Artist’s/Writer’s Block is one of my favorite topics. I don't much believe there is writer's block as we perceive it to be, and I dread it much less than I dread hypergraphia. Mark Twain reached a "block" while writing Huckleberry Finn, and simply put the book aside for a number of years-- and wrote other books! I believe it took him seven years to finish Huckleberry Finn. So his "block" was with regard to only one book. And keep in mind, he didn't worry about it-- "Ideas will come in time," he said.
As an artist, graphic designer, and occasional writer, I find that we can't always afford the luxury of being at a standstill by writer's block. We have deadlines to meet.
What I tell my students, and myself, is: "This is only one speed bump, but you have a whole life around you. Get on with life, and the work will come in time-- in fact, you're still a writer (artist) even though you are creating NOTHING!—even if you can't get out of bed that day—because everything you do makes you a better writer (or artist, or designer).”
Let me say that again in italics: everything you do makes you a better writer (or artist, or designer).
When you're stuck in bed, you experience the sensation of bedsheets, sunlight or moonlight filling the room, there are blankets to see and touch, a sitcom to watch, analyze, or criticize, a kitty to pet, or an insane wind coming up just outside your window. Sometimes you have vomiting to get through, or congestion, or chills and fever for hours: these are ALL sensations and observations that, whether you try or not, will remain with you and contribute to better creative work.
When there's no time to create-- when your day job demands overtime, when your kids need attention, when the trash has to go out, the grass has to be mowed, and tax forms must be completed-- when there are no more hours in the day, the week, the months... you are STILL becoming a better writer/artist.
Why? Because writing or art like many endeavors, is centered in who you are. So consider the difference between a teacher down with the flu, and a writer down with the flu: each will be affected and changed by the illness, and each will come back stronger in who they are because of it. The teacher will filter the illness through his teacher core. The writer will filter it through her writer core. Same illness, different filters.
My paintings get better (to me) whether or not I paint, because I get better: Every experience, feeling, discovery, observation, event in life continues to be filtered through my writer/artist core, and moves my art forward, whether or not I'm actually painting.
Writing and painting are mechanical skills. Of course each requires practice. But both are more than a skill-- they are also the ability to process our world through the mind and senses of our creative core.
When you reach what you imagine to be a writer's block, then set aside skills, put your book or painting away, and attend to the world; you will be growing as a writer/artist the whole time, and you will come back better for it. You will come back changed.
Will it solve your "problem" of being blocked? If you "believe in" writer's block then probably not. But the chances are very good that a new energy will come when you spend some time experiencing the world, solving puzzles, or come up against a deadline, but don't look for this to be a solution or cure for what ails you; it's giving necessary attention to the essential resources that fuel your creativity.
Showing posts with label artist. Show all posts
Showing posts with label artist. Show all posts
Tuesday, February 24, 2015
Wednesday, April 21, 2010
Traditional Portfolios
Portfolio suggestions for students and designers just starting out.
1. Dick Blick offers a wide range of portfolios and presentation cases, and some are pretty splendid. I would suggest this presentation case in the 8-1/2" x 11" or 11" x 14" size :
Dick Blick Portfolios
You can certainly choose any others, or shop any other artists supply store.
The price is reasonable, and more importantly, it will not dwarf your work (standard 20" x 26" portfolio will, unless you mount or mat your pieces generously to lend class to the presentation). It does not require that you mount or mat anything. It uses clear sheet protectors. You may want to buy some high quality black or gray backing sheets (the ones that often come with the sleeves are cheap—don't use cheap anything). I use black Canson charcoal paper, or Strathmore charcoal paper.
Dick Blick Strathmore 500 Series Charcoal Paper
2. Assemble your best work and make good quality color printouts if you don't have commercially printed samples (usually laser color will do, inkjet can be flimsy and type can look bad), and for illustrations, logos, and other feature pieces, you might want to do photo quality printing on a substantial paper. Brochures, ads, and direct mail pieces will probably be fine on 20# or heavier laser paper.
3. In choosing your "best work," be practical about it: you don't need to show more than 12-18 pieces (it takes time to review a portfolio and 30-40 pieces is overwhelming).
4. Select work that best represents your strengths, and think in terms of categories:
• logo/trademark designs
• brochures
• illustrations
• print ads
• direct mail
• color and B&W solutions
• web sites/pages (in traditional portfolios, you can include a print of each website with links for interviewers to review)
Samples should represent your breadth and depth of experience and skills, in a minimal way (e.g., no more than 3 illustrations, 3 logos, 3 billboards, etc.). Each example should convey something unique about your abilities: complex logo, contemporary logo, whimsical logo; spot illustration, feature illustration, digital and traditional illustrations, cartoons, tech illustrations (more than 3 illustrations if your abilities go beyond 3 major types); posters, door-hangers, flyers, and other misc. promotional pieces; print ads, eMail blasts, etc. Do not pad your portfolio with repetitious examples, except where repetition shows that you can "do it again" or that you have developed a style (as in cartooning or illustration).
