THE ARCHITECT’S POCKET

GUIDE TO PORTFOLIO DESIGN

This is an essential guide for architecture and design students

as well as current professionals struggling to put together an
effective portfolio.

There is too often a haphazard approach to architecture

portfolio design and creation. Without a fundamental
understanding of basic graphic design principles, portfolios
can seem garish and disjointed, doing a disservice to the work
on show and the designers’ professional potential. This concise
and highly visual guide explains the fundamental principles of
portfolio creation, provides dos and don’ts, common mistakes,
and analysis of a diverse range of both successful and
unsuccessful samples. Aspirational, innovative design work
is also presented alongside detailed commentary breaking
down the reasons why it works. Chapters step through the
complete process in an intuitive way, covering purpose,
curation, form, layout, content and review, while providing
both digital and print techniques.

Following the framework laid out in this book will quickly and
effectively elevate any architecture portfolio, allowing you to
showcase your work in the most professional way possible.

Zuzana Kubišová teaches in the College of Architecture &

Environmental Design at Kent State University and works at
J. KURTZ Architects in Cleveland, Ohio.

I
Designed cover image by Zuzana Kubišová.

First published 2025

by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge
605 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group,

an informa business

© 2025 Zuzana Kubišová

The right of Zuzana Kubišová to be identified as author of this work has

been asserted in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or

utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.

Trademark notice: Product or corporate names may be trademarks or

registered trademarks, and are used only for identification and explanation
without intent to infringe.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

Names: Kubišová, Zuzana, author.
Title: The architect's pocket guide to portfolio design / Zuzana Kubišová.
Description: Abingdon, Oxon : Routledge, 2025. | Includes index. |
Identifiers: LCCN 2024014234 | ISBN 9781032704883 (hardback) | ISBN
9781032704838 (paperback) | ISBN 9781032704913 (ebook)
Subjects: LCSH: Architecture portfolios--Design.
Classification: LCC NA1996 .K83 2025 | DDC 650.14/2--dc23/eng/20240620
LC record available at https://lccn.loc.gov/2024014234

ISBN: 978-1-032-70488-3 (hbk)

ISBN: 978-1-032-70483-8 (pbk)
ISBN: 978-1-032-70491-3 (ebk)

DOI: 10.4324/9781032704913

Publisher’s Note
This book has been prepared from camera-ready copy
provided by the author.

II
THE ARCHITECT’S POCKET
GUIDE TO PORTFOLIO DESIGN

Zuzana Kubišová

III
 the architect’s pocket guide to portfolio design

table of contents

what is an
architecture portfolio __1

step 1 start identify purpose __3

identifying
researching
portfolio mediums
common mistakes

step 2 curation gather and edit __17

organizing
curating
pacing
common mistakes

step 3 form basic choices __41

selecting a medium
physical portfolio
portfolio print process
digital portfolio
portfolio process to screen
selecting a format
online portfolio
website portfolio process
common mistakes

step 4 layout initial setup __87

layout organization
initial setup
theme

step 5 layout invisible elements __97

rule of thirds
margins
white space
grid system
common mistakes

step 6 layout visual elements __129

IV
 the architect’s pocket guide to portfolio design

proximity
alignment and spacing
scale and proportion
color
hierarchy
visual balance
similarity
common mistakes

step 7 layout textual elements __161

typography
typeface selection
formatting for readability
designing with text
common mistakes

step 8 content strategy and examples __189

cover
resume
design statement
table of contents
introductory project page
project page
extras
thank you and contact information
common mistakes

step 9 case studies __241

step 10 review final revisions __287

refine
cover letter
finalize
share

acknowledgments __294
image credits __295
references __298
index __300

V
 WHAT IS
AN ARCHITECTURE
PORTFOLIO

An architecture portfolio tells a visual story of your

professional journey, and expresses your artistic vision.
Through careful consideration of imagery, text, format,
composition and many other design elements, you have
the power to bring your ideas to life and create a work that
reveals your full potential. Your portfolio is not simply a
display of your architectural talents, but it demonstrates your
understanding of the design process and your own design
philosophy. This self-interpretation of your individuality
and passion should convey your spirit. The architectural
portfolio, then, becomes a manifesto of who you are and what
you stand for. It is the declaration of your design beliefs.

You present an overall design, but in addition every visual

image you present in your portfolio — whether render,
sketch, illustration, photograph, line drawing or even textual­
arrangement — helps to reveal not only your design ability,
but your personality and character.

DO understand, A portfolio can take many forms and serve multiple purposes.
your portfolio is But whether digital or physical, online or offline, academic or
itself a design professional, the essence of a portfolio remains the same: it

project. is the first impression you give a prospective employer, client

or academic institution. In most cases, someone’s encounter
with your portfolio is your chance at the possibility of
acceptance. A chance — perhaps one chance — at opportunity
and success. A well-crafted portfolio opens doors for you,
to scholarships or advanced study, to first employment or
to expanded professional opportunities. To a career! Your
portfolio can have a terrific impact on your life!

1
STEP 1

identifying

researching

portfolio mediums

common mistakes
 START
IDENTIFY PURPOSE

The first Step is to understand the fundamental purpose behind creating your portfolio.
You must understand what your essential options are before you can choose. You want
to get started, of course, but you have to prepare to get started. To prepare a thoughtful
path and a well-made portfolio, this Step presents your first choices and the issues with
each of them. Foremost, you want to tailor your portfolio to best align with your audience.
But, who is your intended audience?

— identifying

who
are you

Before you even begin to define your audience, it is critical

not to skip past what may seem obvious: know yourself.
Take a moment to identify your goals and your values.
By understanding what drives you and what you're most
passionate about, and allowing this to radiate through your
portfolio, you will implicitly say who you are. That clear
articulation of yourself should inform all decisions from start
to finish throughout your portfolio. How you declare yourself
could make all the difference in getting your foot in the door.

who are you

creating this for

DO tailor Beyond knowing yourself, the next most important knowledge

portfolios to is who you are trying to talk to. In general terms, you might

specific audiences. already have an audience in mind for your portfolio, or you
may have deliberately chosen to remain open to various
possibilities, creating a more general and adaptable portfolio.
Regardless of whether you are certain about your aims,
you need to begin establishing a clear set of well-informed

3
 start: identify purpose step 1

perceptions about who your target audience will be and

then aim to appeal to their unique perspectives and special
interests.

what are the main

portfolio categories

The key to portfolio design strategy lies in understanding

the differences in portfolio forms and purposes tailored for
diverse occasions at various stages of your career. Your
portfolio will have different aims, whether you are a student
applying for graduate school, submitting a portfolio review
or scholarship application, seeking internships, participating
in competitions, applying for positions in academia or
professional firms, or preparing for client meetings. Each
of these situations comes with specific requirements and
opportunities. To navigate these varied circumstances, be
prepared to create different portfolios or adjust a single one
to cater to different audiences. Generally, however, portfolios
can be broadly classified into two primary categories:

• academic
• professional

what is an academic
portfolio

An academic portfolio should ideally be shorter than a DON'T hesitate

professional one. The content of the academic portfolio should to contact
focus on demonstrating your potential rather than merely the program
showcasing your accomplishments. In other words, the aim coordinator to
of an academic portfolio is to present how you think about
be sure of their
architecture — not just in terms of completed structures
requirements.
but more as architectural concepts, design processes and
research interests, all presented in a concise manner. The
portfolio serves as your opportunity to showcase the depth
of your intellectual engagement with the field.

4
 start: identify purpose step 1

what is a professional
portfolio

The professional portfolio, in contrast, should primarily focus

on presenting architectural design projects and professional
practice. Considering that reviewers in the professional world
are more likely to have limited time, your goal is to stand out
and leave a strong impression on prospective employers or
clients. So, it is paramount that you highlight key projects
that showcase not only the aesthetic appeal of your designs
but also demonstrate your technical prowess and full grasp
of the process and rigor of the profession. The portfolio is
your platform to prove that you are not just a designer but a
problem solver and a strategic thinker.

— researching

what to learn
about audience

DO the research! Even though with both categories of portfolios you aim to
A few hours of display your best work, they are never the same document.
research about the Beyond that, different institutions or firms will have their

specific audience own distinct interests and purposes and may have specific
criteria or provide particular directions. Graduate programs
may prevent
and prospective employers will each look for distinct qualities
disappointment.
in successful applicants. This is why thorough research is a
critical step before you even begin to compose your portfolio.
Only then can you begin to strategize on how to effectively
communicate with your audience and shape your portfolio
accordingly. Know your audience!

When applying for an academic program, you need to first

carefully examine the materials that the school provides. This
involves a careful review of their websites to comprehend the

5
 start: IdentIfy purpose step 1

academic portfolio

1__emphasis on design and

theoretical explorations
2__projects that support your
personal statement
3__present a variety of your work
/photographs, sculptures,
paintings.../ and tools used
/pencils, watercolor, digital
software.../
4__show the process of your
work, and the way you think
/sketches, diagrams etc./
5__five strong projects are enough to
express your best work
 start: IdentIfy purpose step 1

professional portfolio

1__emphasis on technical skills

and work experience
2__projects that show specialized
skills and creative capacity
3__projects that support your identity
4__variety of project types
and scales to highlight your
range and capabilities
5__show work that reveals your
process and broad set of tools
/digital software, pencils, modeling.../
6__six–eight strong projects
are enough to express
your best work
start: identify purpose step 1

program's mission, core values, and institutional requirements. DO seek advice

Understanding the program's expectations is key to making about program
an informed decision about whether it is the right fit for you. from professors
If it's possible, you should consider visiting the school to gain and current
firsthand experience of the campus environment and actually students.
talk to faculty. Additionally, making reasonable personal
contacts and inquiries with the administration or faculty could
provide you with special insights. Here are a few of the most
basic questions you must have answers for:

• What are the graduate program values, specialties?

• What are the deadlines for portfolio submission?
• What are the format and submission requirements?

The same need for research applies to portfolios aimed

at a professional firm. A thorough examination of the job
description and required qualifications can prevent you from
a potential misalignment with your audience. Therefore,
dedicate enough time for reviewing the firm's website to
understand their design philosophy, workflows, range of
projects, and the values expressed in their completed work.
Above all, be honest with yourself and assess whether
working with them would bring satisfaction and if your skills
would be a valuable asset to the firm. Though the opportunities
may be less likely than with a school, any personal contact
with the firm, even indirectly, can provide insights into their
culture and needs. Here are some questions you should try
to answer about professional firms:

• What is the firm's design philosophy?

• What is their focus, range of projects?
• What are their needs?
• What are their requirements?

8
start: identify purpose step 1

— portfolio mediums

what are the most

common portfolio mediums

Effective messaging always requires alignment with the

audience. However, the medium that carries your message
can allow for great adaptability and versatility, and can be
multi-faceted. As the diversity of architectural practices and
academic institutions increases, you need to first understand
the specific portfolio forms that each audience requires. The
three most common portfolio forms are defined by the media
through which they are presented:

physical portfolio •
digital portfolio •
online portfolio •

There is no simple right or wrong answer as to whether to

decide on a physical or digital portfolio. Depending on the
audience, your choice might be already predetermined. But
perhaps you have the opportunity to choose for yourself and
want to have printed and digital forms since today, having
both of the mediums is nearly a necessity. Especially when
it comes to an academic application, the digital portfolio may
be required, but if you are applying to a professional firm, you
may benefit from having a physical portfolio for an in-person
interview to give a sense of the full quality, determination,
and experience of your work. The truth is, there is really no
reason not to have multiple versions of your portfolio. Step 3,
though, will give the full details of each portfolio form, which
will help you to navigate your decisions.

9
 start: IdentIfy purpose step 1

physical portfolio

why you should create

a physical portfolio

full control over it

demonstrates effort
no file size limit
pleasing tactile experience
no distractions from tech issues

what to expect when

making a physical
portfolio

can be expensive
difficult to share
complicated to update and refine
costly to reproduce and distribute
 start: IdentIfy purpose step 1

digital portfolio

why you should create

a digital portfolio

easy to update and customize

ability to share videos and audio files
allows interactivity
easily published online
ability to zoom in

what the limitations

are of a digital
portfolio

poor visibility on smaller screens

limited by file size
loss of physicality and uniqueness
dependent on technology
 start: identify purpose step 1

what are the common

portfolio types

Be aware that across the common media forms, there are

essentially three broad types of portfolios in both academic
and professional scenarios:

• sample portfolio
• full portfolio
• leave-behind

what is a sample
portfolio

The sample portfolio serves as a concise and practical version DON'T jam your
of your full portfolio. The primary purpose of a sample portfolio sample portfolio
is to pique the interest of your audience and create a positive with too many
impression, often before an interview. Although sample images. Usually
portfolios are mainly used for professional audiences, they
two images per
can be valuable or even required in academic situations. This
page are enough.
heavily curated version allows you to highlight your most
representative and relevant work, giving your audience
a clear idea of your expertise and your character. As the
emphasis in a sample portfolio is on quality over quantity,
focus on highlighting a few key projects in detail, accompanied
by concise descriptions, and impactful visuals. To keep it
succinct and to the point, aim for 5–15 pages, including a bio
summary and resume.

what is a full
portfolio

A full portfolio, on the other hand, should be a much more

comprehensive presentation and is still commonly used as
the first introduction via submission or email. In a professional
environment, however, it is not uncommon to present this full
version of your portfolio after an initial interest has been
shown in response to the sample portfolio. The full portfolio

12
 start: identify purpose step 1

gives you an opportunity to expand on a number of presented

projects and allows you to document them with more extensive
narratives and complete sets of drawings and visuals.

Even though a full portfolio does allow you to elaborate,

keep in mind that brevity has value in a busy world. Your
portfolio need not include every project you've completed.
Strive to achieve a balance between showcasing your
projects and not overwhelming your audience. Therefore,
for a professional audience, it's best to stay within 50 pages
as a more extensive document may lose the audience's
attention or even give the impression of being inadequately
curated. In academia, especially, the true measure of success
lies not in the number of projects, but rather in their depth,
intellectual rigor, and research endeavor. A concise, impactful
presentation formatted to 20–25 pages should send a clear
and confident message that still effectively highlights your
accomplishments.

DO highlight If you are a student entering the profession for the first time,
award-winning your full portfolio should feature a diverse selection of all the

or completed projects that have shaped your architectural perspective and

illustrate your range as a designer. In other words, showcase
projects, if you
not only visually striking designs but also any specialized
have any. It
skills acquired during your studies, such as 3D modeling,
emphasizes your
rendering, or proficiency in specific software relevant to
success.
the job. For an early professional /1–3 years experience/,
make sure to include various projects at different stages of
development, unveiling your enhanced design and technical
abilities. Presenting one or two pieces of your student work
can also be beneficial, as employers are still interested in
your foundation. As you advance in your career /3–8 years
of experience/, the full portfolio should reflect your well-
rounded knowledge and experience in the field. This means
focusing on presenting your best work while maintaining
diversity.

13
 start: identify purpose step 1

what is a
leave-behind

Following an interview meeting, it can be a thoughtful gesture

to provide a "leave-behind." A leave-behind is typically a single
printed piece that features a single project or theme from
your portfolio. The goal of a leave-behind is to prolong your
presence after the meeting, serving as a gentle reminder of
the potential you bring to the table. Leave-behinds can take
various forms, including business cards, thank-you postcards,
self-promotional flayers, or even small posters. Despite the
name, a leave-behind can sometimes be sent ahead, before
an interview meeting and act as a preview of your core skills
and attentive interest.

why is flexibility
important

These various portfolio forms and types often overlap and DO keep previous
should not be mutually exclusive. Creating a portfolio is not versions of your
a one-time choice. In fact you may end up using each of these portfolios. It'll save
forms and types, and so adapting a flexible approach might you a lot of time.
be your most important strategy.

The importance of flexibility will become evident as you will DO make your
most likely need to develop diverse portfolios to accommodate portfolio easily
different audiences. Also, as you progress in your profession, customizable
you will need to incorporate new work and refine project so that it can
selections to present evolving skills. Both of these scenarios speak to different
will require serious effort and time to adjust your portfolio.
audiences.
Unless you want to create an entirely new version each time,
embracing flexibility and adaptability will make your core
portfolio remain useful over the years.

Ensuring consistency in the portfolio layout will guarantee

flexibility, allowing you to accommodate diverse content types
while maintaining a cohesive overall design. This is readily

14
 start: identify purpose step 1

achieved by leveraging a modular grid system, enabling the

smooth addition, removal, or resizing of content. You'll find a
detailed discussion of modular grids in Step 5.

— common mistakes

unrealistic
timeline

DO remember Assembling a quality portfolio often requires more time than

that creative you initially anticipate, possibly even two or three times longer.
work requires Assuming that you can complete a good portfolio overnight
concentration. is unrealistic and can result in a poor collection of work that
suggests wishful thinking and poor time management. So
be honest with yourself and establish some appropriate
times within a realistic schedule. While much depends on
your deadline, generally you should give yourself at least a
2–3-hour window when you work. This allows you to fully
focus whenever you are actually laying out your portfolio.
Creative work needs concentration. When your time is limited,
realistically recognizing your available time will help you, at
the very least, to work effectively with a looming deadline.

misalignment with your

audience is wasteful

It is imperative to carefully read the requirements and

expectations when working on a portfolio. In both cases,
professional or academic, neglecting to align the portfolio
projects with the target audience's demands can limit your
immediate opportunities and waste your resources. If you
are a professional, you must go through the job description
closely, paying attention to the software requirements,
personal qualities, experience and qualifications. For academic
portfolios, it is crucial to align your portfolio projects with the
program's interests and particular specialties.

15
STEP 2

organizing

curating

pacing

common mistakes
 CURATION
GATHER AND EDIT

After you clarify your purpose, the next step is to gather your work. This process may
seem overwhelming, particularly if your files lack systematic organization. This Step will,
therefore, first focus on establishing an effective organizational system, one that will
facilitate the current portfolio process and also pay off with effortless future referencing.
The main aim of this Step, however, is to guide you in the curation process: how to plan
out and strategically select your work.

— organizing

why start
with organization

DO organize your To ensure a smooth and efficient portfolio creation process,

files! You will save you need to dedicate some time to organizing your files into
time, energy and a meaningful categories for easy and quick access. This process

lot of frustration. should include adequate labeling of your digital files. Often,
though, this organization process is neglected and put off to
some never-arriving moment when "I'll have time to organize."
But actually, it is a time-saving practice that pays off right now
in the portfolio process as you thoroughly evaluate and curate
your work. And down the line, you will greatly benefit from the
organizational effort as it'll be easier to locate specific files or
track progress. If you haven't implemented this strategy, now
is an ideal time to establish it in your workflow. While there
are many ways to organize your work, the most effective way
is to think in generic categories such as:

by chronology – dates, weeks,... •

by types – plans, visualizations, research,... •
by medium – Rhino, Revit, Photoshop, 3d Max,... •

17
 curation: gather and edit step 2

As you go through the categorization process, it's possible

you'll come across forgotten projects that may have the
potential to be a part of your portfolio. At the same time, it's
also possible that there are some projects with no value.
This presents an opportunity to eliminate irrelevant files and
archive others. Clearing the clutter will ultimately make it
easier to manage the works with definite or potential value.

why use
a label system

Effective file organization is not just about arranging files

in a systematic manner but also about assigning clear and
descriptive names to them. This may seem like a small step,
but it can save you a lot of time and effort in the long run, as it
allows you to quickly recognize the contents of a file without
having to open it first. Such a label can look like "DublinHall
ExteriorRenderingWithEffects" or "MiamiMall_ElevationB_
LineDrawing." A recommended practice is to start the label
with a date and then continue with naming the specific
outputs and their details, such as the "2024.10.17_Miami Mall.
ElevationB.Line Drawing." This practice is particularly helpful
if you have a lot of iterations of similar files.

So, next time in the midst of a hectic schedule, while it may

be tempting to overlook this step, take a few extra seconds to
name your files appropriately. This simple act will streamline
your work.

why archive
work files

Archiving your work on a regular basis is absolutely critical.

As a student, you should archive your work at least once every
semester after your final review. As a professional, it's good
practice to archive your work every six months. Archiving
involves a level of curation. You don't need to keep every

18
 curation: gather and edit step 2

DO get used to last file, but you want to hold on to every file you might need.
backing up your However, in addition to archiving, you should also back up
files. It's going to your files, which should be done repetitively but without
save you time and worrying about curation. This precautionary measure of

a headache. always maintaining a copy of your work will prevent you

from completely losing your files in case of any unexpected
technical issues.

how to properly
photograph work

Good organization also requires a good recording of your work.

Physical models can be difficult to manage and store over
time, but establishing and maintaining a good photographic
record of your creations will always pay off.

When it comes to model photography, you want to match the

excellence of the work itself with professionally executed
photography. Therefore, to achieve high-quality photographs
of your architecture models, you need to ensure that you have
the right equipment, such as:

a good camera •
good lighting •
plain, solid backdrops •

DO consider Good cameras with a high resolution are more easily

back-lighting your accessed these days, but don't take your camera work for
granted. Additional accessories or techniques, such as a
model to create a
tripod or a steady surface, may help you avoid blurring the
dramatic effect.
images. Likewise, if working with a professional camera,
using a remote trigger can further minimize camera shake.
Adequate lighting also shouldn't be taken lightly, especially
when it comes to highlighting the details and the textures of
your model. To achieve quality lighting, it's best to work with
two light sources. The first one should be a direct light, which
points straight at the model and creates shadows. The second

19
 curation: gather and edit step 2

file organization examples

Project A

ProjectB

workstation / windows, mac

Project c

backup / UBS, HDD

 curation: gather and edit step 2

Project A_2021 Project A_2021_January Project A_2021_January_week1

Project A_2021_February Project A_2021_January_week2

Project A_2021_January_week3

ProjectB-drawings ProjectB-drawings-plans ProjectB-drawings-plans-arch

ProjectB-drawings-section ProjectB-drawings-plans-MEP

ProjectB-drawings-plans-struct

Project c.Rhino Project c.Rhino.Studies Project c.Rhino.Studies.Massing

Project c.Rhino.Final Project c.Rhino.Studies.Interiors

Project c.Rhino.Studies.Facade
curation: gather and edit step 2

one is indirect light, which should diffuse the shadows. This DO include
light can be reflected off a wall or, the best option if available, recognizable
an umbrella. Alternatively, you can also use a diffuse light objects in the
— as filtered by translucent fabric, for instance — that will photo to convey
create soft, natural-looking light. The backdrop should be a the scale of the
neutral color sheet or a surface of solid color that doesn't
model.
distract from the model but instead complements it. If you
are fortunate enough to have access to photography studios
at your school or firm, it is definitely worth considering
using them. If you are new to model photography, it's best
to reach out to experienced professionals with technical and
compositional experience to help elevate the quality of your
photos.

When photographing your models, keep in mind that plain or DO back away
mundane views without a clear purpose provide no message. from the model
Instead, make sure that the views you take help the audience when taking
understand your intentions and the main ideas of your project. elevation views
Experiment with different perspectives, focuses and framing,
to prevent
as well as angles, such as eye level, overhead and close-
keystone
ups. Keep experimenting until you achieve a holistic view of
distortion.
your model with all the richness and essence of your design,
including the model's intricate details and tactile qualities.
Finally, remember that your model may be beautifully
designed and constructed, but the photograph still needs to
capture its quality and meaning. If your photographs don't
do justice to your model, it may be necessary to refine your
model or to develop your photography technique more fully.

After you capture your images, it's worth considering post-

processing to enhance the photographic quality and bring
out the image's full potential. Image editing software such
as Adobe Photoshop, Lightroom, or GIMP can help take
your photos to another level by utilizing simple tools such
as contrast, saturation, brightness, and sharpening. Post-
processing is also essential for removing any unwanted

22
 curation: gather and edit step 2

defects like disruptive background elements or dust spots

that may have been present in the original image. Additionally,
keystone distortions, which are simple perspective anomalies
created by the angle of your viewpoint, can be easily corrected
with an image transformation tool available in image editing
software.

how to do outdoor
photography

DO pay attention Photographing a physical model outside is also possible

to the weather and sometimes unavoidable, particularly if you have an
forecast to plan outdoor installation. Shooting outside comes with various

out photographing challenges and considerations that are different from an

indoor setup, but you can leverage these potential problems
outside.
to your advantage. For example, the unpredictability of the
most significant factor, natural light, is often considered a
disadvantage. However, by paying extra attention to the
direction and quality of light throughout the day, you may
be able to discover unique lighting atmospheres that add an
authentic touch to your photographs. If you do not have the
luxury of time, taking photos during the golden hour /early
morning or late afternoon/ is often a favorable option, as the
light is soft and warm. Alternatively, you can take photos on a
cloudy day when the light is more diffuse. Be mindful of harsh
shadows caused by direct sunlight /especially midday/, which
can affect the visibility of details on your physical model.

Outdoor photography also depends a lot on the background

and composition. While you may have limited options, it's
best to keep the background to a minimum to avoid visual
distraction, which will make photo editing easier. The
background you choose should complement your model
without overpowering it. Similarly, a sufficient contrast
between your model and the background is necessary for the
model to stand out. Make sure to capture your model from a

23
 curation: gather and edit step 2

variety of angles to provide different perspectives and options

for the background. If you are shooting outdoor installations,
use objects or figures in the foreground and background to
add depth, scale, and interest to your composition. However,
be careful with unrelated objects that are not on the same
scale as your model, as it can create a visual discord. In such
cases, either remove the object /manually or later by photo
editing/ or match your model to the scale of the object with
an appropriate distance.

curating —
how to select
objectively

Once you have done the work of organizing your projects DON'T treat your
and understand what you have available, you can begin the portfolio as a
preliminary selection process. The biggest challenge you may catalog of your
encounter as you start your selection and, in fact, through work history.
the whole development of your portfolio, is to objectively
evaluate your strengths and qualities. This challenge requires
you to take a step back from your own design work and look
at it as objectively as possible. Inviting other eyes, such as
classmates or coworkers, can provide valuable feedback
and fresh perspectives, helping you better understand how
others perceive your work. Don't hesitate to ask for input
during the preliminary selection as well as during the more
focused curation process.

what are
the selection aims

The first and foremost consideration in selecting your work

should be to prioritize quality over quantity. This means
being conscientious and critical and only including projects
that truly showcase your strengths and the breadth of your

24
 curation: gather and edit step 2

skills. A good starting point is to choose projects that have

received recognition for their quality, such as those with
higher grades, competition wins, or positive feedback from
clients or colleagues. However, as you gain more experience
through professional experience or studies, you'll better
understand your strengths and may consider including
projects that may not have been ultimately successful but in
which you recognize quality and potential.

