I’ve recently been working the book crit circuit after graduating from University and thought it would be useful to share my insight. It has proved a challenge judging precisely what constitutes a sound portfolio; agencies can give conflicting feedback. Creative is a subjective matter, though parallels emerge. I am putting this experience to good use by compiling a list of suggestions below.
1/ The big idea must come across in all forms of communication. The key is: if you can communicate the big idea in a poster, you’re on to a winner. The best ideas are clear and simple.
2/ Make sure media choice is relevant, don’t just throw a Facebook page on the end of a campaign for the sake of it. Your creative judgement is questioned. Choose the medium which best gets the idea across.
3/ Tackle major household brands - agencies like to see how you can turn them around - as they prove more of a challenge. Don’t go for the obvious or include little known brands they will not have heard of.
4/ I can’t overstress the importance of reading up on the agency prior to a crit. It’s not all about you. You will be working for the agency and they want to know how you can be of benefit to them. If you really want to impress, produce ideas for an account the agency has just won, or show how you would improve on past clients’ work. Tailor your portfolio for each agency.
5/ It’s all about the ideas. You don’t have to be a whiz on Photoshop, a book of scamps is perfectly acceptable. Although, work does have to be well presented, especially if you are an Art Director.
6/ Work with brands from a range of areas to show how you can diversify creative.
7/ Follow up a crit with an email/phone call, even if they said they would contact you. Face the fact that you are not at the top of their to-do list; keep reminding the agency who you are. Send them improved work and new ideas, be keen.
8/ Start and finish with your best work.
9/ In terms of digital v. traditional, you need to have digital in your book to appear up-to-date, it is where the future of advertising is heading. Obviously, its dominance in your book depends on what type of agency you want to work in (integrated, digital, traditional). Your book should reflect your role and where you want to be.
10/ Don’t play safe. Push the boundaries. Be creative. After all, your book provides an opportunity to show what you are really made of.
11/ Include a title page for each piece of work with brief and insight, but keep it short. As a guide, 7-9 campaigns are advised.
12/ Have your work in a digital space for convenience, sites such as www.thecreativefloor.com/ are useful. Be willing to conduct a crit over Skype.
13/ Although we all have a passion for advertising, it is important to have other interests you can talk about. Agencies appreciate that external influences can lead to interesting insights in idea generation.
14/ It is a good idea to include non-advertising ideas in a book. Being creative is more than inventing advertising solutions; it is problem solving on different levels. This proves you can understand a bigger picture.
15/ Most importantly have an opinion and argue your case if necessary.
I recommend the book, Breaking In, which details all you need to know about creating a winning portfolio with insights from industry professionals. Here is a preview of the book http://breakinginbook.com/
