Transitions, December 2004

Issue 2, December 2004

What's better than losing weight?
It’s that time of year again. You’re engaged in excess, and sooner or later guilt will come calling. Those pangs will be followed by the urge to list resolutions, and disavow anything with icing (or a higher alcohol count than 5 percentper unit). I’d like to make a suggestion before you commit to a gym membership that you’ll be paying for longer than your college loans. This January, build a better professional instead.

Whether you’re thinking about your first internship, or counting the days until graduation, adding these resolutions to the top of your list (and sticking to them for more than two weeks) is bound give you an edge come spring. So while your less-motivated peers sit around drinking lattes and playing video games, you’ll be using the semester break to steal their dream job.

Executive director’s letter
As students make the transition from school to studio, they face a variety of challenges. Obviously, getting a job is the first one. AIGA offers chances to meet practicing designers through chapter events and to make connections with available positions through Design Jobs at www.aiga.org/designjobs.

This newsletter raises issues you need to confront as you enter the profession, as do other resources at www.aiga.org. You should also seek comments on the way you present yourself from professional members in your community, who you can find at www.aiga.org/directory.

Finding a mentor who helps to pass along earned wisdom has traditionally helped to develop judgment in young designers. While this will require each of you to find your own mentors, we provide brief examples of design heroes from famous designers and every member who would like to add his or her own story. You can read about others’ and add your own at www.aiga.org/designheroesforum.

While these are just some of the ways in which AIGA can help you make the transition to professional status, we are intent on offering opportunities for you to continue to learn throughout the arc of your career. Be sure to stay involved.

Richard Grefé, executive director, AIGA

WHAT'S BETTER THAN LOSING WEIGHT?
It’s that time of year again. You’re engaged in excess, and sooner or later guilt will come calling. Those pangs will be followed by the urge to list resolutions, and disavow anything with icing (or a higher alcohol count than 5 percent per unit). I’d like to make a suggestion before you commit to a gym membership that you’ll be paying for longer than your college loans. This January, build a better Professional instead.

Whether you’re thinking about your first internship, or counting the days until graduation, adding these resolutions to the top of your list (and sticking to them for more than two weeks) is bound give you an edge come spring. So while your less-motivated peers sit around drinking lattes and playing video games, you’ll be using the semester break to steal their dream job.

Resolution 1: It’s Hip to Be Square
Let’s start with something easy (you’ll like this, it involves shopping). You’ve probably spent your developmental years cultivating a personal aesthetic. Now might be a good time to analyze how your future employer will embrace that look. I’m not suggesting that you retire the chain wallet forever, but rather that you prepare for your interview as you would a marriage proposal. Here are a few rules to get you started.

• Shop the after Christmas sales! Wool gabardine suits are seasonal all year round. Buy one great suit now, while prices are low. (You’ll most likely need appropriate footwear as well.) The right charcoal suit can be worn to interviews, weddings, funerals, networking events, etc. Better still, almost any shirt or tie will match.
• Buy clothes that fit. Guys generally feel empowered by buying big manly sizes, and women usually try to wear what fit when they were 18. Both practices are ill-fated. Purchase clothing that fits you now, and avoid appearing constricted or consumed.
• Never underestimate the power of proper tailoring. A good tailor can make a suit from Sears look like Savile Row (almost). And speaking of Sears, don’t be intimidated by brand name price perceptions. You might find the deal of a lifetime in a store you’d previously though unapproachable. Invest in good material, classic colors and a flattering cut. (Another good rule of thumb, the better the store, the better the tailor.)
• Never, ever button the bottom button (even if Jay Leno does).
• Shoes and belt must match. (You know this, you’re a designer.) And shoes need to be shined every now and then, so give them some attention. Belts are always purchased one size larger than your pants.
• Everything must be well pressed. (You wouldn’t accept bad craft in your portfolio, why come to an interview in a wrinkled shirt?)
• Wearing a tie without a jacket makes you look like you are going to Homecoming.
• Underwear is not an accessory. The only thing we want to see hanging out of your pants is your shirt.
• Ally McBeal was not real. Don’t even think about wearing anything that short. Don’t give anyone the opportunity to push you into gender roles. A classic suit is fantastic because it levels the playing field (essentially, everyone in the room is wearing a common uniform; do you really want to be the only one without pants?).
• No chipped nail polish, sparkly lipstick or heavy cologne.
• Don’t worry about being overdressed. Better to be the only person in the room wearing a suit than the only one who isn’t. (Plus, you look good when you’re dressed up. Trust me.)

Before you stop reading because I sound like your mother, listen to why it’s so important to look the part. By dressing appropriately you’re showing a potential employer that A) you’re taking the interview seriously; B) you’re proud of the work in your portfolio; C) you respect the person conducting the interview, and; D) you’re a grown-up. As an emerging professional, you might like to think of your clothing as the first visible indication of the qualities that make you such a good hire. Now start building that wardrobe.