DON'T include When curating images for your projects, remember that
similar projects. the images you choose should convey diverse and unique

Instead, choose information. Even if multiple images are equally compelling,

prioritize those that best showcase your potential or tell the
ones that expand
viewer something different or new. Including multiple images
the portrait of you.
showcasing the same or similar information may increase the
number of your best sure-fire images but could also reduce
the attention given to more unique works. If you just stay
with what's obviously best for you, some valuable images
that could enhance and better communicate your project or
even your identity may get squeezed out of your final curation,
DO keep in mind especially since your portfolio length is often constrained.
that image Therefore, you must be strategic in the selection process to
diversity shows ensure your project conveys a full range of the best material
depth. within the limits of your space.

how to begin with

preliminary selection

DO remember Curating can be an overwhelming and time-consuming

that three great process. However, there's a way to make this decision-
images are better making process more manageable — by categorizing your
work into three groups: YES, NO, and MAYBE. This project
than seven good
grouping method should help you to evaluate each project
ones.
or image on its own merits and assign the appropriate label
based on project quality, clarity and visual appeal. As you are
categorizing all of your work into these three main groups,
try to keep these five questions in mind:

25
 curation: gather and edit step 2

• Is the work complete, thoroughly done?

• Does the project exhibit clarity?
• Do I have a variety of project typologies?
• How much reworking will a lesser project need?
• Is the work distinct, part of my identity?

which projects to put

into the yes category

Generally, the group "YES" should feature all the work

that strongly presents your skills, technical and creative
processes, and design ideas. Remember that for both
audiences, academic and professional, it is essential to
include a variety of projects. Generally, you want to present
projects that demonstrate the following qualities:

• design potential – design projects, visual representation

• technical understanding – technical drawings, construction details
• scope of experience – projects, internships and competitions
• interests – specialized skills, academic research

Beyond selecting your strongest work, however, you need to DO include

remember your specific goals and align your curation with physical models
your target audience. For instance, if you're applying for a in your curated
position in a residential firm, your focus should be on a certain selection to
typological range. Beyond showcasing a series of typological
present your ideas
projects, your portfolio would benefit by presenting projects
in diverse ways.
with distinctive and creative design features, along with
an understanding of construction details. You want to help
prospective employers or clients get a sense of your design
style and capabilities and give them a sense of what would
set you apart from others in residential design. However,
if you are pursuing a graduate program, you should aim to
highlight not only your exceptional design projects but also
your intellectual curiosity and distinctive research interests.

26
 curation: gather and edit step 2

DO select some Although alignment must shape your curation, don't give up
sketches to show on presenting a balanced portrait. Choose additional works
how you think. such as art pieces, photography, graphic design, or any other
examples of creative effort and rounded interests. These
can serve as practical demonstrations of your abilities and
contribute to telling the story of your unique identity and
appeal. If you manage to compile a well-rounded portfolio, you
are much more likely to communicate your abilities effectively
as well as stand out in a competitive environment.

which projects to put

into the no category

DON'T present Category "NO" includes all work that is not relevant to the
only collaborative portfolio's purpose, unfinished projects, weakly executed or
projects. Instead outdated work. Also, if you have a collaborative project where

present only one you had a minimal role with limited impact on the design or
its execution, it's also best to place it into the "NO" category.
or two to show
Such projects ultimately reveal your weaknesses instead of
your teamwork
highlighting your strengths. Keep in mind that it is for your
abilities.
own benefit to be overly critical in this evaluation process.
So don't feel guilty about eliminating projects that could
endanger your success or, at the very least, bring the guilt of
using others' talents.

which projects to put

into the maybe category

DON'T forget that The last category, with the label "MAYBE," comprises projects
early student work that are not absolutely essential but could still provide some
/that has good value to your portfolio presentation. Perhaps the images are

intentions/often strong, but you are uncertain about their relevancy to your
audience. The "MAYBE" collection will also include projects
needs revisions
that may have potential but need further development or
and additions.
refinement to become part of your portfolio. Whether or not
to include any of them in your final curated collection depends
mainly on three key factors:

27
 curation: gather and edit step 2

• your available time

• the number of such projects
• the project's diversity

If you are revisiting at least some work from this category,

don't hesitate to refine some of the content of those projects in
the "YES" category as well. Remember, it is a common practice
to revisit work created earlier in your career, but it's always a
question of prioritizing your time when you consider revising.
Early work does not have to be re-imagined, but drawings and
overall presentation should be brought up to your current
standards. If you're short on time, always focus on quality
over quantity and remove any subpar projects or images from
the final curation. Even a single poor image can undermine
a lot of good work and hurt your chances of securing an
important opportunity.

When you do revise your work, you ought to develop a habit DO create a copy
of preserving your original files. And so, before making any of your original
edits, always create a copy to ensure that your original image before you
work remains intact and unchanged. This way, you can feel edit it. Always.
confident experimenting with different editing techniques
without worrying about losing your original work.

what to present without

an architecture background

If you are applying for a graduate architecture program

without an architectural background, you may be unsure
of what to include in your portfolio. Keep in mind that your
portfolio should showcase not only your visual thinking skills
but also your overall thought process. So, as long as your
portfolio reflects your creative potential, critical thinking,
problem-solving and enthusiasm for the field, your application
will be taken seriously.

28
 curation: gather and edit step 2

DO remember that While some programs require basic drawing skills and
a variety of project three-dimensional aptitude, others evaluate your overall
groups shows the potential. Either way, you shouldn't dismiss the opportunity
versatility of your to visually communicate your ideas in some form and should

skills. try to develop some visual representations before applying

to school. Any creative project that presents your current
design sensibilities can be a tremendous asset. For example,
projects such as simple drawings, paintings, photography,
or even pottery can bring valuable dimensions to your
portfolio. If you are more technically inclined, you might
want to showcase your proficiency in digital tools such as
3D modeling, graphic design, or any software that can be
useful in the field of architecture. Additionally, incorporating
personal projects related to architecture or design, such as
home renovations, custom furniture pieces, or some interior
designs, can be equally impactful. If your background is much
more scientific, presenting research papers or essays related
to design or relevant fields can also reveal your potential
as a creative thinker. Lastly, remember that a well-written
statement demonstrating your motivation in architecture can
outweigh specific gaps in your skills.

The bottom line is to emphasize your individual strengths and

interests and to present your work in a clear, compelling design.

— pacing

why pacing
matters

The pace at which you present your portfolio can impact how
viewers engage with, comprehend, and appreciate your work.
Organizing your projects in a deliberate and purposeful way

29
 curation: gather and edit step 2

that creates a rhythm will allow your audience to perceive

each piece individually as well as the context and progression
of your work.

There are various ways to organize your projects, each with

its own advantages and disadvantages. Unless your audience
requires a specific organization, you should aim for creativity
and originality. A less predictable pattern can pace your
content in a more engaging and captivating manner. Here
are basic strategies you can start with:

• chronological method
• three-act method
• category method
• relevancy method

what is the
chronological method

A chronological order is perhaps the most used method DO consider fewer

because it's straightforward and often required, especially projects, and more
when it comes to academic applications. Its forthright nature pages and depth
provides a clear and concise snapshot of the progression per project.
of your interests and skills, design ideas, and level of
responsibility throughout your architectural education and
professional experience. An alternative approach is to adopt
reverse chronology, starting with your most recent and likely
more refined project, unfolding your development backward.

However, if you have the option, it may be worth considering DO switch up the
another, less conventional pacing method. The typical length of projects.
chronological approach, being the easiest and most common, It will enhance the
might make your portfolio appear less distinct than others. rhythm of your
More importantly, this approach is less likely to grab the portfolio.
viewer's attention right from the start with your early work.
Your most developed or maybe even most relevant project
gets buried toward the end as interest fades away.

30
 curation: gather and edit step 2

what is the
three-act method

DO consider Arranging your portfolio in a three-act or "sandwich" method

starting with involves placing a compelling project right at the beginning

your strongest to make a powerful first impression, followed by strategically

interspersing stronger projects within your portfolio to
project to grab the
sustain curiosity, and finally, showcasing the most striking
viewer's attention.
project at the end for a lasting resonance. The less impressive
work then will act as transitions, placed between these three
stages, while still maintaining a steady level of interest from
your viewer. This strategy can, therefore, create a sense
of rhythm and engagement, guiding the viewer through a
dynamic story of your skills and accomplishments.

The success of this strategy, however, depends a lot on the

quantity of your projects and especially on the quality of your
work. You shouldn't implement a three-act method if you are
working on a brief sample portfolio, for example, or if you
have yet to develop enough presentable work. To convey your
meaningful narrative, you must have a substantial amount
and depth of portfolio content /at least five projects/ that can
effectively engage your audience.

what is the
category method

Under the category method, you sort your projects into

simple, logical groups and present your work one group at a
time. This approach inherently establishes a natural cohesion
in the narrative you present.

While you have the flexibility to define your groups in various

ways, some of the most apparent categories include:

31
 curation: gather and edit step 2

portfolio pacing

chronological method

early projects strong project at

1 of your creative
development 1 the beginning

2
2
3 strong projects

3 in the middle

4
recent projects
4 lesser projects
5 of your creative
development
in between

5
6
6
7 7
one of your best

8 8 projects at the end

three-act method
 curation: gather and edit step 2

category method

start with projects most

residential
projects, for 1 pertinent to
audience 1
instance

2 2
then,
commercial
projects 3 3
4 4
next,
institutional
projects 5 less relevant
projects in 5
between and
toward the end
6 6
finish, strong, relevant
for instance, with
furniture design
7 project at the end
7
8 8

relevancy method
 curation: gather and edit step 2

• by typology /residential or commercial, or more specifically

multi-dwelling, retail, schools, etc./
• by design field /architecture, product design, photography/
• by experience /professional vs academic,
undergraduate vs graduate/
• by intent or objective /built, unbuilt, speculative,
competitions, experimental/

This method empowers you to discuss and highlight a

specific category that aligns with the job requirements or
the interviewer's interest. The ease of reordering categories
also works to your advantage, allowing you to tailor your
presentation for different audiences by prioritizing sections
that are most relevant to a particular audience while keeping
the others accessible as a backup.

While the approach offers flexibility, it may fall short in DO name your
creating a strong initial impression since your organization categories
of categories doesn't necessarily start with your best work. distinctively
Therefore, you should give special attention to the sequence to prevent any
and pacing of your projects, both from one category to another organizational
and within each group. Otherwise, your most impressive
ambiguity.
work may not be highlighted and get overlooked beneath the
overall organization. Also, since this method relies on having
diverse sets of projects to be able to create categories, it may
not be a feasible strategy if your work lacks the necessary
diversity.

what is the
relevancy method

The relevancy method places a primary focus on the

audience's perspective. It organizes your work based on
how important and relevant each project would be to your
audience. To implement this approach and to make an
immediate connection with your audience, you begin by

34
 curation: gather and edit step 2

emphasizing projects that best align with their needs. Then,

you move on to projects that more fully demonstrate your
skill set and professional identity. Whether demonstrating
problem-solving abilities, technical proficiency, or design
thinking skills, your aim is to guide the audience through
your experience in a way that resonates with their interests
and priorities. Finally, conclude your portfolio strongly by
choosing a last project that encourages discussion of their
primary interests.

DO consider The engagement and focus that come with the relevancy
starting your method make a strong case for this being your best choice.

portfolio with a However, if you don't have a clear understanding of your

audience's interests and needs, this approach might not be
built work, if you
effective. Similarly, its effectiveness diminishes if you lack
have any.
enough projects that directly resonate with the audience.
Lastly, if you are looking for a flexible approach, this method
may not be the most suitable as it requires reordering your
projects for each new audience.

— common mistakes

poor
curation

A comprehensive overview of your projects should be your

prime concern when creating a portfolio. But that doesn't
mean that you need to include every single image of your
project, which often leads to an overloaded layout /see
common mistakes 1/. In such instances, viewers are likely to
struggle to recognize your best work amongst all the clutter
and move to the next page as they get overwhelmed with too
much information. You should be profoundly selective when
curating. Make every single image count!

35
 curation: gather and edit step 2

A weak curation is especially evident when it comes to

presenting redundant or similar images /see common
mistakes 2/. Since these images don't add any additional
value and take up valuable space, which dilutes the strength
of your presentation, you need to do your curation judiciously.
Each image should serve a purpose in demonstrating different
aspects of your project.

poor
photography

Regardless of how impressive your model may be, poor- DO use a backdrop
quality photographs can quickly diminish its quality and take or set up a neutral
away from its overall visual appeal. This is especially likely to surface to isolate
happen when rushing through the process of photographing the model.
models, particularly when recording for future reference
without a specific purpose. This haste often results in images
that are blurry, less detailed, or captured from uninteresting
angles, failing to highlight the uniqueness of your model
/see common mistakes 3 and 4/. Taking time to experiment
with different angles and positions can help you find the best
visual and informative essence of your model that can fulfill
multiple purposes.

Similarly, neglecting a proper setup can fail to do justice

to your model. Scenarios such as taking photographs in
cluttered rooms with poor lighting can distract viewers from
your work and obscure important moments of your model
/see common mistakes 5/. Therefore, make sure to create a
neutral, clean, and well-lit setup. It can elevate your model
tremendously.

36
 curation: gather and edit step 2

presenting
others' work

DON'T forget to Always give proper credit to all the contributors while
ask for permission presenting collaborative work. Otherwise, it can badly impact
to use projects your professional image. Although showcasing a project you

that were created collaborated on underscores your ability to work within a

team, you should clearly outline your project responsibilities
in an office.
and contributions in a specific way and then give proper
credit to everyone involved. Your prospective employers
or academic committees can then better understand your
abilities — as well as recognize your integrity.

careless
attention

DO acknowledge The quality of a portfolio is a direct reflection of the effort and

your weaknesses. dedication invested in the work. If your portfolio lacks effort and
It's part of finesse, it could reveal unprofessionalism and carelessness.
This usually comes about through failure to revisit and refine
recognizing your
your projects, resulting in an unfinished, unpolished, or even
strengths and
incomplete portfolio. The impression of carelessness may
selecting projects
also stem from a lack of thoughtful presentation of your work,
strategically.
which might indicate that you haven't taken the time to select
your best pieces. Investing time in selecting and refining your
work with care will reflect your commitment to good work
and attention to detail — qualities that are highly valued in
professional and academic settings.

37
 curation: gather and edit step 2

common mistakes

poor curation

1/ 2/ 2/

1/ Including too many images 2/ Including images that resemble

can dilute the impact of otherwise each other or don't have any
strong works. additional value can bore and
disengage the audience.

Well-done curation is not about

the amount of your content but
its quality. Therefore, be strategic
and include only those images that
reflect the variety of your skills
and, most importantly, offer new
information.

images this page by lucas denmeade

 curation: gather and edit step 2

photographs

3/ 4/ 5/

3/ Low resolution hinders a model's 5/ Inappropriate background with

visual appeal. poor lighting can diminish the
4/ A poor angle may lack depth perceived quality of your work.
and obscure a model's spatial
relationships.

Photograph your model from

angles that reveal its best qualities.
Use a simple background to keep
the focus on the model itself.
Optimize camera settings for high
resolution.

images this page by lucas denmeade

STEP 3

selecting a medium

physical portfolio

portfolio print process

digital portfolio

portfolio process to screen

selecting a format

online portfolio

website portfolio process

common mistakes
 FORM
BASIC CHOICES

Once you have done your initial planning and have selected your work, it's time to start
thinking about how you want your portfolio to look. This Step will go over the broad
presentation choices available to you and what to keep in mind while deciding the overall
form of your portfolio.

— selecting a medium

where to start
with the basic choices

At this point in the process, you should have already identified

your target audience and thoughtfully curated a collection
of your work. Maybe you even have a general sense of how
you want your presentation to flow. Now, you can move
forward to some other important choices. First, you need to
determine whether to use a physical or digital medium for
your portfolio. Then, you decide on the format, proportion,
and page orientation. Or perhaps you just want to create a
portfolio as a website. Even if the demands of your intended
audience already predetermine most of these decisions,
or if you already have a clear sense of how you want your
portfolio to look, you should still take time to go through
and understand the choices presented in this Step. That way,
you can be aware of all the options available within each
medium, and you can be sure to understand the constraints
and potentials that will shape upcoming design choices.

41
 form: basic choices step 3

how to choose
a medium

Before diving into the specifics of each medium, keep in

mind that in today's increasingly digitalized world, having a
strong digital portfolio at the early stages of the recruitment
process is a baseline. Whether it's for professional or
academic purposes, the majority of requests will likely
involve sending or uploading a digital version, even if you
have your own website. While the need for a physical portfolio
has become much more optional, it still holds strong value.
This becomes evident, especially during the interview process
where tangible material makes for effective communication.
Regardless of your choice, be aware that each medium comes
with a variety of options, challenges and distinctions that may
impact your design decisions. The following sections will
address and evaluate the pros and cons of all your choices.

physical portfolio —
what are the benefits
of a physical portfolio

Physical portfolios have distinctive qualities. The tactile DON'T

experience of a physical portfolio can highlight the quality underestimate the
and detail of images in a way that screens simply cannot. In power of tactile
an interview, for instance, a physical portfolio can facilitate experience. It has
communication between you and your potential employer a real impact.
or client, as the act of physically presenting and discussing
the contents of your portfolio can help you articulate
and contextualize your work, making the interview much
smoother. Such interaction may be challenging to replicate
with a digital portfolio.

Compared to devices like iPads and computer monitors, a

physical portfolio creates a more tangible and memorable

42
 form: basic choices step 3

DO remember experience. Your hands working along with your eyes create
that a well-crafted a stronger memory. Unlike simply swiping through images
physical portfolio displayed on a screen, the physical aspect of the paper also
will show off your encourages the viewer to go through every single page,

determination. thus immersing the viewer in your work and suggesting a

slower pace and fuller experience. Moreover, with a physical
portfolio, you establish a much more distinctive identity
outside of a viewer's constant and repetitive screen time,
and therefore, you have a much higher chance to separate
yourself from the competition.

In the broad view, the overarching benefit of a physical

portfolio is that you have full control over how the viewer sees
your work — precisely as you have designed and executed it.
This inherent strength of physical portfolios contrasts digital
portfolios, which, despite your best designs, might end up
displaying differently on various screen qualities and sizes.
Additionally, don't overlook another benefit of a physical
portfolio. In order to format and lay it out for printing, you
essentially first create a digital portfolio. From that, you can
easily create a shareable digital portfolio. It's a versatile
advantage that creating a physical portfolio requires creating
a digital one.

what are the drawbacks

of a physical portfolio

Naturally, however, a physical portfolio also has drawbacks.

Physical production can be a substantial investment of both
money and time, especially when you need to update and
tailor your portfolio to various audiences. Costs associated
with print tests, final prints, paper, cover and binding all need
to be taken into account when working on a physical portfolio.
Additionally, making tweaks and adjustments to get it "just
right" can be more challenging with physical production as
opposed to the flexibility offered by digital media.

43
 form: basic choices step 3

The physical portfolio takes time. A desirable presentation DO stick to the

for your portfolio will require patience and careful layout, but standard printed
the process of physical production — color-checking, printing, sizes to avoid
reprinting, binding — presents its own set of time-consuming inefficiency and
challenges that are often slow to resolve. Moreover, errors in high cost.
the final product can be difficult to fix. Yet, the tangible sense
of production and finality contributes to the innate quality
of a physical portfolio. If time is your constraint, however, it
may be best to avoid creating a physical portfolio. While a
well-crafted portfolio can really impress, a poorly executed
one can actually work against you.

how your print production

may limit your choices

A lot of important decisions will revolve around the early

pivotal choices you make about your printing method, such
as the printer type /inkjet, color laser/, printing service
/professional or self-printing/ and binding options. As you
make your decisions, be aware that the size of the paper you
select will profoundly impact the overall appearance of your
portfolio, potentially shaping and even limiting the visual
style you hope to achieve. /Later in this Step, paper sizes
and formats are discussed./ Below are some considerations
that may help you to assess your printing and binding choices.

what to know
about printing methods

Printing with both inkjet and color laser printers is affordable

and readily available today. However, when deciding which
one to use, you should consider the quality of color output
and printing speed of the printers, both of which impact
portfolio production. Inkjet printing can produce stunning,
high-resolution color output, resulting in a more visually
appealing final product. However, the inkjet printing process
can be slow, particularly when handling large files with high-

44
 form: basic choices step 3

resolution images, making it a potentially time-consuming

endeavor. On the other hand, color laser printing is relatively
fast, though it may not provide the same level of color quality
and image clarity as inkjet prints. Ultimately, the output of
specific printers should be reviewed with your own eyes so
you find the quality that aligns with your needs.

what to know
about printing services

DO consider a Despite the quality of home printers available today, you may
print service. It still need to use a professional print service. In the short
will save you a lot run, this could be your least expensive and most effective
of effort, time and option. With a professional print service, you have access
to a broader range of paper types and sizes, consistent
most likely money
print quality and accuracy, various printing techniques and
as well.
especially professional advice and guidance on issues you
may encounter during the printing process. The self-printing
option becomes more worthwhile when working on, for
instance, a concise sample portfolio of six or so pages, or
even better, a leave-behind of a single page.

what to know
about binding

Binding plays a critical role in constructing and designing a

physical portfolio. The binding you choose will greatly affect
the overall look and feel of your portfolio presentation, so
don't take this decision lightly. What follows is a review of
the commonly used options for portfolio binding. To begin,
here are some basic questions that can guide your binding
selection:

Should the portfolio book lay flat when opened? •

Will the images run continuous across page spreads? •
How many pages need to be bound? •

45
 form: basic choices step 3

what about
loose-leaf binding

There is nothing inherently wrong or unprofessional about DO keep in mind

keeping your portfolio unbound. This free form allows flexible that durability
order, which could be easily rearranged to fit your audience. of handmade
A loose-leaf portfolio can even appear more specialized and bindings may be
artistic, given that such portfolios are standard in many compromised if
fine arts. A distinct advantage of a loose-leaf portfolio is the
not done properly.
potential use of unconventional paper sizes, within reason,
and even heavier weights or qualities of paper. But, of course,
there is a danger of your page order being mixed as reviewers
go through your work, or some pages getting misplaced and
lost. And, even if your work stays intact, the actual handling
of your pages requires more attention — or may be perceived
as more bothersome — by your reviewers.

If you do consider a loose-leaf portfolio, it is especially

important to manage your presentation professionally to
avoid any sense of sloppiness or haphazardness. That being
said, a loose-leaf portfolio should be encased in a folder made
of durable and high-quality materials that reflect the same
level of thoughtfulness as the content inside.

what about
wire-o binding

The Wire-O binding is a relatively cost-effective option DON'T use

that provides a refined, professional look. One of its main plastic coil
advantages is that it allows pages to turn effortlessly and binding. It looks
lay flat, eliminating the need to hold them open. This makes unprofessional
page-to-page reviews simple and clean for your presentation. and is aesthetically
The wire size and loop diameter can vary depending on the
unattractive.
number of pages and the paperweight. This is why you should
pay close attention to selecting wires and loops that are not
overly large but still facilitate easy movement of your pages.

46
 form: basic choices step 3

While the Wire-O binding method does not prevent you from
allowing images to span across the spine, the physical gap
created by the wire connection will disrupt such images. If this
visual obstacle is not aligned with your design intentions, you
may need to consider a different binding method.

what about
soft perfect binding

Perfect /or softcover/ binding is the method wherein pages

are glued together along a spine, and then a cover gets
wrapped around and glued to the solid spine of the inside
pages. Without a doubt, this type of binding gives your portfolio
a clean, aesthetically pleasing and professional appearance
at a reasonable cost. One of the key advantages of perfect
binding is that it creates a compact spine that lays flat on
a surface without wire connectors or the bulge of stapled
paper. Additionally, this binding allows images to span across
two-page spreads.

DO consider a If you're planning on printing a portfolio with fewer than 30

binding that keeps pages, perfect binding may not be the most suitable choice.
The reason is that the spine requires a substantial amount of
the portfolio
paper for the glue to take hold and secure the pages together.
flat when open,
Another downside to consider is that, despite its neat exterior
allowing viewers
appearance, perfect binding causes pages to not lie flat
to fully see your
when opened, requiring more effort from your audience for
work.
hands-on browsing. Additionally, the glued binding creates
an area that becomes obscured in spreads, with each page
disappearing into the spine. This can pose challenges in
viewing the content and even result in losing some content
near the inside binding. Nevertheless, there are workarounds
for this issue, and Step 5 will delve into them.

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what about saddle

stitch binding

Saddle stitch, also referred to as stapled binding, stands out DON'T use overly
as one of the most cost-effective and commonly used book expressive binding
binding methods. This technique produces a simple, reliable, such as ribbons,
yet aesthetically pleasing appearance. The process involves
twine, bolts and
stapling together a set of two-page spreads at their folded
other handiwork.
center. Because of its flexibility to accommodate a variety of
paper sizes, this option offers you more choices for the size of
your portfolio. Moreover, with a subtle crease at the fold, this
binding technique enables images to seamlessly span across
two pages. Lastly, this binding technique allows the portfolio
to lie relatively flat when open, which permits every bit of
content to be seen right up to the interior edge without any
major distraction of connectors or curved pages at the spine.

One of the main drawbacks of saddle stitch binding is that it

becomes increasingly difficult to bind together as the number
of pages increases. Typically, this binding method is well-
suited for projects with a page count ranging up to about 60,
although this largely depends on the paper's thickness. If you
try to staple-bind thicker papers or a higher amount of pages,
a mechanically folded crease becomes necessary to reduce
the bulkiness of the fold. In such cases, it might be better to
contact a print service.

what are the

cover options

The cover of your portfolio serves as an extension of the DON'T try to

content within. Given that the tone of your physical portfolio over-design
cover should be influenced by your entire body of selected your covers with
work, it is ill-advised to design the cover before completing perforations, or
the inside content. However, you should start considering
embossing.
what type of cover you want to use. You can choose between:

• softcover
• hardcover

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 form: basic choices step 3

Softcovers are flexible covers made of heavy-weight paper

such as cardstock or bristol, and they can be used with various
bindings. The pages can be glued to the spine for perfect
binding, folded and stapled for saddle stitch, or punched and
threaded for a wire-o binding. The downside of soft covers is
that they are likely to fray more quickly with the less durable
cover material. On the positive side, their lightweight nature
makes their use and transport easier. Also, softcovers are
more affordable as their production is less complicated.

Hardcovers are bound in stiff cardboard, such as book board.

Attaching a hardcover to your portfolio can be complicated
and expensive, and maybe not desirable since a hardbound
cover tends to be heavy and less flexible. On the other
hand, a chipboard, or museum board, though not as stiff,
provides sturdy shell-like protection and makes a portfolio
significantly more durable and formal than one with a soft
cover. However, if your portfolio needs frequent updates or
if cost is a significant concern, you may want to weigh that
against the advantages of a more formal cover.

why selection of
paper matters

DO consider When creating a physical portfolio, you should give special

using vellum attention to the paper selection. Since physical portfolios are

or cardstock as meant to be viewed up close, the type of paper you choose

plays a significant role in shaping the perception of your work.
section dividers
Here are some of the main characteristics to consider when
and as design
choosing paper:
components.
weight – standard, cardstock, vellum •
finish – matt, semi-gloss, gloss •
color – bright white, off-white, colors •
texture – smooth, rough •

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Each of these qualities can have an impact on the viewer's DO test prints to
perception of your portfolio. To make sure you're selecting check how paper
the best paper for your needs, it's a good idea to check out a quality and type
swatch book at a local print service. Regardless of the paper of printer affects
you decide on, it should align with your budget, aesthetic your work.
preferences and, importantly, its intended use. For a portfolio,
you want to have strong paper, white or nearly white, that you
are certain holds your printed images vividly. Be cautious not
to overwhelm your portfolio with elaborate textures, weights,
or vibrant colors that might distract from the content.

portfolio print process —

why image resolution
and dimension matter

Preparing your work for actual printing requires care and a

little extra patience. Your goal here is to make your images look
as good in print as they do on the screen. Many times, the impact
of an image can be lost in the process from screen to page.
This is because images require much fuller resolution and,
consequently, more file data to look clearer and more vivid on
the physical page than on a screen. Therefore, before jumping
into sample prints, let alone the final prints, you need to re-
examine your image files, check their resolution and dimensions,
and ensure that your files are optimized for printing.

how to optimize image

print resolution

Printed images have the potential to carry more impact, so

despite the fact that optimizing your images for print can
be complex and more time-consuming, the effort can be
quite gratifying. Additionally, mastering image optimization
demonstrates your technical skills in balancing image quality
and size — a much-needed skill in visual fields like architecture.

