Registration line at the Heights Theater

On April 19th over 80 design students gathered at the Heights Theater to have their student portfolio reviewed by 30 established design professionals. Students from 10 schools participated, with students driving in from as far as Oklahoma to have an opportunity for feedback from professionals that is grounded in real world experience.

Heston Miles, Associate Creative Director at IDEA, reviewing a student's interactive work

Chris Jones, Art Director at Axiom, reviewing student portfolio

For those that could not make it below is a time lapse video showcasing the main review area.

Some highlight photos from the event. Check out the full gallery on Flickr.

Doug Timmermeyer, Design Director at Savage, reviewing an identity project

Students waiting for their number to be called

UH Senior, Rachel Flores, giving a thumbs up and Professor Beckham Dossett

Many thanks goes out to the reviewers who participated this year. All took time out of their busy schedules to sit down with students to offer tips and insights and many stayed late to review additional portfolios while volunteers cleaned up the venue.

Rowan Gearon — Adcetera
Chris Jones — Axiom
Will Cunningham —” BrandExtract
Stephanie Hood — Clearpoint Creative
Tim DeSilva — Culture Pilot
Daren Guillory — Daren Guilory Design
Carissa Hempton — Deuce Creative
Dawn Diamond — DG Studio
Dylan Moore — DMD Design
Tom Li — Herring Design
Chris Hill — HILL
Peter Wood — The Hucksters
Heston Miles — IDEA
April Guzik — Keystone Resources
Michael Strickland — Michael Strickland Design
Marisa Avelar — Museum of Fine Arts, Houston
Jim Mousner — Origin
Michelle Coffey — Origin
Jeffrey McKay — Pennebaker
Jennifer Rushing — Primer Grey
Alyson Lack — Principle
Robin Parrish — Prism Design
Thomas Hull — Rigsby Hull
Doug Timmermeyer — Savage
Kelly Musebeck — SO Creative
Jennifer Blanco — Spindletop Design
Francisco Rios — Tribe Design
Adeyele Lufedeju — Unleaded Communications
Betty Wong — Betty Wong Creative
Sara Iqbal — Zoq Design

A little known fact about me is I am absolutely obsessed with popsicles. Bomb pops, push pops, freeze pops, random cartoon characters with gumballs for eyes, you name it. I have been known to eat several a day when they’re stocked in my freezer, so I was excited when I stumbled across this nifty product. This is called the Sip-A-Pop, which basically lets you concoct your own popsicle creations, and each one has a little reservoir and straw-like appendage to collect the juice for you to drink when your popsicle starts melting. It’s so simple! It keeps your hands from getting sticky and from having to scarf it down ridiculously fast.

It’s a sad fact that we hardly get any snow in the winter if at all. No snowmen, snow angels, or snowball fights. Also, no sledding! What does this have to do with summer you might ask? Well, it just so happens that a summertime sled, called the Slicer, was invented where no snow is necessary! It uses blocks of ice on the bottom of the sled that you freeze yourself, so it’s easy to use. You can then take it to a grassy hill, let gravity do its thing, and slide to your heart’s content. That thing’s gotta be as fun if not more fun than a slip and slide.

Another thing I love to do when it’s warm is go camping. As much as I love the city, it’s nice to get out in nature where you can actually see some stars. And what better thing to do when it’s camping than making s’mores over an open fire! What’s cool about this S’mores Maker is that even if you can’t make it out to the wilderness, you can easily put this in the microwave or on the grill at home. The fact that you can put several already-assembled sandwiches in the cage makes cooking quite efficient. Plus, the whole thing ends up warm and toasty instead of just the marshmallows. Mmm.

It just wouldn’t feel like summer to me without getting in a bathing suit and cooling off in refreshing water with friends. Sometimes it’s even nice to swim at night. I’ve always enjoyed the lights on pool walls that turn on when it gets dark. This solar floating jellyfish lamp, called the Medusa, I thought was a beautiful new spin on that idea. Without the fear of getting stung by electrical tentacles of course.

For when we want to be outside and not get blasted with direct sunlight on days over 100 degrees, it’s nice to find some shade to relax in. I love a good hammock under tree branches, but this hanging woven sanctuary called the Nestrest is a fantastic reimagination of what a hammock can be. Its cocoon-like form creates its own shade and even has pillows inside! I could spend hours in that thing.

So whether you’re kicking back or getting your toes wet this summer, maybe you will notice some interesting design innovations yourself. And no matter how you spend the next few months, hopefully design is keeping you all cool!

While I’ve grabbed your attention, I invite you along to explore some of the films rhetors. Your comments are also invited, especially from those of you with careers in the creative and graphic art industry.

First of all let me just say I am ecstatically proud of my fellow Houstonians involved in this film. Perhaps in a future blog post, I can express just how much I appreciate what GONZO247, Tony Reyes, Alex Luster, Give Up, DUAL, Eyesore, Cutthroat and Bomit, did making this movie. But as with any creative space bound by its dimensions – such as a standard sized streetlight call box or small billboard – I only have 1,500 words of space to work with, and mere seconds to captivate your attention before the traffic light changes, bouncing you onto the next webpage. I’ll “stick up” my interpretation of the art, and how having a glimpse into these lives has forever altered how I respond to any future street art I encounter. In a good way.