Resolution 2: Think Inside the Box
Ah, the professional portfolio—object of desire for freshmen and sophomores, and of anxiety for all the rest! When it’s time to summarize the last 4-5 years of your existence, decisions far weightier than “boards vs. book?” will materialize. Many will consider these disquieting apparitions a bit of undigested beef, or a blot of mustard, until two weeks before their first interview or portfolio exhibition, when redemption will be sought in a flurry of spray mount and photo gloss paper. Take advantage of the Procrastinators by beginning your portfolio preparation now. These are the basics:

• Good craft is expected, not rewarded. A portfolio should have no associated scent or texture (I have reviewed books both stinky and sticky). It shall leave behind nothing except good impressions. So put down the rubber cement (gasp! it’s not archival!); assemble in a pet free zone; and by all means, hire a professional to cut your boards. Allot a fair amount of time for assembly and construction, and purchase more boards or sleeves than you’re planning on using to compensate for mistakes and additions. Establish a clean, open workspace for building your book, and store all associated materials together for future use (along with a first aid kit, for unfortunate X-acto incidents).
• If your portfolio case is cooler than the work inside you probably won’t get hired.
• Create value by doing valuable things. Consider the content of your portfolio—beyond counting how many posters, identity projects and booklets you’ve included. While a piece about your favorite typeface might showcase your aesthetic sensibilities, it doesn’t necessarily speak to your skills as a critical thinker. Create a balance between innovative whimsy and heady content. Imagine presenting a brochure that promotes the benefits of higher education in urban economics, and discussing your research skills as well as your compelling use of imagery (my, how bright you are!). After establishing your genius, the retrospective flip book of Elvis’ lapel lengths just makes us want to work with you every day.
• There is a school of thought that advocates the development of industry-specific student portfolios. With all respect to that principle, I suggest that you instead focus on showcasing your ability to solve problems. A well-rounded portfolio paints its owner as adaptive, creative, and appropriate. It’s awfully early in your career to have a signature style (I suppose those folks show up to junior designer interviews in leather pants).
• Be thoughtful about organizing your work. You’ll need approximately 12–15 boards or pages. Place your best work at the front, as some interviewers will never make it all the way through (even if they like you). Finish on a strong note as well (and if that interviewer is in the process of cutting things short, don’t hesitate to grab a board from the back if you feel emphatic about the work). And while you’re at it, don’t bother including anything that makes you uncomfortable simply to count more boards. Either you have enough work to show, or you don’t.
• Present your work as if it is your attractive, thoughtful, Mensa-smart child.

Know going in that everyone who looks at your book will tell you that a different piece is your best work. The field is subjective. Chin up.

Resolution 3: The Rain in Spain Falls Mainly on the Plain
Let’s talk elocution. Isn’t it loverly? Despite recurring nightmares about presenting in your underwear, strong verbal communication skills are a requirement in the professional world. I can’t overemphasize the value of being able to conduct a clear, thoughtful dialogue with potential employers and industry peers. And while some folks seem like naturals when it comes to public speaking, it’s really a skill to be honed by practice. So while you’re building the ultimate portfolio, build your delivery as well. Try some of these to get started:

• Practice on a live audience. Join Toastmasters. They’re an international club devoted to teaching members the art of speaking, listening and thinking. Conquer your fear of presentation with a group of complete strangers. Consider this: worst-case scenario, you crash and never see any of them again; best, you excel and make your first professional connections.
• Promote your profession. In many cases you’ll have rounds of interviews with human resources personnel before encountering the creative team. Remember how your parents barely understand what you’re preparing to do for a living? Don’t assume that the folks in HR even have kids. Can you clearly articulate the strategic value that design brings to their business?
• Learn by osmosis. Read more, and you’ll become a better orator and a better writer. As visual communicators we need to be familiar with current events, pop culture, historical reference, critical thinking (I’m just getting started)…. You may have chosen graphic design with the hopes that you’d never have to pick up a business book—but think about who’s purchasing creative services. In order to communicate, you need to share a common language. Learn how to work “mission critical” into a sentence without sounding like a jerk. A number of AIGA chapters have started book clubs. If your local chapter hasn’t, start one with your student group. The buddy system is always less threatening, and then you’ll have someone to “blue sky” and “follow-up offline” with later.
• Know your portfolio like you know your favorite song. I’m talking about reading the liner notes, not just mouthing what you think the lead singer said. Sit down and write a paragraph about each piece. Define the objectives of the project and how you’ve met them. Speak to why your solution is appropriate, functional and unique. If you write it, you own it, and that familiarity makes you the expert. Now you’re ready to go on stage.

Faith, hope, and love—while nice sentiments—are not particularly appropriate for the work place. The three things I’ve found that just won’t go away are math, writing, and public speaking. Master at least two of the three.

Now you know the training regimen, so in 2005 exercise your big, beautiful brain. With any luck, you’ll need new pants in 2006 to accommodate the growing dimensions of your wallet. Give yourself a pat on the cerebellum and go make good stuff.

Jennifer Visocky O’Grady is an Assistant Professor of Graphic Design at Cleveland State University. She is also a Principal at Enspace, Inc., which she co-founded with her husband, Ken. Enspace is currently featured in How Magazine’s December 2005 Business Annual. She serves as Advocacy Chair for the Cleveland chapter of AIGA, as a Faculty Advisor for CSU’s AIGA Student Group and as a Steering Committee Member for the AIGA Design Education community of interest. This holiday season she is grateful for a career that she cherishes, and a closet full of Brooks Brothers non-iron shirts.

Publisher
AIGA Transitions is published once a month, October through May, eight times a year by AIGA (American Institute of Graphic Arts), 164 Fifth Avenue, New York, NY 10010, www.aiga.org. The executive editor is Christopher Vice, chair of the Department of Visual Communication Design at Herron School of Art and Design. AIGA Transitions is a benefit of student membership and is not available to nonmembers. AIGA seeks articles for this publication from knowledgeable, respected and experienced authors whose opinions are deemed relevant to the student and educator community. The opinions expressed by the authors are theirs alone and do not necessarily reflect the opinion or judgment of AIGA; further, they represent only one point of view and are not intended to be an exhaustive treatment.