5. Arrange samples in sleeves so that reviewer does not have to remove items from the sleeves (this requires replacing them which is often awkward and interferes with the presentation).
Two-sided brochures can be viewed flat from both sides of a page protector. If you want to also show the folded brochure (as the recipient would see it initially), then place a black backing sheet in a left hand sleeve, with the folded brochure centered. In the right hand sleeve, insert the flat brochure (no black backing sheet) so reviewer can see the front and back by turning the page.
For letterhead, envelope, and card package presentation, arrange all 3 inside a single sleeve, or, place black backing sheets in two facing pages, arrange the card and envelope in left sleeve, with stationery facing them in the right sleeve. (Note: I think it's OK to cut the envelope down and fit it against the edge of the sleeve so you can display it horizontally in a "cropped" approach).
6. Write down and practice what you wish to say about EACH piece: if you have nothing to say about it, why show it? Yeah, a picture is worth a thousand words, but YOU are not a picture and neither is the reviewer. Why are you showing this piece? What is it you want the reviewer to learn about you and your skills from seeing it? NEVER say anything negative (not just bad, but any negative statement, like "This was my first pen and ink drawing—my other one is better but I couldn't find it"), and NEVER make any excuses for anything in your portfolio ("The teacher/client/Martian made me do it this way"). NEVER talk about software unless you are asked: you are a designer, not a computer jockey. Talk design, marketing, advertising. Your resumé will list your software skills.
7. Provide a resumé and business card that you can leave with any and all reviewers (more than one copy may be needed). The resumé should be no more than 2 pages, should have all your contact info, should not be "cute" or "witty" unless you really do "cute" and "witty" extremely well. There are different schools of thought on this; I don't appreciate receiving resumés that I have to wade through or figure out—remember, you never know who you will interview with, so the more basic, the better. If you DO know who you are going to be interviewing with, or simply want to be sure that you land all the Rapper jobs, and are not interested in the others, then, of course, your resumé will lean into that style.
Begin your resumé with your education (expected date of graduation and level), if you have more education than experience, then begin with experience. List professional organizations.
8. Some people advocate affixing a small, professional looking label to identify "school" projects in a portfolio, which is very important if your work might imply that you have been doing commercial projects for existing companies—don't ever mislead your interviewer (how do they know whether or not "Texas Homebuilders" is a real company, or that you didn't do that cover for the real Rolling Stone magazine?).
9. Remember that portfolios show your depth and breath of skill and experience. A portfolio review should neither drag, nor be too brief: interviewer wants to see your abilities, but does not want to go through "death by portfolio." Your resumé details your education and job history. If you include a cover letter, it should detail the position you want, the reason(s) you are an excellent fit, show your knowledge of the company/industry, and advise recipient that you will call on such-and-such a day to discuss a time to meet with him/her. You are asking for a job, be proactive, not passive.
10. Some cover letter and resumé info:
Cover Letters and Resumés
Note: this information is about "traditional portfolios," and as such, is primarily focused on print. A key feature of traditional portfolios is that interviewers can actually touch and feel the work. Designers are responsible for much more than simply arranging photos and choosing typefaces. Paper weights, textures, subtleties; die-cuts and embossing; drills and perforations; pop-ups; UV coatings; unique folds; containers; bubble packs and other printing specialties do not present well in digital print-outs or online. There is no substitute for touching and using the sample. Be warned: physical samples will convey the depth and creativity of your whole design solution, as well as your lack of knowledge, creativity and planning.
Finally, consider creating a digital portfolio in addition to a traditional one. Sometimes companies request that you send your work digitally, or want you to leave a "copy" of your portfolio, and a CD or DVD is perfect for this. If you are interested in working as a web designer/developer, Flash expert, animator, 3D artist, or other video specialist, then a CD or DVD is the way to go. I may take up the subject of digital portfolios in a later post, but for now, my advice is make them very easy to navigate.
1. Dick Blick offers a wide range of portfolios and presentation cases, and some are pretty splendid. I would suggest this presentation case in the 8-1/2" x 11" or 11" x 14" size :
Dick Blick Portfolios
You can certainly choose any others, or shop any other artists supply store.
The price is reasonable, and more importantly, it will not dwarf your work (standard 20" x 26" portfolio will, unless you mount or mat your pieces generously to lend class to the presentation). It does not require that you mount or mat anything. It uses clear sheet protectors. You may want to buy some high quality black or gray backing sheets (the ones that often come with the sleeves are cheap—don't use cheap anything). I use black Canson charcoal paper, or Strathmore charcoal paper.
Dick Blick Strathmore 500 Series Charcoal Paper
2. Assemble your best work and make good quality color printouts if you don't have commercially printed samples (usually laser color will do, inkjet can be flimsy and type can look bad), and for illustrations, logos, and other feature pieces, you might want to do photo quality printing on a substantial paper. Brochures, ads, and direct mail pieces will probably be fine on 20# or heavier laser paper.
