Graphics Reference
In-Depth Information
Unlike people in other lines of work, everything you do results in a unique cre-
ative product. Don't trust your employer or client to archive your work. Everything
you do should remain in your possession in some form: original, sample, slide, print,
or disc. For some professions, ideas and work leading up to the finished piece also
should be retained. This might seem obvious, but it bears emphasis. To keep your
work secured and up to date:
Keep process materials
Ask yourself at the beginning of every new project if this piece might be a
keeper. If so, hold onto your process work. From quick pencil sketches to detailed sto-
ryboards, the first stages of creativity are seldom found on disc. Your concepts can be
a powerful tool to help you illustrate your creative process in your portfolio.
Keep editable backups of computer files
If your artwork is digital, keep the original, editable files, not just player ver-
sions or PDFs. You may want to change frame rate or scale them later. If your final
product is a printed piece, don't assume that's all you need, especially if the work is
product packaging or oversized flat art. As you'll see in later chapters, the original art
is sometimes more useful in a portfolio than a photograph of the piece would be.
Students: retrieve your graded work
Between summer break, co-op stints, and faculty requests to borrow student
work for their own needs, student work often falls into limbo. (Limbo is also known as
the trash.) Instructors often don't have a permanent affiliation with the schools where
they teach, and work left with them can easily be misplaced. In addition, most art
and design departments discard unclaimed student work. Does it sound as if you
shouldn't trust your school and faculty to get your work back to you? Exactly. Be
responsible for your own career and get your work before the school year ends.
Request samples when working for hire
If you're freelancing, don't neglect to ask your employer about sample copies
before you start your work. Even if you are not retaining copyright (see Chapter 12,
“Copyright and Portfolio”), in most situations you'll be allowed to use a sample in
your portfolio or reel. If you can't, you'll know the limitations before you imagine the
project as your portfolio's centerpiece.
Get plenty of samples
You can never be too rich or have too many samples. Speak to the printer
directly if you can. If the client is handling the printing, request your samples from
them in advance. Print runs are not an exact science and most jobs result in more fin-
ished impressions than the quote specified.