Beldar Conehead - Coolidge

Parachute Pig - Coolidge

I loved how I instantly recognized every street corner. I am fairly confident I know exactly where Give Up lives now, having walked that block several times when I lived in that neighborhood. This also explains why I’ve been exposed to so much of his work. It also validates why I emphatically choose to live inside the loop. I never see artistic street art in “master planned communities”. Maybe it exists, I don’t know. I try not to spend enough time in Pleasantville to ever find out. One thing I know for sure is never take for granted any street art I am lucky enough to encounter. I am fortunate to live close enough to where this is happening. I snap pictures when I can in vain attempts to prolong their life. I mourn the loss of my favorites after they’ve been taken down. I grieved over the loss of Beldar under 59 exit to Greenbriar/Shepherd. The part of my brain that reacts to injustice and inequality in the world news was stimulated when my beloved flying pig disappeared from Shepherd bridge at Memorial Drive. Soon I’ll be crying over Coolidge’s camera stencils on 290 @ 610 that have cheerfully welcomed me back to civilization after long trips to visit family in Cypress. Well… I hope those are Coolidge’s work. Please forgive me if they’re not Coolidge and tell me who is responsible for them. I want to give credit where credit is do. I am still perfecting my artist recognition which takes a while to develop.

Give Up doesn’t know this, but several of his posters push me over my “wall” during my workout around the bayou running along Allen Parkway and Memorial Drive. Smelling the bat guano while looking at Give Up’s poster causes multiple sensory neurons to feel discomfort. Guano stinks, the trail is difficult, the sun is hot, and Give Up reminds me to be grateful for all of it.I’ve been a fan of Give Up for several years. I’d so much rather focus on one of his posters, or any street art for that matter, than the hundreds of “Work From Home” or “I Buy Ugly Houses” or “ Single?” signs polluting every inch of surface area at major intersections. It was gratifying to see how his art has taken a life of its own transcending beyond billboards and call boxes into being a key figure in a movie about this addictive form of expression.

EYESORE

Eyesore is enchanting, waving his magic wand creating the same haunting creature repetitively challenging our aesthetic appeal comfort zones. Cutthroat was endearingly sweet and adorably funny. DUAL is incredibly talented. DUAL keeps a nice pad too.

I am just as interested in where these craftsmen live and dwell, as I am in where they choose to display their masterpieces, and how they create them. My eyes drew a connection of their artwork reflecting their living spaces. For example, Give Up’s dark, dusky, antique-ish , bungalow duplex – was somewhat messy (from what the cameras showed us anyway). I imagine that old house has been refurbished and re-painted more times than some of his own re-copied images. His suite is charmingly old, with character and depth. Give Up surrounds himself with modest possessions, only basic needs. There is something very carnal, instinctively barbaric about his home. I see these themes in his art as well. On the other hand, DUAL’s tidy, organized, well-kept, and brightly lit flat is as refreshing as his artwork. I couldn’t help but make a correlation between where the artist sleeps , showers, and constructs their craft, to the imagery born of these environments.

DUAL's workspace

During the Q&A I’d held my questions because I didn’t want to hold the audience hostage like the jerk back in college who always waited until the professor was about to let us all out of class early before the jerk asked his question that was only relevant to him. After all, the only person who can answer my question was not present. So Give Up, if you’re out there and you’re reading this: you know that horrible feeling you had when someone defaced your art with the word “never” in an attempt to somehow change your message and your signature? Do you ever wonder if you’re capable of making someone else feel that same violated injustice?

My favorite scene is this very moment captured on film revealing that Give Up is no more immune to raw emotion and reactive behavior than any of the rest of us are. Is the person responsible for posting “never” a less worthy artist than Give Up? Sure they’re piggybacking on the hard work and popularity of Give Up, but are they not an artist as well? Ah the ethics. The unwritten code of street art culture to never tag someone else’s art. I’ve been ruminating about that one scene more than any other. The answer is not black and white. For now it’s a shade of grey, faded by my memory of this scene replaying over and over like a copy of a copy loosing it’s clarity with every flash.

I pondered this question all the way home after the movie. I thought who could possibly feel violated by street art? My mind mapping led me to two possibilities: Clear Channel Outdoors, and the City of Houston. One is a monopoly polluting streets and diluting airwaves. One is a bureaucracy granting permits to companies like Clear Channel to continue to destroy natural landscapes with billboard upon billboard. Both are inescapable for at least 40 miles in every direction. But every time I see street art targeting them, I feel like I have escaped, even if only until the next traffic light cycle.

The opening scene features Give Up on a resentful rant to every man or woman living a double life unauthentic to their true desires. Every person who works a mundane job to support an even more mundane life and ignores their fantasies should give up. My perception was that the phrase “give up” is directed to every Bernie Madoff, Sen. John Edwards, Jerry Sandusky, Sarah Palin or Herman Cain. Heck, we might as well throw Michael Berry in the mix now. The crooked cop. The pill mill doctors. Anyone who publicly denounces homosexuality, prostitution, illegal drugs, but who actively secretly engages in the very things they oppose. “Give up” is meant for the fake two-faced conman who’s public image is a facade of the person their trying so hard to hide: afraid of their shame, their sin, their vulnerability. If I understand Give Up fairly, I gathered that his main philosophy is: give up trying to be Jack’s wasted life, give in to Tyler Durden. Oh dear, I’ve just projected my own resentments and life experiences onto his work!