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DO keep the The bottom line is that an image optimized for print will have
resolution of your sufficient resolution /ideally 300 DPI/ at the width and height
images around that you choose. Also, the image should be in a file format that
300 DPI to ensure best maintains its color, clarity and other qualities, while at

high resolution. the same time, the file data size should be made as small as
possible. The image will need to be compressed if its file data
size is too large for reasonable file handling and printing. Here
are the basic concepts and tools that will help you optimize
images for print:

image resolution •
image dimensions /width and height/ •
file formats and file data size •
compression tools •
color profile •

why image
resolution matters

DO learn how to The quality of a printed image is primarily affected by its

leverage image resolution and dimensions. Image resolution is typically
compression. measured by the number of pixels an image contains, which
is visually reflected in the level of detail the image holds. This
resolution value is abbreviated as PPI /pixels per inch/ or DPI
/dots per inch/. While PPI is typically used for digital input
that pertains to screens, DPI is the standard measurement
for print, which stands for the number of ink dots per inch a
printer deploys on paper. When you are preparing an image
for print, you need to make sure the screen image is adjusted
to at least 300 DPI at 100% of the final output dimensions. If
your file data size is too large, you can reduce the resolution,
but don't go below 180 DPI so as to avoid undesirable pixelation
and diminished quality. However, there are other ways to
reduce the file data size, such as file compression which will
be discussed shortly.

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what are the image

dimensions and resolution

So, for satisfactory print outcomes, an image should have a

resolution of 300 DPI. However, you still must consider the
image dimensions. Finding the right balance between image
dimensions and image resolution is the key to achieving
a high-quality print. The resolution and the dimensions of
an image are inversely related: increase the resolution of
an image and its width and height contract; decrease the
resolution, and the dimensions enlarge.

Without changing the resolution of your image you can DON'T use native
determine the maximum print dimensions for an image by Photoshop files
checking its pixel dimensions. Simply divide the pixel width in InDesign or
and height by 300 to find the maximum dimensions at which other publishing
you can use the image while maintaining a quality resolution
softwares, as it
of 300 DPI. For instance, if your image is 1200 pixels wide
can increase the
and 800 pixels high, divide 1200 by 300 and 800 by 300 to
file size. Instead,
determine the maximum usable width and height of the image.
import standard
This tells you the image at 300 DPI should retain its quality at
file types.
dimensions of 4 x 2.67 inches or smaller. /Or converted for
metric users to 10.16 x 6.78 centimeters./

Still, your image might not be optimized yet, even if it will print
at 300 DPI in dimensions large enough for your needs. You
should still consider your file format and also, if the data size
of your file is large, use compression tools.

which file
formats work best

Using the right image formats can help mitigate the risk of
print quality issues during production, ultimately saving you
time and sparing you frustration. While there are many image
file formats you can choose from, some are more appropriate
for printing than others. Here are some of the file formats you
should use for your images:

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 form: basic choices step 3

Joint Photographic Experts Group – JPEG •

Portable Network Graphics – PNG •
Adobe Illustrator Artwork – AI •
Portable Document Format – PDF •

DON'T use a JPEG is widely used for image editing and printing due
JPEG file format to its good quality and relatively small size. The JPEG file
for graphics format balances image quality with compression, and this
that contain balance can be adjusted in most image editing software.

transparencies. Large image files can become unworkable, but saving an

image as a JPEG file can sort and systematize the data
without sacrificing much clarity or color accuracy. However,
be cautious when compressing and saving JPEG files, as too
much compression will result in image pixelation. It's also
important to understand that JPEG isn't the best format for
graphics with line drawings since it can result in blurring
and fuzziness of line edges. For this same reason, images
DON'T use a JPEG that contain some text can lose sharpness in the letters. Also,
format for images for graphics that contain areas of transparency — diagrams
in which text is a without a background, for instance — the image ought to be
key component. saved in the PNG format, which can support transparency.

PNG is another file format that delivers high-quality images

while still maintaining a relatively small size /though usually
larger than JPEG/. One of the significant benefits of PNG is
its capability to display transparent areas and high-resolution
images with fuller color depths. Another asset /but also a
drawback/ of PNG is that it is a lossless format, meaning it
condenses image data without discarding any information,
unlike the JPEG format. This lossless integrity preserves the
quality of an image, which is why PNG is a good choice for
presenting line drawings with clarity of resolution along line
edges. However, it's important to note that using this format
can result in heavier file sizes, and it's not compatible with the
CMYK color profile typically used in printing, which may cause

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colors to appear muted. Therefore, in cases where color plays

a significant role, JPEG might still be the preferable choice.

The AI file format is a vector-based format that is not suitable

for photographs and other colorful images. However, since
vector images are not pixel-based but rather mathematic
descriptions, they can be endlessly scaled without losing
sharp edges or gaining heavy, resolution-dependent file sizes.
This can be very useful in presenting some line work and
diagrams or even graphics with text. A drawback is that the
AI format is native to Adobe Illustrator software, so it can be
difficult to open and edit AI files if you don't have Illustrator.
But, if the file is saved in other vector formats, such as SVG,
it can still be used in other editing software. With Adobe's
ongoing efforts to improve cross-software compatibility, the
AI format is becoming a more practical format for wider use.
What's important is that AI and other vector image files can
be exported to PDF files which are used for final printing.

The PDF format is quite flexible and a highly favored format for
printing purposes. This format is commonly used as the final
document before printing production because it can include
and maintain the integrity of your edited document's layout
and fonts, as well as all the graphics. Additionally, the PDF's
versatility extends to printing both pixel images and vectors,
making it ideal for the variety of printing tasks encountered
in a portfolio process. However, bear in mind a caveat when
using the PDF format. If your PDF contains a JPEG image it
will consistently be larger than the original JPEG file, as the
PDF does not further reduce the JPEG size.

what are the

compression tools

Bringing your images together into a single printable PDF can

result in an enormous file due to the high image resolutions
needed for printing. How much to compress your images

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depends on your selected portfolio format, destination media

and even software and device capacities. However, don't
sacrifice quality, as it should always be your priority. Strive
for the most manageable size while maintaining quality.

DO always store To apply compression to your files, you have a couple of

the original image alternatives. Image editing software, such as Photoshop or

file. You may need Affinity Photo, already provide a range of compression options.
One method in these softwares involves "re-sampling" the
it in its original
image, which essentially repacks the data while adjusting
quality and
image dimensions or resolution. If you do not want to change
resolution.
the dimensions or resolution, you can re-save a file as a
JPEG and choose from various levels of compression. The
compression range is wide, and the greater the compression
the more you lose data and quality from your image. Always
back up original files before trying compression methods, so
that you can gauge the loss of quality as well as return to
your starting point.

DON'T rely on what Another common and widely used alternative is to explore
you see on the online image compression tools. Websites such as
monitor. Always compressjpeg.com, freeconvert.com, or tinyjpg.com, can
provide pretty effective "lossless" compression /no loss of
test print.
data or quality/ of your images. If your images are compressed
and your PDF file is still large, next you can try to compress
an entire PDF document using these online tools.

why color
profile matters

Much like selecting an ideal image resolution to achieve print

clarity of your images, you will also need to set the proper
color profile to achieve the best color representation in your
print images. Usually, you will want to print files saved in a
CMYK color profile, but understanding why this color mode is
recommended might help you assign the right color profiles
to your files in the future.

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form: basic choices step 3

Since print and screen technology are so different, two

distinct color profiles have evolved, presenting colors to the
eye in different ways. The screen or RGB /red, green, blue/
model pushes color forward with red, green, and blue light
dots /pixels/, and the mix of these primary colors achieves
the color the eye detects. Full-color light mixes with white,
and a lack of lighted pixels reverts to black. This is considered
an additive model, adding light to the black screen. The print
or CMYK model /cyan, magenta, yellow, black/ is considered
a reductive model because it begins with white paper, and
printed color dots reduce the white to a mixture of other
colors, with the maximum ink or toner color on the page
reducing the white paper to black.

Given the distinction between these two color profiles, you DO use a
likely understand why it is so important to convert your digital consistent color
files into CMYK when working on editing software. Without profile within
this conversion, the RGB colors you see on your screen may document for
appear faded or otherwise inaccurate when you print your a cohesive
screen image to paper. You might consider setting up CMYK at
appearance.
the beginning of your workflow, which will allow you to design
with the final print colors from the beginning. Alternatively,
you can convert to CMYK later in your design process, but
be mindful that color discrepancies are expected and may
require time to fix. In case you want to create a portfolio
for both mediums, you might consider working with a dual
workflow. You can start to design in RGB for a broader color
space and periodically check and adjust for how colors will
look when converted to CMYK before finalizing for print. It's
important to note that some recently manufactured printers
can properly handle files with an RGB profile, but this depends
on your specific printer or print services. No matter the case,
you will want to run test prints long before you finish the
printing process to be sure the colors you see back-lit on a
screen translate to the printed paper.

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form: basic choices step 3

— digital portfolio

what is a digital
portfolio

Before considering the digital process, a distinction should be

clearly understood: digital portfolios are still book-like portfolios
laid out in a linear page-by-page presentation. Digital portfolios
most often take the form of a PDF, which can be either printed
or uploaded online. A separate category of digital portfolio
involves websites that serve as your portfolio, accessible to
the public at any time. As this digital type differs inherently
from conventional digital or physical portfolios, the website
portfolios will be addressed separately later in this Step.

what are the benefits

of a pdf portfolio

The architecture and design industry today moves fast and

relies on digital platforms. So, as already emphasized, it is
essential that you have a digital portfolio, whether you are
applying for academic programs or seeking employment.
PDFs are still the widely used and accepted digital portfolio
format. They maintain a consistent visual appearance and
compatibility across nearly all platforms.

Fortunately, both physical and digital portfolios begin their

workflow digitally, which makes it convenient to use the
digital version as a precursor to the physical one. If done
correctly, the adaptability of a digital PDF portfolio will allow
for a seamless conversion from a screen-ready to a print-
ready format whenever necessary.

Unlike printed media, a digital PDF portfolio is easy to present

as a tailored and updated version of your most relevant
projects. This low-effort customization is more cost-effective
than constantly printing new copies every time you make
an addition or update. Lastly, since the digital landscape

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has reshaped the way we not only present but also share
our work, having an easily shareable digital PDF portfolio
allows you to reach a wider audience instantly by uploading
it to social media, online platforms, or sending it as an email
attachment. This strategic advantage permits prospective
employers to quickly and easily get a glimpse of your talent,
which can lead to more opportunities and a quicker decision-
making process.

Nowadays, most PDF authoring tools offer the ability to add

interactive features such as hyperlinks, buttons and multimedia
files like audio, video or GIFs into your design. Undoubtedly,
these tools elevate the engagement of the audience as opposed
to a static PDF. If you choose to pursue this approach, using
software like Adobe InDesign could be one option to transform
your static PDF into an interactive presentation.

what are the drawbacks

of a digital pdf portfolio

On the flip side of the coin, digital PDFs come with their own DON'T expect PDFs
set of drawbacks. One of the most notable downsides is the to work well on
limitation on file size, which can restrict the inclusion of some small screens.
of your high-quality image files. This constraint may force They have a fixed
you to compress data-heavy files, leading to potential image layout!
degradation. Additionally, unlike print media, PDFs present
less control due to wide variations of user devices and
screens, which can significantly change or degrade the overall
viewing experience. For instance, while digital portfolios are
often designed to be viewed on larger screens, they can still
be accessed on smaller devices, where it might be difficult for DO remember that
viewers to fully appreciate your work as well as the intentions viewing PDFs on
and design of your portfolio. Also, keep in mind that depending smaller screens
on the device used to view your work, the appearance of digital requires a lot of
colors, brightness and contrast may significantly impact how time zooming in
your portfolio is perceived, undermining the visual integrity of and out.

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 form: basic choices step 3

your work. All things considered, a printed portfolio, indeed, is

real and irreducible. However, a digital portfolio, for better or
worse, can be viewed on the phone, even in a tight airline seat.

While PDFs do support certain interactive features, they

lack the dynamism of web-based platforms. The support for
interactive elements may be limited, and complex animations
or components may not be well-supported. Given the potential
compatibility risks, carefully consider the purpose and
accessibility of these features to ensure they enhance rather
than detract from the overall experience for your audience.

what are pdf

alternatives

DON'T send To create a PDF portfolio, designers typically create it with

your audience standard tools such as Adobe InDesign, Illustrator, or even
a PowerPoint Photoshop. However, depending on your circumstances, you

presentation. may want to use other software instead of the Adobe package
subscription, such as Microsoft Publisher or an online tool like
A PPT file is not
Canva, Scribus, or Affinity Publisher. These alternatives offer
a professional
flexibility in design and may meet your specific requirements.
standard.
The alternative that may appeal to many would be Microsoft
PowerPoint. This easily accessible software requires minimal
effort and a quick learning curve in order to create an
impressive presentation fairly quickly. PowerPoint is usually
used to build a slideshow that allows for visually engaging
presentations. Unlike static PDFs, PowerPoints can easily
feature animations, transitions, and interactive elements,
making a presentation more lively. However, since your
presentation needs to be converted to a PDF, some of the
features you applied in PowerPoint may not be transferred,
leading to the loss of interactive and multimedia elements.

If you do end up building your PDF portfolio in PowerPoint

or other popular and easy-to-use softwares such as Google

59
 form: basic choices step 3

Slides, you might be tempted to rely on the pre-made design DO use

options provided by the software. While these design choices customization
can save time and effort, their standard nature makes them tools sparingly
inappropriate for the professional design field. Similarly, in PowerPoint
robust customization options offered in these softwares, a to prevent
variety of colors, sounds, shapes, and other features, may be
compromising
inviting, but it's easy to go overboard. Remember, PowerPoint
accessibility.
templates and default choices are often geared towards a
more general, less professional audience.

portfolio process to screen —

how to optimize
images for the screen

Optimizing your images for printing and optimizing your

images for the screen can be quite different processes,
although many of the tools are the same. If your digital
portfolio is intended strictly for the screen, you should follow
the image optimization procedures for website images that
will be discussed later in this Step. Screen images can be
reduced to lower resolutions and still be effective, and it is
imperative to reduce their file data size as much as possible
to reduce loading times. Also, screen images should be saved
strictly as RGB color profiles.

However, if your digital portfolio will also serve a dual purpose

and be used for printing a portfolio, your image optimization
will be more complicated. You should consider with a dual
workflow. Once again, you can begin your design in RGB for a
broader color space but make sure to check how print colors
will look when converted to CMYK profile. You may end up
with two sets of almost identical images, except that one set
will be optimized for printing /larger data sizes/ and the other
optimized for screen viewing.

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 form: basic choices step 3

how to optimize
pdf documents

DO check on the A daunting procedure can be converting your PDF portfolio

visual integrity of into a share-friendly file, especially with a completed portfolio

compressed files spanning 30 to 50 pages, which can be a substantial file size.

Ideally, you want to share your digital portfolio directly and not
before sharing
send a link to a location such as Google Drive. To overcome
with others.
this, try adjusting the compression settings as you save or
export your PDF. If the exported file still remains sizable,
consider uploading it to an online compression tool. This tool
can achieve a lot while maintaining the quality of your images.

— selecting a format

how to approach
format selection

Whether your portfolio takes shape as a physical object or a

digital file, the ultimate goal is to properly present the fullness
of your work in a confined form. With this goal in mind, you need
to start making your initial choices, such as the page size and
orientation of your portfolio — your foundation for the proper
display of your work. All your future design decisions will be
based on these choices, so they need to be considered carefully.

The best place to start is to ask yourself whether you

prefer your portfolio to be viewed in a landscape orientation
/horizontal/ or a portrait one /vertical/. Or, the portfolio
may even take on more unconventional shapes, such as a
square. But be mindful that while unique formats can be more
attractive, they may also require more time and effort.

While you may have the freedom to choose a page orientation

and page size that will display your project in its best light, you
do need to first consider several factors that may constrain
or dictate your decision:

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form: basic choices step 3

• audience requirements
• professional standards
• image dimensions

Prior to making any initial design choices, you need to prioritize

the audience's requirements. There's a possibility that an
academic institution or professional firm has already provided
guidelines regarding page size and orientation. Therefore,
you must conduct thorough research and understand their
requirements beforehand.

While there are no specific professional standards for page DO remember

size, physical portfolios may have some limitations for practical that smaller
reasons. Sticking with a standard paper size /such as letter, page sizes are
tabloid, A4, A3, or even A5/ can be more economical. Custom more convenient
sizes may require meticulous trimming of each page, which
for transport or
can be costly and time-consuming. Standard sizes also work
mailing.
well with digital PDF portfolios, even though your portfolio
is designed primarily for screen purposes. The standard
page aspect ratios often closely match standard computer
widescreens, which are typically 16:9.

The primary consideration when choosing a format and page

size should be your visual content. Take into account the
orientation of your renders, drawings, and other visuals, such
as photography. While there is no one-size-fits-all solution,
select the format that best complements the most pivotal
images you intend to present. This approach may accelerate
your decision-making and simplify the process as you arrange
your images into related proportions. But remember that the
size you choose will not only impact the layout and design of
your portfolio but also affect the amount of information the
viewers will see on each page. Therefore, carefully evaluate
the advantages and limitations of the chosen page size and
orientation. Take the opportunity to explore sample portfolios
to understand how different formats might affect your work.

62
 form: basic choices step 3

Or, do quick sketches to understand the proportions' impact

on your presentation. Finally, if you have the time, you may
want to go forward with a tentative plan and see how it works
before fully committing.

why use a horizontal

landscape format

DON'T force the A landscape format most commonly uses a standard size U.S.
viewer to rotate tabloid /11x17"/, or A3 /29.7x42 cm/. A horizontal layout offers
your portfolio a wide field that can hold many images with larger dimensions.
to be able to Its elongated aspect creates a sense of continuity and flow,

comprehend your making it perfect for storytelling, progression, or panoramic

images. While it may seem like a landscape orientation is your
work.
go-to choice, as the majority of your work may have a square
or horizontal aspect, keep in mind that a two-page spread
provides you with a very wide field, and therefore, it is easy
to visually overload the pages with information. Also, if you're
creating a digital portfolio such as a PDF, a horizontal layout
will be easier to view on a computer screen rather than a phone
since users might have to scroll horizontally to see all the
content, which can be a frustrating and unintuitive experience.

why use a vertical

portrait format

The vertical portrait format stands out as the most prevalent

and easy to work with option. This popularity can be
attributed to the cost-effectiveness, with letter size /8.5x11"/
or A4 /21x29.7 cm/ being the favored dimensions. Unlike the
expansive horizontal landscape layout, the vertical portrait
format offers limited space for your content, which means
that you may end up with more pages or perhaps even
cluttered layouts. Nevertheless, when used appropriately,
this compact vertical format creates an emphasis on the
layout composition, resulting in a minimalistic layout that
can elevate the imagery. The constrained space also provides

63
 form: basic choices step 3

horizontal format

11"
+
17 "

34 "

11"

lucas denmeade

provides more space

natural viewing experience
tabloid format
sense of continuity and flow
fuller presentation
easy to browse /if a physical copy/
form: basic choices step 3

preview on media
 form: basic choices step 3

vertical format

11"
+
8.5"

17 "

11"

nicholas macintyre

simpler space utilization

focused visual experience
letter format
effective cohesion
readability
compact /if a physical copy/
form: basic choices step 3

preview on media
 form: basic choices step 3

square format

8.5"

+
8.5"

17"

8.5"

somesh mhatre

contemporary feel
unity and symmetry
square format
effective cohesion
readability
compact /if a physical copy/
form: basic choices step 3

preview on media
 form: basic choices step 3

a more focused visual experience for the viewer, allowing

them to be attentive to one part at a time. Lastly, for a digital
portfolio, a vertical portrait format is obviously suitable for
mobile devices. When viewed as a spread of two portrait
pages, the layout turns into a landscape format that fits nicely
with larger screens.

why use
a square format

A less standard yet contemporary square format can add a

genuine uniqueness to the overall portfolio aesthetic if you
design it well. The most optimal proportions for this format
are 8.5x8.5" for letter size and 21x21 cm for A4. A square
layout provides balance as the width and height match one
another, with a main focus drawn to the center of the page.
When opened, the square format can leverage the landscape
format as it provides an elongated view. Moreover, due to its
equally proportioned dimensions, this format can effectively
accommodate both horizontal and vertical imagery. However,
compared to other discussed formats, a square provides the
least space to work with. While it offers a wide double-page
spread, it can be challenging to avoid clutter given its already
limited dimensions. Therefore, you have to be especially
attentive to give a proper scale to your imagery while giving
an appropriate white space around it, and you can expect a
longer page count. You might consider using larger squares
than 8.5", but this could entail additional costs if you opt for a
physical copy. Be aware that the square format will require
trimming after printing, as it will be printed on standard paper
with a rectangular ratio. This may significantly affect the cost
and/or time you need to complete your portfolio.

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— online portfolio

what is an
online portfolio

DO remember Although an online presence today seems like a clear

that anything you necessity, the reality is not as straightforward. While it is an
share online never accessible way to gain more exposure for your work, merely
posting a portfolio online doesn't automatically guarantee
disappears.
access to your desired audiences, be it prospective employers
or architectural programs. However, once you establish a
connection with your audience, an online portfolio becomes
a powerful way to showcase your architectural skills and
potential.

DO consider In the current professional landscape, it is not unusual for

attaching your employers to examine the online presence of prospective

employees as part of the decision-making process. Given that
portfolio link to
nearly everyone in contemporary society has some form of
your LinkedIn
online representation, particularly on social platforms such
profile or other
as Instagram, an online portfolio becomes a part of the up-
social media.
to-date scene. It empowers you to regulate and curate your
public image to a certain degree, allowing employers a clearer
insight into your identity through your online presentation.

Sharing a direct link with your audience prior to a meeting can

be a strategic move that helps to establish a sense of credibility
and might facilitate a more productive and successful
meeting. Similarly, providing a link when leaving a meeting
can encourage your prospective employers to consider your
potential more fully, as they can explore a comprehensive
collection of your work, achievements, and skills.

However, bear in mind that an online portfolio is a broad

presentation of your work that cannot be tailored to each
specific firm you apply to. This lack of customization means
that you have limited control over which projects are being

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 form: basic choices step 3

viewed and emphasized. Therefore, given an online portfolio's

broad nature, your audience might only focus on a select
few of your works, possibly overlooking your best or most
relevant projects. Your online portfolio can take several forms:

• online publisher
• portfolio hosting website
• portfolio website

what is an
online publisher

The most straightforward and simplest way to establish DO keep in mind

yourself online is by using your already created digital PDF that some of the
portfolio. Numerous services provide platforms for hosting online publisher
your digital portfolio document, and these services are platforms restrict
generally affordable, user-friendly, and offer a degree of
the file size and
customization. Online publishers such as Issuu or Yumpu are
the number of
digital publishers that convert your final PDF portfolio into an
uploads.
interactive online publication that can be effortlessly shared
through various digital channels, typically through a direct
link. Moreover, some of these platforms will convert your
portfolio into an actual page-turning online book, which can
be viewed on any device without erratic performance issues.
However, as is typical for hosting websites, each of them has
its own charges and restrictions, such as a limit on the file size
of your portfolio. So be sure to research the various options
before you select one.

what is a portfolio
hosting website

If you're short on time or just looking for a quick and effective

way to establish an online presence, using a portfolio-hosting
website could be a good option. These design community
platforms, such as Behance or Dribbble, provide you with a
space to display your projects in a gallery-like manner. Not

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only do these platforms come with built-in social features

that make it easy to connect with other professionals and
build your reputation, but they also generate a unique URL
for easy sharing. While these sites may require a bit more
time and effort to set up, the potential benefits of exposure
and connectedness may be well worth it. One significant
advantage of these sites is that they are marketplace forums
where viewers seek out professional work. You'll be in the
marketplace.

However, one major disadvantage of using online hosting

platforms is that you lose some control over visual
presentation and your message or brand. Since these
platforms prioritize uniformity and consistency in their display,
your unique work becomes submerged within the platform's
framework, which reduces the possibility of receiving the
attention it deserves. Additionally, you'll recognize early on
that when using portfolio hosting platforms, you are not in
control of the space you're using. The platform's terms of
service and server guidelines often impose restrictions and
often dictate how you can present your work, which can
significantly and unfavorably impact your presentation.

Another drawback of online hosting platforms is that their

primary focus tends to showcase only the final results
of projects without attention to process, including rough
sketches, diagrams, and different iterations of your designs.
While presenting the final outcome is certainly purposeful,
it is just as important for the audience to see the project's
evolution and the challenges that were overcome. Also, since
the sites emphasize exquisite, attention-getting results, trying
to compete for attention might reshape your presentation.
Often the most valuable advantage of hosting sites resides in
the simple, direct link to your online portfolio without a need
for attachments or downloads.

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 form: basic choices step 3

what is a
portfolio website

The most comprehensive online choice is to create your DON'T use auto-
own website — an expressive, semi-permanent, and dynamic playing audio
platform for showcasing your work. But you should not or video on
feel obligated to build one, especially if you're at the early your website.
stages of your career or, as an experienced professional, not
It becomes an
considering a solo path. Yet, if you do have a substantial body
intrusive element.
of work suitable for online display, having a website as an
architectural portfolio can bring many benefits.

While building a well-functioning portfolio website can indeed DON'T push

be a laborious task, the trade-off is that it unlocks numerous creativity at
dynamic possibilities and responsive designs that are difficult the expense of
to achieve with a static PDF or print portfolio. Not only does usability in your
a website portfolio come with an opportunity to showcase a website portfolio.
broad range of your work, it also enables you to integrate
interactive content /video, audio, animations/ and modern
web design elements such as scrolling effects like parallax.
By seizing the opportunity to create a visually appealing,
functional, and well-maintained portfolio website, you can
significantly enhance your chances of gaining a competitive
edge over other applicants. However, remember to negotiate
a balance between creativity and functionality. While these
dynamic features do allow a higher degree of engagement,
an overly complex or poorly optimized website may lead to
slow loading times and potential user frustration.

A clear advantage of a website portfolio is your potential to

present a diverse range of your projects yet keep a succinct and
well-organized overview. The non-linear nature of a website's
presentation allows visitors to engage with your gallery of
work in an individualized way. This structure also allows you
to emphasize your special projects while still offering a depth
of overall work. At a micro level, this format will enable you
to provide detailed access to your projects, giving you ample

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space to showcase your thought process and development.

