|
HOW TO GET YOUR FOOT IN THE DOOR
by Carol Badarraco Padgett
You' re a graphic designer or maybe a photographer. You are standing outside a door. It is 20-feet tall, and no matter how hard you knock nobody hears you, and you cannot push hard enough to budge it open even a crack. That's how it can feel when you are trying to get a job - freelance or staff - and either your mindset or your portfolio is not up to the task. So before you hit the pavement in these tough economic times, you have to be prepared. And here's how.
YOU ARE A BRAND
As Atlanta's creative experts say, learn to think of yourself as a marketable entity. You are a walking brand that should reflect high quality and professionalism.
Dunwoody's Ted Fabella doubles as a brand identity consultant and a teacher at Atlanta's Portfolio Center, where he helps polish graduating students' final
portfolios. Much of Fabella's advice is good for veteran creatives too, as a reminder of the important things to keep in mind when seeking out and approaching new clients.
Fabella says, "We use the word 'brand' a lot these days, but referring to people, we're talking about reputation." According to Fabella, every contact a creative has with a prospective employer or client should reinforce a brand. "[As an employer] you retain that entire experience - you have a [positive] impression of that person," Fabella adds about the well-branded person.
The business of branding comes down to just that - business, according to Chris Martin, president and managing partner of EM2, a Decatur design, communications, and marketing firm. "Designers can no longer be just creative types. They have to be both creative and business-minded, and have a good blend, to be marketable," he says.
So how does a graphic designer or photographer create a marketable brand or refresh an old one? According to Fabella, branding starts with the initial contact (cover letter and resume), follows through with the interview and portfolio presentation, all the way to the end - and possibly to a hire.
Here's an experience Fabella describes as the best portfolio presentation he has ever seen. "I was contacted with a well-written cover letter and a well-designed resume, and that initial contact gave me an impression of the person before they came in," he says. From there, Fabella says, during an interview the person's portfolio reinforced that initial impression. "This person was aesthetically competent. They were organized. And the work stood out," he recalls. "You retain that experience even when there is no hire," he says, adding that sometimes a hire happens at a later date when an opening or freelance need appears, because the creative presented a memorable brand experience from start to finish.
CREATING A KILLER PORTFOLIO
Some of the best expert advice on putting together a superb portfolio is
universal. Design firms, ad agencies, illustrators' and photographers' reps,
creative staffing firms, and corporate employers all say that high-quality work, clear organization, and diversity of projects are key.
"[The portfolio] should be clean and should show a taste level that's worth purchasing," suggests Carol Vick Bynum, associate director for the Creative Circus in Midtown. And Fabella weighs in with this: "The work obviously needs to represent a high level of quality. Then people look for the way the portfolio is presented. Is it neat? Is it presented in an organized way, as opposed to something that's disorganized?" Brevity of the portfolio presentation is also important, according to the experts. As Martin says, "It's rare [in an interview] that somebody will talk to you for more than 30 minutes, so put forward your pieces that are most relevant."Diversity is important as well. "Have a variety of different things - logos, posters, book covers, annual reports, as well as a variety of different types of industries," Fabella says. Matt Barton, regional manager of Paladin, a marketing and creative staffing firm, had this advice for designers trying to get on his
roster: "[Present] 10 to 12 varied pieces." For his business, Barton says that produced pieces carry more weight than spec or schoolwork.
Yet, for many other businesses, never-produced student work is given equal weight with work produced for a client. Vick Bynum advises simply to make sure your portfolio looks great.
"I don't think it hurts to show spec work after you've been
out of school for a few years,
or even work that has been used in a pitch that wasn't bought."
And when it comes to photographers, Susan Wells of Buckhead's Susan Wells & Associates Inc., an illustrators' and photographers' rep, recommends: "Don't show work you're not proud of just because
it was an assignment and
was published -
i f the design or art direction
was weak, it will make your photography look bad."
At design firms, a thrust toward strategic soundness is emphasized. "Every design firm is now in the business of solving communications problems for clients," Martin says. So designers must formulate what they will say about the rationale behind their work. Fabella also says that being able to understand the strategy behind each design approach in a portfolio is imperative in today's job search. "Make sure the work in the portfolio is not only aesthetically pleasing but that it is strategically sound," he advises.
