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No Plastic Sleeves
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No Plastic Sleeves
by Danielle Currier, Larry Volk
No Plastic Sleeves
Front Cover
Half Title
Title Page
Copyright
Dedication
Contents
Acknowledgement
Author’s Note
Introduction
Types of Portfolios
The Comprehensive Package
Brands and Concepts
The Book
Book Construction
The Online Presence
Marketing
Our Process
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
Step 2: Branding
Introduction
Brand
Research and Analysis
Discovery
Defining Your Own Brand Attributes
Reflect on Your Work
Reflect on Yourself and Interests
Reflect on Your Future
Inspiration
Looking Outward
Genres and Styles
Process
Trends
Q&A: Interview with Kristen Bernard, Graphic Design Student, Endicott College
Brand Attributes
How to Identify Key Brand Attributes
Brand Statements
Exercise: Brand Book
Q&A: Interview with Will Bryant, Recent B.F.A. Graduate, Mississippi State University, Mississippi State, MS
Brand Identity
Note: A Brand Identity isn’t for Everyone
Verbal Components
Visual Components
Additional Components
Style Guide
Q&A: Interview with Christine Pillsbury, Creative Director, BEAM Interactive and Relationship Marketing
Q&A: Interview with Jeremie Dunning, Senior Web Designer, Burton Creative Services
Step 3A: Cover Design
Introduction
Cover Design
A Note about the Interior Layout
Your Approach
Concepts
Q&A: Interview with Gail Swanlund, Co-director and Faculty, CalArts, Graphic Design Program
Understanding the Range of Possibilities
Conceptual Methodologies Defined
Brainstorming Techniques
Sketches and Word Associations
Moodboards
Promotional Exercise
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
Design Focus
Dominate Elements
Subordinate Elements
Compose the Elements
Consider Material and Formal References
Logos
Color
Color Palette: Dominant, Subordinate, Accent
Hue, Brightness, and Saturation
Symbolic and Emotional
Need Help: Three Different Strategies
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
Overview
Hierarchy
Negative Space
Size and Proportion
Typography
Overview
Words of Advice
For the Designer
Tips
Copy
Visual Techniques
Visual References
Visual Properties and Techniques
Making Something New and Unique
Experiment
Caution: Often Less Is More
Important Notes
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
Step 4: Layout
Introduction
Q&A: Interview with Hyun Sun Alex Cho, Associate Creative Director, Ogilvy and Mather, New York, NY
Hierarchy
One Page versus the Page Spread
Images
Number and Size
Quality
Labels
Composition: The Grid
Number of Columns and Rows
Grouping: Alignment and Proximity
Image Layouts
Negative Space
Margins of Space
Single-Column Grid
Spreads & Margins
Sequence
Rule of Thirds
Extending the Visual Identity
Typography
Typographic Systems
Typographic Range
Typographic Hierarchy
Legibility
Tips and References
Paragraphs
For the Nondesigner
Need Help: Recommendations
Composition: Working with Images
Creating Interplay and Image Relationships
Image Sequencing across Multiple Pages
Applying Sequencing
Compound Image on a Single Page
Getting Beyond Categories
Scaling and Legibility
Things to Consider
Step 5: Construction
Introduction
Methods to Construct a Book and Book Terminology
Parts of a Book
Materials
Tools
Printing Your Books
Color Management
Software and Color-Managed Workflows
Tip: Get Help!
Duplex Printing
Alternatives to Duplex Printing
Post and Screw Binding with Board Covers
Cutting Your Boards
Measure and Cut the Book Cloth
Gluing
Punching Holes in Your Covers and Book Block
Gluing a Printed Cover
Back-to-Back Glued Binding
Measure and Cut the Cover
Sewn or Stapled Pamphlet
Insets and Windows
Step 6: Digital & Online Portfolios
Introduction
Skill Level
Tips for the Inexperienced
Goals and Message
Tips for the Moderately Experienced
Tips for the Experienced
Defining Your Goals
Target Audience
Usabilit
Research
Concept and Brand
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
Web Design
The Uniqueness of a Web Composition
Taking Advantage of the Web
Traditional Website Design
Fluid Spaces
Layering and Separation
Integrated Media
Video
Movements and Transitions
Time-Based Media
A Note about Blogs
The Grid System (Again)
Layout and Content Tips
Introductions
Site Architecture
Grouping Content
Target Audience
LATCH and Other Organizational Schemes
Defining Categories and Labels
Site Maps
Navigation
User Interface Design
Navigation
Hiding/Revealing
Q&A: Interview with Chris Wooster, Group Creative Director, T3
From Design to Development
Designing Interactive Sequences
Development Tools
Optimization for the Web
How to Get Your Website Live
Online Portfolio Directories
Q&A: Interview with Andrew King, Partner, and Mike Wislocki, Partner, SquareWave Interactive
Animation/Broadcast Design Reels
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
Step 8: Professional Materials
Resume/CV
Type
Paper Stock
Layout
Cover Letters
Business Cards
Interviewing
Photography: Contracts and Pricing
Pro Bono Work
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
Endnotes
Appendix A: Resources
Appendix B: Interviews
Appendix C: Contributors
Index
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Step 3A: Cover Design
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Step 3B: Materials and Forms
ART DOES NOT REPRODUCE THE VISIBLE; RATHER,
IT MAKES
visible.
PAUL KLEE
Artist
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