With no practical limits on the amount of content or pages and
with a thoughtful navigation setup, users have the freedom to
choose which projects they want to delve into deeper without
the need to browse through all of your images.

DO use keywords, Nowadays, creating and managing a website is more

meta descriptions accessible and affordable than ever before. In fact, you don't
or tags to enhance need to have coding knowledge to build and maintain your

your SEO own website. Platforms like WordPress, Wix or Squarespace,

and Adobe Portfolio provide all the necessary tools /including
/search engine
CMS — content management systems/ to create a website
optimization/.
with relative ease. While some platforms come with a cost or
require some understanding of website coding, others offer
free trials, templates and instructional videos, allowing you
to explore and test your potential site before making final
decisions. Keep in mind that the cost structure, restrictions,
and offerings of the platform services may change over time.

what are the drawbacks

of a website portfolio

DON'T try to build A notable drawback of a portfolio website is the ongoing

your own website cost of hosting a domain, which can get pretty expensive.
portfolio from While it's possible to operate a site with your own domain
name for less than $200 per year, you need to have technical
scratch if you
skills to build and maintain it. Since hosting service prices
haven't worked on
vary greatly, you need to shop around to avoid paying more,
websites before.
especially if you need a content management system to keep
your website up and running. There are options for less
expensive alternatives, but they will most likely come with
limitations, such as lacking flexible content management
tools, fast performance, or security features. And although it
DO keep your might be tempting to consider free domain hosting services,
domain short and it's better to stay away from them. These services typically
simple to make it come with advertising and pop-ups, which can detract from
easy to remember. the professional quality of your portfolio.

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 form: basic choices step 3

A portfolio website introduces a problem that conventional DO be cautious

portfolios don't have to face. And that is to develop a simple, using website
intuitive interface for your users. While your audience is pre-made design
familiar with interacting with a physical book, of course, templates. It
they may wonder which page to navigate to next, what may be hard
content they should view first or last, and how to seamlessly
to distinguish
explore your portfolio. A well-designed interface should have
yourself from the
uncomplicated, readily apparent navigation, fast loading
competition.
times, and accessibility across all devices for all users. The
following sections will briefly discuss ways to design an
effective website portfolio interface.

website portfolio process —

why well-structured
navigation matters

Having visually appealing content on your portfolio website DO utilize the

may sound like the key to making a strong first impression, benefit of well-
but it is not enough to guarantee success. While the aesthetics structured
of your website can surely grab attention, the real substance navigation menus
lies in its functionality. If visitors find it difficult to navigate offered by website
your website, they may quickly lose interest and never return. hosting platforms.

To make navigation easy to use and especially intuitive, begin

by making it simple. Your site does not need to be complicated
for your work to be impressive. ]Your navigation menu should
be easily found and easily read. The site structure beyond your
homepage can be as simple as project pages and an "about"
and "contact" page. Each project can go one, two or three pages DON'T use
deep, depending on the project content you want to share and/ horizontal
or the viewer's interest. The path to anywhere on the website, scrolling as it
including a quick return to the homepage, should be clear and creates a poor
easily accessible. This book focuses on visual composition, but user experience.
a website portfolio must put functional design first.

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why adaptive
design matters

DO optimize In addition to well-done navigation, you will need to achieve

images for "adaptive design." Having a static website design that only
responsive performs well on computer screens is no longer acceptable.

websites, which Your website must look consistent across various devices
because even professionals might view your portfolio
sometimes can be
website on their phones, at least initially. Fortunately, some
data heavy and
hosting platforms like WiX or Squarespace already provide
suffer from slow
you templates with built-in adaptive or responsive design
loading times.
strategies. They also offer a variety of navigation menus to
build from. If you don't make use of the variety of components
and templates available today, you will need a good bit of
technical skill to code your customized website. However
you plan to build your website, you should streamline your
workflow by building your website layout with the current
range of phone screens in mind and then include tablets and
large screens in your designs. This approach will help you
assess from the beginning what is visually and functionally
required for your website and tailor your content accordingly.
Don't complete one screen design and then have to re-think
your whole approach.

how to optimize
screen images

Your website imagery not only showcases your aesthetic

skills but also serves as a demonstration of your software
proficiency and technical knowledge. This proficiency
becomes evident through your image optimization to achieve
quick loading and a seamless experience. Although image
optimization for the web is similar to the optimization
discussed for print images, there are sharp differences to
understand. Here are the tools and concepts necessary to
achieve full, crisp web images:

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• image dimensions – pixel width and height

• image quality – resolution
• file formats
• file data size
• compression tools

why pixel dimensions

matter for a screen image

One of the major differences between a printed portfolio and

a screen-based portfolio lies in the resolution. Unlike print,
where image quality is contingent on DPI resolution, screen
image quality generally depends on the image's overall pixel
dimension. Screen width and technology vary from user
to user and from desktop to laptop to phone, but the only
important resolution number is the total pixels across and
down an image and how far those pixels will go on a screen.
If your image is 1920 pixels wide and 1080 pixels in height,
your image can span with full resolution across a large but
standard computer screen of the same dimensions. If the
image tries to fill a larger screen with more pixels, the image
will degrade. If the image appears on a smaller screen it will
either be too big or it will be purposefully compressed and
appear clear but smaller.

Once you determine how an image is to be displayed in a DO adjust the

layout, then you should have a clear sense of what the pixel pixel dimensions
dimensions should be for the image. You'll want to save the to optimize your
image at the same pixel width and height as what will appear image for faster
on the web page. If an image will appear small, say 150 px, page loading.
it should be saved at 150 px. Don't waste resources loading
large images to fill small spaces. When an image is large
across a screen, then use your resources to save and load
all the necessary pixels.

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form: basic choices step 3

The issue becomes more complicated when you begin to adapt

to different screens. You may have to create multiple layouts
for multiple types of screens, and each layout may use the
same image in slightly different ways that require differently
sized images. Adapting to screens complicates your task, but
your goal remains the same. Don't waste resources loading
large images to fill small spaces. If you use an image in five
different layouts, you may need to resize the pixel dimensions
and save five versions of the image.

what is the optimized

screen image size

Pixel count is a numeric resolution and the resolution of each

of your images needs to be verified with your eyes. Depending
on how clear the original image was and how the image has
been cropped, resized or compressed and in what format
it has been saved, the image may or may not have good
resolution for the viewer's eye. These matters all need to be
considered for quality resolution, while at the same time, you
should try to make the digital file that holds the image as
small as possible.

For a website portfolio, the image optimization balance — that

is, maintaining visual quality while minimizing file data size
— must weigh in favor of image quality. Try for speed and
ease of use, but never permit reduced quality. Most images
for the screen can have a good resolution and not slow down
website loading significantly with today's high-speed Internet.
If compression does not reduce file data size enough or too
much resolution is lost, you should try online compression
tools. There are also a few other techniques you can employ
for more efficient website loading. JPEG files can be saved as
"progressive" images, so they load fully and then come into
focus. Or you can try to employ "lazy loading" so images lower
on a page don't have to load until needed.

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why file formats

optimize screen images

Understanding the various image file formats and selecting the

right ones for your website will lead to the best representation
of your work and improve your site's performance. Although
there are numerous image file formats in use, the following
formats are almost always the most suitable options for
optimal browser support and speed:

• Joint Photographic Experts Group – JPEG

• Portable Network Graphics – PNG
• Web Picturer forma – WebP

JPEG has become the standard image file format used by

most websites, primarily due to its reliable compression
that balances reasonable image quality and file data size.
This results in faster loading times compared to other file
formats. However, remember that because JPEG has a
"lossy" character /that is, some data is lost or sacrificed in
the compression process/ your images may not result in crisp
detail, which is particularly noticeable in line drawings and
text, both leading to poorer text readability.

PNG is another commonly used file format for online use. Two
reasons are that it uses a "lossless" image compression, which
helps preserve details in lines and supports transparency,
allowing you to blend images smoothly if needed. However,
the trade-off for its lossless nature is that PNG can lead to
larger file sizes, which may negatively impact your website's
performance.

WebP is a relatively new image format developed by Google, DO "Save for web"
specifically created to enhance image handling in the web when saving your
browsing experience. It is specifically designed to help images in image
websites load faster by offering better compression than editor software.
formats like JPEG and PNG while retaining similar quality.

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Additionally, WebP not only supports transparency but also

animations, making it the perfect solution to enhance the
visual appeal of your websites. Although some browsers
and software do not support it yet, the benefits of WebP's
superior compression outweigh the risks. And so, with
growing support, WebP is rapidly becoming a standard format
for online images.

what are the

compression tools

DO aim for image Whether you intend to use compression tools for print or
sizes ranging from screen optimization, the process is more or less the same. For
200–500 KB for guidance, refer to the earlier section on image compression
a website. tools in the print process section. Bear in mind, though, that
images intended for screen use should undergo more extensive
compression compared to those intended for print. While
quality printed images may have a file data size that is several
megabytes, even the largest image on your website shouldn't
be more than 200–500 KB if it has been compressed properly.

why color
profile matters

Similar to how printed colors need to be represented in a

CMYK color profile, the images you intend for a screen
display should adopt an RGB profile. This practice ensures
that the colors in your images are accurately presented to
all screen viewers. Since the RGB color profile operates
through an additive process, it offers you an opportunity to
work with a diverse range of color possibilities, resulting in
vibrant and vivid appearances on a screen. If you will not be
printing images, you should establish an RGB color profile
at the outset of your workflow to leverage the benefits of its
vibrant color resolution.

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 form: basic choices step 3

common mistakes —
neglecting the binding
production challenges

Printing a physical portfolio often brings about challenges

and limitations, particularly with the binding process.
Issues such as placing content near the binding area /see
common mistakes 1/, misaligned images spanning across
the layout, or improper folding can easily detract from the
overall presentation and, at worst, result in the loss of crucial
information. Thus, testing your methods or talking with print
services when dealing with binding, special image treatment
or unconventional print techniques can prevent you from
such disappointments.

If you choose to bind your own portfolio, assess your skills,

particularly regarding the binding type and its complexity.
While creativity is prized in design industries, maintaining a
level of professionalism in your portfolio is equally important.
Elaborate and engrossing bindings may take away from the
seriousness of your work, so it's best to opt for neutral, muted
bindings that will most likely align with your audience /see
common mistakes 2/.

slow
loading times

Slow loading times are a frequent issue with many portfolio DON'T waste
websites, particularly when these sites do not impose limits resources loading
on the number of images. While hosting services could be a large images.
contributing factor in some cases, the more probable culprit Adapt image sizes
is the large file data size of your images, resulting in sluggish to different types
website loading /see common mistakes 3/. This can lead to
of screens.
long waits for visitors browsing your site, causing them to
lose interest before even seeing your work. Slow loading
underscores the critical importance of image optimization for

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portfolio websites, particularly in the context of responsive

websites, where image optimization holds even greater
significance, because it reacts to screen sizes and will. The
concept of responsible website behavior is further discussed
in Step 5.

Additionally, handling large file sizes can make it challenging

to manage, share, load, or even store it. Therefore, always
adopt practices reviewed in this Step to reduce the file data
size without sacrificing quality. To expand on the optimization
techniques, you could also apply a strategy that involves
cropping out unnecessary parts of an image. This not only
reduces the file data size but also draws attention to the most
important details of your image.

lack of mobile
responsiveness

DO search for Nowadays, an adaptive design is an absolute necessity. Users

a free browser don't want distorted layouts with misplaced, overlapped, or
compatibility test, even cut-off objects, buttons, and other essential content /see

to see if your common mistakes 4/. Such an experience will cancel out or
badly damage the message you are trying to convey to your
website performs
audience, leading to lost opportunities. Also, be sure to test
smoothly on
your website on different devices to fine-tune its performance
all standard
and appearance on different screen sizes.
browsers.

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 form: basic choices step 3

common mistakes

bindings

1/ 2/

1/ Placing content close to the 2/ Highly elaborate bindings may

binding area can cause content lack a polished, professional look.
distortion and unintended Also, they may wear prematurely
messaging. and tear.

Ensure that the binding doesn't

interfere with your content. Choose
a binding that aligns with both
functional considerations and the
desired aesthetic of your portfolio.
 form: basic choices step 3

adaptability

3/ 4/

3/ Images with a large file data 4/ A website designed only for

size may increase the page loading one screen size may not appear
time or, if saved in an inappropriate properly, resulting in cut off images,
format, not appear at all. small text and an overall poor user
experience.

Your portfolio website must be

adaptive. As you develop it, you
should steadily test it across
different devices to make sure it'll
be accessible to all users.
STEP 4

layout organization

initial setup

theme
 LAYOUT
INITIAL SETUP

The layout of your portfolio page is as crucial as the content it holds. The appropriate
compositional arrangement of images and text can improve how viewers interpret,
understand, and value the work in your portfolio. Although the content of your portfolio
is, in most ways, already determined, you still have full control over the composition and
layout. Whether developing a physical, digital or website portfolio, keep in mind that a
good layout can enhance understanding and provide visual delight, while a weak layout
can cause confusion and lose a viewer's attention and interest. Don't underestimate the
importance of the initial layout considerations covered in this Step. They will guide you
toward designing your portfolio layout with composition ideas that work for both print
and digital media.

— layout organization

how to approach
layout organization

DO remember, Once you have gathered a selection of your finest work and
simplicity is not determined the medium and format you'll be using, you can
less creative. start building a solid foundation for your portfolio layout. The

It creates focus. initial step is to create a layout template that suits your needs
and, importantly, brings a unified and consistent appearance
to your portfolio.

While you have full freedom to establish a general

arrangement of your layout, be mindful to not overload your
pages with content. Less is often more, and quality should
always be prioritized over quantity. Although your portfolio
is a testament to your visual design skill, don't allow any
graphics to overshadow your own work. Instead, aim for a
layout that is simple, consistent, organized, and yet inventive.

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 layout: initial setup step 4

why to plan spreads

rather than pages

Before you start establishing your layout, it's important to

understand that designing a spread, as opposed to individual
pages, will make your work easier, more effective, and even
immersive. This is especially important with a physical
portfolio or any digital booklet version, which are typically
viewed in two-page spreads. In such cases, the viewer won't
focus on individual pages but rather take in an overall spread.
Thinking with a spread-focused approach offers several
advantages, including:

• planning the design's whole effect at once

• seeing the layout as it will strike the viewer
• detecting layout errors more easily

why to be careful
looking for precedents

Crafting your own layout composition can prove to be a DO use

daunting task, especially if you're not experienced in graphic inspirations to
design. In such cases, it's pretty common to feel overwhelmed develop your
and unsure of where to begin. This is when you ought to search own voice.
for inspiration and look for successful precedents online to
spark ideas. While searching for precedents can help, you
should be very careful with that strategy. It's very easy to
get impressed with examples available online and even end
up duplicating someone's style — a style that might already
be derivative of an overly popular, over-used approach. So,
as you are looking for inspiration online, keep in mind that
your portfolio should be your portfolio. Every single decision
should feel like it's your own. Therefore, seeking inspiration
outside of the architecture field might be a better, safer and
fresher approach. Here are some key search terms that can
help you find inspiration:

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 layout: initial setup step 4

editorial layout design •

magazine layout design •
booklet layout design •
portfolio design – other than architecture •

how to approach
a visual narrative

DON'T use pre- Before you begin with layout organization, firstly, think about
made templates how you can help your audience understand your work while
for your portfolio also making it enjoyable for them. To accomplish this, you

layout. They may need to establish a visual narrative, a structural continuity,

that guides your audience through your portfolio. Besides the
have a generic
pacing of projects, which you may have already made some
appearance.
preliminary decisions about, a visual narrative also involves
critical decisions about how much space and emphasis to give
to not only each project but also to each object of your content.
These decisions will create a dynamic flow throughout your
pages, spreads and the portfolio as a whole. A successful
DO consider visual narrative should succinctly show your developments
implementing and achievements, connect your projects in a compelling story
section divider and make clear your distinct approach to your work. To start
pages. They serve creating the narrative, organize the portfolio components
as a break and listed below into thumbnail sketches. This will get you started
develop rhythm. with a basic outline of your structure.

cover page •
resume – optional •
design statement – optional •
table of contents •
introductory page project #1 •
project #1 pages •
introductory page project #2 •
project #2 pages•
...
extras – optional •
thank you and contact information •

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 layout: initial setup step 4

how to work with

thumbnail sketches

These days, many begin with software and end with software, DO remember,
and thus design software has become their only tool. While this the thumbnail
may work out for some, an initial sketching out of possibilities sketches aren't
is an important step that should not be skipped. You may be beautiful. They are
trying to save time or just avoid the bother, but thumbnail supposed to be
sketches can be a valuable starting point, and bypassing exploratory.
this exploration can lead to broken compositions or simply
unfulfilled ones. Whether you prefer to sketch with a pencil and
paper or use a drawing tablet, these sketches should be quick,
free-flowing, open-ended, and personal glimpses of your ideas.
At their best, they are an essential planning tool, allowing you
to try out multiple design approaches in a short amount of time.

If creating a website portfolio, you may want to consider

creating sketches commonly known as wireframes. These
wireframes should have the same low-fidelity approach,
similar to thumbnails, but with a different purpose. Given the
non-linear nature of websites, wireframes should focus on the
basic structure, flow, and navigation and may even include
responsive design alternatives for various screen sizes.

Your rough, preliminary sketches are usually done within an DO utilize the
outlined frame. The frames are ideally placed all on the same thumbnail
page so that you can see the organization, project scope, and sketches to see
page pacing. To avoid getting bogged down in details, it's best how each page
to keep the frame proportions small and focus on analyzing leads to the next.
the most effective proportions, strategic composition and
pacing for each page and the whole document. While creating
your thumbnails or wireframes, keep in mind the character
of your images. For instance, some may require a large-scale
display and some smaller, while others demand a sequential
presentation. Also, you may start incorporating rough outlines
of other content, such as titles and descriptions, and begin to
think of how to place them in the frame. Step 6 will discuss in

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 layout: initial setup step 4

DON'T restrict your depth how to make your layout the most effective. Additionally,
table of contents establishing separate but cohesive options for each of several
to one page if project scenarios will effectively demonstrate your layout's
it results in a usefulness and flexibility /see diagram on the next page/.

cluttered layout.
Lastly, don't be afraid to make quick decisions and experiment
with different variations. If the placement, scale or organization
of your content doesn't work, revise it or start again. You are
sketching — discovering — not finalizing. The goal is to create
a layout design that achieves balance, unity and a narrative-
driven experience. Sketches will streamline your process.

— initial setup

where to start
initial setup

DO use master When building a portfolio, it's essential to work with the right
pages for folios tools. There are various design editing programs available
and running to create print, digital and website media. To begin, you'll be

headers. It will best off selecting a design and layout software that you are​
comfortable with. Adobe InDesign has become the popular
save you lots of
option, perhaps the industry standard, due to its ease of multi-
time.
page management and complete layout control for print, digital
PDF, or even a website portfolio. If you're not familiar with
Adobe InDesign, you can use, for example, Microsoft Publisher,
Affinity Publisher, Scribus or an online tool such as Canva. The
key is to use software that allows you to work with multiple
page layouts at the same time, making it easy to arrange and
organize all the content consistently across numerous pages.
If your chosen software permits a coordinated multi-page
approach, your workflow will be more efficient.

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 layout: initial setup step 4

thumbnails examples

print media If using a section divider

place it just before each
project Intro page.

Cover page Intro, Resume Table of contents

Intro pages project #1 Project #1 spread 2 Project #1 spread 3

Intro pages project #2 Project #2 spread 2 Project #2 spread 3

Extras Thank you, Contact Back cover

 layout: initial setup step 4

website media

Homepage About me, Contact page

Gallery page Project page

 layout: initial setup step 4

Some prefer tools such as Adobe Photoshop, Illustrator, or DON'T use

Affinity Designer to build their portfolio. If you are creating a Microsoft Word
short sample portfolio, these tools might work well. However, for designing
it may take more time, effort, and skill to achieve a cohesive your portfolio
arrangement and polished look because these image editing layout as it has
softwares are not designed for complex yet cohesive multi-
limited design
page workflows. For this reason, it's worth considering using
capabilities.
or even learning Adobe InDesign, as this software is often a
required skill for client presentations. So, it's best to start
using it sooner rather than later.

theme —
how to
approach a theme

Once you have determined the preliminary pace and

organization of your layouts, as well as your layout editing
software, let's continue with the implementation of visual
design principles that will bring your portfolio theme alive.
First and foremost, it's important to know that a theme is not
just about the layout or placement of your objects. A theme
is a style that will deliver and highlight your work through
a grid structure, composition, color tone and even typeface
selection. Establishing a good theme, or the lack of one, will
affect how the viewers gauge your work and ultimately value
you as a creative professional.

Therefore, while you begin to imagine your theme and

perhaps get tempted by the excitement of customization, you
should first know that the strength of your layouts lies in
visual principles. These tools create effective and functional
communication beyond aesthetic appeal. So, even though you
might be tempted to design with elaborate arrangements,
excessive use of color, and superfluous graphics, remember

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layout: initial setup step 4

that such an approach might give the impression that you

prioritize style over your work. As a matter of fact, adding a
style to your portfolio as your self-expression is not something
you should force but rather allow to naturally arise from your
portfolio. The portfolio's quality should derive from the content
of your projects and your discerning curation and structure,
wherein your visual sensibilities are embedded. Therefore,
use the following layout elements and their design principles
to support your imagery, strive to highlight particular pieces
of your work, and effectively communicate your message.

what are the

layout elements

While the next Steps discuss each element in detail, you first
should understand the overall purpose of recognizing and
using these elements. The layout elements are meant to help
you design your content so it is both visually appealing and
easy to navigate, so the quality of your work shines through.
By following the principles of these layout elements, you can
ensure that your work doesn't push against itself or fall apart
but instead works together to convey the intended message
and create a positive user experience. To understand layout
elements, they can be grouped into three types:

invisible layout elements •

visual layout elements •
textual layout elements •

Even though these layout elements are considered separately

over the next three Steps, they are closely related and
interconnected in determining the overall visual experience.
As the Steps of this guide address each of these elements, they
may seem disconnected or unclear in their effects. But, when
combined, all the elements shape the final appearance and
give force to both your design, your content, and your story.

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STEP 5

rule of thirds

margins

white space

grid system

common mistakes
 LAYOUT
INVISIBLE ELEMENTS

While the term "invisible" might suggest hidden meanings or maybe the use of
transparencies, the term actually refers to creating an experience in design that works
functionally and visually without being noticed. Though these layout elements are
unseen, they actually form the foundation of your layout — perhaps the framework, too.
In construction, you can't build much of a house without a solid foundation or a frame,
even if most people don't see them. Likewise, in layout design, it is crucial to establish a
solid base that gives strength and unity. Even though viewers don't see the foundational
system, it provides them an effective communication that may not need much additional
design or decoration. In fact, the best design often is the invisible. This Step will guide
you on how to achieve this type of design.

what are the

invisible layout elements

DO use a grid. It Invisible layout elements are essentially a set of hidden lines
eliminates random that form the underlying framework of your layout. These
decision-making. lines help you arrange, align and focus the page contents,
such as images and text, in relation to each other. Apart from
organizing content, the guidelines also create passive voids
that actively contribute to the overall system structure. The
invisible elements that are considered to be a starting point
for each composition are:

rule of thirds •
margins •
white space •
grid system •

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 layout: invisible elements step 5

rule of thirds —
why use the
rule of thirds

While you may need to establish a more complex grid system

for your layout to accommodate all of your content, the
rule of thirds provides a good starting point to understand
fundamental compositional principles. The rule of thirds is a
simple but effective grid which naturally creates focal points
in well-balanced compositions. Essentially, this concept helps
you to decide the best placement of key elements within a
frame in order to give each one a visual weight or a visual
priority.

To implement the rule of thirds, you first need to prioritize DO apply the rule
your content so that you understand what you want the of thirds to your
viewers to pay attention to first, your key objects. Then you layout to create
divide your layout into three rows and three columns equally a sense of visual
spaced out. Those four points where the row and column
hierarchy.
dividing lines intersect are known as focal points and serve as
natural guideposts for placing your pivotal images and other
supportive content. Anchoring your key objects at or near
these focal points draws the viewer's attention in a naturally
eye-pleasing, yet strong way. Lesser objects then stand off
from the focal points in a balanced way. This is how the rule
of thirds helps create a sense of visual hierarchy and natural
spacing that facilitates the viewer's eye to move between the
content objects more easily and intuitively.

Even though this method is simple to implement, it's

usefulness is worth remembering and can be effective to use
even in the most complex grid layout.

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 layout: invisible elements step 5

— margins

why are margins

essential

DON'T place Establishing proper margins from the start is essential when
detailed or designing a layout grid. Margins are one of the primary

important content components of a grid and act as buffer zones between the
edge of the page and its content. Essentially, they serve as
too close to the
a border around the page /see diagram/. One of the many
spine when you
roles of margins is to prevent content from being placed too
are designing a
close to the edge of the page or screen, which can become
printed book.
visually discomforting and risks allowing content to get
cut off during printing. To determine the size of margins,
consider that margins that are too narrow can make a page
look dense, which negatively impacts readability. On the other
hand, margins that are too wide can sometimes make the
page feel under utilized or empty, depending on the content
used. Therefore, to create an optimal balance between page
content and the negative space of margins in a print or
digital PDF, set margins to 0.5 inches from each side. You
can choose a narrower margin but 0.25 inches should be the
minimum since this margin can make your page hard to read,
or, as mentioned, the content can be trimmed off during the
printing. Additionally, be aware that some binding methods,
DON'T just design such as perfect-bound, can cause content to get lost in the
within margins. inside margin, depending on the number of pages in your
Instead, design document. Therefore, leave the inside margins a little larger
your margins. to avoid this issue.

While you ought to explore your own margins to see which

works harmoniously with your page size, there are some
considerations to keep in mind when setting up your margins:

the bottom margins can be wider, to include page numbers •

the inside margin should be wider for some bindings •
the margins should be consistent on all pages •

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 layout: invisible elements step 5

Adopting margins should also be on your mind when working DO keep in

with various content within your page, particularly when it mind, margins
comes to text. In that case, a margin is also considered a safe don't have to be
zone or quiet border that ensures the integrity and clarity of symmetrical.
your content /see Step 7, common mistakes/. Therefore, when
you are placing your text, or other important objects such as
legends, make sure you provide adequate space around the
content to make it easy on the eyes of your audience.

how screen
margins vary

In website portfolios the margins are perceived as spaces

that exist between the content border and the edges of the
screen. These spaces are determined by either fixed values
that adapt at different breakpoints related to screen width,
or scaling values that respond dynamically to the screen
size. The screen margin widths should vary depending on
the screen size, with larger screens accommodating wider
margins and smaller screens having more narrow margins.
Margins can be set at a scaling percentage of screen space,
each margin set somewhere between five and ten percent
of the screen window for a steadily adjusted proportion.
For fixed values mobile screen margins can be set to 16
px, in some occasions to 24 px. For tablet screens 24–32 px
margins would be appropriate. Laptop or desktop screens can
accommodate margins starting from 32 px, and can expand
as screen resolution expands. However, similar to the print
design, remember that these values are not strict norms.
Don’t be afraid to experiment with different margin widths to
find the appropriate balance that complements your layout
and highlights your work.