On the note of subjectivity, I wonder if Give Up ever anticipated how his message could be transformed in translation by someone with different life experiences and a different perception of their own mortality? After seeing this movie, I am drawn to Give Up even more for his humanity.

I turned to my daughter and my husband after the movie and said let’s go tag the city! I’ve got stickers! I was most definitely kidding, because the only stickers I own are left over from Easter. Yet, if Give Up had tapped me on the shoulder in the dark shadows of the theater and whispered “I’ve got supplies if you’ll drive” I wouldn’t have hesitated. I’d be an accomplice in another form of self-expression rather than writing this blog post.

*Please note that I would love to enhance this article with as much detail as possible. Give Up, DUAL, EYESORE, Cutthroat, Coolidge: if you want me to take down any of the pictures or you’d prefer to give me different ones, please let me know. I will update them ASAP.

1. I saw your Poster Manifesto on Pinterest and it intrigued me. Can you tell us about Holstee, who you are and what you guys do?

Holstee = lifestyle goods, designed with a conscience. We take much pride in our designs, but what really excites us is the opportunity to find and share ways to create a more mindful life. Our company ethos is probably best summed up by our manifesto (holstee.com/about). Our promise is to keep 3 elements the top priority in every decision we take at holstee, and they are boiled down to people, planet + product. From understanding how all people involved in our designs possible are impacted, to the way we interact with our planet’s resources, we are continuously seeking ways to create as positive an impact as possible, while never sacrificing good design or quality.

2. Manifestos in general seems to be a great venue for typographic exploration. Can you guys elaborate on the process of designing the “Live Your Dream” manifesto? Did the typography influence the words and vice versa?

We initially wrote it as a reminder for ourselves to always remember what our definition of a successful life looks like, in non-monetary terms. It has since resonated with more people than we could have imagined. The design was done by our good friend, Rachael Beresh, and we loved the simplistic yet stylish feel of it–we are super thankful for Rachael’s talent!

3. In regards to “Curating with a Conscience” Holstee seeks out beautiful and innovative sustainable designs that you share with your community. What can designers do to incorporate and promote sustainability in their creative endeavors?

I would really encourage designers to understand more about how whatever they are designing is made. In the case of posters, we have really learned so much about the process of turning fiber into paper and different inks. If we had only focused on the actual design of the letters or typography, we would have missed so many opportunities for incorporating sustainability into the design and product development process.

Paula Savage reviewing student portfolios April 2000.

Jim Mousner reviewing a Junior Year portfolio, April 2000

Portfolio Night April 2011

For those of you that caught our previous post Portfolio Review: Then & Now below is part II of the post. When we went live with the first post we were still waiting on a couple of respondents. Well the response has been amazing and so instead of adding these new additions to the previous post we decided to make the post a two part series.

Brian Gossett | Art Director/Director at The Mill NYC

http://work.briangossett.com

Brian Gossett | AIGA Student Portfolio Review Show Direct Mailer 2000

The AIGA Houston’s Student Portfolio Review was both intimidating and exciting for me. It felt a bit like little league baseball tryouts. You had a lot of nervous and young talented students from a handful of schools in Texas lining up for their chance to take their swing in front of the big boys. Even though on the outside I showed confidence to the point of arrogance, I was honestly terrified.

The reviews ranged from “oh, this is cool” to “I don’t get it” to the soul crushing “how do you expect this sort of work to land you a job?” It was the kind of feedback my 21-year-old-self needed. When you’re in school, and you’re in the bubble of junior and senior block at U of H, you can build up a false sense of what it’s like working as a graphic designer. I have since become a firm believer of the mantra “what doesn’t kill you, makes you stronger.” It took a while for that belief to sink in, but in our industry, criticism can be harsh and you have to learn how to roll with it.

Overall my portfolio showed pretty well. I realized that I was getting a great design education, especially with pushing myself to conceptualize and research my subject. I also realized the work I’d eventually create once I graduate will be quite different, and it was. However, the most important skill I did take away from the portfolio review is talking about my work. After graduating, the skills I honed in on through the portfolio review helped with interviewing for jobs. Talking about my work continues to be such an important part of the process to this day. As an art director/director, I am constantly talking about the work when pitching to ad agencies, presenting to clients, and managing the team I am overseeing.

My final bit of advice for future students is this; to take the portfolio review serious. Listen to what everyone has to say and to take it to heart. But don’t stop with showing your work there. Show it to everyone you know. Pitch future projects to people outside of your bubble. See what your friends who aren’t graphic designers think. Discuss a project to your neighbor or grandmother. Get a variety of feedback and take it all to heart because as a designer you will no longer be designing for yourself or other designers, you’ll be designing for a very wide variety of people.

Edmee Micheli | Senior Designer, Savage

http://www.savagebrands.com

Edmee Micheli | Light Captures Sleeve Journal, UH Graphic Communications 2003

Showing my work to professionals as early as my Junior year was extremely beneficial and convenient. It’s not often that you will be in a room with dozens of design professionals willing to see your portfolio and give you feedback. I remember getting to the event early and staying till the very end attempting to get face time with as many professionals as I could. It was also nice to see the work of other students from surrounding schools to compare portfolio, skill, style and to gage where I fit in to the designer spectrum and what I needed to improve on. Take advantage, this is one of the best opportunities to present your work regionally!

