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graphic design portfolio front cover Professional portfolios today are much more sophisticated, consisting not only of print ads, but also including online advertisements, website graphics, and even a television commercial reel and animation demo. It is not uncommon for job seekers today to carry fully digital versions of their portfolio on CD or DVD with them to interviews – along with the more traditional paper version – and many designers also maintain their own up to date design portfolio websites. Graphic design is a constantly changing and developing field. Designers must keep up with the commercial and artistic trends in the industry – or they may find themselves quickly left behind. They must also remain current on new and updated computer graphics and design software programs, which are in a near constant state of evolution. This is particularly true for designers working as freelancers, and for those interested in advancing to higher positions within their companies.

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To be honest your design portfolio is the most important thing on this list, its what you'll mainly be judged on. It must be well presented and include at least 6 or more design projects. Think about the kind of work the agency your applying to does and try to tailor your portfolio towards that. For example if they specialise in corporate identity and branding work try to include work of this kind. Be ready to talk about your design work, what inspired you, why you approached the project in the way you did, even choice of typeface, colours, imagery etc. Show them some of your sketchs and development work, some agencies what to see your scribbles more than the finished work as it shows your design process and how you think!Before taking your portfolio along to job interviews, make sure you show it to a people tutors, other design students talk them through it, get them to ask you questions about your design work and respond with suitable answers.

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” There are several potentially troubling assumptions here. The first is that the purpose of reading is, as Machiavelli wrote, to enter “into the ancient courts of ancient men. ” The model of reading proposed is a one way communicative act where the reader is the receiver of the wisdom imparted by an authority, the author. Furthermore, at least in the vast majority of cases, authors do not directly and solely produce their texts, which results in my second concern: in attempting to craft 'crystal goblets,' typographers are obfuscating the role the producers of those texts – be they printers, editors or publishers – play in shaping texts, and thus delimit potential readings of them. From the earliest hyperbole surrounding hypertext, electronic texts have been heralded as a means of reducing, or eliminating, the divide between authors and readers. The rise of Web 2. 0 has only increased this fervour for user participation, which is why it is troubling to see similar notions of tradition and transparency entering into the discourse of electronic interface design. As web design “guru” Jakob Nielsen proclaims, “there are twobasic approaches to design: the artistic ideal of expressing yourself and the engineering ideal of solving a problem for a customer. ” Other than the substitution of “customer” for “reader,” this statement is remarkably similar to Morison's warning that the printer “must learn to satisfy his public first and himself last. Perhaps even more troubling is the importance of “interface transparency” in digital environments. The goal here is to provide the user with as unobtrusive and seamless an experience as possible.