minji pak

Thursday, December 10, 2009

READINGS

Reading #15+ 16 "Chapter 8 + 9"

Chapter 8: Self-promotion

The lesson is simple: we must not confuse admiration and respect with fame or celebrity.
If you do great work, if you do effective, original and striking work full of emotional or intellectual resonance, you are unlikely to go unnoticed.
There are many good reasons why it's worth maintaining connectins with your former college, or forging links with new ones. Designers have an unwritten duty to pass on their experience and give support to the next generation of designers.
You must also keep in mind questions of confidentiality.

Chapter 9: The creative process

Your ability to understand your creative process, your ability to observe how you have ideas and then be able to recreate it is an absolutely essential and extremely overlooked part of our business.

Reading #12 13 14 - "Chapter 5, 6 + 7"

Chapter 5: Running a Studio

* Treating the people the company employs like gods.
* All-night working and marathon sessions spent in front of the computer screen.
* Employing creative staff.
* Be cafeful when employing people. Good designers only approach good studios.
* Employing non-design staff.

Chapter 6: Winning new work

There is more graphic design than ever before, and demand grows constantly. Therefore, there are many new businesses and they need to promote themselves well. Then, they can survive now. Find dedicated new-business person, and find clients.

Chapter 7: Clients

There are artists, but there are no designers without clients. This chapter reminded me of my client. I worked a website and a cookbook for a chef. I love food and I want to work for a company relating to food such as food network or starbucks or other organic restaurants in my country. So, I was really happy to work with the chef. At the beginning, however, I had a pretty hard time because of different taste. I tried to follow what she wanted, but I also tried to put my ideas. She really likes my works and we still meet whenever she comes to Portland. Now we are friends.

This is the website I made for her: http://www.wildflowerchefservices.com

Reading #9,10,11 "Chapter 2, 3 + 4"

Chapter 2: How to find a job

Many hirings are made by studio heads ringing acquaintances and asking them if they've seen any hot talent. It's never a waste of time showing your portfolio to anyone who will look at it. Once you've targeted a studio, you need to find out who is responsible for recruiting. You need to include some sample of work. Designers in busy studios are all busy, so it's better to give them something to provoke an instant response and prompt them to offer to see you. In interviews, your character is under as much scrutiny as your work. When your interviewer asks you about salary you want, tread carefully. Say that you need enough money to live on, and that you are open to reasonable offers, and leave it at that. Your portfolio is your shop window. A portfolio of eight to ten interesting pieces of work is ideal.

Chapter 3: Being freelance

The freelance life suits two types of designers.
The first type is the very able and resourceful individual with specialist skills.
The second type is best characterized as the creative loner.

Chapter 4: Setting up a studio

Partners should each take responsibility for different areas

Partner 1: Creative direction, clients, new business and press relations
Partner 2: Financial affairs, studio manager, job costing and staff relationsPartner
Partner 3: Design, project management, IT and enviromental policy