Corporate executives at Atlanta's UPS agree with Martin's and Fabella's
assessments. "We are interested in people who have something new to say
with strategic emphasis, not just in seeing pretty work," says Susan Rosenberg,
manager of UPS public relations in Atlanta.
For certain creative fields, such as photography, sheer creativity gets higher marks from the experts. To creative director Rich Wakefield of Midtown's West Wayne, a full-service advertising agency, for instance, creativity is key when he selects photographers. "I'm looking for people who can give me different looks. I don't want to see the same old stuff in the book." And while Wakefield generally sees only photographers' books, he says he would be interested in seeing some graphic designers' portfolios to consider for freelance.
As an example of what appeals most to him, Wakefield tells the story of a photographer from Vancouver, B.C., whom he encountered and ultimately hired for a project. "This guy would take video camera lenses and tape three of them together and put aluminum foil in the shot. Sometimes it worked and sometimes it didn't. That's something I like:
[photographers] who take chances."
Wells looks for the same things in a book as Wakefield. "First, show your best and most creative work, even if it is personal work never published," she says. "Start the portfolio with something really attention getting - then end it with
something they'll remember."
When it comes to the actual portfolio case itself, most of the experts agree that classic enclosures are a good bet. "Some say the portfolio [case] should be
neutral to allow the work inside to stand out," Fabella notes. "My tendency is to make it somewhat unique without being garish."
SQUEEZING IN THE DOOR
Once your portfolio is in fantastic shape, it's time to map out which doors you'll knock on. And that takes a bit of strategy in and of itself.
Gone are the days when a creative can blindly blanket any place with a resume, according to Vick Bynum. "Getting started, you have to direct your correspondence, name, and portfolio to a person. And you have to know who that person is," Vick Bynum says. She says that going to a prospective employer's website to learn what kind of work they do before you contact them is imperative for both recent graduates and veterans.
The next step toward getting a foot in the door is NOT a phone call, most experts agree. Wakefield emphatically states, "I will not return phone calls if I don't know who you are. " The best tack initially, according to Fabella, is to mail a well-written letter and resume. And Fabella is quick to add that this advice does not include email. "Absolutely no email, simply because creative directors [and other
potential employers] get a lot of email. When there's an email address that's not familiar, you tend to delete it."
A professionally written cover letter serves another valuable introductory purpose, according to Martin. "A cover letter is important because it demonstrates your ability to communicate," he says. But when it comes to resumes, Martin says they are not so
important to a design firm such as his. "For a student, I've never been a big believer in resumes in our industry," he says. Yet he adds, "For veterans I think a resume probably does carry weight. You send it out and people automatically know that you're seasoned and that
you're senior level."
Once a creative has mailed cover letters and resumes to potential employers, direct contact is now in order. If a creative's phone skills need polishing, now is the time to think about them and get them right. Martin says that, for students in particular, learning proper business skills and etiquette is crucial before making that call. "I have people call. They won't introduce themselves on the
phone, they just say, 'Hey, are you hiring?' They're probably not someone I
would consider," Martin says.
Martin suggests a tactic that he uses to get more business for his own company. "It's very important to show respect for whoever answers the phone, because they are your portal into the company," he says. "If you try to blow them off, then you won't get anywhere." Instead, Martin suggests making allies out of
receptionists or office managers who may answer the phones. "Don't try
to camouflage why you're calling. Be very personable and give that person all the information they need to be able to help you," Martin says. This means
saying whether you are a student or a veteran, admitting whether you know if they have any openings, telling them you sent a cover letter and resume, and asking to speak to the appropriate person.
FACE-TO-FACE VS. DROP-OFF
Through perseverance and good timing, a creative may be asked to come in
and present a portfolio. For graphic artists this usually means that they will be called in for an actual interview. Veteran graphic artists may use placement firms to help make the initial contact.
Photographers, on the other hand, are often represented by agents who rep and present a number of different photographers' books to various agencies and
potential clients.
Regardless of who presents the work, one of the universal pieces of advice from the experts is to recognize that an employer's time is a precious commodity. Wells says, "Keep it short. Be respectful of your potential client's time."
In addition, Fabella says to let the interviewer drive the tone and length of the interview. "There are two types of interviewers out there," he says. "There's the kind who likes to take full command and go through the book themselves.
