7/12/2014

9 Steps to a Better Portfolio


by Christopher Natsuume
If you are a professional working artist your portfolio is your career.
Sure, you have a résumé, a job history, and an educational background - but the honest truth is that these are all just context for your portfolio. When you are applying for work, your potential employer will glance at everything else for a few minutes, and then spend the rest of their time on the portfolio.
So it’s in your best interests to make sure that this portfolio presents you in the best possible light. A good portfolio won’t save a poor artist, but a poor portfolio can certainly make a good artist look less marketable than they actually are - and that’s relatively easy to fix with a couple simple rules:
1) Quality
When I look at your portfolio, I assume that this is the absolute best art you are capable of. So, when picking pieces for your portfolio, use fewer images, and make sure they are your best.
The typical artist will want to show the world their entire body of work - even the flawed pieces and works in progress. In fact, many artists have blogs where they share their creative process, and have conversations with peers about their work. This is all great - but it’s not a portfolio.
Your portfolio is a separate site - a culled selection of your absolute best work. I shouldn't see a single weak image in your portfolio - because if I do, I am going to think “this person is unaware that this is not great work” - and I will question your taste and judgement.

2) Diversity
It’s critical to choose images that show the full range of your skill. Sure, you may have 500 images of tropical birds from your last project that are all incredible, but you don’t want to be pigeonholed as “that guy that draws birds” - unless that’s the only thing you ever want to work on.
Make sure that your portfolio includes a number of different styles, techniques, and looks. A digital painter, for instance, should have at a bare minimum a few characters in closeup facial shots, a few characters in full figure shots, and a number of environmental works in both indoor and outdoor environments. This lets me see your strengths in each area, and shows that you are capable of adapting your talents to a diverse set of tasks.
Keep in mind - if your portfolio has a big gap where you’re not showing some kind of work - such as figure drawing or images that include movement or action, I’m going to assume that’s because you can’t do that kind of work well. It’s your job to prove to me that you can.
3) Context
I will appreciate your work more if I know what it is you were trying to do. Keep in mind, most professional work is done to achieve a specific goal, and whether or not the art is good objectively is often not the point.
The point is: Did the artist accomplish the goal set out for them?
In some cases, that goal or challenge in the artwork may not be obvious - such as completing by an extremely tight deadline, or including some product, message, or design element that was difficult to integrate. If I know what your challenges were in making the piece, I can better assess your ability to meet my challenges.
Even for works that were done entirely for personal reasons, I would love to know what it is you were trying to accomplish personally in the work - such as improve your figure drawing skills, or work on your lighting or perspective. This allows me to focus my attention on that element of the work, and appreciate it properly.

