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Extended Contents
Preface xi Web 2.0 Technologies 35
Intended Audience xii Contacting Designers 37
Practitioner Advice xii Tracking the Search 38
Examples of Student Work xii Branding Identity 40
Book Overview xii Self-Promotional Items 40
Personal Logo 42
Business Letterhead 44
Acknowledgments xv
Business Card 44
Marketing Postcards 45
Chapter 1 Marketing Sampler 46
The Design Portfolio 1 Leave-Behind Piece 48
What Is a Portfolio? 2
The Résumé 49
The Traditional Portfolio 4
Résumé Content 50
The Digital Portfolio 5
Résumé Format 54
Diversity of Portfolios 7
The Cover Letter 56
Academic Portfolios 9
Reference List 58
The Admission Portfolio 9
Conclusion 59
The Graduate School Portfolio 12
Professional Portfolios 15
Chapter 3
The Internship Portfolio 15
GATHERING MATERIALS 60
The Exit Portfolio 17
Typical Contents 63
Knowing Your Audience 17
Process Work 64
Portfolio Review 21
Line Drawings 67
A Generation Gap 21
Large Format Presentations 68
Potential Markets and Career Options 22
Physical Models and Full-Size Work 70
A Self-Analysis 24
Material Samples 72
Conclusion 27
Written Materials 73
Organizing Content by Project 74
Chapter 2 Collect, Select, Connect, Reflect, and Refine 77
EMPLOYMENT AND PROMOTIONAL Collect 77
STRATEGIES 28 Select 78
Finding the Right Firm 30
Connect 79
Design Publications and Firm Websites 31
Reflect 79
Professional Organizations 32
Refine 79
Personal Networking 32
Conclusion 81
| vii
viii |
| ix
Competition is tough in the design professions. Competition for schooling, jobs, and
clients often hinges on your design skills and abilities. The artifacts you produce as
evidence of these skills and abilities must be carefully gathered and impressively
presented in a design portfolio. A portfolio is an evolving collection of design problems
and creative solutions. It is an assumption in our fields that you will have a portfolio of
your work to share with others. The work in your portfolio must stand on its own and
speak for itself.
This book is written for anyone preparing for a career in architecture, interior design,
or landscape architecture. It is not intended exclusively for college graduates, but also
for admission into upper division classes and even into graduate school. Knowing how
to properly organize your work and present it in the best context (print and/or digital) can
help you sell yourself when you change jobs or seek a promotion in your current job.
Various types of portfolios and different ways of presenting them are discussed
in this book. The appearance of your portfolio will differ depending on the situation
in which you find yourself. Going on a job interview? Applying for graduate school?
Today’s design professional is expected to display his work in a digital format too. The
concept of a portfolio has changed over the years. It is no longer a physical artifact in
a fancy case. Your work will be presented in multiple formats, both in print and online.
Today’s online venues such as blogs and social media allow you to update your work
at a moment’s notice and get it in front of people much faster. I offer guidelines on
which presentation methods will best suit your needs.
I cannot stress enough that the creation of your portfolio is cyclical. In other words,
its development is unlikely to occur in a simple linear sequence. The procedures in this
book are set up in a somewhat chronological manner so you can clearly understand the
meaning of the process. When working on your portfolio, you will experience moments
of reflection that spur you to rethink a project in your portfolio. So you’ll go back and redo
a page or two. This is a cyclical process. Also, keep in mind that a portfolio is a snapshot
of your abilities at only one point in time. It will continually evolve as your design skills
increase and your design philosophy comes together over the coming years.
| xi
Although a portfolio is useful in many careers, the focus in this book is slanted
toward the design disciplines of the built environment: architecture, interior design,
and landscape architecture. The term design is being used now more frequently in
business and commerce, but the focus of this text is on the constructed, human-made
environment. The title designer will be used frequently in this text. It broadly refers to
an architect, an interior designer, a landscape architect, and other types of designers as
well. All of these professionals design, and they all will develop a portfolio. Obviously,
the contents will differ, as the scale of design differs from discipline to discipline. The
focus of this book is therefore on the portfolio content and format of a designer of the
built environment.
Practitioner Advice
The comments from respected educators and practitioners provided in this text expand
on basic concepts and offer alternative viewpoints. These are practitioners who make
hiring decisions and educators who judge admissions to academic programs. The
insightful comments elicited from practitioners and educators are included to provide
a broader perspective on portfolio design and review. Some of these comments are
in contrast to one another. This is a clear indication that not everyone agrees on what
makes a portfolio a success.
