The designer's portfolio began as a type specimen book. And later evolved into a carried case with their work in it much like an architect.
As we progress further in time and technology portfolios have taken on new formats, digitally, such as websites, CDs, and PDFs.
However, according to this book a print portfolio is still crucial to securing jobs with potential clients and firms.
Print portfolios today have taken the forms of many shapes and sizes compared to the carried case.
There's no one perfect way to design a portfolio. The best way is to create a system that reflects not only your skills, but you as a person.
There are a few key things to remember when building your portfolio: audience, tone, and range.
It's important to have an understanding of who you want to work for, and who you will be showing your work to.
You wouldn't show a design portfolio full of logo designs to a children's' book publisher.
It's also important to have the work you want to be doing and creating in your portfolio.
If you want to design book covers then include some book cover examples.
You can take initiative and create work without needing a teacher to tell you what to do.
Tone of your portfolio should also reflect the kind of work you want to do.
Knowing your audience will help you create an appropriate tone for your portfolio.
Craftsmanship is also crucial to your portfolio. Excellent, or poor craftsmanship will reflect to your potential employer who you are as a designer.
Range is important as it shows that the designer is capable of solving a variety of design problems. However, you don't want to pad your portfolio with bad, unfinished, or repetitive work just to make your portfolio look bigger.
Finally, the book discusses a few examples of book format portfolios and their benefits.
It's key to have a portfolio that can easily be changed, and grow as you will always be creating new work.
Another important note the author briefly mentioned is to say no to spec work.
Get paid for the work that you do and have done.