Leah Macey | Graphic Designer, Good Project

http://www.goodproject.com

Leah Macey | Flux: Design in Time and Motion, UH Graphic Communications, 2004

Strongly encouraged by my professors at the University of Houston, I attended the AIGA Student Portfolio Review both my junior and senior years of college. As much stress and anxiety it caused to prepare for, the experience I had was invaluable and helped me improve upon the presentation of my work and myself. It’s a unique opportunity to get so many different tips, suggestions and perspectives from several designers all in one day. I think the best way I can describe the critiques is tough love. All of the reviewers are there because they want to help you succeed, so you have to go in with open ears and an open mind. The review is basically practice for any future job interview one would encounter, and can help you discover what your strengths and weaknesses are as a designer.

I actually got really lucky my senior year, because one of the professionals that reviewed my work ended up landing me an internship. So not only is the portfolio review good practice, if you manage to impress someone who is looking to hire, you could get your foot in the door early. If anything, it can also be a great networking tool, because you’re meeting local designers in your field and you can give people a face to remember and a business card and résumé to hold on to. I honestly can say that I wouldn’t be where I am today if I hadn’t gone to the portfolio review, so if anyone out there is hesitant and reading, jump in and go for it!

Erica Bogdan | Creative Services Designer, Schipul

http://www.schipul.com

Erica Bogdan | Poster Project

I went to an AIGA sponsored portfolio review at St. Edward’s University in Austin my junior year. I remember being very nervous to show my work, since aside from my professors and fellow classmates, no one else had critiqued me. I’m really glad that I’d gone to the portfolio review, I knew right away that the reviewers were being honest and direct with me on what skills I needed to work on to improve myself. They informed me that I needed a more diverse range in my work. I was also told that much of my portfolio was too conceptual and to focus more on branding and logo design. I’m glad that I attended the Portfolio Review my junior year because it gave me an idea of what employers were looking for and I was able to add more diversity into my portfolio. I strongly encourage students to attend and take advantage of this great opportunity to get genuine feedback from a knowledgeable design expert.

Remember, Portfolio Review Night 2012 is this Thursday at Houston Heights Theater at 339 W. 19th Street.

Also to see more student work, check out our board on Pinterest showcasing student projects past and present. If you would like your project pinned send a link or graphic to Erica Bogdan socialmedia@houston.aiga.org with a title and brief description.

If you would like to share your experience regarding AIGA Houston’s Portfolio Review, please feel free to add them in the comments section or email them to info@houston.aiga.org.

Ashley Rundall, Art Director, Savage

I can still remember my senior year of college … building a portfolio, researching places I dreamed of working and sending countless pleas for an interview. I not only remember how nervous I was, but how clueless and unprepared I was for “a real job.” Now looking back, I wish I had someone to give me more direction on how to get interviews, prepare for them, what to do after interviews and the most important part, how to be good at the interview process. By no means do I have all of the answers, but I do have some useful tips that I would have greatly benefited from … and I hope that you can too.

Interview Basics for Designers

• Companies don’t hire portfolios, they hire people. When you interview, you are selling yourself and your ability to produce great work. Your portfolio is the product of you.

• Look up the location in advance and be early. If anything is unclear, ask the receptionist for specific driving or parking details prior to the meeting. Never show up late to an interview or cancel without appropriate notice.

• Check to see how much time the interviewer has available and pace yourself accordingly.
• Hand out your résumé first, during the introductions.
• Connect with the interviewer. Ask them about their role, how long they’ve been there, their approach to design, etc.
• Remember, excitement is contagious.
• You have to “sell yourself” and your ability to do more than just produce great work. Interviewers have to believe in you and be willing to invest in your career.
• Each interviewer is different—some may like to drive your portfolio themselves, others may want to go through it quickly and then revisit, and some will patiently let you walk through it. Be prepared for all scenarios. Read the visual and verbal clues from the interviewer to determine their preference.

• Tell a story about the story behind the work; not just describe the finished piece
• When pressed for a full explanation, a good presentation formula includes a recap of the brief or assignment, an explanation of how you met the objective and highlights of anything unique about the process.
• You don’t have to talk about each and every piece. It’s OK if some get skipped.
• If they don’t ask enough questions about your background, or what you want out of your next job, make sure to mention it in your answers. Some people aren’t good at giving interviews, so it’s important to make sure you work this in.
• Get their contact information to send a detailed thank you or follow up note.

• Ask questions. What are your expectations for this role? How will this role best provide value to your company? Ask them for advice or feedback about your work. If they are not currently hiring, ask for advice on who you should interview with.

• Never say something negative about your work, a classmate, professor, another company or client.
• Never apologize for something being included in your portfolio (if it’s there to showcase a past challenge, that’s what you focus on; if it’s not good design, it doesn’t belong in there at all).
• Never show exercise projects as portfolio items – these are essentially experiments, and aren’t considered finished work. You may, however, include this in a sketch or process book.