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 layout: invisible elements step 5

— white space

what is
white space

DO remember When creating your layout, you should consider not only the
that white space content but also the non-content, the empty space, or, that
isn't just about is, the white space. White space is the area left intentionally
aesthetics; it also empty between the content objects in your layout. Though

serves a functional it may seem counterintuitive to pay attention to or even

intentionally create blank spaces in your grid layout, these
purpose.
spaces are just as crucial as the text and images in your
design. White space, also known as negative space, provides
each object with breathing room, allowing it to stand out.
Thus, it is paramount to use your best visual instincts to give
each object on the page enough room to maintain a balance
between its own positive space and the surrounding negative
space. Moreover, white space creates opportunities for your
eyes to rest and move smoothly between the other objects in
the composition. Incorporating white space into your design
will not only enhance the viewer experience through improved
readability and clear navigation, but it will also elevate the
aesthetics of your overall design. Don't underestimate the
power of this design element. It's not there — but it's an
integral part of any successful grid system!

While not enough white space can make your layout look
cluttered and busy, too much can also be harmful. Overuse
of negative space can bury your objects, or other times such
layouts can feel incomplete. Strive for balance and use your
instincts when it comes to proportioning and spacing. Also, it
is important to realize that having large empty spaces in the
middle of your layout can create a "hole effect" that distracts
the viewer from the content. To prevent this, avoid creating
areas of white space centered within or surrounded by other
objects.

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 layout: invisible elements step 5

grid system —
what is
a grid system

A grid is a matrix of established lines that typically run

horizontally and vertically in evenly paced intervals. The
vertical lines organize elements such as margins and
columns. Margins, as already discussed, hold the space at
the outer edges of the grid, while columns are the vertical
spans divided by gutters within the page. Across the vertical
columns, horizontal flowlines divide the page into horizontal
spans or, simply, rows. The intersections of vertical columns
and horizontal flowlines create modules. Then the modules
can expand across any number of columns or down so many
rows and adjust with the grid’s dimensions. This allows for a
flexible and versatile layout that can accommodate various
design needs.

why the use of

grid is essential

A grid ensures a consistent structure throughout the pages DO remember that

of your document. Most importantly, an established grid a well-organized
system helps to streamline your workflow by ensuring that grid should
all the content and margins are more easily sized, aligned, be essentially
and placed uniformly throughout your portfolio. If planned
invisible. It should
well, a grid system will give order but also be flexible enough
be your guide and
to allow you to adjust and rearrange content as needed. This
not a constraint.
flexibility is especially important in a project like portfolio
design, where you need to be able to customize the layout to
your specific requirements.

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 layout: invisible elements step 5

what are different

types of grid

DO remember You may not have been aware, but the thumbnail sketches you
columns and created earlier could have already established a sense of grid.
modules can hold This is because the various facets you are were working with,

white space as like the size of your images, the format and orientations of
your portfolio, or even the required content on project pages,
well as content.
had already suggested some initial grid lines. Therefore,
whether the grid structure examples listed below resemble
your implied grids or inspire new design ideas, keep in mind
that these samples are just examples. Invest some time
experimenting to figure out the grid that suits your content's
needs. The basic grid structures that you should consider are:

block grid •
column grid •
modular grid •
hierarchical grid •
fluid grid /website only/ •

what is
a block grid

Block grid is a popular grid format due to its simplicity. It

consists of a large rectangular area that occupies most of the
layout's space. In portfolio design, the block grid is frequently
utilized on cover pages to display a single image. In other
instances, the block grids are effective for square formats
where the primary text or image can stand out predominantly
framed with open wide margins. The uniformity of the block
grid helps to create a sense of balance and stability, making
it easier for the audience to focus on the content.

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grid anatomy

print media Column Module Inside margins

Side margins Flowlines Gutters

online media

Side margins Columns Gutters

 layout: invisible elements step 5

grid examples

Block grid with

wide asymmetrical
margins.

Column grid with

asymmetrical
and symmetrical
column width.

Modular grid
with square and
rectangle modules.

Hierarchical grid
with different
hierarchal
divisions.
 layout: invisible elements step 5

grid examples

block grid

eish ahlawat
Block grid modified with
a split within.

column grid

abdal karim rabi

thiago lee
layout: invisible elements step 5

modular grid

denis zimakov

band architecture

hierarchical grid

ilia aladov
 layout: invisible elements step 5

what is
a column grid

A column grid is made up of at least two columns. If it has DO understand:

more than two columns, it is referred to as a multi-column the more columns
grid. Multi-column grids are ideal for organizing complex you add, the more
content since they offer a lot of flexibility in creating different flexible your grid
layouts. This variability is achieved through the horizontal becomes.
flowlines, which act like a subordinate structure. These lines
can create unique moments in the grid, such as breaking the
column to place content anywhere within the column grid
or spanning several columns across your layout. It's worth
noting that columns can also have different widths, enabling
an asymmetrical and dynamic design.

what is
a modular grid

The modular grid divides the layout into columns and rows
to create equally sized, rectangular modules. Although it
may take some time to learn how to use this grid effectively,
it is widely used in portfolio design because it offers the
most flexibility. This modular approach allows for creative
experimentation by variously combining modules to generate
large fields. By joining modules in different ways, each layout
can have its unique rhythm while maintaining a cohesive
design. The flexibility of a modular grid brings you two
benefits. First, you can establish a sophisticated hierarchical
structure, and second you can rearrange content easily, which
also simplifies portfolio customizing or updating.

what is
a hierarchical grid

Sometimes, the content requires a unique grid system that

cannot be met by any of the grid layouts mentioned so far.
In such cases, a hierarchical grid can be used. The primary
aim of a hierarchical grid design is to first follow the needs of

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 layout: invisible elements step 5

DO consider an the content. Such a grid consists of columns and rows with
off-center grid, varying sizes and intervals. To create this hierarchical grid,
which can be you begin by assigning importance to your content, and then
more aesthetically you proportion your grid sections and intuitively place objects

pleasing. within the grid in different positions. Because this system is

fluid, it can be difficult to apply and requires a trained eye
and steady evaluations. To give a polished, refined look to a
hierarchical grid, you should establish a rationalized structure
that will coordinate or lead the content placement ensuring a
cohesive visual flow. In some cases, a hierarchical grid may
adopt aspects of two different types of grids to reinforce a
strategic approach. Adapting a modular grid, in fact, might
be a more reliable framework for hierarchy as it provides
structure with flexibility.

what is
a fluid grid

Grids are an especially useful tool for website portfolios, given

the potential for chaotic web design. Grids function much the
same way on a web page as in a PDF or printed portfolio,
except that the web grid is mostly shaped by columns to
deal with the vertical nature of a web page. And one other
very critical difference: web grids must change constantly
depending on the user’s screen.

A fluid grid contracts or expands seamlessly to meet the

dimensions of the user's screen /or viewing window, known as
a “viewport”/. The advantage of a fluid grid is that it maintains
the same content and, mostly, the same appearance as it
responds to the viewer’s screen size. However, this grid system
demands a thoughtfully composed layout that can maintain
its visual sense despite a dramatic contraction or expansion of
its overall viewing field. Two other web grid systems respond
to variable views with different strategies. An adaptive grid
system creates several fixed grids, with cohesive features

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standard grid specifications

375 px 744 px

A mobile device with a screen width A tablet device with a screen width
of 375 px typically has a four- of 744 px typically carries an eight-
column grid with side margins set column grid with side margins set
to 16 px and gutters to 12 px. to 24 px and gutters to16 px.

1920 px

A laptop and desktop screen of the

width of 1366–1920 px typically
carries a twelve-column grid with
side margins at a minimum of 32 px
and gutters at 16 px.
 layout: invisible elements step 5

grid behavior

fixed behavior

The fixed grid keeps the content

static, while the margins are scaled
to fill the remaining space.

fluid behavior

The fluid grid automatically adjusts

column widths to fill the available
space, while the margin and gutter
widths remain constant.
 layout: invisible elements step 5

but different overall sizes, so an appropriately sized version

of the page will appear for the user. A responsive grid is in
some ways a combination of fluid and adaptive grids. Some
grid elements and content may respond fluidly to window
resizing, but at certain breakpoints the grid layout is reformed
to better fit a new size. The main point to understand with
web layouts is that they need to be size-shifting in some way.
Therefore a simple grid is probably best to bring visual order
to the complex adjustments required.

how to set up
your grid system

When selecting a grid for your layouts, you should pay

attention to your content. Your imagery has its own qualities
and nature that may dictate your grid system. For example,
your imagery may tend toward the horizontal orientation or it
may be you have several sets of small sequential drawings.
Or for some, your final curation involves large, color-intensive
visualizations.

Another aspect to understand about your content is what you

want to prioritize. This involves identifying the most important
content and what's less important. Once you have a sense of
the hierarchy of your content along with the nature of your
imagery, then you select a grid that meets your content needs
as well as your graphic skills.

Now that you selected your grid, set it up with guidelines that
you can easily turn on and off in your editing software. Then
start organizing your content accordingly, perhaps with your
high-priority imagery first. The grid system will be a visible
element at the start, and as you align content with it, you
begin to see effects that will last when the lines disappear.
While using the grid as the only means of achieving strong
consistency is not wrong, it may lead to a monotonous and
less engaging viewing experience. Therefore, use the grid

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DON'T stick to the as a starting point for your composition and then customize
grid too strictly. it to create a more dynamic, personalized scheme that fits
This can lead your content and overall project. This requires a deeper
to uninspiring, understanding of the relationship between vertical spans and

homogeneous horizontal flowlines, but with experience, you'll have greater

control over your design and confidently break the rules in a
layouts.
reasonable way. For example, you can consider varying the
layout from one spread to another, changing the proportions
and positions of your images for a more dynamic visual pace.
However, while making these changes, maintain a cohesive
system by adhering to your base grid. For instance, this book
that you are reading is designed with a strong two-column
grid, but when content objects need to interrupt the scheme,
they are allowed to do so while still maintaining the cohesive
feel. Below are some other techniques and recommendations
to help you create a dynamic mood for your grid structure
while achieving a coherent layout:

combining •
layering •
bleed •
crossover •

how to design
with combining

DON'T fill every A simple and commonly used method to break out of a grid
single grid module while maintaining a cohesive structure is to combine multiple

with your content grid modules. This usually involves removing the gutters to
allow content objects to span across two or more columns
as it can result in
and perhaps several rows. An object could span a dozen or
an overwhelming
so modules down and across, depending on its size and the
visual experience.
grid structure you use. A similar option is to run your content
through the margins, which is known as the partial or full-
bleed technique, which will be discussed shortly.

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breaking grid examples

combined six modules

with elimination of gutters combining
and margin

partial bleed

eliminated
gutter

a small object layered

on top of the larger layering
object

layering effect
 layout: invisible elements step 5

bleed an image spread out to

bleed through each side
of the layout

margin

image

trim

bleed

crop marks

crossover an image spanning

the spread crossing
the gutter

margin

image

small gap
on each side
 layout: invisible elements step 5

When combining your modules or collapsing your gutters,

it might be tempting to fill up every single available module
with your content. Trying to use all the modules, however,
leads to a cluttered and overwhelming layout. Though needs
vary and a lot depends on how much content you need to fit
into your layout, you should always integrate white space to
emphasize just one or two objects of your content. The white
space you leave becomes a design tool to focus your content.

how to design
with layering

Layering is another technique that can be used to effectively DO remember

break the monotony of a grid layout. It involves placing that the layering
one object on top of another, creating an overlay effect technique can
that can enliven the viewer's experience. This technique, convey an
however, can be challenging to implement as it requires uncertainty about
careful consideration of each object's placement, contrast,
what's important.
and readability. If poorly implemented, the layering can be
confusing or chaotic for a viewer because objects can blend
and become indistinct. So if you lack confidence in your visual
instincts or are untrained, it is better to keep the grid simple
until you feel more confident.

If you decide to adopt the layering technique, you will need

to experiment and make adjustments to achieve the desired
result. For example, if you're layering a floor plan over another
image, you'll need to ensure proper contrast to make the floor
plan readable. In other cases, you may need to place text
on top of a solid or somewhat transparent color block that
partially covers the image, creating a sense of unity without
compromising the clarity of any of your content /see Step 7,
common mistakes/.

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how to design
with bleed

DO consider "break A bleed is when an image extends beyond the edge of the
pages" designed page. This way of disrupting a grid system is particularly used
with full-bleed in print design, where the image can spread from edge to
images to create a edge of a page without the interruption of any white borders

pause, a moment /margins/. There are two types of bleed layouts: partial bleed,
where only a portion of the visual content extends beyond
for breath.
a page edge, and full bleed, where the visual object covers
the entire layout, eliminating all the margins. Going full-bleed
with an image will not only emphasize your image but also
create a unique, immersive moment in your portfolio, drawing
the viewer’s eye and encouraging a pause to fully appreciate
the image’s details.

If using a bleed technique, you should understand that the

printing process must use sheets of paper larger than the
actual page size, which are then trimmed down to the exact
size. To ensure that the visual content goes all the way to the
edge of the printed paper, always extend your visual content
at least 1/8” beyond the final trim size. This guarantees
that the images won’t leave an undesired white edge on the
printed paper.

how to design
with crossover

A crossover is a technique that gives you an opportunity to

create a dramatic effect, but it can be only applied in print
design. This method allows for the seamless extension of your
content across two adjacent pages by utilizing the grids on
both pages. The idea is to violate the constraints of a single
page, but of course, this effect only works with pages that
face each other. If executed correctly, incorporating crossover
images into your layout can amplify the impact of your work,
turning images into a more engaging experience.

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Achieving a crossover effect requires a lot of consideration to DO remember

prepare the document for printing. First off, you should avoid the viewer’s eye
having the image's focal point appear at or near the crossover. falls on the right-
Secondly, you need to pay special attention to the binding hand page first.
technique used, as it can affect the smooth flow of your So, in a bound
crossover image. To avoid the problem of losing too much of
portfolio, use the
an image in the binding fold, you may want to allow narrow
left-hand page for
margins at the spine. These gaps, or binding margins, allow
secondary images.
for a more seamless transition between pages, as they help
to prevent any overlap or obstruction that might occur during
the binding process. When the pages are bound together,
these gaps become practically unnoticeable, and even if
some of these interior margins show slightly, the flow of the
image is preserved. The size of the necessary gap will vary
depending on the binding method and the number of pages
in your portfolio. Therefore, it's always best to consult with
your printer to ensure that your design is formatted correctly.

common mistakes —
poorly developed
grid layout

Setting up the block grid as your primary grid for your

portfolio layout is often the go-to choice. While it may be easy
to set up since it doesn't require any elaborate divisions, it
can easily stifle your creativity and leave your layouts feeling
uninspired /see common mistakes 1/. Remember that a block
grid is a good choice for cover designs, but it may not offer
the necessary structure to create a proper visual hierarchy.
With a straightforward block grid, you may have difficulty
balancing and visually supporting the whole range of content
incorporated in your portfolio layout. Therefore, think about
developing your grid further by adding, at the least, more
columns to make the layouts more variable and engaging.

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On the other hand, when establishing a grid layout, it may

seem like a good idea to arrange your content randomly to
make it look dynamic and unconventional. However, if your
eyes are not trained for composition, this could result in a
layout that appears chaotic and confusing, making it difficult
for viewers to understand the logical flow and hierarchy of
information /see common mistakes 2/. For this reason, it
may be better to stick to a structured grid arrangement that
promotes consistency.

lack of
negative space

DO manage the One of the most common mistakes in portfolio design is

use of white space to try to fill every available space with content. Remember
the same way as that negative space is just as crucial as the content itself.

your content. A composition with content crammed together can seem

overwhelming and suffocating, and none of your objects will
stand out /see common mistakes 3/. In such a case, viewers
are going to struggle to distinguish images and be unable
to process the message of your layout. So, don't forget that
white space can boost the overall appeal and functionality of
your design.

While overlapping images can create a stylish and

sophisticated design, you should use this technique
cautiously. Overuse or improper application may lead to
visual noise and to confusion. The information of your images
will be hard to identify /see common mistakes 4/. If your aim
is just to squeeze more images on one page, it's better to
stay away from this technique. Instead, consider relocating
some images to another page or determining which image
is most important and giving it the space it deserves without
overlapping. Alternatively, you can eliminate an image
altogether.

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neglecting
the safe zone

Narrow margins can deliver modern aesthetics if they are

applied with a sensible eye. However, if you're inexperienced,
using narrow margins can often lead to counterproductive
results. When text and images are placed too close to the
edge of your design, it can make your layout appear crowded,
unbalanced, and visually uncomfortable for the viewer /see
common mistakes 5/. Don't underestimate the importance of
setting appropriate margins that provide enough space so
that your objects and layout breathe and create visual comfort
for the viewer. Additionally, if working on a physical copy, bear
in mind that any content too near the edges may get cut off or
pushed too close to the binding. So, don't let narrow margins
spoil your hard work.

As previously explained, gutters are the spaces between DO establish

content that prevent images from bumping into each other. consistent spacing
Without this visual separation, your content can become and alignment
crowded and images difficult to distinguish from one another between like
/see common mistakes 6/. Likewise, neglecting a visual gap
objects.
between text and an image can make the reading unpleasant
and cause eye strain. Don't forget about gutter spacing as a
part of your design!

inconsistent
grid elements

Some designs may require complex grid structures to

accommodate a wide variety of content, while others may
intentionally have inconsistent grids. Balancing creativity
with consistency can be a challenging task in both scenarios
and can lead to difficulties in maintaining a cohesive layout.
If you have limited graphic design experience, therefore,
it might be better to maintain uniform column widths and
gutters to ensure that all your objects are aligned correctly

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in a coherent and organized appearance. Failure to do so

may lead not to a uniquely creative result but an unbalanced,
unprofessional, and especially confusing viewing experience
for your audience /see common mistakes 7 and 8/.

crossover
defects

DON'T use bleeds If you are making a physical portfolio and you plan to utilize a
or crossovers crossover technique for your image, it's imperative to format it
without talking to correctly to achieve the desired effect. Be careful not to place

the printer first. at the binding crossover any critical elements of the image,
such as text, legends or focal points. Doing so can obscure
or distort the objects and make it harder for the viewer to
understand the content /see common mistakes 9/. In such
cases, it's better to reposition or crop the image to avoid
hindering or distorting the vital information.

Also, be aware of the fact that a spanning image might end up

with a misalignment that becomes noticeable once the bound
book is opened /see common mistakes 10/. This is because
the binding process can cause a small shift in the positioning
of the pages. A misalignment is likely to be very slight — but
probable — and, therefore, always consult with your printer,
who can help minimize this effect and ensure that the image
remains as seamless as possible.

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common mistakes

grid layout

1/ 2/

1/ A grid layout that's too basic and 2/ Randomly arranged content

rigid can limit the flexibility needed objects may compete for attention,
for visually dynamic designs. creating a confusing and less
cohesive composition.

Utilizing a more complex yet

simple grid can help you to create
visually stimulating compositions
that maintain both balanced
organization and clear focus.

images this page by christopher mathes

 layout: invisible elements step 5

negative space

3/ 4/

3/ A layout that lacks white space 4/ Content objects that overlap may
can make content objects vie hinder clarity of your images and
for attention and overwhelm the can seem equivocal.
viewing experience.

Negative space can function to

your advantage. Relocating to
another page or even eliminating
some content objects to prevent
clutter helps the viewers perceive,
prioritize and navigate the content
effectively.
 layout: invisible elements step 5

common mistakes

safe zone

5/ 5/ 6/

5/ Margins that are too narrow can 6/ The absence of visual separation
lead to a crowded layout, inducing between content objects poses a
visual fatigue and discouraging full challenge in distinguishing each
engagement with the content. from each or focusing on specific
content.

Safe zones are visual separations

from edges and other content
ensure each object is distinct. Your
viewer can more easily engage
with and interpret your content.
Also, when your content object
approaches the margins, always
consider either extending it to the
edge or maintaining an appropriate
margin.

images this page by christopher mathes

 layout: invisible elements step 5

inconsistency

7/ 8/

7/ Inconsistent font formatting and 8/ Varying image sizes and the

paragraph widths create visual spacing between them convey a
chaos and can lead to confusion negligence or lack of attention to
about the hierarchy. detail.

Maintaining uniformity with your

gutters, object scale and positions,
and typography will elevate your
portfolio's overall aesthetics. Not
only will it be more pleasing to look
at but your message will be clear.

images this page by evan bluemel

 layout: invisible elements step 5

common mistakes

crossover

9/

image by evan bluemel

9/ Placing important information at Reposition or crop the image so the

the spine might result in obscuring crucial parts are not compromised.
it or losing it all together due to the Similarly, when dealing with text,
binding. adjust the font size or add spacing
near the spine to make it readable.
 layout: invisible elements step 5

10/

10/ With a bound book, a crossover Add an inside margin, try offsetting
image might not align properly, the images or discuss the other
causing distortions in both the solutions with your print service
image and text. to improve the continuity of your
spanning content.
STEP 6

proximity
alignment and spacing
scale and proportion
color
hierarchy
visual balance
similarity
common mistakes
 LAYOUT
VISUAL ELEMENTS

Visual layout elements play a crucial role in portfolio design because, in part, they
attract the most attention. These elements refer to the methods and tools used to create
arrangements on a grid that convey a specific message, a message otherwise known
as your layout design. All of the image-based content in your portfolio acts as building
blocks in these arrangements. These include all visuals such as renderings, drawings,
info-graphics, and other less obvious ones like icons. While the text is also a component
of a layout design and, in many ways, inseparable from visual objects, this Step will
mostly focus on presenting imagery. Visual design elements aim to build a well-organized,
dynamic composition that provides information quickly and clearly while keeping the
audience engaged.

what are the

essential tools

DON'T forget: Once you determine the structure of your grid, you then
good composition begin to pay close attention to your content objects and all

is often about the design details of a layout. Whether you are creating a
physical, digital or website portfolio, the visual principles
simplifying.
listed below are central tools to achieving a successful and
effective design, regardless of the medium:

proximity •
alignment and spacing •
scale and proportion •
color •
hierarchy •
visual balance •
similarity •

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 layout: visual elements step 6

Although these visual design principles are often considered

the standards to follow, they are, as with grid systems, not
hard and fast regulations. Rather than relying solely on these
principles, you also need to use your own intuition, logic and
visual skills to create a balanced and visually appealing layout.
Just remember, the aim is to present your content in a layout
that is clear and expressive. On the other hand, a carelessly
constructed layout can result in an ineffective or negative
experience for the viewer, regardless of how excellent your
projects may be. Therefore, though you need not be ruled by
these visual principles, understand them as guides that will
help you develop a layout that effectively connects you to
your audience.

proximity —
why pay attention
to proximity

When designing a layout, it's pivotal to first consider the

concept of proximity. This refers to the visual relationship
between different objects in a composition. Proximity works
intuitively. If images and text are placed close to each other,
it indicates that they have equal importance or are related in
some way. Conversely, if they are separated, it implies that
they are unrelated and are being kept apart by strategically
using negative space. Thus, when applying the principle of
proximity to your layout, you should consider all the individual
objects and their relationships to one another. By identifying
those connections you can, for instance, arrange related
objects near each other or set apart images with different
messages. Then, your layout will provide a clear order and
intuitive comprehension, making it easier for viewers to
understand and navigate through the design.

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 layout: visual elements step 6

— alignment and spacing

why image
alignment matters

DO place an Alignment /as well as spacing / is another significant design

content object principle that is only subtlety visible, which may be why it
slightly out of is often undermined and easily neglected. The truth is that

alignment. It will misalignment or improper spacing is what usually catches

the eye, which is why it so critical. Although alignment is
make it stand out.
often associated with text formatting, it is equally important
in organizing your other content objects. Alignment creates
spatial relationships in layout and emphasizes meaning
or visual connection by positioning related objects on the
same axis of established grid lines. Conversely, intentional
misalignment of an object that is part of a larger, perfectly
aligned group can create tension and draw attention to the
offset or isolated object, effectively bringing a visual order
and interest to the composition. However, it's important to
use this technique judiciously, as the lack of alignment or
misalignment without a purpose can result in a disorganized
message and lack of cohesiveness in the overall design.
When done correctly, alignment orders your layout design,
guiding the viewer's eye through the content and reinforcing
the overall hierarchy. An important, perhaps obvious note is
that alignment occurs both horizontally and vertically, so both
should be considered when designing.

why image
spacing matters

Spacing is the deliberate, strategic arrangement of gaps

between your objects. Effective spacing requires you to
consider proportions in the spacing between objects, such as
large images or, if designing a website, small buttons. When
done right, it can reinforce clarity, functionality and overall
perception of your composition. On the other hand, inadequate

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 layout: visual elements step 6

visual principles

proximity

elizabeth adebayo paige davidson

1/

2/

1/ The physical proximity of objects

placed next to each other suggests
they are part of the same message.
2/ Separated objects appear to
indicate different ideas.
 layout: visual elements step 6

alignment

roberto vargas jek kee lim

1/

2/

1/ Strictly aligned multiple 1/ A misaligned object becomes

objects that come together as a more noticeable. This interruption
single entity create harmony and could be desirable if the object
unification. needs more attention.
2/ Lack of alignment disconnects 2/ An obeyed alignment creates the
their meaning and conceals perception of a unified message.
intention.
 layout: visual elements step 6

spacing can make your objects appear crowded, posing

challenges for viewers to differentiate between various
objects. Poor spacing is more than just poor aesthetics — it
disturbs the practical function of your layout.

scale and proportion ­ —

why scale
matters

Scale and proportion are two fundamental concepts that DON'T stretch your
are related to size, but they have distinct meanings. In imagery out of
portfolio design, scale refers to the relative size of one proportion.
object compared to other objects within a composition or Avoid distortions.
compared to an overall reference point, such as the format
size. One of the most significant effects of scale is the ability
to create a sense of hierarchy and emphasis. For instance,
larger objects are perceived as more important, while smaller
ones feel subdued. This aspect of scale begins to deal with
proportions as well as other visual principles like hierarchy,
discussed later in this Step. However, it is important to first
understand some of the effects of scale. When adjusting the
scale of your content, be mindful that when objects become
too small, this leads to a loss of detailed visual information.
On the other hand, enlarging a content object beyond its
original dimensions can result in a fuzzy or pixelated quality.
Therefore, pay attention to the effects of scale, not only in DO test print your
terms of hierarchy but also in terms of clarity. Always run a drawings to see
quick test to ensure your line weights deliver desirable clarity, if you need to re-
especially when modifying the scale of technical drawings scale line weights
containing line weights, hatches, and text labels. By being to ensure clarity
attentive to the effects of scale, you can use it effectively as for a print copy.
another tool for your design layout.

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 layout: visual elements step 6

why proportion
matters

DO remember that While proportion relates to the size of objects, it's more
equal proportions accurate to say that, proportion is the relationship between
create monotony. objects and how their size, visual weight, and quantity interact
with one another in an overall composition. An effectively
proportioned layout requires establishing harmony in the
size and impact of objects, but sometimes also a meaningful
differentiation.