Book Overview
We begin our discussion by talking about the context in which you will create your
portfolio for review by educators and/or practitioners. After this introduction, the book
describes the diversity of portfolios, including traditional and digital portfolios. It is
important to understand who will review your portfolio and how it will be done. A self-
analysis will help you understand the focus of your portfolio based on your career
choices and expectations.
xii |
| xiii
This book would not have been possible without the support and encouragement of
many individuals. I am grateful for the support I received on this third edition from Noah
Schwartzberg, Joseph Miranda, Edie Weinberg, the editorial staff, and the entire art and
graphics department at Fairchild Books. I would like to thank the reviewers of the prior
editions for their insightful comments and recommendations. In the following pages,
you will see projects by many talented design students and quotes from respected
educators and practitioners. They deserve my gratitude for taking time to make this
book more than my professional advice.
I am grateful for the review and constructive criticism of reviewers Katie Rothfield,
Florida International University; Stephanie Scheivert, Mount Ida College; Hedie
Techner, Harcum College; Candy Carmel-Gilfilen, University of Florida; Jim Dawkins,
Florida State University; and Stephanie C. McGoldrick, Mount Ida College.
I also extend special thanks to my colleagues, students, and alumni of Arizona State
University. Thank you to my friends who listened to my occasional manuscript traumas.
My family receives my gratitude for their feedback and support, especially my mother,
Janet; brother, Kevin; and sister-in-law, Mary Grace. My nephew, Jacob, and my niece,
Malia, deserve an acknowledgment “just because they are awesome.” And last but
certainly not least, to my best friend and husband, Brian, who always knew when to
hug me, when to give me peace and quiet, and when to bring me a double-shot latte!
Bloomsbury Publishing wishes to gratefully acknowledge and thank the editorial
team involved in the publication of this book:
| xv
It’s the audience that is dissimilar for each one, an audience you
What Is a Portfolio?
Practitioners of architecture, interior design, and landscape architecture recognize
portfolios as a part of the professional culture. As designers, we communicate visually,
with most of our work described in 2D and 3D media. Every designer has created a
portfolio. Every designer has reviewed other portfolios. And every designer is continually
updating one.
You may have heard the word portfolio being used in education to refer to evidence
of learning, or in finance as a collection of investments. Design portfolios are different.
Dictionary definitions of portfolio are not very helpful. They tend to categorize a
portfolio as the flat case for carrying your documents or drawings (Merriam-Webster
Online 2015). But a portfolio is more than the case that holds your work. It is the entire
collection of your work presented together as a cohesive whole. It can take on many
forms. Today, it is recognized that this collection of work will be shown digitally as well
as in print. Mobile web browsing is increasing exponentially. Your work must look good
in print, on someone’s desktop computer, and even on a client’s smartphone.
A portfolio is more than a repository of past work; it is a unique object of work
in itself. It is an organized collection of artifacts that demonstrates your skills and
There are several uses for a portfolio, such as for learning and evaluation. Many
designers use their portfolios as a means to review, critique, and reflect on their own
work. A portfolio can help you identify your strengths and weaknesses by allowing
you to review your work in one consolidated format. Portfolios are also used for
assessment and evaluation in educational programs. You will present your portfolio in
job interviews when seeking an internship or full-time employment. Finally, portfolios
are used for securing new clients and for advancing your career once you have a job.
What Is a Portfolio? | 3
Portfolios rely on a variety of pieces, or artifacts, that provide evidence of your competence. These
artifacts can range from written materials, models, and images, to large drawings and presentation
boards (Figure 1.3). You have complete control and ownership of your portfolio because items
included in a portfolio are self-selected. You decide what is to be included, excluded, emphasized,
and ignored. Unfortunately, there is
no magic formula or checklist for what
goes into a portfolio (although some
suggestions are given in Chapter 3). You
will likely create a showcase portfolio,
which demonstrates your level of
accomplishment and skill by highlighting
your best work.
The Traditional
Portfolio
A traditional portfolio is a collection of your
work in printed format, such as drawings,
sketchbooks, presentation boards, matted
projects, sample and material boards, and
bound illustrations. Portfolios can have a
wide variety of formats, appearances, and
even carrying cases. All this is discussed
in later chapters.
Most practitioners still like to hold
your work in their hands when reviewing
it. With a traditional printed portfolio,
there is no need for technology to review
the work. You don’t have to worry that the
technology will fail during an interview or
that your work will appear differently on
someone else’s laptop or tablet. And the
practitioner needs no special technical
1.3 Not all of your design material is flat and in a small format. You will also have
knowledge and computer applications to
oversized presentation boards and 3D models in your portfolio layouts. access your portfolio. All he or she needs
Design work courtesy of Jeanne Coelho. is a finger to turn your printed pages.
The Digital
Portfolio
For many years, the presentation of a
portfolio has been an intimate experience
occurring face-to-face between designer
and client, or between designer and
employer. Things have changed with
the advent of the Internet and Web 2.0
technologies. We no longer work only
with print media, but in a world of multiple
media. Designers are now complementing
their printed portfolios with an electronic
version known as a digital portfolio. This is
a collection of work stored and presented
in an electronic format. With a digital
portfolio, you show your work via a CD, a
USB flash drive, or the Internet (Figure 1.5).