3. In choosing your "best work," be practical about it: you don't need to show more than 12-18 pieces (it takes time to review a portfolio and 30-40 pieces is overwhelming).
4. Select work that best represents your strengths, and think in terms of categories:
• logo/trademark designs
• brochures
• illustrations
• print ads
• direct mail
• color and B&W solutions
• web sites/pages (in traditional portfolios, you can include a print of each website with links for interviewers to review)
Samples should represent your breadth and depth of experience and skills, in a minimal way (e.g., no more than 3 illustrations, 3 logos, 3 billboards, etc.). Each example should convey something unique about your abilities: complex logo, contemporary logo, whimsical logo; spot illustration, feature illustration, digital and traditional illustrations, cartoons, tech illustrations (more than 3 illustrations if your abilities go beyond 3 major types); posters, door-hangers, flyers, and other misc. promotional pieces; print ads, eMail blasts, etc. Do not pad your portfolio with repetitious examples, except where repetition shows that you can "do it again" or that you have developed a style (as in cartooning or illustration).
5. Arrange samples in sleeves so that reviewer does not have to remove items from the sleeves (this requires replacing them which is often awkward and interferes with the presentation).
Two-sided brochures can be viewed flat from both sides of a page protector. If you want to also show the folded brochure (as the recipient would see it initially), then place a black backing sheet in a left hand sleeve, with the folded brochure centered. In the right hand sleeve, insert the flat brochure (no black backing sheet) so reviewer can see the front and back by turning the page.
For letterhead, envelope, and card package presentation, arrange all 3 inside a single sleeve, or, place black backing sheets in two facing pages, arrange the card and envelope in left sleeve, with stationery facing them in the right sleeve. (Note: I think it's OK to cut the envelope down and fit it against the edge of the sleeve so you can display it horizontally in a "cropped" approach).
6. Write down and practice what you wish to say about EACH piece: if you have nothing to say about it, why show it? Yeah, a picture is worth a thousand words, but YOU are not a picture and neither is the reviewer. Why are you showing this piece? What is it you want the reviewer to learn about you and your skills from seeing it? NEVER say anything negative (not just bad, but any negative statement, like "This was my first pen and ink drawing—my other one is better but I couldn't find it"), and NEVER make any excuses for anything in your portfolio ("The teacher/client/Martian made me do it this way"). NEVER talk about software unless you are asked: you are a designer, not a computer jockey. Talk design, marketing, advertising. Your resumé will list your software skills.
7. Provide a resumé and business card that you can leave with any and all reviewers (more than one copy may be needed). The resumé should be no more than 2 pages, should have all your contact info, should not be "cute" or "witty" unless you really do "cute" and "witty" extremely well. There are different schools of thought on this; I don't appreciate receiving resumés that I have to wade through or figure out—remember, you never know who you will interview with, so the more basic, the better. If you DO know who you are going to be interviewing with, or simply want to be sure that you land all the Rapper jobs, and are not interested in the others, then, of course, your resumé will lean into that style.
Begin your resumé with your education (expected date of graduation and level), if you have more education than experience, then begin with experience. List professional organizations.
8. Some people advocate affixing a small, professional looking label to identify "school" projects in a portfolio, which is very important if your work might imply that you have been doing commercial projects for existing companies—don't ever mislead your interviewer (how do they know whether or not "Texas Homebuilders" is a real company, or that you didn't do that cover for the real Rolling Stone magazine?).
9. Remember that portfolios show your depth and breath of skill and experience. A portfolio review should neither drag, nor be too brief: interviewer wants to see your abilities, but does not want to go through "death by portfolio." Your resumé details your education and job history. If you include a cover letter, it should detail the position you want, the reason(s) you are an excellent fit, show your knowledge of the company/industry, and advise recipient that you will call on such-and-such a day to discuss a time to meet with him/her. You are asking for a job, be proactive, not passive.
10. Some cover letter and resumé info:
Cover Letters and Resumés
Note: this information is about "traditional portfolios," and as such, is primarily focused on print. A key feature of traditional portfolios is that interviewers can actually touch and feel the work. Designers are responsible for much more than simply arranging photos and choosing typefaces. Paper weights, textures, subtleties; die-cuts and embossing; drills and perforations; pop-ups; UV coatings; unique folds; containers; bubble packs and other printing specialties do not present well in digital print-outs or online. There is no substitute for touching and using the sample. Be warned: physical samples will convey the depth and creativity of your whole design solution, as well as your lack of knowledge, creativity and planning.
Finally, consider creating a digital portfolio in addition to a traditional one. Sometimes companies request that you send your work digitally, or want you to leave a "copy" of your portfolio, and a CD or DVD is perfect for this. If you are interested in working as a web designer/developer, Flash expert, animator, 3D artist, or other video specialist, then a CD or DVD is the way to go. I may take up the subject of digital portfolios in a later post, but for now, my advice is make them very easy to navigate.
Subscribe to:
Posts (Atom)