Portfolio Advice or, Taking The Sting Of A CD’s Critique So You Don’t Have To
My first year in the advertising industry yielded no permanent positions in any Auckland ad agencies. Obviously.
That being said, I was tremendously lucky. There was never a time where I was unemployed for more than a week.
In between the various agencies I worked at, my art director, Kishan and I would get right back to work and set out to show our book around Auckland to the Creative Directors who gave us the time of day. All the while, hoping to find the new place we would be happily spending a third of our week in.
The thing with ‘doing the rounds’, as Kish and I would say, is every CD is different and has views and priorities that contradict those of others. It was good because you were criticised from different angles, which only turn you into a sharper creative.
During that time, I collected advice from some of Auckland’s well-known CDs and kept it to myself, referring to my notes every now and again when I had lost my way.
Until now, that is.
A few talented CDs I met with shared some profound thoughts in the art of portfolio building, maintenance and distribution. One thing that has become prevalent since I started blogging is sharing is caring.
ROB JACK
Creative Director, Special
The most important thing to have in the work is a nice thought behind it. Humour is nearly always the best way to go about it, too. You must also show contemporary thinking. It’s doesn’t matter what medium, a good print ad can still work.
Ideally, you should have 10 great pieces in your book. 7 campaigns and 3 one-offs. With a mixture of mediums, new and traditional.
PAUL CATMUR
Creative Director, Barnes, Catmur & Friends
A campaign has to have a big, bold idea behind it.
PAUL HANKINSON
Head of Copy, DDB
Each time you go to add something new to your book, make it the best work you’ve every done. Spend an entire week crafting and perfecting one ad campaign and in two short months, you’ve got 8 examples of your best work. There’s no rush.
GUY ROBERTS & CORY CHALMERS
Creative Directors, Droga5
When thinking about ideas, it’s always good to write down those first thoughts to get them out of your head, but always push further. What’s a different way of looking at what you’re saying?
Do ads in your book about things you’re passionate about. When you’re excited about the work, your best comes out of it.
Guy and Cory were previously CDs at TBWA/Tequila working on the Adidas account, doing a lot of stuff for the New Zealand All Blacks. Being both rugby nuts, the quality of work was high.
MIKE O’SULLIVAN
Creative Partner, Droga5
I’m 42 (then). I’m old. When I look at junior’s book, I should see something I haven’t seen before. In theory, a junior should be teaching me new things, not the other way around.
You need to have digital components and new media in your book.
PAUL WHITE
Head Lecturer, AUT AdSchool
Just keep on going.
Here’s a couple of gems from that book, Pick Me by Nancy Vonk and Janet Kestin:
BOB BARRIE
Executive Creative Director, BDM
One question: are your ideas real world applicable? Having creative ideas is one thing, but creative ideas that work is a whole new level. Your ideas should work across a range, if not all media.
RICK BOYKO
Managing Director, VCU Brandcenter
Online books and mini books make it a lot easier to cover a large group of CDs. Rick recommends you to come in with your book rather than send it. People hire people, not portfolios. It’s about who you are as well.
And finally, my own observations:
One thing that was said a number of times was if you can make your idea work in print, you can make it work anywhere. That’s a good test to see if a campaign has legs.
All the CDs you’ll meet will have contradicting views. In the end, it’s all about what you think is right. After all, your portfolio is a representation of you. Choose the CDs you respect more and want to work for the most and go with their advice.
Take up a CD’s challenge to meet again in a week with improvements made to the book. Even if you are sent away again and again, you’re building a relationship with that CD and if there’s anything as important as getting a job, it’s getting contacts.
Just because you haven’t got a job in an agency, doesn’t mean you don’t work like you do. Just saying. The passionate don’t need to hear this once, let alone twice.
A junior doesn’t necessarily have to be amazingly talented, as long as you show promise by means of your ravenous hunger for the work, you’re gold to any CD.
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