When you present your work digitally,
you also demonstrate to employers and
clients that you can manipulate the latest
technologies.
Digital portfolios are popular but have
not displaced printed portfolios. The
industry standard is now to send a digital
sample of your work with your résumé
via e-mail or uploaded to a website. A
digital portfolio is generally considered 1.5 A digital portfolio presents your work in a medium familiar to professionals.
an introduction to you and your work, as Design work courtesy of Amol Surve.
it is mobile and transferable. It is likely a preview to the printed portfolio that you will
show in a personal job interview. However, the quality of a finely printed design piece
may still be necessary. Electronic media cannot replicate the tactile experience of
actually holding an object in one’s hands, such as material samples or the study model
in Figure 1.6. Consider the example of the e-book. While its popularity has increased,
the concept of reading digitally is not completely closing libraries and bookstores. For
now, a digital portfolio augments a traditional printed portfolio.
There are several benefits to the digital portfolio. With more work begun and
completed, all in digital format, why would you take computer-generated work and
reduce its quality by printing to paper? A digital portfolio is also an employment-
generating tool, allowing you to communicate with potential employers and clients who
1.6 Try to replicate the details of your physical models and samples in the 2D imagery of your printed and digital portfolios.
Design work courtesy of Michael LeMieux.
Diversity of Portfolios
You are likely to create twenty or more portfolios throughout
your design career. You will have a portfolio at the end of your
first or second year in school. You will need a portfolio when you
interview for part-time work or an internship while you are still
in school. You will need a more advanced portfolio when you
graduate and apply for entry-level positions. You may decide
to pursue more education, and you’ll need a different type of
portfolio when applying for graduate school. Finally, you’ll need
to continually update your portfolio throughout your professional
career.
You will probably start by creating a printed portfolio, like
the one in Figure 1.11. Most educators and practitioners are
comfortable evaluating this type of portfolio. As technology
becomes more entwined in the design professions, digital
portfolios will become much more common. But the person
with the best-looking and most creative digital portfolio may not
1.8 Smartphones and tablets are used to review
be the best candidate for graduate school or for the job; that portfolios, though at a much smaller scale than may
person may simply have mastered the skills necessary to create be desirable.
a really stunning electronic presentation. Design work courtesy of Xingying Chen.
Diversity of Portfolios | 7
1.10 Layouts that can be printed or displayed online will save you time and maintain consistency between multiple portfolio versions.
Design work courtesy of Cindy Louie.
II.
I.
Első tekintetre úgy látszik, hogy nincs egyéb mód, mint minden
társadalmat külön tanulmányozni, olyan pontos és teljes monografiát
készíteni, amilyen lehetséges, azután az összes monografiákat
összehasonlítani, utána nézni, hogy miben egyeznek meg és miben
térnek el, és akkor e hasonlóságok és különbségek relativ
fontossága szerint a népeket hasonló vagy nem egyező csoportokba
osztályozni. E módszer támogatására nézve azt hozzák fel, hogy ez
az egyetlen, mely a megfigyelésen alapuló tudományban
alkalmazható. A faj voltaképpen nem egyéb, mint az egyének
összefoglalása; hogyan alkothatjuk ezt meg tehát, ha nem azzal
kezdjük, hogy leírjuk mindegyiket külön is leírjuk az egészet? Nem
az a szabályos, hogy addig nem megyünk az általánosra, míg az
egyest és az egyest egészben meg nem figyeltük? Ezért akarták
már a szociológiát elnapolni addig a teljességgel meg nem
határozható időkig, amikor majd a történelem az egyes
társadalmakról szóló tanulmányban olyan eredményekhez jut,
amelyek elég tárgyilagosak és határozottak lesznek arra, hogy
célszerű összehasonlítás tárgyai legyenek.
De ez a körültekintés valóságban nem olyan tudományos, mint
amilyennek látszik. Sem az nem helyes, hogy a tudomány csak
akkor alkothasson törvényeket, amikor szemügyre vette az összes
bennük kifejezett tényeket, sem az, hogy fajokat csak akkor alkothat,
amikor együttességükben leírta a bennük foglalt egyéneket. A
tulajdonképpeni kísérleti módszer inkább arra törekszik, hogy a
mindennapi dolgokat, melyek csak akkor bizonyítanak, ha nagy
számmal vannak, s emiatt mindig csak gyanús következtetéseket
tesznek lehetővé, a döntő tényekkel, vagyis az experimenta crucis-
szal helyettesítsük, mint Bacon mondotta, amelyeknek magukban
számuktól függetlenül tudományos értékük és érdekük van. Főleg
akkor kell ilyenformán eljárnunk, amikor nemek és fajok alkotásáról