Portfolio ? for workshop attendees

[Madman!]

Okay I asked Manley awhile ago about a post he made way back in the day about all the things needed for a portfolio. I remember it was either on the old version of the boards or on Sijun(I've searched both a lot can't find it). Manley went into detail about like every piece that should be need for a portfolio. Then this last time I asked him he said that would be noted at the workshop. So I'm just wondering if someone wrote these down or if they were discussed?

On the old post he wrote like each page needed so like 3 environments, 3 figure drawing pages, etc(I don't remember the real amounts) that's what I'm looking for. So was that talked about and did anybody write those down? Maybe Manley could answer? anybody?

[Leopoldo]

Here's what I think -

I have two versions of protfolios.

1) a general portfolio with lots of set design, characters, props etc. The kind of thing I would bring to a workshop or a client that I don't have any insight into as to what they are looking for. Keep it short and sweet, 10 pages, posting stuff on both sides of each page.

2) Specific portfolio. If you know the position you are applying for then fill 90% of your portfolio with that kind of work and the rest with a bit of everything. Some companies have very specific portfolio requirements. Like Disney for example. When I applied for the storyboarding job they wanted to see a 30 paged portfolio fill 90% with storyboards and 10% with figure drawings and value studies of sets and locations.

But, I should add, the times that I've actually been hired is when I show everything. I have 3 fat folders filled to bursting point with concept art. So when I really want to impress on someone I bring the "knock out" portfolio. Each folder contains circa 300 pages filled with drawings from actual productions. This portfolio has gotten the job every time...

Finally - keep your sketches out of there. Final or production ready work only. Production ready work is clean line art illustration, which are clear and readable, where the designs are easily understood. Draw like you are drawing for someone else and you can't stand next to them and explain.

Good luck,
Leopoldo

PS Post again if you have more question or want some feedback on your portfolio. I'll be glad to help you. Have a look at my online portfolio to get some ideas.

[PHiLMePHLo]

In response to Leopoldo,

From my experience, many people nowadays would also like to see sketches on top of the pieces you mentioned. "Process work" or "ideation sketches" are some of the things I hear that some companies like to see. They might give some insight to how fast you work and how much stuff you can produce before tying the final drawing down.

Don't count out the sketch too soon.

That's just my two cents...

[Madman!]

Well I went to the Art Institute of Seattle for Graphic Design and had to do a portfolio, and I learned really how to put one of those together. I just don't want to do Graphic Design anymore. I mean I know it's there in some of the work, I just don't want to do the plane white paper and page layout full of text stuff anymore. I want to move into doing concept art what Andrew Jones, Feng, Ryan Church do, basicly game design or for movies concepts. Plus I kinda want to have the portfolio cover a couple things like I want to do it all ships, environments and characters. So I'm not sure what should all I should have, if I have like 5 or 6 of each(5 ships, 5enviro, etc) final pieces is that enough? and then do I include like figure drawings as final pieces or do I leave those part of a sketchbook? and then how do I arrange those do I show the figure drawings,etc at the front or the back?


like I understand what your saying Leopoldo about having two portfolios. I just don't have anywork at all that would even make one, but I want to build one with enough to make both as you say. I just want to know like when I went to school and had to graduate you had to have a checkoff of pieces that was needed for the portfolio, is there one for people that come from a concept art school do they have a checklist of pieces? I mean again I know I should just have enough pieces I'm just trying to aim at what I can do in like a years time and for a upcoming workshop if I can ever go.


*update* I also wanted to know at what stages the pieces should be cause I see you say they should all be finished, does that mean colored? I see photos of people that were at the workshop have pencils as finals or like wes's porfolio he had some pencils.

[Leopoldo]

There isn't a magic formula unfortunately, it's about providing a service to a company in need of a specific craftmanship. And it's about what you want to do.

A sells man once told me that to conclude a successful sales pitch (ie closing the deal) is 10% the price, 20% the product (your portfolio) and 70% personal chemistry between the buyer and the seller.

Ask yourself a series of logical questions and you will find your checklist.

How many strong, professional pieces can you create in the year you have to do it? 100? 50? 30?

I think you should at least have a 30 page portfolio, with samples covering every spread. This amount of work in your portfolio will show continuity and quality.

What do you want to get into? Characters? sets? props? storyboards? Everything? For a well rounded portfolio reserve 2 spreads for storyboards for cut scenes and intros and divide the rest equally between characters, sets and props/vehicles. If you want to push something more than anything else then add a page and there by taking away a page from props for example and give it to characters. That way you will have a page more of characters than props.

Next make sure have have at least 50% of everything in the portfolio is in color. Of the 50% of the black and white art, at least 50% should be in values and the rest can be line art. All of the enviroments (aka sets) should be in values to show lighting schemes and mood.

There's my way of going about it.

Most importantly, never ever put in abstract art in a commercial portfolio. I'd even stay away from figure drawings if your not applying for a character modelleror character animator position. Instead make strong character/costume design that include correct anatomy with cool poses.

Think what the client needs (and therefore is willing to pay for) and build your portfolio around your strengths. Play your strongest cards to open the door and to wipe out the competition.

Like I say - I don't need 200 people applying for the same position. It's enough with one other artist. If both of you have just as good portfolios the one with the better social skills will get the job... You just have to beat 1 guy.

Remember to always be nice to everyone, especially competitors, because you never know who will recommend you for a job.

Leopoldo

[Madman!]

Okay thanks for your help I think what you said helped though I'm kinda still looking for a list. I know there isn't a magic formula, but I know like when I graduated you had to go through a process of getting things checked off. You had to have for exp: 3 letterheads with a logo and 2 had to be in color etc and you had to get that checked off to graduated. I was just thinking someone had the same thing but for concept design school. The list Jason gave was really detailed and you kinda went into that, but I was kinda looking for more specific list and you're right about all the stuff about the chemistry with the person and I did go through that at school, so I know how to act in the interview process. I just don't want to do graphic design and just make a similar porfolio like the one I have but for concept design with a checklist like people have to do when they graduate. So yeah no magic formula but the basics that someone had to have to graduated people like andrew jones, kevin chen, etc what did they have to have to graduate in their porfolio list?


well thanks again for your input.