To achieve a well-proportioned layout, you should start

by placing objects with common features together. Using
consistent spacing and scale for these objects will create
a sense of unity in your layout. Additionally, then, to break
up the drab monotony of identical objects, consider, for
instance, creating major and minor zones within the layout
using varying scales and spacing. Such a method adds
interest and a sense of hierarchy. Be sensible and keep a
balance, though, and avoid significant differences that can
make objects appear unrelated, disordered or overshadowed.
A poorly proportioned layout can confuse and disengage the
audience.

— color

how to use
color

The use of color in layout design should be done with intention

and purpose. Although colors can create a desired mood or
serve as a graphic detail, they should not be relied upon to
compensate for a lack of visual content or excitement in a
portfolio. Reflecting your personality in your portfolio should
be a part of your design process, but be mindful that the color
should spring naturally from the content in your portfolio.

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 layout: visual elements step 6

visual principles

proportion

ali ismail karimi elissa sudargo

1/

2/

1/ Different proportions and varied 1/ Different proportions of objects

scales or spacing contribute to an create emphasis and order.
informational order. 2/ Equal proportions lack focus and
2/ Objects of the same scale are may quickly disengage attention.
viewed as a single entity.
 layout: visual elements step 6

color

csenge király thiago lee

1/

2/

1/ The darker background color 1/ A solid dark background acts

highlights light imagery, giving it heavier than a light one. The dark
strength against the full bleed on elevates light objects.
the right page. 2/ Removing the background
2/ Eliminating the background color will reduce the weight of the
contrast on the left causes the full objects.
bleed on the right to stand out.
layout: visual elements step 6

Color can be presented in several ways within a layout:

• full color in content objects – imagery

• solid color pages – section dividers, for instance
• color in textual elements

Typically color in layout is applied for hierarchy purposes, DON'T use textures
discussed more fully in the next section. Other than the color and patterns as
embedded in your content, using too much color without a background for
careful consideration can distract and detract from your work. text. It may make
To maintain a professional approach, it might be best to stick your content hard
to neutral color schemes with white or light-gray backgrounds.
to read.
These backgrounds are clean and effective and enhance all
types of imagery in your portfolio.

If you desire to use a color in your background to express

the visual identity of your portfolio, you must let the tone
exist as a supportive element that highlights your work. Many
colors can be overpowering, but there are ways, if considered
carefully, to create a fresh look with successful results. For
example, applying a light tone of color that complements your
imagery across an entire page can enhance the imagery. Or,
another example, a layout with a full-bleed black background
may create a strong impression providing a sharp contrast of
solid color behind your content.

Another method to intensify your background color is through

the use of gradient. Using gradients, however, requires a clear
understanding and careful application. If you are not confident
about your visual instincts or don't have experience applying
multiple colors along with content, it's best to avoid using
gradients altogether. On the other hand, when used correctly,
a gradient background or partial application can add depth
to your layout. Keep in mind that gradients are better suited
for website portfolios rather than print copies. The online
medium provides a wider range of colors and vivid looks on

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 layout: visual elements step 6

a screen. Additionally, a website gives the possibility to scroll,

so a gradient background can change as you move, creating
a dynamic feel. When printing a gradient on physical paper,
the colors may appear dull and have an unappealing banding
effect, depending on the printer's quality.

— hierarchy

why is visual
hierarchy essential

DON'T neglect a Although this visual principle was introduced with the grid
visual hierarchy. system and already referred to throughout this Step, the vital
Without it you importance of hierarchy in layout design requires that it be
emphasized again. Even the most captivating layout can be
appear to lack an
confusing if viewers cannot navigate it, do not know where
understanding of
to focus, or cannot identify the most significant objects. In
your own work.
other words, without a clear visual hierarchy, your best
designs could be easily overlooked. If you execute your visual
hierarchy properly, you will ease your viewers' navigation and
enhance their appreciation not only of your layout composition
but of your content — the work itself!

DO remember that Once again, to establish a hierarchy, determine which content

hierarchy is your objects are most important and should be seen first. These
primary objects should be followed by secondary and tertiary
power tool!
objects. Then, the methods and tools discussed earlier and
listed below should be used to differentiate and order
the objects so that viewers can quickly understand their
importance and flow:

scale •
color and contrast •
white space •
proximity •
alignment •

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 layout: visual elements step 6

visual balance —
why visual
balance matters

Visual balance is one of the most important visual principles DO avoid

of composition and visual communication. The purpose of using absolute
visual balance in portfolio design is to distribute visual weight symmetry in every
evenly across your layout. Visual weight is understood as the single layout.
amount of attention that a viewer gives to a single object in
It encourages
your composition. Every object used in your design, all the
scanning.
graphics and text, carries a certain visual weight. Altogether,
the content objects work as a unified whole, deploying a
balanced design that naturally pleases the eye and manifests
a sense of comfort, harmony and equity. However, this doesn't
mean that the visual weight of your objects has to be equal
to each other to achieve a visual balance, nor should a sense
of hierarchy be abandoned. Rather, it means that no objects
should be too dominant or too subordinate. A balanced layout
design ensures that all objects of your composition get the
proper attention from your audience.

Visual balance in composition can be achieved in many ways

but there are only two main strategies:

• symmetrical
• asymmetrical

Symmetrical balance is a design technique in which the DO rest your

content objects are mirrored or evenly arranged on both eyes periodically
sides of a central axis. This creates a sense of balance as the throughout the
visual weight of the objects on either side is the same. Such day. You will see
an equal set of arrangements typically feels subconsciously
better.
pleasing because it looks organized, and stable. For instance,
if you have visually similar or equally important objects in
your layout and you don't want them to compete, it's best
to opt for a symmetrical arrangement. However, because

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 layout: visual elements step 6

of its static, predictable, and somewhat simple nature, a

symmetrical layout can cause viewers to quickly resolve your
content and begin scanning, leading to disengagement and
lack of attention.

DO consider Asymmetrical balance, on the other hand, entails the uneven

distributing distribution of visual weight on either side of a central
white space axis while still maintaining a sense of balance. This can
be accomplished by varying an object's scale or strategic
asymmetrically to
position, for instance, or by setting off a large object with
achieve a dynamic
several smaller ones. Because of the greater complexity of
imbalance.
its unequal distribution, the asymmetrical balance demands
more viewer attention as they process the varied relationships
between the objects. If you want to draw a focus to a particular
object in your composition or to inject more energy into your
overall layout, you should strive to create an intentional
imbalance. However, to successfully execute an asymmetrical
composition, you need to first carefully consider the message
you want to convey and then manipulate the placement and
visual weight of your objects accordingly until the design is
purposefully imbalanced. If you push too far, the distributed
tension in your composition can create unwanted discomfort
– a sense of being out of balance. When executed well, an
asymmetric layout can result in a striking and captivating
approach, as it deviates from the expected and captures the
viewer's attention more effectively than perfectly balanced
designs.

how to achieve
a visual balance

Because an object's visual weight derives from many attributes

there is no precise way to measure it. So, achieving a visual
balance requires a strong visual sensibility and intuition.
Below are some attributes that can be usefully manipulated,
and then observations on how to effectively use each one:

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 layout: visual elements step 6

• balance from scale

• balance from color
• balance from position

how to achieve a visual

balance from scale

To achieve balance in the layout, one of the most common

tactics is to adjust the scale of objects. There are two different
methods to accomplish this, and each method produces a
different effect. The first and most straightforward method
is to use objects of equal size. This approach will create a
symmetrical look that creates an orderly and aesthetically
pleasing layout that is easy to decode and comprehend.

However, there is another more dynamic approach that can

be equally or even more effective. This method involves
using objects of different scales, which can generate a more
energetic and engaging atmosphere for your layout. When
using this method, you need to realize that larger objects
carry more visual weight. To counterbalance that, you can
simply group smaller objects to offset a large one. Or you
can vary the scale of objects in your composition but then use
other attributes, such as color, to achieve balance. Despite
their different scales, objects can still feel visually equal.

how to achieve a visual

balance from color

All colors have a visual weight, but some carry more weight DO remember that
than others. This means that certain colors will matter more warmer colors
within an overall color combination. To adjust the visual are heavier than
balance of objects in your composition, you can affect the cooler ones.
weight of each object by adjusting its color through these
three components:

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 layout: visual elements step 6

hue •
saturation •
value •

Pairing images with similar, analogous hues together can

create a sense of balance and harmony. /Analogous hues
are colors next to or near each other on the color wheel/. This
balance could involve using greens and yellows or blue and
green imagery, for instance. On the other hand, if you place next
to each other images with contrasting, complementary hues
/colors that are opposite each other on the color wheel/, the
image with the darker hue would feel heavier than the image
with a brighter hue. This effect produces an asymmetrical
color balance, adding a more stimulating dynamic.

DO maintain Another factor to consider is saturation, which refers to the

consistent color intensity of a color. Generally, high saturated images, which

modes across appear vivid, tend to attract more attention than those with
low saturation and a faded look. In this context, it's important
different softwares
to ensure that the saturated image doesn't dominate the entire
when editing an
focus of the layout. To engage multiple saturated images in
image.
balance, consider using images of a complementary palette
to equalize the visual weight.

Finally, the most decisive aspect in achieving color balance

lies in manipulating value, which essentially represents the
contrast between light and dark within an object. Objects
with a darker shade and bolder contrast inherently carry a
greater visual weight. With color imagery specifically, value
is the most important factor as it determines how light or
dark your image appears. Altering an image's color value
can significantly impact its visual weight. To harmonize two
images with, for instance, dissimilar hues or saturations, you
can darken the contrast value of the weaker image to give it

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 layout: visual elements step 6

visual principles

hierarchy

nicholas macintyre abdal karim rabi

1/

2/

1/ A variety of object scales can 1/ Darker color and higher contrast

reinforce the focus and order within draws more attention.
a composition. 2/ A monotone appearance lacks
2/ A uniformity will equalize the emphasis and direction.
importance of all objects.
 layout: visual elements step 6

visual balance

lucia krivá

ali ismail karimi

1/

2/

1/ Darker color objects placed with 1/ An asymmetric composition

lighter ones create harmony and a places different visual weights on
natural emphasis. either side, without abandoning a
2/ A lack of color balance appears sense of balance and visual order.
overwhelming and lacks clear focus. 2/ Out of balance compositions lack
a sense of purpose and flow.
 layout: visual elements step 6

more weight and attention. In another case, though, you may

want similar values for images with different hues so that the
deeper hue has weight and gains attention.

An additional note should be made about contrast. Colors with

values that are too close to each other, in other words with
a low contrast, appear flat and lack appeal. Effective use of
contrast not only highlights important objects but also adds
depth and dimension to the composition, making it visually
stimulating and more compelling.

However, using contrast is essential not only when combining DO use different
multiple images in a single composition but also within your contrast values to
content objects. If your image, drawing, or text appears shift or attract the
faded and lacks distinctiveness, the viewer may struggle to viewer's focus.
perceive the information or message you are trying to convey.
Therefore, you may need to adjust the saturation, hue, contrast
and brightness of the imagery in photo editing software like
Adobe Photoshop or GIMP. However, it's important to be
careful not to go overboard, as excessive adjustments can
make your work appear unnatural or misrepresented. If you
are unsure about the contrast manipulations, try testing
your image in gray-scale tones first. This essentially strips
down the hue and saturation from your image to reveal the
blandness or intensity of your image color values. If your
image in a monochrome rendition feels bland, that's when you
should adjust the intensify some color attributes.

how to achieve a visual

balance from position

Another way to achieve balance in your layout composition

is to pay attention to the positioning of your content objects.
This principle is primarily based on the proportion, proximity,
and quantity of objects within the composition. One simple
way to achieve a visually balanced composition is by having
equally sized objects placed on the same grid lines on both

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 layout: visual elements step 6

DO keep in mind sides of an axis. However, a more expressive and imbalanced

that vertical arrangement can be created by intentionally placing an object
objects appear off-center from the central axis grid. In another scenario, if
heavier than some of your objects are positioned higher in the layout

horizontal ones. or placed further from the dominant area or object in your
composition, they tend to become visually heavier and,
therefore, more balanced compared to those positioned lower
or more compactly. Lastly, objects placed on the right side of
a spread will likely feel heavier than those on the left.

Also, if you are dealing with asymmetry in your layout, such as

from color imbalance, it's often best to use a sense of gravity
when placing objects in your composition and letting heavy
objects sink down, and lighter ones float up. That is, place
your more weighted content objects at the bottom of your
layout and lighter ones at the top.

— similarity

why use
similarity

DON'T use Creating a sense of continuity and cohesiveness without

disjointed graphic duplicating your content objects is the essence of similarity.
elements with It provides a basis and reference point that holds together

differing styles or disparate objects and creates cohesion without relying on

symmetry, proximity or alignment. When you implement
colors.
similarity, viewers easily recognize patterns and concepts
throughout a larger body of your work, making it easier
to understand and engage with the content. Similarity can
be achieved in various ways, such as employing image
crossovers in each of your project intro pages. You can also
color code the backgrounds for each project to break the
monotony but yet maintain coherency across the portfolio.
Likewise, giving specific website buttons a consistent color

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 layout: visual elements step 6

visual principles

similarity

burak celik

1/

2/

1/ A cohesive pattern established

throughout project introductions
enhances clarity and encourages easy
navigation.
2/ Uncoordinated introductions upset
a sense of pace and confuse navigation
and the message.
 layout: visual elements step 6

similarity

anastasiia perova

1/

2/

1/ Essential objects on the project

introductions should remain consistent
for a clear continuity. Some anomalies
can create rhythm and interest.
2/ Introductions that break their
pattern too much cause uncertainty and
muddle your message.
 layout: visual elements step 6

can help users quickly and easily understand their purpose.

Essentially, you can bring together objects through similarity
and create a unified design that pleases the eye and facilitates
the reader’s experience.

However, it’s important to note that sometimes breaking the

pattern, even momentarily, can be just as effective, especially
when you want to draw attention to a specific point or object.
This can include using anomalies such as full-bleed images
or implementing a free-style grid in a layout to create a sense
of surprise that engages your audience. However, use these
treatments with a well-considered strategy, as overuse can
lead to confusion and subvert the purpose of similarity.

common mistakes —
lack of
image contrast

Even if your images are otherwise of the best quality, weakly DO convert
defined contrast can significantly reduce the visibility and your image into
overall clarity, and impede viewer comprehension /see gray scale to
common mistakes 1/. While it is relatively easy to recognize understand its
proper contrast value in gray-scale imagery, it may be rather true contrast.
challenging with color images. However, you can evaluate the
contrast of your images quickly and effectively by converting
them to gray scale using any photo editing software. If your
image in a gray scale feels bland, it signals the need to
enhance contrast and perhaps also adjust saturation or hue
to enliven the color image.

Contrast holds double significance when working with line

drawings, particularly when you adjust their scale /see
common mistakes 2/. Your line drawings should be clear and
distinguishable regardless of their size. To achieve clarity,

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 layout: visual elements step 6

you may need to manually alter the scale of the line weights
and hatches to ensure the information is accurate and easy
to discern.

lack of
visual balance

DO let the negative Maintaining visual balance in a layout can contribute

space become part to a harmonious design and highlight specific objects.
of your layout. Neglecting balance can lead to a visually overwhelming and

It will boost the discomforting experience, making it difficult for the viewer to
focus on particular objects or key information. This issue often
clarity of your
arises when layouts contain too much intense and colorful
work.
imagery throughout the entire layout /see common mistakes
3/. In such compositions, your best work will most likely be
lost or overlooked, compromising the intended message
or purpose of your layout. To overcome this issue, try to
counterbalance vivid imagery with lighter-weight imagery
or by integrating negative space into your design. This will
provide a visual relief and prevent an overly saturated feel.

Purposeful and deliberate imbalance in composition can

bring a visually striking effect and dynamic quality to your
layout as it disrupts expectations. However, achieving a
compelling imbalanced equilibrium requires a trained eye,
whether it be yours or someone else's. Weak execution or
unintentional neglect of visual balance can fail to capture
the viewer's attention effectively. This often occurs when
parts of your layout become cluttered or visually heavy,
while others remain oddly sparse with randomly arranged
objects without a clear purpose or level of prominence. This
could also be caused by poorly managed negative space
in a layout or when images of significantly different visual
weights are placed in close proximity /see common mistakes
4/. Weakly executed equilibrium will discourage a proper
attention to your objects. Therefore, to successfully integrate

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a visual imbalance into your layout, experiment with different

asymmetrical arrangements until they achieve the required
purpose, flow and level of attention for all of the objects used
in your composition.

lack of
visual hierarchy

Remember, you may only have a brief time to convey the DO identify the
message of your portfolio. To make sure the attention you "star" images
desire is achieved quickly, apply one of the most powerful of every single
tools you have available — hierarchy. If you don't carefully project and
consider the order in which you present information and highlight them
assign importance to each object, your portfolio can end up
prominently.
being either too dull or too chaotic. This can leave your viewer
struggling to identify the most important information, and
they may quickly lose interest in your portfolio /see common
mistakes 5, 6/. Use the visual principles discussed in this
Step to create a visual hierarchy that makes your portfolio
easier to navigate as well as captivating. A portfolio that
achieves your goals!

improper
scaling

When scaling down an image, always ensure that the DO keep in mind
message and information included in it are still easy to that scaling
discern. This is especially critical when it comes to technical drawings that
drawings. Scaling down a set of drawings to fit a page can contain hatches
be problematic when they contain line weights, hatches and can cause the
text labels /see common mistakes 7/. If you are printing your
hatch to become
portfolio, always run a quick test to make sure that your line
too sparse or
weights are clear and your image delivers the desired quality.
dense.
No matter your medium, if the image is too small, it won't be
able to show off the effort that you have put into it. Beyond
that, your image can be misinterpreted if you don't prioritize
clarity during the scaling process.

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layout: visual elements step 6

Also, remember that oversizing your content objects might also

have negative consequences as it may obscure information.
Oversized, cramped compositions cause viewers to struggle
to see where they should focus their attention /see common
mistakes 8/. By carefully considering the size and placement
of objects, you can create a design that not only pleases a
professional's eye but speaks in a clear language.

inconsistency
through the portfolio

Consistency is an overarching quality that is inherent to

architecture but also to product design, graphic design, user-
experience design and other aesthetic fields. And consistency
should be maintained throughout your portfolio design as
well. It provides the aesthetic value of unity and the functional
purpose of ease of use. Similarity, the like appearance of
objects, discussed in this Step, is one aspect of consistency.

Inconsistency works against you, as it draws viewers' attention

to the oddities in your compositions rather than the content
of your work /see common mistakes 9,10/. Remember
that the human eye can very easily recognize patterns and
consistency, and even an untrained eye quickly notices errors
and irregularities. It might be hard to trick an architect's eye!

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 layout: visual elements step 6

common mistakes

contrast

1/ 2/

1/ Lack of contrast in the image can 2/ Line drawings on a dark

make details indistinct and cloud background may lead to reduced
your intended message. clarity, and visual fatigue.

Achieving an adequate contrast

requires you to carefully consider
color choices along with making
necessary adjustments to
brightness and contrast settings
so that all your content stands out
distinctly.

images this page by trevor rodgers

 layout: visual elements step 6

visual balance

3/ 4/

3/ If all objects within a composition 4/ A poor balance of visual

are boldly colored, they will weight can lead to an awkward
compete for attention and none will composition. Disoriented viewers
stand out. may leave some of the content
unnoticed.

Creating intentional imbalance

can be a powerful design choice,
but make sure to do it with a clear
purpose. Consider the colors, scale,
placement and proper distribution
of weights to achieve a visually
appealing and well-balanced
design.

images this page by lucia krivá

 layout: visual elements step 6

common mistakes

hierarchy

5/ 6/

5/ Equal visual weights distributed 6/ Improper visual hierarchy

across the layout create uncertainty creates dissonance, with less
in the priority of information. pertinent objects overshadowing
more essential ones.

Always give thoughtful attention

to visual hierarchy. Ensure that
the overall visual weights of your
images /scale, position, contrast,
color, etc./ align with your priorities
and intentions for the content.
 layout: visual elements step 6

scale

7/ 8/

7/ Drawings that are too small 8/ Large drawings can overwhelm

become illegible and provide no a layout and crowd out perceptions.
useful information.

Make drawings and other imagery

approachable, comfortably spaced
with information that is clearly
decipherable. Reduce the number
of objects on in a layout to prevent
overcrowding. Relocate objects,
or remove them altogether if
necessary.

images this page by lucas denmeade

 layout: visual elements step 6

common mistakes

inconsistency

9/ 9/ 10/ 9/ 10/

10/ 9/

9/ Lack of a consistent visual 10/ Varying paragraph widths

theme, including fonts and other or alignments disrupts related
graphics, can make a portfolio look information. Irregular placements
disjointed and the content seem within project introductions make
haphazard. navigation difficult.
 layout: visual elements step 6

images in upper spread by evan bluemel

images in lower spreads by emily ussia

To create comprehensive yet alignments. To reinforce a clear

quickly-identifiable content within navigation, maintain the same
a layout, you should make all the placement of paragraphs in each
related groups consistent, including section introduction.
fonts and paragraph widths and
STEP 7

typography

typeface selection

formatting for readability

designing with text

common mistakes
 LAYOUT
TEXTUAL ELEMENTS

Textual layout elements are the final components of your portfolio's visual communication
design. Your text ought to speak in the most direct, clear way to complete the full message
of your portfolio. These elements deliver a written message, of course, but they are
still visual elements within the layout, and it is typography that makes all the textual
elements understandable and visually appealing. Although a reader's very first reaction
to textual elements may be subtle and subconscious, you still must take the role of your
text and its appearance seriously. This Step will apply some visual principles introduced
in earlier Steps as they help you to understand how textual elements cohere within an
overall design.

— typography

what does
typography involve

Typography is the art of arranging and presenting text in a

visually compelling and clear manner. Typography arranges
individual letters as well as large fields of text, and makes use
of an array of typefaces, fonts and many spacing variables
such as leading. In portfolio design, your typography should
deliver clear language in an easily read way, but also continue
to communicate the message that you have shaped with your
imagery. The text in a portfolio layout primarily includes these
distinct components:

heading / project title •

subheading / project details •
body text / project description •
caption / image description •
folio / page number •

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 layout: textual elements step 7

Each of the text components has its own role and importance, DO remember
and as such, each component has its own visual style. At the that fonts are not
same time, however, each must cohere to an overall style. just an aesthetic
Headings are meant to capture the attention of the audience decision. They
with their eye-catching typography, whereas body text and have a function.
captions provide more descriptive and supportive information
with easy-to-read typography. At a subordinate level, but still
important, are the folio and other navigation components
discussed in Step 8. Their purpose is to guide the viewer
through the document with easy-to-find lettering. Since
each text component contributes to effective communication,
be sure each fulfills its role clearly and adds to the visual
experience.

what is
typeface and font

Typography uses typefaces to create readable and stylistically

compelling text. Typefaces, also known as font families, offer
you a wide array of design possibilities, with each typeface
having unique features that remain consistent across all
characters and sizes of text. This is where fonts themselves
come in. There is a widespread misconception that font and
typeface are interchangeable terms. In reality, fonts are not
typefaces. Typefaces are the design style of characters with
a consistent visual appearance, such as Arial, Helvetica,
and Futura. A font, on the other hand, refers to individual
stylistic variations within a typeface, like its size and weight.
An example of font could be Helvetica, 9 pt, Regular or Futura,
15.5 pt, Light Italic.

When it comes time to determine the look of your text, you will
have two decisions to make. The typeface is a fundamental
decision that shapes the overall visual impression of both
the text and the portfolio itself. Then, font selection within a
typeface also significantly contributes to the visual impact.

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layout: textual elements step 7

Choosing the wrong typeface as well as the font can make

the text challenging to read and even distort its meaning,
ultimately disconnecting your audience from your message.
You need to invest time and effort into carefully selecting the
typeface and font that complements your content.

— typeface selection

what are the categories

of typography

Prior to choosing a specific typeface, first narrow down

your choices by familiarizing yourself with the four primary
style categories of typography: Serif, Sans Serif, Script
/also known as handwriting/, and Display /also known as
decorative/. Among these styles, Serif and Sans Serif are
the most commonly used and are appropriate for print and
screen use. Script and Display typefaces are probably not
ideal for a portfolio as they can convey an unprofessional
impression and be more difficult to read. Therefore, avoid
using those categories of typeface and instead, opt for Serif
or Sans Serif to achieve a more dignified look and an easier
reading experience.

how to begin
typeface selection

Choosing the right typeface is a blend of solid principles and

intuitive judgment, and it can require years of experience to
develop a good sense of it. Though there are no hard and fast
regulations on how to choose the perfect typeface, there are
some guides that can make the process simpler.

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 layout: textual elements step 7

type classifications

serif
The studio was filled with the rich odor of roses, Serif type is quickly
and when the light summer wind stirred amidst distinguished and encourages
the trees of the garden, there came through the flow across a line, especially
open door the heavy scent of the lilac. in long texts of smaller font.

sans-serif
The studio was filled with the rich odor of roses, Sans-serif type looks
and when the light summer wind stirred amidst modern, clean and reads
the trees of the garden, there came through the well on screens.

open door the heavy scent of the lilac.

script
The studio was filled with the rich odor Script type mimics hand-
of roses, and when the light summer written letters. It can appear
as too casual or even too
wind stirred amidst the trees of the
formal, and almost always
garden, there came through the open unprofessional.
door the heavy scent of the lilac.

display
The studio was filled with the rich odor of roses, Display types are decorative
in various attention-getting
and when the light summer wind stirred amidst
ways. Readability is not a
the trees of the garden, there came through the priority, and their boldness
open door the heavy scent of the lilac. can compete with imagery.
 layout: textual elements step 7

levels of text hierarchy

title
20 pt bold
Suggests importance. The studio was filled
Feels strong, but perhaps
overpowering. with the rich odor of
roses, ...

body text
9 pt regular The studio was filled with the rich odor of roses,
Modest and legible. and when the light summer wind stirred amidst
Still easy to read.
the trees of the garden, there came through the
open door the heavy scent of the lilac, or the more
delicate perfume of the pink-flowering thorn.

captions
7 pt regular The studio was filled with the rich odor of roses, and when the
Could become illegible, light summer wind stirred amidst the trees of the garden, there
especially for older readers. came through the open door the heavy scent of the lilac, or the
more delicate perfume of the pink-flowering thorn.
 layout: textual elements step 7

One of the fundamental guidelines is to restrict the use of DO limit the

typefaces to two. But even pairing two different typefaces, typefaces in your
which might be tempting in order to create a contrast and document to no
hierarchy, requires knowledge and a discerning eye. Many more than two.
recommend choosing one serif and one sans-serif typeface
to ensure contrast without clash; one typeface serves
as the primary, while the other acts as the secondary or
complementary typeface. However, it's not as straightforward
as it sounds. Some serif and sans-serif combinations may
create unintended tension due to stark differences. Therefore,
if you're not well-versed in typography, it's best to avoid using
multiple typefaces altogether, as such a design can lead to
a chaotic and unprofessional appearance. A single typeface
throughout a portfolio can bring order while still presenting
a dynamic set of font styles and weights.

what else to consider

in typeface selection

Your chosen typeface should harmonize with your portfolio DON'T pick a
style and content to reinforce your message. So, don't rely default software
on widely used typefaces that are software defaults such as typeface. Show
Myriad Pro, Times New Roman, or Arial. They are perfectly your attention to
fine typefaces, but because of their overuse, they might not
detail through
provide the uniqueness and distinctiveness your portfolio
a typeface that
deserves. At the same time, don't go the other way too far
resonates with
and use a typeface that is overly stylized or merely focuses
your work.
on expressing your personality. With typefaces, you need
to strike a balance between a unique look with a sense of
identity and the need for a typeface that is professional and
has a more universal, functional appeal /see the discussion
of legibility in the next section/.