And then there are other interviewers who [take] a bit more time and want to see how articulate the presenter is." Fabella says that whichever kind a creative encounters, it is important to give the interviewer the option of how they want to run the process. Of the two types of interviewers, Martin says he's the kind who likes to hear how well a
person can speak about his or her work, so be prepared. "I like to hear
someone talk more in depth about a particular project and their thinking behind it," Martin says. "If the person knows how to think and understands
the context of design and how it's solving a communications problem for the
client, then they can apply that talent to pretty much anything."
Another tip from the pros is almost straight from the business etiquette books. "Be personable. Smile. Look people in the eye," Wells suggests. "One of the biggest tips is to have good manners, " Fabella agrees. "Err on the side of being polite as opposed to being aggressive. " Part of not being overly aggressive is having the ability to simply listen during an interview. As Vick Bynum says, "For the most part, you need to be quiet in an interview. You need to let [the
interviewer] ask questions."
When it comes to dress, Vick Bynum says to keep in mind the environment of the potential employer or client. "I don't think, as a designer or an art director or a photographer, that I'd wear a tie. It's not done, unless it's a large
corporation," she says. Martin says that, for his own appointments to meet clients and get new business for his firm, he follows this advice: "When in Rome, do as the Romans do." Yet Martin adds that even with corporate clients such as UPS he does not wear a tie.
"I don't own any ties. I maintain my own particular individuality and standards of dress, but I always dress appropriately for the environment. " For both students and veterans, Martin suggests simply researching the firm before going in to interview so that you understand its culture. "Anything that's going to make you feel out of place is going to make you feel less powerful," he says.
No matter how hard you try to get in the door, some companies, like UPS, have firm drop-off only policies. As Rosenberg says, "It is best to send [a portfolio] addressed to UPS Brand Management and it will find its way to the appropriate people," she says. Rosenberg also says that UPS constantly searches for
new resources, such as graphics firms and photography studios that are
minority or female-owned, to be qualified through the UPS Supplier Diversity program. Interested prospects can check out www.community.ups.com and click on the diversity tab for more information.
When it comes to drop-off, Martin says it is an inferior
way to show a portfolio. "I'm a big believer that the portfolio is only half of it. The personality of the person is the other. I wouldn't drop it off unless they request it. I would always push for the interview."
Sawyer Riley Compton's Bart Cleveland sums the whole thing up nicely with this one, direct statement, a thought that seems to put all of the difficult issues and conflict into perspective: "It's all about the image," he says. "How you get there is irrelevant."
FOLLOW UP AND SELF MARKETING
After an interview and a portfolio presentation, the experts say business etiquette is again in order. "Following up with a thank-you card reinforces your reputation," Fabella says. "It enhances the [brand] experience."
Aside from that, a willingness to do freelance work may help a creative get a staff job later. As Martin says, "Should we get real busy, my first option before I make a commitment to another salary would be [to hire someone] freelance."
A good self-marketing tool the pros recommend is creating your own Web site. Vick Bynum says Web sites are crucial, in particular, for freelance artists. "That way, an art director can look at your portfolio on Friday evening from his living room if he wants," she says. And while Web sites are also critical for photographers, another crucial follow-up practice is direct mail. As Fabella says, "What seems to be tried and true for the photographer is consistent mailings to let people know your name and your work - so that you are top-of-mind when a project comes up."
Networking is another effective way to scout out and land paycheck opportunities.
Martin is president of the Atlanta chapter of the American Institute of Graphic Arts (AIGA), a trade organization for the design industry. And he says it is critical to
constantly network and meet people - for both students and veterans.
"The last two hires that we did here [at EM2] were a direct result of people
I met through AIGA, or that someone told me about," Martin says.
For photographers, Wakefield scours Communication Arts (CA) issues. "If
[photographers] get in CA's photography annual, that's where I go to look for
inspiration. And then I'll call them up," he says.
For all creative disciplines, the experts say the bottom line toward generating income in these tough and competitive economic times is to continuously work on your
brand and to meet others in the field. "For people who want to sit in a vacuum, it's going to be very tough," Martin adds. "If you're looking at ways to market yourself and get [a paycheck], you've got to get out there."
© 2004, Carol Badaracco Padgett - All Rights Reserved.
|