4) Process
When I look at a portfolio, I want to know how you made each piece, and how long it took.
What lenses did you use on your camera? What kinds of media did you use on your traditional art? If you worked on a digital image, or if you animated or modeled something - what software did you use? What plugins? What kind of tablet? Knowing all this helps me better understand how you work, and how you will work in my production process.
In the case of work that is heavily Photoshopped versions of photographs or references, it’s helpful to include the originals, so that I can clearly judge your work against the starting point you were working from. In fact, one of my favorite things to see in a portfolio is a step-by-step presentation showing how you made one of your best images, with work-in-progress shots leading up to the final image. This really lets me get my head around the way you work.
And of course, I’ll want to know how long it took you to do the work - so I can use that as a benchmark for the work I am looking to have done.
5) Credit
It’s critical for you to clarify precisely what work you were responsible for in any image.  If you created something as part of a team, clarify what your role in that team was, what your contribution to the work was, and properly credit the other contributors. Failure to do so will be seen as insensitive, or worse, as outright dishonest.
Additionally, if your work used references, or was heavily inspired by some other artists work, it is critical to include that information as well. While I may be impressed to see how you have reimagined the work of another artist, if you aren’t crediting that artist or reference, I’ll think you’re simply plagiarizing. That’s one of the fastest ways to have your portfolio dismissed, and to have your reputation in the industry destroyed.
6) Portability
In this day and age, there is simply no excuse at all for having anything but an online portfolio.
One sure-fire way to piss me off as a potential client is to mail-bomb me a massive email attachment of your work. I can’t count the number of times I’ve been travelling overseas on a limited bandwidth connection and received a résumé with a 20mb portfolio attachment that jammed up my email. My solution? Delete the email and attachment without ever looking at it.
Additionally, keep in mind that if I like your stuff, I am going to want to forward it to other decision makers in the process - and you can bet that if I hate getting massive attachments, I’m not about to forward yours. What I really want is a single link that I can pass on a medium as small as a text message.
As a side bonus, keeping all of your information online allows you to keep it constantly up to date. If I open the same link a year later, I’ll see your updated portfolio immediately.
7) Simplicity
Please, please, please don’t make some enormous confusing flash based site with all kinds of bells and whistles for your portfolio. Nobody will be impressed - in fact, most people will be annoyed. Your portfolio should be a simple, clean page with images I can easily scroll through, with whatever text is necessary attached in a simple, easy to read font. Keep in mind that I may be looking at your portfolio on any of a number of devices - including tablets and netbooks - and I’ll be annoyed when I have to wait for all of your flash animations and java scripts to load. In fact, I probably just won’t bother. I’m not interested in your website (unless you are a web designer) - I just want to see the portfolio of products you’ve made as quickly and easily as possible. Honestly, my favorite format for a static art portfolio is a simple Flickr page - which you can have set up in a couple of minutes. And, unless you are an animator, I certainly don’t want to see a demo reel. If you are showing me still images, I want to see them as still images. Preferably in the resolution they were created in.
If you are an animator, I’d honestly prefer to see your animations in a short, silent medium - I am not really interested in your favorite new Coldplay song as a soundtrack. If the animations were designed to go with specific music or sound, then include only that. If you have a number of animations to show me, break them into a few short videos, so I can look at them individually without having to search for them on a long showreel. For a platform, you can set up a simple website from any of a number of off-the-shelf blogs, and embed some YouTube videos. That will allow me to watch them on just about any platform, including my tablet or smartphone. There are obviously other workable formats, but whatever you use, keep the focus on delivering your art as simply and easily as possible, and letting me view it on as many platforms as possible.
8) Accessibility
Your portfolio should serve as the main point of contact that I have with all elements of you as a potential hire. If you have things about yourself that you would tell me in a cover letter, make an “about me” page on your portfolio, so that when I direct someone else to your portfolio, they have that context as well. Make sure that you have an updated résumé on the site, in a simple, clean text format that I can look at online or grab and print. Please don’t make a PDF or image file résumé - that’s only going to annoy me. When I look at your résumé, I want to be able to quickly find information, click on hyperlinks to see any online resources you want me to see, and grab hunks of text from it to paste into MSN conversations and google searches. You want me interacting with your résumé like this - but if it’s is a PDF or image file, you’re making me retype that information, and I probably can’t be bothered to do that.
9) Relevance
Finally, if you know something about the clients/companies you are submitting your portfolio to, try to lead with the most relevant materials. If you’re applying as an animator for a company that does military simulations, and you have some demo reels of tanks and helicopters you’re proud of - Lead with them! If it’s a position that’s important enough, you might even consider taking the time to modify some of your art or create new art to show that you can match the style or needs of the client. One of our best artists, for example, waited a month before applying, and spent her evenings making a specific piece of art that exactly matched the style we were looking for, and led with it in her portfolio when she applied. Not only did she immediately get an interview, she also got the job.


Source: https://docs.google.com/document/pub?id=1cyYOa7Y4IR2qMa8dnG1_5IAUw3f3IVj-e87h4T7JFJA


6/16/2014

Jewish Comix Anthology: Volume 1 - PRESALE




The Jewish Comix Anthology: Volume 1 is a never-seen-before publication that contains previously published material from some of history's most influential comic book creators, alongside new incredible talent creating unique stories centered around Jewish tales and folklore.  I feel so lucky to be part of this project and work on a promotional poster and a short story about two brothers.The Jewish Comix Anthology: Volume 1 is a never-seen-before publication that contains previously published material from some of history's most influential comic book creators, alongside new incredible talent creating unique stories centered around Jewish tales and folklore.

I feel so lucky to be part of this project and work on a promotional poster and a short story about two brothers.