Navigating your typeface selection to find what complements

your work and style can be a daunting task. The visual tone
of your work, however, could be a key guide in this process.

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layout: textual elements step 7

For instance, if your work conveys minimalistic, lively, or

even technical or unconventional vibes, a sans serif typeface
may be a suitable choice to express your visual identity.
On the other hand, if your representation suggests artistic,
glamorous, sophisticated, or serious aesthetics, the serif
typeface may be a better fit. If you are unsure or even lost in
the type selection, there are some typefaces that usually work
in any design project. Generally, Sans Serif typefaces like
Futura, Proxima Nova, Open Sans, Roboto, Lato, or Europa are
safe but respectable choices. For Serif typefaces, options like
PT Serif, Georgia, Libre Baskerville, Merriweather, Alegreya,
or Lora can work well and won't embarrass you.

While there are numerous websites where you can download

from an ever-widening selection of fonts, not all of them offer
high-quality options suitable for a project like a portfolio. For
the best outcomes, use websites that guarantee the quality
of their fonts, such as:

google fonts – free •

adobe fonts – paid •
creative market – free and paid •
font shop – paid •
dafont – free and paid •

Note, also, that if you're designing a website portfolio, make

sure the fonts you choose are web-safe. This means that you'll
need to choose a standard font that can be viewed on any device
or operating system, or you will need to load font files directly
to your site or provide a link to font files. Be sure to thoroughly
test your font performance across browsers and platforms.

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 layout: textual elements step 7

formatting for readability —

why aim for legibility
and readability

A critical consideration for selecting an appropriate typeface DO remember

is legibility. This means that you will want to use a typeface that font legibility
that is clear to the eye and quickly identifiable. A legible can differ when
font doesn’t compromise the distinctiveness of letters and shifting between
allows for seamless reading. Beyond legibility, you must also
print and screen.
consider the broader concept of readability, which measures
how easy it is for the reader to understand the text, which
can be significantly affected by the typeface, font variations,
and formatting of text. A readable text resides in reducing the
effort required to read and make sense of the text. Readability
encourages your reader to read what you have to say. Below
are typographical factors that can enhance readability:

• font size and weight

• line spacing – leading
• line length
• font color and contrast
• text alignment

how to pick a font

size and weight

One of the most significant factors that impact readability DON'T oversize
is the font size. Unfortunately, there is no one-size-fits-all your fonts. They
formula for determining the perfect font size, as it varies can distract focus
depending on factors such as typeface style, the amount of from the imagery.
text and the context. However, generally, a good reading font
size for body text, which includes your brief paragraphs of
project description, typically ranges between 9 pt and 11 pt.
Some typefaces, like Open Sans or Helvetica, remain legible
at 9 pt, but others, like Futura, become difficult to read at

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 layout: textual elements step 7

the same size. Captions and folios are usually even smaller
than 9 pt, typically 7-8 pt. Anything smaller than this can be
difficult to decipher.

As for a website portfolio, the most comfortable reading

experience is achieved when the body text size ranges from 14
pixels to the more favorable 16 pixels. If the selected typeface
has larger characters, you can comfortably work with 14 px,
which is the minimum size recommended. Because your
portfolio website is going to be viewed on mobile devices
as well, you may want to adopt relative font size units for
responsive design. For that use relative units, such as em, ex
or rem, as opposed to absolute units such as px, or pt. There
are online guides to units available, such as w3schools.com,
where you can test out your font sizes and their readability.

DO remember, Adjusting font weight /thickness/ is another way to improve

bolder fonts feel text readability. A general guide is that the lighter or bolder
heavier so you your font weight is, the larger your font size must be to provide

may need to a comfortable reading experience. For instance, for body text
it’s usually best to use font weights that are “regular” or close
increase their
to it since they have a more proportional stroke-to-space ratio.
leading.

how to set up
line spacing

DO increase the Line spacing, or leading, refers to the space between the lines
leading for smaller within a paragraph. If the spacing is too narrow or too loose,
text or long your text will become difficult to read. Although the leading

paragraphs for depends on your selected typeface and font characteristics,

generally speaking, you should go with 140–170% of your font
better readability.
size. For instance, if your font size is 9 pt, your line spacing
should be at least 9 x 1.4 = 12.6 pt /140%/. This simple
calculation ensures that the text is easy to read and doesn’t
feel cramped. The line spacing of the text you’re reading has
been set at 160%.

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 layout: textual elements step 7

text readability

size and weight

THE PICTURE OF DORIAN GRAY

The studio was filled with the rich odor of roses, and when the light summer
wind stirred amidst the trees of the garden,...

leading
THE PICTURE OF DORIAN GRAY
The studio was filled with the rich odor of roses,
and when the light summer wind stirred amidst the
trees of the garden,...

line length
THE PICTURE OF DORIAN GRAY

The studio was filled with the rich odor of roses, and when the light summer wind stirred
amidst the trees of the garden, there came through the open door the heavy scent of the lilac.

contrast
THE PICTURE OF DORIAN GRAY

The studio was filled with the rich odor of roses, and
when the light summer wind stirred amidst the trees
of the garden,...

alignment
THE PICTURE OF DORIAN GRAY

The studio was filled with

the rich odor of roses, and when the light summer
wind stirred amidst the trees of the garden,...
 layout: textual elements step 7

The block of text below is

a sample of well-formatted
readable text, with appropriate
leading, alignment, contrast and
line length.

THE PICTURE OF DORIAN GRAY

The studio was filled with the rich odor of roses, and
when the light summer wind stirred amidst the trees of
the garden, there came through the open door the heavy
scent of the lilac.
 layout: textual elements step 7

how to set up
line length

Keeping track of line length is a simple yet effective way to

enhance readability. Excessively long lines can tire the reader's
eyes and slow the line-to-line transitions, while lines that are
too short can result in missed words, confusion and the need
for re-reading. To keep the reader engaged, you should aim
for an optimal line length of 50–75 characters. This text you’re
reading has an average of about 60 characters per line.

how to set text

color and contrast

Establishing high contrast is essential for enhancing text DO use black or at

readability and especially accessibility. If there's not enough least darker tones
contrast between the text and the background color, it could for body text. Good
strain the reader's eyes and cause them to miss out on contrast promotes
important information. This can be particularly challenging readability.
for readers with impaired vision, those using low-quality
screens, or anyone reading in bright sunlight. However, if
the contrast is too extreme, such text can be jarring to look
at and irritating to try to read. For example, using white text
on a black background can appear fuzzy or even haloed. A
similar effect can occur with text and background both set
in complementary colors, like red text color set against a
blue background or green text on a red background. Avoid
such vibrant color combinations as they require frequent
refocusing and visual discomfort, and instead, prioritize
accessibility over your aesthetic preferences.

To achieve optimal contrast, it's best to reserve applications DO ask others to

of color for brief spans of text, such as titles, or components read through your
like buttons and links for a website portfolio. When it comes text. Does it read
to body text, it might be best to stick to what's standard, easily?
particularly if the information in your paragraphs is important.
Black, gray, or white on a high-contrast background will

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 layout: textual elements step 7

always work well for body text and will still allow you to
create a strong sense of hierarchy. To make your portfolio
accessible, especially important with a website, you should
use an online tool such as color-blindness.com to ensure that
the color combinations you have chosen for your text meet
accessibility standards.

Finally, when adding text on top of an image, make sure that

both the text and the image are clear and distinguishable.
Otherwise, the text may blend into the image, making it difficult
to read. To overcome this, you can either adjust the brightness
of your image or place an opaque or semi-transparent object
underneath your text to dim the image. This will help both the
image and the text to stand out clearly.

how to set
text alignment

DON'T center Text alignment refers to arranging text so that it aligns within
longer texts. a larger composition. Alignment helps to organize the text to
Jagged edges be easily readable and joins it into the overall layout. Most

make the reading importantly, alignment guides the reader's eye through the
textual content which significantly contributes to readability.
difficult.
Despite its importance, though, text alignment is often
overlooked or haphazardly applied. So, pay attention to this
mundane, seemingly invisible concept that plays a vital role
in the effectiveness of a layout.

Different alignments are more suitable for different types of

text when creating a layout. For example, paragraphs with a
lot of text, such as body text, usually need left alignment with
a defined left edge that's most comfortable for easy reading.
This method gives the eye a clear and visible reference point
to return to after reaching the end of each line. Then again,
for languages that read from right to left, such as Arabic,
right alignment should be used instead, for the same principle

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of accommodating natural reading flow. Centered and right-

aligned text can be suitable for shorter texts, such as titles
or captions, but it is not recommended for body text as it can
unnecessarily create reading difficulties.

Another method which creates a clean and professional- DO avoid hyphen

looking paragraph is a justified alignment that aligns both breaks in text
the left and right edges. This forms straight margins on both blocks. It makes
sides, creating clear text blocks within your layout. However, the text harder to
you should be careful, as "full justification" can create uneven
read.
spacing between words, commonly known as "rivers," which
can hinder readability. If the river gaps are too large, you
can turn on a hyphenation option /which can also lead to
poor readability/ or manually adjust the spaces between the
words to eliminate the large gaps. If you prefer to use center-
aligned text, keep the text short and with no more than five
words per line to prevent difficulty and slower reading, as
the reader always has to re-locate the start of the next line.
Lastly, always remember that text alignment should be less
of a stylistic choice but rather a design decision made with
the user's best experience in mind.

designing with text —

what is a text
hierarchy

Organizing your textual content is just as important as

organizing your visual content. Assigning your text to different
levels of hierarchy will prioritize some information and
create a seamless, well-ordered reading experience. A well-
structured text hierarchy also serves as a powerful tool to
narrate your projects, encouraging the reader to follow along
and understand the progression of ideas and concepts as they

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 layout: textual elements step 7

move through your portfolio. When your textual content lacks

order or appears randomly arranged, readers may struggle
to discern the significance of each textual object, leading
to quick scanning over your texts. Therefore, you should
carefully structure your text hierarchy to direct your reader's
attention and keep their engagement throughout their review
of your work.

how to establish
text hierarchy

When establishing a text hierarchy, you should start by

determining the number of levels you will have. While Step
8 thoroughly discusses what type information should be
included, your portfolio layout design generally starts with
at least these levels of hierarchy:

primary level – project title •

secondary level – project details •
tertiary level – project description •

DO test out your Once you determine all of your hierarchy levels, you should
text hierarchy by distinguish them based on their significance. The primary
staring at a space level is the most prominent text, whose role is to grab the
away from your audience's attention and point it toward other information.

actual design, and This is typically the title of your projects. In portfolio design
the secondary and tertiary level are often close in hierarchy.
then looking back.
The secondary level holds pivotal information, such as project
What stands out
details. This level shouldn't dominate like the first level, but
first?
it should be distinct enough to draw the reader's focus since
it will provide them the essential aspects of the project. The
tertiary level, then, is where you want your audience to arrive,
perhaps even come to rest briefly. In a portfolio, this level
represents your project description, the core of your textual
content. Given its tertiary status, the font used shouldn't
be overly emphasized, but it should prioritize readability.

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 layout: textual elements step 7

Any additional information with lower importance, such as

captions or folios, should receive the same or even lower
emphasis yet remain visible and readable to clearly convey
the necessary message.

how to design
text hierarchy

There are several attributes you can use to establish a clear

and compelling text hierarchy. While experimenting with the
following attributes you want to maintain a consistent and
unified sensibility:

• typeface
• font size
• font color and contrast
• alignment
• space and position

how to design
hierarchy with typeface

Using two different typefaces might initially seem like a

good strategy to establish a text hierarchy. However, pairing
typefaces can be challenging as your hierarchy can be easily
ill-defined and less straightforward. A layout that uses a single
typeface with no more than 3–4 different weights is a safer
bet to create a professional and appealing design — safer
than mixing typefaces. Therefore, when you're looking for a
suitable typeface, look for one that offers at least the basic
range of weight and slant options, such as Light, Light Italic,
Regular, Italic, Bold, and Bold Italic. Some typeface families
even provide a broader selection of font weights, ranging from
Hairline or Extra Light to Black or Heavy styles. In certain
instances, typeface families offer additional flexibility with
options for width variations, such as extended and condensed

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 layout: textual elements step 7

styles. Regardless of the options you end up with, the point

here is that having one typeface with a variety of font styles
and weights allows for a more well-defined hierarchy.

DON'T use all caps Because of their shared design characteristics, the variations
for longer text. It within a typeface complement each other while being distinctly
makes your text expressive. For example, a short line of text set in all-caps
difficult to read. or upper-case font conveys focus and dominance, which is
why it would be suitable for project titles. In other scenarios,
setting information such as project details in italic style will
distinguish it from the rest without adjusting size or color. On
the other hand, the light or regular font weight carries less
intensity, making it optimal for body text. By utilizing different
font styles and weights within the same typeface, your layout
will generate a hierarchy while maintaining a cohesive look —
all without the difficulty of pairing different typefaces.

how to design
hierarchy with font size

DON'T set your The most common and straightforward way to establish a
size lower than hierarchy in the text is by using different font sizes. The larger
7 pt. It can the font, the greater importance it carries, which is why titles
become are typically set to a larger scale. While the size of the title

unreadable. is your design decision, keep in mind that it should be large

enough to catch the reader's eye at the first moment but not so
large that it overpowers the imagery. Text components such
as body text or captions should be assigned with less priority
and, therefore, set to a smaller font size. As body text is the
meat among the text components, pay extra attention to find
the optimal size that doesn't hinder the reading experience
but also doesn't overwhelm the composition. Perhaps your
body text should be established first, with other levels of text
set in relation to the body text. Remember that while font size
is a powerful tool for creating text hierarchy, it's not the only
tool available. Consider other aspects to achieve an effective
text hierarchy.

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 layout: textual elements step 7

text hierarchy examples

Aa Bb Aa Bb
Different shades of the same A hierarchy built on one typeface of
font can be enough to achieve a different font styles can effectively
distinctive text hierarchy. distinguish the information.

claudia crespo ali ismail karimi

 layout: textual elements step 7

aA Bb Aa Bb
Different weights and sizes of A single font weight can establish
a single typeface separate the hierarchical order through the
multiple levels of hierarchy. use of varying sizes and spacing
between information groups.

charlotte bascombe mohsen oliaei

 layout: textual elements step 7

how to design hierarchy

with font color and contrast

Incorporating color into your text is an effective way to DON'T underline

emphasize certain information without solely relying on text, especially
font size. Subtle variations in shades of black, for instance, body text. It
can already help establish a clear hierarchy. Also, brighter creates visual
or contrasting colors can be particularly useful for making
noise and its
subordinate information, such as project descriptions, stand
purpose can be
out while still keeping a title bold and prominent. In other
unclear.
instances, lighter shades of gray can be used for lower-level
information, such as captions. Since captions are typically
placed next to the imagery, a shade of gray still stands
out without overpowering the image. However, as already
emphasized, be careful when using lighter tones, since they
can make the text hard to read against most backgrounds.
Lastly, if you decide to use color to signify importance, make
sure you use a consistent color scheme throughout your
portfolio. Using too many colors in your text can quickly
make your design feel visually noisy. Therefore, use the color
strategically in your text, but do so with care and purpose.

how to design text

hierarchy with alignment

Alignment is another attribute that can have a significant DON'T always

impact on the visual appeal of text and also on its hierarchal attempt to align
position. For instance, center-aligned text tends to appear captions with body
dominant and can stand out, even without the use of other text. An offset
attributes such as font weight or color. Hence, center
caption can result
alignment is often employed for titles. On the other hand,
in a more dynamic
left alignment, which is commonly used for body text, can
presentation.
provide a visually pleasing contrast and emphasis against
higher-level information, as its jagged right side can break
with blocky patterns. Full or right justification can be applied
to text to set it apart from left-justified body text, providing
alternative ways to create text hierarchy.

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 layout: textual elements step 7

how to design text hierarchy

with space and position

DON'T locate the Once you've taken into account and implemented all the
folio close to the attributes mentioned above, you should then integrate space
inside margins, around and between your textual objects to reinforce your

as its usefulness layout's order. In essence, spacing should be thought of

as simply a visualization of relationships. This means that
vanishes.
if your textual objects are assigned with adjacent levels of
hierarchy, you should reduce the space between them to
enhance their relationship. If they carry different meanings
or levels of priority, increase space to distinguish them from
one another. Or, if you deal with multiple textual objects of
the same priority, you should balance their status by placing
them together while maintaining enough space to visually
separate them.

DO use white Besides spacing, the position of your textual objects within a
space to separate composition can also enhance the text hierarchy. Perhaps, it's
text of different obvious that an important title prominently placed near the

hierarchy levels. top of a layout naturally attracts the viewer's eye. However, it
might be less realized that a block of text placed at the center
of a layout also can be perceived as prominent, which is useful
for highlighting key information. Unconventionally positioning
primary content at the bottom can create visual intrigue but
will still be perceived as secondary information. Such an
approach could intentionally guide the viewer's eye down
the page. Lastly, when laying out a spread of two pages, the
right page is typically more dominant to the viewer making it
an ideal place for your project introduction. This is especially
true for physical materials.

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 layout: textual elements step 7

common mistakes —
poor choice of
typeface and font

One of the most prevalent issues in architectural portfolios DO pay attention to

is a poor choice of typeface and font. This problem can be text hyphenation,
evident in various ways, such as the excessive use of different especially if you
typefaces, overly narrow or decorative typefaces, and even apply it to a longer
font sizes that are too small or large /see common mistakes
text. Hyphenation
1,2, and 3/. These design flaws can make your portfolio look
slows reading.
amateurish and noisy and, more importantly, can make it
challenging for readers to decipher your project descriptions
or navigate the website effectively. Since the typeface choice
is central to the portfolio's communication, it is best to stick
with only one typeface and approach font weights, sizes, and
other attributes thoughtfully and purposefully to achieve your
desired appearance and, especially, its functionality.

unclear text
hierarchy

A failure to establish hierarchy is one of the most frequent

issues when working with text in a portfolio. This occurs when
the same or very similar fonts are used for different levels
of information. For instance, if both the title and body text
share the same font size, and weight, it becomes challenging
for readers to identify the main message of the layout /see
common mistakes 4/. In another scenario, the text hierarchy
may be present but not precisely correct, as it emphasizes
information that shouldn't be of high priority, potentially
leading to confusion and a misunderstanding of your message
/see common mistakes 5/. This is why you need to create
contrast and distinction between the different levels of text by
using attributes described in this Step. However, it's equally
important to not overemphasize text, as carelessly using fonts
that are too large, bold, or overly colorful can detract from the
aesthetics of your layout.

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 layout: textual elements step 7

poor readability
and legibility

DO remember, While striving for an aesthetically pleasing layout, your

your text must primary focus should be on building aesthetics around
make sense functionality, ensuring that your text is readable. One
and be easily frequently overlooked aspect is leading. Text that lacks

read to enhance sufficient space between lines can appear cramped, making it
problematic to read /see common mistakes 6/. In such cases,
readability.
readers may resort to scanning the text rather than engaging
in a thorough read. A similar reaction happens if the leading
is too loose, causing difficulties in connecting lines of text
/see common mistakes 8/. To achieve adequate leading, refer
to the leading calculations provided in this Step.

The functionality of your text also relies on appropriate

alignment. While experimenting with different alignments
is a good idea, keep in mind that centered or right-aligned
paragraphs /in Western cultures/ as well as long lines of
texts, can make longer passages difficult and tiring to read
/see common mistakes 7 and 9/. Opting for shorter line
lengths and employing appropriate alignments for longer
texts will facilitate smooth eye movement through your text.

DON'T place text Lastly, keep in mind that text with a background or image
too close to layout underneath can be easily diluted and quickly turn off the

edges or other reader's engagement with your text /see common mistakes
10/. Therefore, if you are placing text on top of a dark or
objects.
vibrant color image or pattern, consider placing a white,
semi-transparent block beneath it to ensure the text meets
its function. However, if you do so, give a negative space or
safe zone around your text to allow for a comforting reading
experience /see common mistakes 11/.

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 layout: textual elements step 7

common mistakes

typeface

1/ 2/ 3/

1/ A poor combination of typefaces 3/ A good, legible typeface can

can bring a clash of typefaces. become illegible in small point
2/ A condensed typeface makes sizes.
content difficult to read.

To ensure readability, always

consider a clean typeface with an
appropriate font weight, size and
leading. Let your text be read.
 layout: textual elements step 7

hierarchy

4/ 5/

4/ A text presented altogether 5/ A hierarchy that is not

in the same font size makes established properly leads to
everything appear uniform. Nothing confusing messages.
stands out.

To convey a coherent message, you

must ensure that your hierarchy
is set in a logical order at levels
that are easily distinguishable from
each other.

images this page by christopher mathes

 layout: textual elements step 7

common mistakes

readability

6/ 7/ 8/ 9/

6/ Narrow leading blends lines 8/ Loose leading disconnects the

together, making reading difficult. lines, making reading challenging.
7/ With centered alignment, it takes 9/ Long lines are hard to follow as
longer to locate the first word of the transition from one line to next
the next line. is slowed.

Whenever larger areas of text are

involved, it's better to apply left or
justified alignment. If you set the
leading to at least 2.5 pt larger
than the font size, your lines will be
easier to follow.

images this page by evan bluemel

 layout: textual elements step 7

readability

10/ 11/

10/ Body text that is applied on top 11/ A lack of marginal space
of a dark or intense color becomes around the text edges can feel
illegible as it blends with it. cramped and negatively effect
readability.

If you are placing text over an

image, be sure it's readable. If not,
use proper contrast and color, or a
fill box placed beneath, so the text
stands out and is legible.
STEP 8

cover page

resume

design statement

table of contents

introductory project page

project pages

extras

thank you and

contact information

common mistakes
 CONTENT
STRATEGY AND EXAMPLES

This guide has emphasized that your portfolio is a reflection of your professional identity,
showcasing your character, passion, and design philosophy. You have already learned
about the techniques that help you to prepare a functional, appealing layout. Now, it's time
to compile all those layout principles while you incorporate all the necessary components
of a portfolio. The aim of this Step is to review those components and the strategies to
present them in the most effective and compelling way.

what are the parts

of a portfolio

Although the components of the portfolio were introduced in

Step 4, it will be helpful to list them out again to think more
strategically about the appearance of each one:

cover page •
resume – optional •
design statement – optional •
table of contents •
introductory project page •
project pages •
extras – optional •
thank you and contact information •

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 content: strategy and examples step 8

cover page —
how to start
with a cover page

When your audience receives your portfolio, it'll be your DO keep in mind
cover page they will look at first — not your impressive work that the cover
inside. Just as you make your first snap judgments about a page needs to
book based on its cover or, perhaps, a person based on their show the essence
appearance, your cover page gives a first impression of you as of your portfolio.
a creative and critical thinker. It's a preview, or a visual cue of
the design and content that is to follow. That said, your primary
focus must be to grab attention quickly. Your audience will
most likely have numerous other portfolios to review, so your
cover must stand out. All this means you should be careful to
leave enough time to give proper attention to designing your
cover page. As you delve into designing your cover page, ask
yourself these questions:

• What cover would grab my attention?

• What is my best skill?
• What do I want to convey about myself?

what are the methods

for a cover page design

A cover page should delve beyond mere decoration; it should DON'T include
be grounded in intention, reflecting the essence of your work. generic visuals
This is an opportunity to showcase your creativity, sensibility, for your cover or
and identity in a single graphic statement. While this might ones unrelated
feel exciting, it's equally challenging, as this task often ends to your work.
with overly expressive designs that, in fact, obscure your
Choose an image
individuality. The goal here is to keep the design compelling
that conveys your
and captivating while maintaining clarity and focus so that
style.
your audience clearly understands the nature of your work
and feels invited to explore your portfolio further. And here are
several strategies to consider when designing your cover page:

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content: strategy and examples step 8

imagery from the portfolio – models, visualizations... •

imagery that centers your ideas and intention – representation... •
graphic elements that show your sensibility – vectors or type •

In a portfolio website, the cover page translates as the site

intro page — or homepage. A homepage acts as the first point
of interaction when users open your link, which is very similar
to the role of a standard cover page. Nevertheless, your tools
to captivate the attention of your audience are now expanded,
and so besides high-quality images, for example, you now
have a chance to incorporate relevant multimedia, such as
videos that can immerse the user right off. The trade-off,
however, is that since your homepage serves as a landing
page, which users navigate back to repeatedly, an intense
or overly complex design could quickly become tiresome or
overwhelming. Finding the right balance will be your key to
creating a positive impact.

what are the text

components of a cover page

Title and your name are two key components that should
be incorporated into your cover design, no matter who
your audience is. The title can be as simple as "portfolio" or
"selected works." You can also go more creative and provide
a name that defines your collection. In this case, make sure
that the title accurately reflects the contents of your portfolio;
otherwise, it will confuse your message. You may also want to
consider including the range of years for your work. This can
help the reader to understand the evolution of your skills and
interests over time. Though, if you have been working for 20
years, including the range of years from 2004–2024 becomes
irrelevant. If you are applying to graduate school, be sure
to check the institution's requirements for the cover page.
Some schools may require additional information, such as
your university, degree, major or contact information.

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 content: strategy and examples step 8

Even on a portfolio website, your name remains a vital text DO consider

component for the homepage, and though you probably won't a homepage
have a title, you might include a professional brand. Also, a statement that
brief statement of your position can help visitors to quickly would encapsulate
grasp the nature of your expertise, such as "Architect and your design
Interior Designer," "Licensed Architect," or even something
philosophy.
more general like "Architecture and Design." A significant
difference between a standard cover page and a homepage is
the presence of a navigation panel on a website. This essential
tool must be designed with visibility, understandability, and
intuition in mind. What exactly should be included in the
navigation menu is discussed later in this Step.

what to keep in mind when

designing a cover page

There are several principles you should follow when creating

a cover page or homepage design. These are:

• simple layout
• strong composition
• clear visual hierarchy
• cohesive design

how to achieve
a simple cover layout

There is often a tendency to over complicate the design of a

cover page. Instead of crowded or over decorated designs
that often convey an unprofessional or desperate impression,
focus on a strong image or concept. One way to describe
this strategy is to think of your cover page as a billboard
— something that must be quickly and easily understood.
This mindset should then guide you to use simplicity and
clarity in your design. Simplicity doesn't imply lack of effort.

