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Question for creative directors (or personel in charge of hiring designers)...
I've worked hard to put together original, strong cover letters & resumes. Triple checked that grammar and punctuation is correct, even had others double check it before sending it. I address the creative director or person responsible. I have put together
complete book portfolios as well as a print sample folder that allows you to hold the piece, open it, and actually see the project. Then proceeded to have interviews. I am met with comments like "this is striking", your work is "fresh", "you have a lot of
talent", and "this is a beautifully designed piece". And then there is no outcome. I follow up and am told that they will get back to me. But I never get critiqued and it is like pulling teeth for people get back to me. I was once told by a creative director
that "persistence is key" and that if you want a design job to go in face to face. Now that the digital realm has pulled a majority of face to face communication away, how do you go about getting true and honest feedback?
I graduated from design school with the impresssion that I needed to prepare myself for harsh criticism techniques. I'm literally asking for criticism and not getting it. I want to better myself as a designer, support good values and ethics, and land a great
If nothing else, I'd love some advice on how to not be overlooked when I do all the right things (address the person responsible (and correctly), have correct grammar and spelling, provide to the point explanations of employment history.... so on..)
I am a sophomore going into Graphic Design, and right now I am trying to look at summer opportunities for studying abroad.
I was hoping that I could glean some information from you all about where you think the best places to study abroad are, or what are some of the best schools outside of the US.
I've finished a project with a broadside accordian fold, flat 21x34, finished 10.5x4.25. Sent it to the printer my client wanted and the proof that they sent back was a mess. It was .25" short on the width and height, and the panels were folded in a variety
of widths. I marked up the proof & sent it back, requesting an accurate proof that demonstrates they can do the job. I just received an email asking me to approve the job and promising that they will do it right, but they can't provide an accurate folded proof
because of the proofing paper. In 20 years, I've never had a printer suggest that I approve a job without an accurate proof. Especially when the job involves folds. You have to see that everything lines up on the equipment that is being used. Has the printing
business changed this much with PDF proofs and online ordering that a complex job doesn;t receive a good quality proof? Please give me your opinions, because I'm concerned that the client will shrug and say OK. Thanks!
Hello everyone! I have a technical questions that has been driving me crazy, and probably has a very simple solution. Whenevner I create a document in Indesign that has a stroke added to any of it's text then save it as a PDF and upload it online to a digital
library such as Scribd, it's like the stoke doesnt line up with the text and the outcome is awful and not readable. Suggestions?
Hello fellow design fanatics - I'm a UXer in New York City open to networking and learning. Contact me if you're looking for someone empathetic and design-y.
My first introduction to any kind of digital fabrication was through my 7th grade tech ed class. One of our assignments (CAD/CAM technology) was to make a desk name plate by typing our name into a computer and watching it magically appear in a single-line font CNC milled into a...
Presenting Sponsor: Adobe
Through her work for clients in business, nonprofit and government, design strategist Sylvia Harris has dedicated her practice to ensuring that public information systems are accessible to everyone.
Section: Inspiration -
information design, government, nonprofit, service design, diversity
Every act of design reinvents the world in some measure. Yet the design
disciplines lack a tradition of thinking through the various worlds into
which all this could be taking us. In this video from the 2011 “Pivot: AIGA Design Conference,” Stuart Candy, a consulting futurist and a pioneer in experiential futures, explores what designers need to know in
order to engage the future with eyes wide open.
Section: Events and Competitions -
problem solving, strategy
Web DesignerIntegrated Web Strategy
Phoenix, ArizonaJuly 10 2014
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