Interview Preparation

• Research the company in advance. It’s so easy to do this with the abundance of information available online. Skipping this step is very noticeable to the interviewer. Plus, if during the research you decide this isn’t the company for you, then move on.
• Call the company to determine the name of the person whom will receive your résumé. Even if there is a general email address or portfolio drop-off policy, the receptionist will likely share the name of the person who makes the hiring decisions. Hint: be very friendly to the receptionist.
• Send an email with your résumé, a few portfolio samples and link to your online portfolio. If you are responding to an open job, include that detail in your subject line. If it is an unsolicited email, mention that you will call in a few days to request a meeting.
• Gear your portfolio and presentation towards the audience (while keeping true to the type of work you want to do). If you’ve done your research, you’ll know what kind of work the company does.
• If you get a meeting, come with questions to ask. Write them down beforehand.
• Have a perspective. You should be able to recognize what you consider good design and why. Know why you are passionate about design and know what your goals are.

As far as what is most important during an interview, everyone will tell you something different, In my opinion, this is most important:

There are a lot of designers out there applying for the same job. You need to know your strengths and sell them. Find out what makes you unique and better at your job than the next guy. Not only is it important that the interviewer knows this, I think it’s important for every designer to know this. 

With a ton of useful tips, I hope you can find some inspiration that will benefit you during the interview process. Good luck!

About our Guest Blogger:

Ashley Rundall is an Art Director at Savage. She received her BA in Mass Communication Advertising Sequence from Texas State University and is an active member of AIGA Houston.

PREPARING FOR AIGA HOUSTON’S PORTFOLIO REVIEW NIGHT 2012

What should I put in my book?
8 – 12 pieces of your absolute best work. This is the work that best represents you as a designer – what you’re interested in, what your experience is, what you’re capable of. You only have a short time with each reviewer, so remember: quality trumps quantity. Weaker pieces tend to bring the whole portfolio down, so if you can only show six outstanding projects that you’re extremely proud of, it’s better than showing six awesome pieces plus seven or eight mediocre/sloppy ones. The safest bet: bring 8 – 12 mind-blowingly awesome pieces.

How should I present my pieces?
There is no set size or format. Present your work however you like. Presentation definitely counts and will make your work (and you) look better, but it’s not as important as great ideas executed well. Keep in mind that there is limited table space at each review station, so projects larger than 18″ x 24″ (or similar) should be reduced to a more manageable size. Most students show their work at 11″ x 17″ (or similar) mounted on black mat boards.

Do I need a formal portfolio case?
We certainly encourage that, but it isn’t necessary. As long as your work is in a clean, presentable format, you should be fine. A funky, expensive portfolio case is totally unnecessary. If you choose not to use a case, we recommend that all pieces be mounted on mat boards that are all the same size, so that they make a clean, organized stack. If you’re worried about your presentation, consult one of your professors.

What about 3D work or packaging pieces? Can I bring those?
Use what we call the dinner plate test. If the piece is small enough to fit on a dinner plate, go ahead and bring the real thing, if you like. Anything larger than that will be cumbersome and will slow things down (not to mention risk damaging the piece). Larger pieces should be photographed in advance. Be sure to take multiple photos to show detail, multiple angles, and if necessary, scale.

Can I show my work on my laptop or iPad?
Yes. Times are changing, and many designers have more digital and interactive projects in their books than ever before. For the first time ever, we are encouraging the use of digital portfolios. But if you choose to show your work this way, keep the following in mind:

• Be ready to go. You MUST have your work up and ready on the screen when you sit down. Sitting and waiting for your machine to load up and for your files to open will cost you precious time and, in all likelihood, irritate your reviewer. A dry run before the event is recommended.
• Bring your own computer. None will be provided, so don’t show up with a disc and expect to present.
• Make sure everything you need is on your computer. Wi-fi WILL NOT be available at event.
• Adjust for the medium. Make sure all pieces are big enough to produce crisp, clean images on the screen without having to zoom in or out.
• Charge your battery. You will not be able to plug your machine in when you sit down, so be sure to charge up the night before or the day of.

What else should I bring?
In addition to your portfolio, you should bring:

• A picture ID.
• Your resume.
• Business cards are a good idea, if you have them.
• A small notebook and something to write with. You’ll likely receive some of the best design advice you’ve ever had to date, so you’d be wise to take notes.

I’ve never been to a portfolio review. Should I be nervous? How should I act?
It’s true – there will be a lot of nervous people in attendance, but we do our best to keep the evening fun and enlightening. The reviewers know what it’s like to be in your shoes and are there because they want you to do well. It’s a fun evening for them, too. Be calm, be professional, and most of all, be yourself.

How should I dress?
There’s no dress code, really. Come dressed comfortably. Dressing to impress is always a good idea, however. Students who treat this event like an interview are often taken more seriously as a potential hire.

Can I choose my reviewers?
Unfortunately, no. Reviewers and students are paired completely at random.

But I really want to be reviewed by So-and-so McAwesomepants, my favorite designer…
There will be an overtime period / after party after the last session, where you will have a chance to introduce yourself to and meet with any reviewer you choose. During this period we encourage people to stick around, eat some delicious food, and mix and mingle.

How much time will I have with each reviewer?
About 15 minutes. Use your time wisely, and when your review is up, move on quickly so you don’t rob other students of their time as well.

What should I expect to get out of the evening?
The most honest criticism of your work you’ve ever had. Seriously.

Some students may shy away from such a brutal assessment of their work, but savvy students see the Portfolio Review as the best opportunity to get unbiased, constructive feedback from complete strangers who truly know what they’re talking about. And don’t just wait for that hard criticism – ask for it. This is your chance to sit down with some of the most talented and established designers in Houston. Opportunities like this don’t come along every day.