6/05/2014

Centre for Digital Media's 2014 Industry Showcase



Join us on June 25th for our 2014 Industry Showcase! The annual Master of Digital Media Program's Industry Showcase is a chance to see what MDM students have been working on all year and meet upcoming professionals in the industry. It's a unique opportunity to network with MDM students, view their portfolios and discuss exciting developments in the digital media space.

DATE:
June 25th, 2014
TIME:
4:00-8:00pm

To see more detail, visit us at


5/05/2014

Sketchbook Creation Series: The Last Order


Launching a new sketchbook at size A5, did the cover tonight right away. Getting exited XD

3/10/2014

Jury Member for NW Animation Festival

I was contacted to judge animation short films for this year NW Animation Festival.
Had lots of fun looking through tons of animation shorts through February.

2/23/2014

Chair & Light

Lighting study, my friend is playing Banjo in the distance.

2/13/2014

Ink Black

Practice art for the sake of art

Friend Next Door

I choose pink only for the expression prepose...

Shared


Just imagine: How wonderful is it when a boy willing to share his only scarf while wearing short pans during the cold Winter.

2/03/2014

The Jewish Comix Anthology: Volume 1

I'm doing a short comic book project with Alternate History Comics Inc.
Check out their Kickstarter campaign:
https://www.kickstarter.com/projects/1350078939/the-jewish-comix-anthology-volume-1

I did this poster so far:



1/04/2014

Wolf soldier



Did this sketch on Samsung note 10.1 2014 edition while waiting in a Tai restaurant while visiting Seattle

11/07/2013

Remember Me


Just another day, my instinct tells me not to wait like this anymore. Thoughts always wondering all the possible branches which would have taken me to different adventures. Should I say "I SUCK" because I didn't got the dream opportunity, or I didn't get the opportunity because I was meant to be something more than that? Is there a path written already? 
In the end of the day, you enjoy working on something that matters to you. That true happiness lives in your work and goes on it's own journey.
If that makes you happy, go ahead. 
No one can stop you.


10/24/2013

Film to Watch: Rhythm

1. RHYTHMIC CONTROL
Raging Bull (1980)
A Clockwork Orange (1971)
Rumblefish (1983)
Visions of Eight (1972)
Barry Lyndon (1975)
Rashomon (1951)
The Last Picture Show (1971)

2. THE CONTINUOUS AND FRAGMENTED EVENT
Touch of Evil (1958)
Goodfellas (1990)
The Untouchables (1987)
Rope (1948)
Run, Lola, Run (1999)
JFK (1991)
Jacob's Ladder (1990)
Election (1999)

Note from The Visual Story

Film to Watch: Movement

1. CONTINUUM OF MOVEMENT
Ninotchka (1939)
Lawrence of Arabia (1962)
Die Hard (1988)
Goodfellas (1990)
Touch of Evil (1958)

2. CAMERA MOVEMENT
Das Boot (1981)
The Verdict (1982)
The Insider (1999)

3.OBJECT MOVEMENT
8 1/2 (1963)
Gold Diggers of 1935 (1935)
Gold Diggers of 1937 (1937)

Note from The Visual Story

Film to Watch: Control Color

1. SATURATED HUE
Cries and Whispers (1972)
Ran (1985)

2. COMPLEMENTARY COLORS (BLUE AND YELLOW)
Man in the Moon (1991)
The English Patient (1996)

3. WARM/COOL COLORS
The Shining (1980)
Wings of the Dove (1997)
The Last Emperor (1987)

4. WARM COLORS
The Godfather (1972)

5. CONTRAST OF SATURATED/DESATURATED COLORS
Pennies from Heaven (1981)

6. LIMITED COLOR PALETTE
Shawshank Redemption (1994)
Chinatown (1974)
A Little Princess (1995)
Days of Heaven (1978)
Three Kings (1999)

Notes from the book The Visual Story by Bruce Block

Film to Watch

1. CONTRAST OF TONE
Sunset Boulevard (1950)
T-Men (1947) and Raw Deal (1948)
In Cold Blood (1967)
Cat People (1942)

2. CONTRAST AND AFFINITY OF TONE
Bonnie and Clyde (1967)

3. TONAL CONTROL DUE TO REFLECTANCE OR INCIDENCE
A Night at the Opera (1935)
The Conformist (1969)
Repulsion (1965)
Manhattan (1979)
Who's Afraid of Virginia Wolff? (1966)
Apocalypse Now (1979)
Yojimbo (1961)

