HOW TO BE A GRAPHIC DESIGNER… CHAPTER 5
As I first began this chapter I had some difficulty comprehending and adjusting. Who was I to think about who I would hire? I’m so far away from doing something of the sort. I’m desperate to be hired here, c’mon. Then I adjusted my way of thinking about this chapter. Looking at it on the flip side. The advice on what “they” should look for what “I” should to strive to be.
There is a lot of truth in those few quotes the author used. About looking for those with the ambition to want to strike out on their own or who are better than you in that they can handle those parts you’re willing to hand over in the process of working on areas you excel in. This again links back to the story I used in my last response, those that contrast and therefore compliment your own skills and interests. As well as to be proud of your ambitions. It is good to know that certain things you may think you have to hide from those who would hire you can actually improve your chances of getting hired.
HOW TO BE A GRAPHIC DESIGNER… CHAPTER 6
Though again I had a little difficulty putting myself into the shoes of representing not just myself but a company, I was really able to relate with what Adrian said about portfolios. I look back on the portfolio I submitted for the sophomore portfolio review. The portfolio I slaved over, carried with reverence, and compared to my own non-existing child. Now I look back and am queasy. What was I thinking putting this or that in? Was I even deserving of a 3? It seems in no way adequate now as each new project becomes the standard to which I hold all my other work up to; and find it lacking. This is truly an integral part of being a designer. We are never eternally happy with what we have created. Our portfolios grow and change, things are culled and added, as we ourselves grow and change.
Another part that resonated with me was Adrian’s bit about putting work into context. Something our professors have been trying to hammer into our skulls since we started the program. Though we don’t have the funds or resources to put our work up on billboards that doesn’t mean we can’t show it interacting with others. I don’t mean just well lit representational photos on a clean background, though those are important to. What I’m talking about is holding, touching, turning, flipping. How our work would exist in the real world, where its home would be. Installations and human interaction are still new to us, something we’re still learning to comprehend, but they are important tolls in adjusting our thinking to the role of others rather than just ourselves.
HOW TO BE A GRAPHIC DESIGNER… CHAPTER 7
Most of us, as students, dread the concept of clients. Someone who can veto your good ideas, someone who doesn’t understand true graphic art. We need to learn to be less snobbish. Though I’m sure there is a fair share of clients who will be sure, wrongly, that they know what’s best, there will probably just as many instances where we’re wrong. Truthfully, those who we work for will know their businesses better than we could ever hope to. Their insights are valuable and if you look at the situation as one where they can provide insight and information better than you could than it’s not so bad. I know I definitely would have appreciated a true mushroom experts help and input on my last project. Though I enjoyed learning about mushrooms the research was often overwhelming.
I really enjoyed Adrian’s concept of doing a project for a charity, non-profit, tiny business, or friend in the stead of creating a brief for yourself when you want to do a piece that pushes boundaries. Something like this really benefits everyone. Those limitations could also inspire something really wonderful.