It’s also a good idea to exchange contact information with your reviewers. When they say “keep in touch,” they mean it. And you should.

Do people get job offers from their reviewers?
It does happen from time to time. This event is NOT a job fair, but some of our reviewers may be looking for interns and junior creatives to invite in for a formal interview, and even being offered a job that very evening is not unheard of. So put your best foot forward, and who knows – it may be your lucky day!

I got positive feedback on my book! Woot!
Great! Design students in Houston tend to be talented and good reviews are expected. But don’t get complacent or over-confident. There are always areas for improvement, even for the most talented students. At the review, be sure to ask questions and seek out hard, detailed criticism. After the review, put those suggestions into practice and keep in touch with reviewers to show that you took their words to heart.

I got negative feedback on my book. Ouch.
As strange as it sounds, that’s a good thing, too. Don’t take it personally, and don’t let it get you down. It’s natural to feel dejected if a reviewer didn’t like your stuff, and at some point it happens to all of us. But don’t give up – take that criticism and USE IT. Learn from it. Take action and improve. Remember that the reviewers are there to help you, not tear you down. If your reviewer gives you constructive feedback on how to improve, ask for their contact information and don’t be afraid to get in touch with them once you’ve improved. A lot of great mentor/mentee friendships start this way.

Anything else I should do to prepare?
A dry run is always a good idea. Practice your presentation skills on your friends, family or instructors. It’s important to learn how to speak intelligently and confidently about your work and the design choices you’ve made (because the reviewers WILL ask). Try to eliminate as many nervous “umms” and “uhhs” as you can, and you’ll do well.

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If you have any questions, feel free to shoot me an email at vp@houston.aiga.org.

And don’t forget to REGISTER TODAY by clicking here. The special discounted rate is for a limited time only.

Dylan Moore Reviewing a student's portfolio, April 2000

Jeffrey McKey critiquing the author's Junior Year projects

Portfolio Night 2011

AIGA Houston’s Portfolio Review Night 2012 is next week and this year more than ever will be a crucial one for design students hoping to enter the creative job market.

AIGA Houston’s Portfolio Review each spring has been a key catalyst in bringing together regional design students with seasoned professionals from the local design community, where they can showcase their work and receive constructive critiques that will help prepare them to transition into the role of employed designer straight out of school.

As many young unemployed designers can attest to; trying to secure face-time with an art director or creative director to review your portfolio takes a lot of time, energy and patience, as interviews are often rescheduled and/or cancelled at the last minute. Not to mention gas money, as often times, you are having to drive across town for interviews. As the long months add up, it can be easy to get discouraged in trying to find career opportunities and give up on your dreams.

At these reviews each student, on average, can expect to have their work reviewed by 3-4 working professionals from all over the city. The diverse point-of-views and insights from a wide variety of art directors working at agencies, design firms, inhouse departments, or as solo practitioners offers an invaluable opportunity for design students to know how their portfolios will resonate with creative directors out in the real world. The back-to-back review sessions offers hard-nosed and practical advice.

Since these portfolio reviews have been going on for 12 years now I thought it might be interesting to reach out to the ranks of people who have participated in years past to see how it has helped them early in their careers.

 Daren Guillory | Owner, Daren Guillory Design

http://www.graphicbio.com

Daren Guillory | Nature Vs Man Poster, UH Graphic Communications 2003

The portfolio review was great for me because of the wide range and diverse mix of feedback I received from reviewers. On the one hand, some reviewers were really more interested in the way I articulated my idea. On the other, some reviewers were more responsive to the technique or design approach and aesthetic of the individual piece. As I progressed through the reviewers, I encountered individuals who helped with project selection, ordering and method, and also gave me honest feedback and sincere questions that ultimately gave me a better picture of my portfolio and how to present it.

John Luu | Designer/Art Director, Axiom

http://www.axiom.us.com

John Luu | Desire Obscura Poster, UH Graphic Communications 2000

My first experience with AIGA Houston’s Portfolio Review was during Junior Block spring of 2000. The experience was invaluable and eye opening. At that point in college, I approached graphic design more as a mode of personal self-expression and my portfolio reflected that. I was a 22 year old starving art student obsessed with Jean Baudrillard and J.G. Ballard; there were a lot of angst-ridden projects, with a fair amount of bleak social commentary and a pretty warped sense of humor. These projects did not resonate with many reviewers who specialized within corporate communications and marketing.

While I did get encouragement and constructive comments from some younger art directors and from the owners of the more edgier firms in town. I also got back-to-back criticisms from people telling me I would have a hard time getting a job in the Houston job market with my portfolio as it existed then. I also had reviewers who kept looking at their watches to see how much time was left or looking over at someone else’s portfolio being reviewed because they were not engaged in my presentation. I found this discouraging on a very personal level.

Fast forward to Senior Block one year later. I was able to internalize this feedback and during the 2000/2001 school year cultivated a well balanced portfolio. One that was still true to who I was as an artist, but also demonstrated how my talents, skill-sets and overall work ethic could solve legitimate business challenges and help clients build a brand.