Notes from The Visual Story by Bruce Block

10/17/2013

Film for Study: Line and Shape Motif

1. VERTICAL AND HORIZONTAL MOTIF
Notorious (1946)
Driving Miss Daisy (1989)

2. DIAGONAL LINEAR MOTIF
Die Hard (1988)
The Third Man (1949)

3. SHAPES OF SPACES
The Conformist (1969)
Star Wars (1977)
The Shining (1980)
Contempt (1963)

Notes from "The Visual Story" by Bruce Block



Basic Art Direction Lessons

If a art director get lost, you can simplify the shot into one line (usually the horizon line). Then you can use contrast and affinity of line to orchestrate the intensity changes of the scene.

Controlling shape involves careful examination of the basic shoes of all the objects you place in front of the camera. Look at an object's silhouette, not the object itself.

Create visual unity and visual structure in your production:
1. The actor.
If the actors are reduced to silhouettes, what basic shape do they become?
2. The location or set.
What shape is the space you're going to shoot in?
3. The set dressing and props.
On the set, what is the basic shape of a chair, a couch, or a table lamp? Do the shapes communicate the correct emotional mood?
4. Lighting.
How can lighting change the basic shapes or add additional ones?

Notes from "The Visual Story" by Bruce Block

Films must study: excellent examples of well-controlled space

1. DEEP SPACE
Citizen Kane (1941)
Touch of Evil (1958)

2. FLAT SPACE AND SURFACE DIVISIONS
Klute (1971)
Manhattan (1979)
Witness (1985)
American Beauty (1999)
Ordinary People (1980)

3. LIMITED SPACE
Fanny and Alexander (1982)
Suspicion (1941)

4. AMBIGUOUS SPACE AND SURFACE DIVISIONS
Don't Look Now (1973)
Brazil (1985)

From book The Visual Story by Bruce Block

Extra:
Films about artificial reality in 1999
Existenz
The Thirteenth Floor
Synecdoche New York
Matrix
Dark City



10/16/2013

Deep Space VS Flat Space


Notes from
"The Visual Story" by Bruce Block

8/13/2013

7/23/2013

Short Visiting to Nickelodeon

I'm back!

The gang

Cool studio space

Aminder's high tech Google Glass

Turtle RK

Did some quick sketches while waiting

Korra

Mako

Bolin

Book session in Urban Out Fitter, downtown Burbank
Such a long leg...

SDCC 2013!

I had such an amazing time in SDCC! Thanks to all my amazing friends from Satellitesoda!
Satellitesoda booth

You know who statue

Another cool statue

"People Mountain People Sea"

View from our hotel room

LEGO turtles

5/03/2013

Chromatic Watch



My artworks are featured on Chromatic Watch.
Thanks to Ariel Torres and Sean Collins!

Link:
http://chromaticwatch.tumblr.com/post/46735730138/haiwei-hou-equally-able-to-ace-the-mod-and-the


Reel Earth Film Festival



Vernal Equinox got into Reel Earth Environmental Film Festival New Zealand
June 14-22 2013
Palmerston North

Check it out:
http://www.reelearth.org.nz/films/short-films


4/01/2013

Northwest Animation Fest 2013


Hey, I want to share this news. Vernal Equinox has been selected for NW Animation Fest 2013!
The festival will run May 17-19 at the Hollywood Theatre in Portland, Oregon. The entire 3-day fest will repeat May 31-June 2 at the Bijou Art Cinemas in Eugene, Oregon.

Hollywood Theater

Hollywood Theater Interior

Bijou Art Cinema


Here is a link
http://www.nwanimationfest.com/2013-official-selections/

3/25/2013

Canada International Film Festival


Vernal Equinox won 2013 Royal Reel Winners in Animation Competition XD

It was chosen among the very best of over 1000 films submitted from over 30 countries around the world. Only a maximum of 10 films per competition category are selected to be honored with this prestigious award!

Canada International Film Festival will take place April 5th - 6th, 2013 in Vancouver, British Columbia, Canada

Link:
http://www.canadafilmfestival.com/Festival/2013OfficialSelections/tabid/486/Default.aspx