Table Of ContentDesigning a Digital Portfolio
Second Edition
Cynthia L. Baron
Designing a Digital Portfolio, Second Edition
Cynthia L. Baron
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Dedication
Corny as it may seem, to my mom. Finally, this one is for you.
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About the Author v
About the Author
Cynthia L. Baron is Academic Director of the Digital Media program at
Northeastern University in Boston, Cynthia has been active in the cre-
ative community for most of her professional life. Previously Associate
Director of the Multimedia Studies program and Technical Director and
Lecturer in the Department of Art+Design, she holds an MBA with a
Marketing concentration and was the executive vice president of a
Boston-based graphic design studio for over a decade. She has written
for many publications, been a series editor for Rockport Publishers and
a contributing editor to the magazines Critique and Computer Graphics
World. She has edited, authored, or co-authored over a dozen books,
including Adobe Photoshop Forensics: Sleuths, Truths and Fauxtography
and The Little Digital Camera. Her 1996 book, Creating a Digital
Portfolio, was the first title ever published on the topic.
vi Acknowledgments
Acknowledgments
I was truly blessed with great people and much support in writing and produc-
ing the second edition of this book. Although I can never say enough in thanks to all
the people who helped me along the way, I can at least formally acknowledge their
input and contributions.
In a project like this one, a lot depends on who you know, and who they know
in turn. Nancy Bernard knows how much in her debt I am for the first edition, and
therefore all subsequent ones. In addition, I owe a big thank you to my dear friend
Dan Peck for playing yenta on the first edition. He led me to Roz Goldfarb, whose
foreword graces the book's beginning, and to Rita Armstrong for spot-on talent
searching. Thanks to both of these astute women for helping the second time around.
In this edition, two colleagues were instrumental in helping the book take its
present shape. The first is Terrence Masson, whose opinions and knowledge of the ani-
mation and special effects worlds provided great quotes and inside knowledge. The
other is Jay Laird, who went way beyond tech editing for Chapter 7, thereby saving
me at least one week of agony—and my deadline.
A quick read of Appendix B reveals what a talented, savvy, and articulate
group of creatives contributed to this book. I think it says quite a bit about the
quality and creativity of my contributors that most of them were extraordinarily busy
during what has been one of the worst economic downturns in recent history. Yet
from the established stars to the brand new talents, they were all unstintingly free
with their ideas, opinions, and time.
As you might expect, I owe a lot to the publishing team. In particular, I want
to thank my friend Becky Morgan, whose career has moved well beyond that of a
development editor. But nonetheless, she graciously made time for this book in her
busy schedule. As always, it was a pleasure to work with her. Becky's feedback was
invaluable, and permeates every chapter. In addition, many thanks to Scout Festa for
her attention to all the niggling details—especially those tedious commas—and to
Hilal Sala for her help and counsel in production issues.
A special thank you in memoriam to Marjorie Baer, for supporting my initial
book idea, and for making the first edition happen. You are still remembered.
And, as usual, thank you Shai. After all these years of being married to a
classic Type A personality, he remains the unconditional One—my very best friend.
I am a most fortunate woman.
Foreword vii
Foreword
I often speak to student or professional groups about career, marketplace, and
workplace issues. An overwhelming number of questions relate to the structure and
content of portfolios. “What should the format be? How to demonstrate different
forms of work: two-dimensional and three-dimensional? How should the work be
viewed? How should it be delivered? How much work should be shown? What samples
should be included?” There is no other topic of such critical significance, because
everyone recognizes the role portfolios play in capturing work. And thus, the impor-
tance and relevance of Designing a Digital Portfolio.
A digital portfolio is now the professional standard. It is without question
the most important and mandatory vehicle to demonstrate an individual’s skill and
accomplishment. It is the first introduction to a future employer, the first foot in the
proverbial door. The portfolio is also a repository of past work, a personal archive to
be maintained, treasured, and properly backed-up.
In developing a presentation portfolio—and many professionals have strong
opinions about their “correct” or preferred method—ultimately the portfolio is a
marketing tool. To successfully function as a marketing instrument, the portfolio
should be as unique as its owner. This is the most difficult challenge, and this book
will help in that crucial process.
Our design and interactive culture moves forward at a lightning pace and, as
always, the pressure is to keep up, be current, look cool. However, I would suggest
that sometimes it is also valuable to look back, for otherwise we lose perspective.
Bells and whistles are not a substitute for substance. We need to make sure, in our
fixation on the latest, newest and hottest, that the fundamental emphasis on con-
tent is not lost. Portfolios were constructed of 2D or 3D printed material, or on
35-millimeter slides. At the end of the day, the actual deliverable object was impor-
tant. Today, some old forms may be obsolete, but there is still a need, and a place, to
experience the quality of a final printed piece, to touch and smell the final result.
Designing a Digital Portfolio is unique as it offers, with clarity and logic, the
process of developing a portfolio—along with personal experiences that add first-
hand information. It respects traditional values, while successfully tackling the digi-
tal challenge on all issues relating to the choices of structure, content, and delivery.
I believe you will agree that it fulfills a tremendous need. And, hopefully, it will aid
you in fulfilling your future potential.
Roz Goldfarb
President, Roz Goldfarb Associates
August 2009
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Table of Contents ix
Table of Contents
Introduction xv
Part I Planning
Chapter 1 Assessment and Adaptation 5
Soul-searching 6
Adapting your content 15
Creating your own projects 17
Partnering 20
Portfolio highlight: Luke Williams with
Jonnie Hallman | Partnering 22
Chapter 2 Professions 29
Purpose 30
Portfolio ingredients 31
Your portfolio mix 32
The grain of salt… 43
Portfolio highlight: Will Scobie |
Primary directive 44
Chapter 3 Your Audience 51
Why do research? 52
What should you research? 52
Search tools 56
When are you done? 63
Portfolio highlight:
People Design | Know your market 64
Chapter 4 Delivery and Format 70
Portable media 71
Email 75
Online 77
Portfolio strategies 83
Portfolio highlight: Emmanuel Laffon
de Mazières | Form and function 86
Part II Collecting and Preparing
Chapter 5 Organizing Your Work 95
Collecting material 96
Storing original art 97