Additionally, I was able to develop my interviewing skills and articulate my work and personality in a relaxed, confident and conversational manner. During my second run through of AIGA Houston’s Portfolio Review in 2001, all of the feedback was constructive and positive and based on prior experience I was able to calibrate my presentation on the fly based on subtle cues of interest or disinterest by the reviewer. I managed to secure multiple job offers and didn’t have to worry too much about my future.

Carissa Hempton | Senior Designer, Deuce Creative

http://www.deucecreative.com

Carissa Hempton | Tobacco Book, UH Graphic Communications 2004

I can’t say that total lack of sleep assisted in my overall calmness but my nerves were very subdued during my two AIGA student portfolio reviews. I remember preparing endlessly for the day of the review, having heard from my peers that the professionals would be candid and extremely critical. They were correct (sort of). Some reviewers were tough and pretty subjective, some were quite thorough and others not tough enough. All of them though were extremely helpful in critiquing my work, craft and presentation.

I think one of the biggest benefits I received from the review was the development of a rhythm and pace in my presentation. I also utilized feedback to make edits to specific pieces and the presentation as a whole for later interviews. In retrospect, I would have asked at least one question of each reviewer; it would have been nice to know what professionals are looking for in a prospective employee. It would have also been nice to learn if there was anything in my group of work they thought I should have not included.

UH Graphic Communications, Class of 2004

Nurit Avni | Environmental Graphic Designer, HOK

http://www.hok.com

When I went to the AIGA Houston’s Portfolio Review I was relatively new to Houston and I had graduated a year earlier from Massachusetts College of Art. All the other people that I spoke to at the Review were students about to graduate, so I was in a bit of a strange position. As a newcomer to Houston, it was interesting to see what the local schools were producing. There was a wide range of levels among the attendees.

The Portfolio Reviews are a great place to gauge where you stand in comparison to other young graphic designers. It’s also a good place to practice interviewing skills and the presentation of your work. Being able to explain your work in an engaging way is almost as important as the work itself, so this is invaluable.

It is a good idea to take the time in advance to plan your presentation. Things to consider include the order in which you show the work. You should start with your strongest piece and also end with a project that you are particularly proud of. Also, try to avoid showing similar projects consecutively.

I recommend going to the Portfolio Reviews, but, in addition, it’s also a great idea to find out which designers and agencies you admire in the area and set up informational interviews with them. Many professionals will willingly comply even if they have no open positions. They actually appreciate the initiative. I had several informational interviews and I also got an internship that way.

Be sure to pre-register now. This event sells out most years and while we hate to turn away eager students at the door space is very limited.

Also to see more student work, check out our board on Pinterest showcasing student projects past and present. If you would like your project pinned send a link or graphic to Erica Bogdan socialmedia@houston.aiga.org with a title and brief description.

If you would like to share your experience regarding AIGA Houston’s Portfolio Review, please feel free to add them in the comments section or email them to info@houston.aiga.org.

Photo Courtesy of Alex Barber

On March 31st AIGA Houston was proud to welcome Ellen Lupton to our fair city where she gave her presentation: “Welcome to Busytown (Or, How to Be a Graphic Designer without Growing Up)” and talked about her upcoming book and recent exhibition “Graphic Design: Now in Production”

The lecture took place on the campus of Rice University within the Duncan Hall/McMurtry Auditorium. Domy Books was on-hand during the book signing to offer copies of most of Lupton’s books and limited edition copies of the letterpress event posters were available courtesy of Workhorse Printmakers.

Photo Courtesy of Alex Barber

During the event Ellen talked about the recent evolution of the design profession and designers themselves from largely invisible creative and production professionals to a more transparent and open access enterprise. Using Richard Scarry’s beloved Busytown as an investigative starting point, “Where everyone has a job and unemployment does not exist” Ellen humorously shows the audience where various designers and creative professionals would fit within this children’s book environment and illustrates how the rapid pace of technology and the increasing public access to professional design tools has changed the creative landscape drastically.

Among the topics covered were:

• Issues facing designers today
• Designer as Author
• Our love affair with smart tablets (illustrated from a woman’s point-of-view)

To view the full photo gallery please visit our Facebook page or view the set on Flickr.

Also many thanks goes out to our volunteers and sponsors without whom these events would not be possible.

For those of you that attended the event. What was your main takeaway from Ellen’s presentation?

Please share your thoughts in the comments section below or on our Facebook or Twitter page.

Jay Long Painting

The penultimate weekend in March was filled with artistic happenings from around the city. One of those artful events happened to be a Houston tradition with a history as colorful as the artwork and creators it showcases. Since it’s conception in the early 70’s, the humble festival has raised over $2.6 million benefiting local art organizations according to the official website of the festival . If I were to make a graphic representation of the history of the festival, I imagine it to be a three dimensional timeline, in the shape of the Houston Half Marathon route.

