactics for Photographers
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
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
Step 8: Professional Materials
Photography: Contracts and Pricing
Pricing, Licensing, and Salary Resources
Q&A: Interview with Chris Wooster, Group Creative Director, T3, Austin, TX
Q&A: Interview with Sean Adams, Partner, AdamsMorioka, Beverly Hills, CA
Job Listings and Professional Resources
For more information, including additional portfolios, interviews, resources, tutorials and articles please visit the companion website at WWW.NOPLASTICSLEEVES.COM