What do you put in your portfolio? Ideas.

Q: What is the most important aspect for a design student to focus on when putting together their end of year folio?

Christian Teniswood (Design Director Futurebrand): It's a simple formula, substance and style in equal measure. Good thoughts well executed, or like McCann Erickson's tagline, a 'Truth Well Told'.

Some humour helps as well, you can't take yourself too seriously. Ideas that aren't a poor imitation of another artist. Demonstrate an interest in areas outside graphic design; architecture, photography, music, fashion, technology, cinema and other related fields. If I have to sit next to you each day, for months and years, you better tell me why you thought Akira was the best animation ever made and be able to back it up. Persistence, determination, intelligence and an easy going personality are traits I'm looking for. Happy to hear you subscribe to IDN and Graphik and can use every adobe product at a master level ... but let's get back to the idea that makes me think ... 'nice, I wish I'd thought of that.'

Naoto Ito (Senior Designer @ Cato Purnell): Be practical. A graduate folio is your asset to get a job in the real world. It's not for you to show off how good your photoshop skill is or how much rendering time you had on that 3d model. Choose your pieces carefully, don't cram too much (approx 10-15 pieces), they will not remember all of them. Speak confidently, understand your work and never ever undersell yourself! Lastly...a picture speaks a thousand words, believe in your work.

Cameron Hodkinson (Creative Director @ Aframe):I think the main thing that I'm looking for is a discerning eye. And no, I don't mean photographs of some jerks eye! I want the student to have the ability to be able to tell what's good and what's not, even if they're not quite able to technically pull it off. And I definitely don't want to see every slick photoshop pic they've ever produced. The ability to be able to tell what's right or wrong with a piece, or simply to know that something's not quite right, wins hands down every-time over technical prowess! ---> Disregard this rant, pretty off topic but rather true! Tough question though! A folio is so many things! Let me start by saying that anyone considering a career that requires a folio, really needs to see the new Transformers movie. Yes, yes, a film by Michael Bay - the guy who brought you Pearl Harbor, The Island, and The Rock. I know! Anyway, a folio should be like this movie because, believe it or not, it was kickass. A diverse range of simply executed and well planned ideas that work individually, and combine to create a damn good film. When I look at a folio, I want to see that a designer not afraid to try new techniques and explore new ideas. There really isn't any one thing that makes a folio good, it's a combination of things. Presentation, experimentation, inventiveness, individuality and originality. Don't try to mimic your favorite designer, absorb and regurgitate everything in a techni-coloured array of thoughts and opinions. Got to fly, but everyone should go and see Transformers. I was fist pumping and saying 'f*** yeah' the whole way through that movie.

Rofi Zaino (Design Director Interbrand / Futurebrand): Let's see... Focus on the big picture. The thing I'd look for in a designer is how s/he thinks about how he can solve the client's needs through his design. I'd say that good conceptual thinking would shine brighter than great craftsmanship. Now, coming up with clever ideas is great, but more importantly, s/he must show how the designs add value to the client's brand/business beyond just being clever.

Jimmy Yuan (Qube Konstruct): I think overall students project should really have a strong concept and ideas behind their design work. Of course the presentation and final execution & details are very important as well…  students should also have a strong folio layout, and try to be very different, creative and experimental. Mmm yeah that’s all really.

Paul Troon (Gollings Pidgeon):Don't print self promo's on toilet paper. You're sending the wrong message about your work and your inkjet printer hates you for it (I kid you not we received a toilet paper promo).

Sem Loh (Advertising / Design):Good design ends up in museums. Do good design.

Those who cannot do, teach

Occassionally I make the mistake of looking at the local design discussion forums and even though I know it's wrong I can't help clicking on the latest brand critique post.

The wisdom imparted by most the keyboard geniuses is always enlightening.
- 'Ugly ugly ugly'
- 'I could do better'
- 'It's so 90's / 80s / last year'
- 'Classic design by committee'

Yep. If you're responsible for posting this type of dribble, you've more than likely identified yourself as a person with minimal understanding of brand process. A person who thinks that given twelve months on a project, you could have come up with a better brandmark, blissfully unaware the scope probably included competitive frame analysises, existing brand audits, mood boards, personality pieces, strategic positioning, brand architecture, multiple creative directions, refinement, testing, meetings, more meetings, more refinements, applications, implementation, a late night or ten and a few beers with pizza just to name a few phases. I suspect the closest many of these people have come to a large scale branding project is throwing eggs at Ken Cato's studio from the passenger window of their car whilst yelling 'Designosaur!' and thinking how witty you are.

The majority of posts seem to be whinging about design concepts, whinging about the clients, whinging about other designers and whinging why London didn't award them the chance to design the Olympics logo because they have a kick-ass folio. Does anything actually think for one moment these projects are as simple as sketching a logo lounge worthy mark and showing it to the CEO? (unless you can spin it in Flash, then it's a shoe-in!)

I'm first to encourage constructive criticism. Just take the time to understand what you're critiquing before you start firing aesthetic judgements at everything that doesn't resonate with your personal preferences. More often than not, it's the same people posting this stuff who then wonder why the profession struggles to gain respect when we attack each other from the inside out. It's the snake eating it's own tail. Until we start to address this disturbing trend we'll continue to be labelled as expendable mac monkeys who do logo design as our day job in between waiting for our indie band to get signed or have our grafitti artist career take off.

- 'Why don't clients respect me? I hate them'

Oh, here's a hint. Clients are running a business that in most instances makes a hell of a lot of money. More money than the average design studio. I'm guessing they're smart people who just happen to not interact daily with design theory. Listen to them, understand their business and stop trying to teach them about typefaces. That's not why they hired you. They hired an expert who is (hopefully) going to understand their business strategy and create a brand that makes it visible. They did not hire a stylist who throws a tantrum when they don't understand that vista is cooler than gill.

Yes, some will ask you to use Arial.
Yes, some will ask you to evolve the existing logo by 10%.
Yes, some will ask you to show them the logo 'in corporate blue'.
Yes, all of them will ask you to 'make the logo bigger'.

Knowing that those questions are coming (and will continue to come throughout your career) you better find a way to justify why it looks better in 100% cyan.

Advice? Ok ok. Just for an example, you could try relating the design decisions back to the brand personality. Show the client how typeface x embodies the brand values. Maybe you can pull out the competitive frame analysis board you had prepared and illustrate to them the market space they can own by differentiating themselves. Showing them that it is already flooded with competitor's blue logos and that their colour choice will dilute or strengthen their market position is a compelling argument.

It also works better than 'Because it looks good.' (We are not here to put lipstick on a gorilla, even if that shade of frosty pearl really brings out ol' silverback's eyes)

Hopefully we're creating a real brand that a business can align to both internally and externally. A brand that stands for something that customers identify with and that adds value across all consumer touchpoints. Remember, a brandmark is just an entrypoint into the brand and sure, it's the most important one but still one part of a bigger picture. It's an empty vessel (no matter how pretty) that needs to be filled with meaning. So I have to ask does anyone have something vaguely constructive or god forbid, positive to say? Can we move the arguments away from purely aesthetic criticism and discuss whether the brand is distinctive and sustainable. I suppose this is my impassioned plea to lift the profession's disapproving gaze on everything that is put under it's nose and one step forward towards industry respect. And if you're so intelligent with your brand advice, please, share your knowledge by posting something that resembles coherence on BrandChannel or some place with a little credibility. Maybe I should do that myself (otherwise I'm doing exactly the same - do as I say, not as I do).

What's that you say? I can't write more than sarcastic commentary? Damn straight. That's why I started a blog.

Design forever!

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