Some of the featured artists this year have been coming to the festival since it’s early years, when it was known as the Westheimer Art Festival in the Montrose area. Jay Long, is one of those festival veterans. I had the pleasure of chatting with Jay right out of the gate. Literally. Mr. Long’s booth was set up a few feet from the main entrance and information area. I made a B line for his gallery when I could see there were cute little animals  in clothing. As a woman who puts clothes on all her own animals, I felt like I instantly connected with Jay. Soon I transcended into a fairytale dream as if I’d eaten a lot of chocolate before bed. For me, eating sweets can potentially make me have very strange dreams. One of my favorites was a painting titled Ripple. It is centered around a distinguished amphibian lounging under a tree next to a lake. Playful, fantastical, with a bit of slacker, this appealed to me on many levels. I almost felt like I had also snuck away from a red carpet party and relaxed under the same tree but I wasn’t about to give away our special spot. Don’t worry Mr. Ripple, I won’t tell anyone our secret place. I asked Jay about the frog in the picture and he said “I always try and capture the childhood imagination in everyone, but through the perspective of a grown-up’s life experiences. Hence the bottle under the arm.” Jay narrates. Jay is a native Houstonian, but currently painting in Austin. He loves our city specifically for the art culture, resources and rich art community.

I wish I could write about every single artist I encountered. The good news for the Festival is that feat is not possible in the space and bandwidth allotted on this blog. I can, however, tell you about the few that appealed to me, and leave the rest to your wild imaginations while sampling through my slideshow.

This brings me to my next highlighted artist. David Mayhew is a storm chaser by day and photographer by night! Actually, he photographs also during the day in the middle of major storm systems (but I am sure this requires late nights editing). For a girl who wanted to study meteorology, David is a superhero. He and I discussed what it means to dream that you’re in the path of a tornado. As an amateur meteorologist and dream interpreter, I have come to the conclusion (in my life anyway) that it has to do with fear of loosing control. Perhaps I am projecting, but that’s what art is about right? Subjectivity? Interpretation? The spectators experience. Reactions. David’s images evoked just the right recipe of fear, awe, and appreciation of mother nature. David confessed that his tornado dreams usually involve castles, but that’s his British brain projecting his homeland, the United Kingdom. And just like the path of a tornado, you could never have predicted that he has lived in Texas and currently resides in Ft. Collins, Colorado.

Photographer and stormchaser, David Mayhew

In between Texas and Colorado lies New Mexico. This is where the next artist I want to tell you about lives. Armando Adrian-Lopez is a Mexican-American who’s heritage rich artwork reflects his native culture with a bit of whimsy and magic. Quetzalcoatl is an ancient deity in the Aztec and Mayan civilizations. I won’t tell you the history of this mythical creature, but I will tell you that if you believe in Ancient Alien theory, Quetzalcoatl is kind of a big deal. And for those of you who don’t know the reference to Ancient Aliens, just know this: Quetzalcoatl is powerful, and is the reason we eat corn, read books and create art. Thank you, Armando, for a worthy homage.

A Mixed Media Sculpture of Quetzalcoatl by Armando Adrian-Lopez

Tiffany Ownbey is my next highlighted artist. Tiffany comes to Texas by way of North Carolina. I have never seen such brilliant paper mache in all my life. Then again, I haven’t given paper mache much thought in my life since the third grade when I had to do it for a school project. I remember it being messy, and a lot of work. Paper mache was not my favorite medium to work with. Perhaps this is why Tiffany’s sculptures surprised me. Out of the corner of my eye I spotted a Durga like figure and immediately was drawn to it. Like, Durga, “Self-Sufficient” is a woman with many hands. I identify with “Self-Sufficient” and Durga, mainly because of my gender and the fact that I often fantasize about how much easier my life would be if I just had another set of arms and hands. I could sing, write blogs, walk my dog, and post everything to my social media accounts without skipping a beat, but perhaps while skipping along the Memorial Park trail… if I only had six more arms. I snap back to reality because any self-sufficient, self-reliant woman knows how this story plays out. It’s the same fantasy as dreaming for more hours in the day, or days in the week: the self-fulfilling prophecy is that we’d all find more life to consume, more committees to volunteer for, more events to attend, and still not have enough time or hands to do all that we want. I am drawn even closer to Self-Sufficient as I ruminate and reassure myself that it’s ok to only have two hands, when I notice that she has instructions printed on the paper she was constructed from. After asking Tiffany, she affirms that it is sewing patterns. I have more respect for Self-Sufficient now because I have tried and failed miserably to construct clothing from paper patterns. Here stood Self-Sufficient before me in all her magnificence, almost taller than me, intimidating me, taunting me. I envied her. I coveted her. Not only did she have more hands, she was made from materials that have defeated me! Self-Sufficient has earned her title. I tried to hi-five her, but it was awkward.

"Self-Sufficient" Paper Mache sculpture by Tiffany Ownbey. This one was crafted from the delicate paper used in sewing patters. It is often thinner than tissue.

Lastly, since I just will never get over my more hands complex, I leave you with just one more artist who left a lasting impression on me. Hopefully her lasting impressions will elongate the mortality of her delicate subjects. Brett Miley is a Botanist, Ecologist, Writer, Artist, and Advocate for endangered species. Each digital image she takes of imperiled creatures is spun into a kaleidoscope of beauty that takes a life of its own. The circle of life is inescapable, yet, we need to take action to keep each of the living creatures in these spirographic pictures alive. As I leave Brett’s gallery, I can’t help but think of Noah’s Ark, all while singing Carmina Burana: O Fortuna, velut luna, statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurate. Oh Fortune, like the moon, you are changeable, ever waxing; and waning; hateful life.

Artist, writer, botanist, and Ecologist Brett Miley in front of several of her creations. Each is an endangered living thing.

Special Thanks To: The Bayou City Art Festival Memorial Park, The Houston Arts Alliance, and all the artists who allowed me to share their experience.