If One More Person Tells Me, “Just Make a Grid…”

It’s crunch time. As the threat of summer approaches, all efforts are being channeled towards getting the elusive summer internship. It’s one of the few ways we can gain real world experience before graduation, and critical in order to secure a permanent job after we leave the gates of Tech. The portfolio is an essential part of this process, which makes sense. How else do we show prospective employers our work? But there is just one tiny issue with this. I have no idea how to actually make a portfolio!

My creative endeavors up until this point have been in the fine arts. In fine arts, the portfolio is pretty straight forward. You write a 1 page artists statement, you write a slide page, and you put your art into portfolio sleeves. If you have sculpture, you take high quality photos of the work from multiple angles.

That’s about it.

But design? Oh no, brother. It’s not nearly this simple. There are layouts, and grids, and color schemes, and visual hierarchy, and photos, and sketches, and grids, and icons, and did I mention girds?

I began asking my peers how to make a portfolio and kept getting the same response. “Just make a grid,” they all said. Just make a grid? Ok, what does that mean? How do I make a grid? What size should it be? What are the proportions? What is a good grid? What is a bad grid? All these questions would fly through my mind, and clarification beyond, “just make a grid” was rarely provided.

So, I took matters into my own hands. This past week, I attended a portfolio review through our local IDSA chapter. I put my work into what I knew at the time, bound it, and went to the event.

Probably one of the first legitimate networking events I had been too since starting my program, I was in my element. The small talk, the exchange of business cards, the industry specific jargon, the anecdotes and lame jokes. It was networking at its finest. And although I was a little rusty, I was like a tiger who had been locked in a cocktail party-less cage for 7 months and finally released back into the wild.

As the mingling subsided, I suddenly became nervous. We had reached the part of the night where the actual reviews began. I expected the reviewers to tear my poor portfolio to shreds—to say the work was hideous, the layout belonged in the trash, and that the gird was just the most abominable thing they had ever seen in their entire lives.

To my complete and utter delight, they said no such things. They gave me critical and objective feedback. The pointed out my strengths and weaknesses and told me directions to take the work in. It was great and informative at the same time. Here are some of the main takeaways I learned:

  1. Put your work in context. This I kept hearing over and over again. CAD a hand holding your rendering. Put it in a bedroom if that’s where it belongs. Make a persona to describe who will use your object. Put logos on pretend business cards. Always give context for your designs
  2. Put in outside work. As one speaker said, “I will fight anyone to the death who says that extracurricular work will not benefit your portfolio.” Employers don’t want to see just class assignments
  3. Just because an assignment ended, doesn’t mean the design has to. This ties into the previous point. If you like a design, push it further. It shows initiative
  4. It is better to have 3-4 highly detailed projects in your portfolio than 20 overviews. Employer’s want to see how you think. They don’t want to see just the end product. Put in sketches, models, prototypes, and the final product. Also, they want to see the research behind the project, so putting a page on the backstory and research involved in the design is a good thing.
  5. Have both a print and digital portfolio. Maybe this seems obvious, but out of the 20 or so students at the event, I was one of the only students with a print portfolio. As I got to the last reviewer, he thanked me, stating that all night he had been hunched over computer screens looking at tiny images. Designers like using their hands, and that goes for touching portfolios too.
  6. Show what makes you you! My portfolio was about half design, and half fine art. I was nervous that I would get critiqued for that, but instead found the opposite. Everyone loved that fact that I had fine art work and even told me to elaborate. Many designers are not fine artists, so this is a skill that I need to accentuate. They told me elaborate on my work, include studies, and delve deeper into the research that informed my art.

So, what then, can we learn from portfolios. Well, at the end of the day, I learned that quality always out shines quantity. I learned that every portfolio will be different and that there is a no one-size-fits-all style. Do your hard work justice, and let it shine. And lastly, I learned that when the work is good, no one is going to say jack squat about your grid.

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