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On the contrary, simple design is achieved through focus and

intention. Lackluster or underdeveloped cover pages may
appear simple but they can lack that clear intention.

how to achieve
a strong composition

DO think about A strong composition can also be a simple composition.

highlighting Clean and minimalistic patterns create a clear focal point and
specific aspects deliver a sense of balance in the design. Following visual

of your projects, principles like the rule of thirds and symmetry will help you
to achieve the overall harmony of your cover page. While it
such as showing
is never a mistake to apply a static-centered or symmetric
close-up details.
composition to your cover page, it may lack an overall power
and dynamism that may help set your portfolio apart from
others. Creating an off-center composition with asymmetric
balance can add a layer of uniqueness and sophistication to
your design that, if done well, engages your audience from
the start.

how to achieve
a clear hierarchy

DO consider The primary focus should unquestionably be on your

including a blank imagery. And whether you opt to create tension between

spread right after your imagery and title or let your image take center stage
and all your text components exist as a subordinate layer –
the cover, and just
that is on you to decide. In the first scenario, however, you
before the back
ought to find appropriate balance and not over complicate
cover.
your composition; otherwise, the viewer's eyes are going
to dart around without a clear focal point. In the case of a
dominant image, you need to be careful about not burying
your text components too much, otherwise they may go easily
unnoticed if not strategically placed or highlighted. Whatever
your design choices, certain aspects remain appropriate to
a cover: your title and name should be clearly legible with
proper contrast and readable with an appropriately sized font.

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 content: strategy and examples step 8

cover page examples

The cover employs simple,

scattered images as a teaser for
the content inside. The author's
attention to composition and
proportion indicates a sense of
spatial relationships.

anna gabitova

The author uses an abstract image

to pique curiosity. The centrally
positioned object is carefully scaled
in the mundane backdrop yet still
conveys a notable impact.

ali ismail karimi

A full bleed image of a rich

visualization effectively showcases
the author's creativity and technical
expertise, and highlights his
attention to detail.
burak celik
 content: strategy and examples step 8

The author's cover manifests a

sense of depth and space through
a delicately shaded soft drawing.
The textual information mirrors the
softness with discreet adjustments
in sizing and coloring.

elizabeth adebayo

The authors' design sensibilities

are reflected through careful
distribution of a contemporary,
simple typeface, resulting in a clean
and professional aesthetic.
daniyar magadiev

The author's skill for visual

representation is presented by the
marvelous illustration. The full-
bleed illustration's strong contrast
immediately grabs attention while
still maintaining focus on textual
information.
abdelaziz awad
 content: strategy and examples step 8

cover page examples

The monochromatic color palette

emanates a contemporary and
refined ambiance through a
captivating project image at a
dynamic angle. The balance of
other objects allows the viewer to
easily digest information.

gabriel nunes

A evocative, monochromatic
photograph on the cover suggests
the author's unique lens through
which she perceives architecture in
the world.
image by lucia krivá

The author applies model

photography that highlights
both his model-making and
compositional skills, and
emphasizes the model's unique
features.
image by lucas denmeade
 content: strategy and examples step 8

A minimalistic cover thrives on an

off-centered layout, strategically
placing gestures representing
the contents along the spine to
captivate and engage the viewer's
curiosity.

ilia aladov

This cover features a well-placed

and high-contrast gestural
representation of the contents,
giving the viewer a sense of the
author's compositional skill.

mohsen oliaei

The author effectively and

provocatively uses superimposing
techniques with content imagery,
displaying visual skills and
imagination and evoking curiosity.
jek kee lim
 content: strategy and examples step 8

why a cover should

have a cohesive theme

The theme running through the body of your portfolio helps to

tie all your content together. And your cover page shouldn't be
left out of the established system. This means that the layout
elements, such as typography, color palette and possibly even
a grid system, should maintain consistency across both the
portfolio content and the cover. Achieving this holistic approach
will present you as an individual with a keen eye for detail as
well as an understanding of the value of cohesive design.

resume —
how to present
a resume

Whether a resume is a separate document from your portfolio DO be honest

or not, it is an essential part of your presentation. A resume with yourself
is a short synopsis of your education, experience and other when writing your
qualifications formatted on one page or, at the most, two. Don't resume, as your
feel obligated to include every single accomplishment. Leave credibility is at
those for a more extensive CV. Include only what is the most
stake.
relevant and what fit the job description. Your resume should
be concise, precise and, above all, truthful. Being honest with
yourself when writing a resume is a fundamental approach
that must not be compromised. Your credibility will vanish
when the prospective employer finds out you stretched the
truth.

Portfolio websites offer more freedom for the resume location. DON'T prioritize
Whether it's a separate page labeled "resume" in the navigation creativity over
menu or integrated within the content on the "about me" page, functionality when
always make sure it is easily accessible. If attached, make the creating a resume.
resume downloadable in PDF format to allow your prospective
employers or users to save or print the document if it's needed.

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 content: strategy and examples step 8

how to effectively
organize a resume

DO make the key The key to organizing your resume lies in a clean and easily
information bold identifiable structure. The reader should be able to skim

to bring focus and through the resume to get a broad view and then read for
a more detailed understanding of information, such as work
ease navigation.
experience. An effective way to structure your information
is to divide the page into two or three columns at the most.
Establish a distinct hierarchy by using variations of font size
and weights for section headings, job titles, and descriptions
so the reader can quickly distinguish information. It's also
important to keep the alignment consistent so it is predictable
and easier to navigate. Left-aligned text is the best alignment
to use as it ensures an uninterrupted flow of text and an
effortless reading experience. Also, white space is another
tool you shouldn't forget. Integrate it into your layout to help
the reader focus on the content. Lastly, bear in mind that
maintaining a visual consistency between your resume and
portfolio design will keep your message intact.

DO make your Simple graphics such as lines can help the reader
resume style distinguish each section and help the overall readability if
cohesive with your used thoughtfully. But you must use them carefully and do

portfolio. not rely on their function since an overabundance of such

graphics like bars, bullet points and symbols can make the
layout cluttered and compete with your essential information.
Instead, prioritize the use of white space to organize your
content in a clear and concise manner.

what are the

resume components

A resume should include several sections, which can be

adjusted for relevancy or tailored to an audience. Typically,
these sections are:

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 content: strategy and examples step 8

• photograph – optional
• contact information
• short summary – optional
• education – academic history, extra-curriculum activities...
• experience – employment history, internships...
• accomplishments – awards, recognitions, exhibitions...
• skills – softwares, digital fabrication, physical modeling...
• hobbies, interests and languages

why or why not to

include your photo

If you plan to include a photograph on your resume, be sure

that it conveys a sense of your personality and identity,
captured in a serious and professional manner. However, be
aware of the fact that a photograph is not a requirement for
your resume and neither for your portfolio. The primary focus
should be on showcasing your skills, potential and creative
identity. Talent is not defined by factors such as race, gender
or photogenic appeal, so let your work speak for itself. Allow
a reviewer to see your work before they see you.

what to include in
contact information

The first information on your resume is your contact DO add an email

information that should include your full name and your contact link to
address. Depending on your cultural norms, you might also your "about me"
choose to include your pronouns or your nationality. Following web page.
that, provide your contact details, such as your phone number,
email address /better a professional one, if you have one/,
and web page URL, if you have a website. Additionally, you
may include a LinkedIn profile that is up-to-date, to provide a
more comprehensive overview of your professional journey.

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 content: strategy and examples step 8

what to include
in a short summary

DON'T include an Incorporating a short summary at the beginning of your

Instagram profile resume can be a great opportunity to connect with your
of your resume, audience in a narrative way. This paragraph is a brief statement

as Instagram is spanning just a few lines and aims to outline who you are as a
professional in a quick overview. To make a powerful impact,
a social platform
begin by articulating your professional identity, followed by
and not a
highlighting a few relevant top skills — whether soft or hard —
professional one.
and any experience that may support your statement. Lastly,
be sure to convey why you are an ideal candidate for the job
opening. Note that while you should use the first person, you
may consider leaving out personal pronouns such as "I" to
maintain a brief professional tone.

Besides the short summary, you may have the opportunity

to create a bio summary that allows you to introduce
yourself in more detail. The bio summary is typically used
on a portfolio website, but it's also acceptable within your
standard portfolio. In that case, it's best to locate it on a
separate page, adjacent to the resume, to provide an in-depth
introduction. For a portfolio website, you can create a simple
"about" page to introduce yourself. To allow your audience to
grasp key aspects quickly, aim for brevity, and limit your bio
summary to one or two paragraphs offering a snapshot of
your personal and professional journey. Unlike the resume
summary, the bio summary allows you to use a more personal
and conversational tone to facilitate the connection between
you and your audience. When writing a bio summary, use
these basic questions as a guide:

Who are you? •

What are you doing? •
What is your expertise? •
How does your experience distinguish you? •
What would you like to do next? •

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 content: strategy and examples step 8

resume examples

claudia crespo
Author uses various font attributes
and text justifications to establish
a distinct hierarchy. Additionally,
the photo is carefully placed at a
modest scale, ensuring a balanced
and professional presentation.

mohsen oliaei
This resume layout separates each
section into four columns to ensure
clear organization. The author
skillfully uses the grid to break
free from its pattern, enhancing the
overall appeal.
 content: strategy and examples step 8

text by lucas denmeade

A unique strategy employing
mirrored paragraphs at the spine,
formatted with a clear, simple
text hierarchy, offers a refreshing
and effortlessly navigable reading
experience.

elissa sudargo
A concise, single-column resume
layout, complemented by ample
white space, evokes a modern and
fresh aesthetic. The brief summary
on the facing page contributes to a
well-rounded presentation.
 content: strategy and examples step 8

what to include
in education

In the education section, start with your most recently DO order your
attended schools and the years you attended, along with resume in reverse
your earned degrees and certifications. If you are still a chronological
student or a recent graduate looking for an internship, you order, beginning
may also include the high school you attended to provide with your most
a fuller background. However, as you progress in your
recent event.
professional development, the value of high school details
becomes negligible. In addition to educational institutions,
you should provide more specific information on your major,
minor and perhaps even GPA /only if you're a student or a
recent graduate, and only if it's higher than 3.5/. To bring
depth to your educational profile, list any extracurricular
clubs, charitable groups or Greek organizations in which
you participated or had a leadership role. If necessary, you
may add brief descriptions of the educational institutions or
programs and other organizations to provide clarity.

what to include in
work experience

The experience section is the core of your resume as it provides DO avoid overly
a detailed account of your professional background, which is complicated
why employers often prioritize this section over others. So to explanations or
start this section, begin by listing all the firms and companies jargon that may
you've worked for, the most recent first, including the months
hinder reader
and years of employment. Be sure to include the positions you
comprehension.
held along with brief descriptions of your responsibilities and
the roles you performed. If you don't have any or have limited
professional work experience, you should include all possible
paid and unpaid work experience, such as internships, roles in
student organizations, or even summer jobs in small diners.
This will demonstrate your ability to work and your sense of
responsibility. To give a fuller impression of your experience,
describe your roles as specifically as you can, using vivid,

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active verbs such as "Created a design," "Collaborated with,"

or "Directed project." Lastly, keep in mind that the more
professional experience and knowledge you gain, the more
decisions you have to make about what to include and what
to leave off in this section, which depends on what is relevant
to each audience.

what to include in
accomplishments and awards

This section offers a prime opportunity to distinguish yourself

from other candidates. Include any relevant distinctions,
exhibitions, recognition awards or any other citations you've
received which can bolster your profile, such as best student
work of the year. Also research publications, honor roll
awards and scholarships can impress a potential employer
or academic institution. Be sure to provide details about
each award or accomplishment, such as its title, year and a
brief description of its purpose, level of recognition or what
achievement you were specifically awarded for.

what to include
in skills

DON'T rank your The skills section is a place where you highlight both your
skills. Such technical and workplace skills, that is, your hard and soft
self-ratings are skills. There are several ways to organize this section, but the
subjective and most effective way is to group your skills by primary functions

unreliable. such as 3D modeling: Revit, Rhinoceros or Rendering: Vray,

Lumion. You can also include additional skills such as language
proficiency or any other area of expertise that demonstrates
that you are a candidate who is well-rounded, talented or
curious. While it's good to highlight your strengths, avoid
exaggeration and always be truthful about your abilities. Even
small deceptions are a red flag.

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 content: strategy and examples step 8

what to include
in hobbies and interests

Categories like your hobbies and interests allow you to reveal DO ask permission
more about your personality, how you spend your free time, before you
and what you are passionate about. However, while these list people as
categories may help to establish a personal connection references.
between you and your audience, they generally don't carry
significant weight in a professional resume. You should only
include this section if you have limited professional experience
and skills or hobbies that are relevant to the job, such as
photography or digital art. In such cases, adding a hobbies
and interests section may help to strengthen your resume.

design statement —
how to present
a design statement

A design or artist statement is becoming a popular portfolio DON'T use your

component. It serves as a means to offer your prospective statement to tell
employers, admissions personnel or clients insight into who a college or a
you are as a designer, what motivates you and what you professional firm
value most in your work. For a professional portfolio, strive
what you expect
for a brief yet comprehensive paragraph, ideally spanning
from them.
four to eight sentences. In an academic portfolio, you may be
required to add a little bit more detail to showcase the depth
of your design thinking. When writing it, keep in mind these
questions:

• What do you want to say as a designer?

• Where is your inspiration coming from?
• Where is your work headed?

A design statement is usually located at the beginning of

the portfolio, as a way of introducing yourself. Typically, it

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 content: strategy and examples step 8

DO check the is placed before the resume page, or along with the resume
spelling on your /but only if you don't have a short summary/. Approach the
resume. visual representation of your design statement much like you
would a resume, prioritizing functionality over aesthetics.
A text block formatted with a reasonable width and ample
white space on a page is perhaps the most effective method.
If you want to infuse a little more appeal, consider offsetting
your text block from the center, for instance.

— table of contents

how to present
a table of contents

A table of contents serves as a helpful tool for your audience

to quickly navigate and reference your projects. But, there
is more to it than that. First off, it shouldn't be ignored and
thought of it as a functional component to plug in at the
end of your process. Secondly, it's an opportunity to inject
a fresh idea to your overall design. You want your contents
to cohere with the overall portfolio but that doesn't stop you
from expanding your established design. A simple row design
is functional and easy to use, but there are various design
techniques to experiment with when creating your table of
contents:

images as content previews •

icons representing the content •
different weights and sizes of font /bold, large/ •
different use of grid •
unique alignment •

Note, the decision to include a table of contents depends on

the length of your portfolio and may not add much value if
you are presenting only a few projects.

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 content: strategy and examples step 8

table of contents examples

claudia crespo
A distinct level of hierarchy and
generous white space give the
layout a sense of organization.
Additionally, the author smartly
uses a QR code to point to further
work through a website access.

Introducing each project through

an icon representing its essence
can provide a fresh approach to
content. Also, the obvious square
grid adds a contemporary touch
that complements the stylish icons.

images by ryan tucker

 content: strategy and examples step 8

This design utilizes a simple,

bold typeface to create a striking
effect. The starkness of the page
guarantees that the design is
anything but boring.

lucia krivá

Adding a visual summary of

projects as a content preview
allows the viewer to get a glimpse
of what's to come. The horizontal
alignment turns the portfolio into
a story.

elissa sudargo
 content: strategy and examples step 8

For a portfolio website, the navigation menu on the home page DO consider
serves as your table of contents. While a navigation menu providing text
is a condensed version of contents, its design holds central with a visual
importance. There are no strict norms for navigation design, gallery menu. It
as it largely depends on the structure and design aims of will help users to
your website. Whether you opt for a minimalistic horizontal
understand their
menu at the top with a stylishly designed drop-down menu, a
choices.
full-screen overlay menu that appears after a user clicks on a
hamburger icon, a grid menu with interactive hover effects, or
a split-up menu that divides the screen into sections — clarity,
accessibility, visibility and ease of location should always be
prioritized. If your website is designed with more complexity,
or the menu alone doesn't provide enough clarity, you should
always consider secondary navigation. This navigation can
either encompass broader categories or simply repeat the
primary navigation menu in an accessible way.

introductory project page —

how to design an
introductory project page

As you are stringing projects together, it becomes evident that

you'll need to visually distinguish each project so that viewers
can easily identify where each one begins. The introductory
page serves a dual purpose: first, clearly separating your
projects and second, providing a brief glimpse of the project's
essence. Given that these pages mark a gateway into each
project, design each with an eye-catching appeal that
establishes a tone for what follows.

You can take a variety of approaches to mark the starts of your

new projects in a compelling way. For instance, a minimal
but generous tactic is using the full spread to feature an eye-
catching image that best represents the project. Alternatively,

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you can captivate your audience with a more unconventional

approach by using a section divider that introduces the
project with a well-crafted paragraph, followed by traditional
introductory pages. These could be a spread that, say, features
a full-bleed image on the right page and a center-aligned block
of text on the left, clean with a clear hierarchy. Regardless of
how you design it, remember to apply principles of similarity
and create a consistent presentation throughout your
introductions while allowing for a distinct identity for each.

The introductory pages ought to be informative yet brief,

emphasizing key aspects of the project. To provide the
necessary context and essential details about your project,
use the components below:

project title •
project number – optional •

Then, if the project is academic, continue with critical project

details such as:

project site location •

year/semester – optional •
course name /especially if academic portfolio/ •
course instructor – optional •
additional credits /if a collaborative design/ •

Or, if you did your project as a professional, continue with

critical project details such as:

project site location and size •

project completion date •
client/owner •
project cost – optional •
team members, project collaborators •

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Also, every introduction should include:

• short project description

• key words – optional

Lastly, as with every page in the portfolio, include this on your

introduction pages:

• navigation text /running header/ – optional

• folio /page number/

how to approach
a project title

When coming up with a name for your project, your goal is to DO avoid using
make it specific to the project itself while also being brief and a broad, generic
captivating. Once you find a title, give it hierarchy and make project title that
it stand out with size and font weight, for example. You can can be applied to
also experiment with different alignments or spacing to set it
a wide range of
apart from the rest of the information. Additionally, you can
projects.
explore different layout options for positioning your title. The
top-center area is typically the most effective for titles as it
naturally draws the eye. However, if you want to add more
visual interest, you could try placing your project name off-
center using asymmetrical arrangements.

when to use
a project number

Adding project numbers to your portfolio is an optional yet

valuable idea, especially if your portfolio is a longer one. The
numbers indicate at a glance the quantity and scope of your
portfolio and help with navigation. When designing, make
sure to give the numbers an appropriate level of hierarchy,
which commonly gets confused. The project numbers are,
indeed, closely linked to the project title, but they should not
be overly emphasized to the point of drawing attention away
from the title or the content on the page. Instead, use the

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same or maybe even a lower level of hierarchy to maintain an

orderly flow. Although typically a project number is placed in
close proximity to the project title, don't shy away from less
conventional approaches like positioning it at the bottom of a
page or on the facing page.

how to display
project details

DO format the The details of your projects, such as project location,

project details in a completion date, course name, instructor, etc., are supposed to
consistent manner give a broader understanding of the project before delving into
across all projects the specific project description. To clearly convey that these
details are related and represent a unified set of information,
in your portfolio.
you should group them together. Also, you want to give this
group more emphasis than the project description. This
hierarchy need not to be a dramatic, with bold or large type
adjustments. Even a subtle treatment like different leading,
italic font style, or paragraph alignment and positioning can
help distinguish the details text from the description.

what to include
in project details

While most project details like site location and list of

collaborators are straightforward, some have a few bends. For
instance, the year of completion should always be listed for a
project, but in the case of an academic portfolio, you might be
required to also list the academic year when studio projects
were completed /for instance, freshman or second-year studio/.
However, in a professional portfolio, such information is less
relevant. Employers view your projects as a demonstration of
your skills and potential abilities for their company, and they are
less concerned with the details of your academic development.
The purpose of a professional portfolio is not to serve as a
record of your college progression but rather to showcase your
relevant work experience and potential.

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Also, some academic institutions may have a policy that grants

the instructor a claim in the ownership of the work, while
others may have different policies in place. Therefore, it is
vital to understand the ownership policies of your institution
before you send out your portfolio and to list the project
instructor in your project details if necessary.

how to write
a short description

A project description is an overview of the project with brief DO make clear

but informative details which highlight your ideas and their your own
development. Depending on the complexity and scope of responsibilities,
the project, it's best to aim for brevity and limit yourself to when describing a
about 200 words or fewer to describe your project without team project.
overwhelming your reader with unnecessary details.

Even though project descriptions seem to take center stage,

these paragraphs are often only read when the reader
becomes interested in the project and wants to know more.
Therefore, the project description should offer somewhat
more profound information about the project; in other words,
it should bridge any gaps that the visuals may leave out. These
gaps may include the ephemeral, experiential or procedural
aspects of a presented design. Below are several practical
ideas on how to write your project description:

• reduce text as much as possible; what remains has impact

• convey information that is not obvious from the image
• use direct language

If you feel uncertain about how to approach your project

description, start with an explanation of the client's needs or
the academic assignment brief. Consider adding any special
challenges and limitations encountered in the project. Then,

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continue to your own concept, key design ideas, and process.

The ending sentence should summarize your perspective on
the project results and/or what you learned from it.

how to approach
keywords

DON'T use broad, Keywords are short phrases that provide a quick insight into
general keywords your work so that the viewer can quickly identify the project's
that can overlook key themes and concepts without having to read the project
distinctive project description. Including keywords is not obligatory, though

features. their effectiveness makes them a valuable addition to your

portfolio. The same idea holds true for your website portfolio
where incorporating keywords is not an absolute necessity,
but it has the additional advantage of making your portfolio
easily searched and discovered.

The effectiveness of keywords resides in their brevity and

their accuracy and specificity to your project. For instance,
if you are presenting a K-12 school project with a diverse
program, instead of using generic keywords like "school" or
"educational institution," use more specific phrases consisting
of 2–4 words that describe key concepts such as "Diversity of
public spaces" or "Accessible tie-in to existing building." When
creating your keywords, you can also highlight the unique
aspects of your project, such as "Visibility from the street" or
"Library as studio approach."

Similar to the project details, you should format keywords

to quickly differentiate them as a distinct information group.
The level of hierarchy for your keywords is flexible, but for
a logical flow and efficiency, it's best to place your keywords
on the same level as your project details. From there you can
experiment further with different formats to achieve a visual
clarity, such as the use of a bullet points or a different font
style and weight.

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how to approach
navigation text

In a standard PDF portfolio, navigation text, also called a DO consider using

"running header," serves as a guide that informs your readers all caps text for
what part of your portfolio they are viewing. While there is no navigation text
need to include navigation text in sample portfolios, you may and/or captions.
consider it for a full portfolio to facilitate navigation. Typically,
navigation text designates a portfolio category or a specific
project or both. This text should be easy to locate at the top
of each page with possible exceptions such as a full-bleed.
However, you can also deviate from these conventions and
place it vertically at the edge of side margins, for instance.

In the realm of portfolio websites, the navigation text simply DO ensure clarity
represents the navigation menu and includes the links that and accessibility
take users to different parts of your website. The language
in your navigation
used in this text should clearly indicate the user's current
menu. When an
location and should present the primarily portfolio categories,
item is chosen
such as "About," "Resume," and "Projects," etc. Depending
or hovered over,
on how you categorize your content, you may also have
it should be
subcategories placed in drop-down menus. However, be
careful not to create too many links as it can overwhelm and highlighted.
confuse users. Remember that users usually expect to reach
their desired destination within two or three clicks.

how to design
a folio

Page numbers, also known as folios, are pivotal in organizing

your portfolio as they allow your readers to quickly locate
specific content. While there is room for creativity in their
formatting, make sure folios are placed in a visually accessible
location and are easily identified yet not overly distracting.
The most practical choice, therefore, is to place them in the
upper or lower corners on the outer edge of your margins.
However, considering folios are not the most essential
information, you can opt for more unique locations, such as

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along the outside margins or at the center of the top or bottom

margins. In cases of full bleed pages, you may omit the folio as
an occasional absence won't disorientate your viewer.

— project page

how to design
project pages

DON'T overwhelm As you have guided your audience through the gateway of
your audience with your project, it's time to immerse them in more comprehensive
excessive details. views. This includes supporting diagrams, sketches, plans,

Instead create a sections, elevations, renders and photographs of models.

There is no absolute measure for the ideal number of
focused narrative.
project pages, as it depends on the format of your portfolio
and the complexity of your project. Nevertheless, it's worth
maintaining brevity to keep the viewer engaged. Confining
your project pages to a spread or two should be sufficient
to provide ample information and convey your project's
depth. Although your curation should be finalized, you
may be tempted to add more to show your full investment
in the project, making your project pages tedious and the
viewing experience passive. Present only the imagery that
best conveys the idea behind the project and provides fresh
information. For complex projects, focus on key drawings. For
instance, if you present an apartment building with multiple
stories, include only the floor plan or plans representing your
best ideas. Or, if the section drawings are more informative
than the elevations, prioritize those.

how to pace
a project story

To pace out your content, think of it as a story that you want

to share with your audience. A commonly used approach is
to begin strongly with an impressive visualization, gradually

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introduce supporting visuals to provide depth and context

and conclude with another impactful image. However, a
chronological approach might be equally powerful if you
have quality conceptual sketches that can impress the viewer
right from the start. Another option is a combined approach,
where renderings are accompanied by associated sketches,
floor plans, or sections. In this case, ensure that you link the
relevant imagery together so that the audience understands
the project accurately. Use the visual principles in previous
Steps to create an effective and engaging layout.

Beyond your main imagery, consider other visuals:

• technical drawings
• model photography

The elements listed below can help clarify your ideas to the
audience:

• captions
• callouts and leading lines
• other graphics

how to present
technical drawings

Technical drawings are a vital presentation of your DO give your

technical proficiency and structural understanding, which technical drawings
is highly valued throughout architecture and particularly appropriate scale
in construction. Technical drawings such as construction to show every
details may not boast the same visual appeal as other images
detail.
in your portfolio, but if they are well made and present a
unique structural solution, they will set you apart from other
candidates. However, if you are not technically proficient in
that area, it's better to not include them. Presenting default
technical drawings just to fulfill a presumed requirement will
not impress anyone and could cast a shadow upon your more
skilled work. Best to be honest with yourself!

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DO consider a When presenting technical drawings, pay extra attention to

separate section of the line weights, hatches, and other details included in the
full CAD drawings, drawing to ensure that the information is clearly conveyed.
especially if you Also, because the scale can significantly impact the resolution

are in construction and readability of your drawings, you need to make sure that
your drawings retain their good quality. Lastly, remember
fields.
that saving your line drawings as PDF or PNG files will help
preserve the quality of the line edge in your drawing.

how to present
model photography

While much has been covered in Step 2 about photographing

models, there are additional techniques you might use to
enhance your presentation. Beyond proper lighting, a clean
background and varied angles, you should also focus on
image composition. To achieve the best results, you should
use framing techniques, particularly the rule of thirds, to direct
the viewer's attention to specific parts of the model. You can
apply this rule during post-processing by cropping the image
to align key moments along the grid lines and intersections.
Let yourself further experiment with sharp focus, background
blur, filters, or other effects to add a layer of specific mood
or atmosphere. However, use these techniques sparingly to
maintain a professional and consistent look across all images
of the project to ensure a cohesive visual narrative.

how to use
captions

Captions are concise, specific image descriptions that should

be handled much like your project descriptions — describe not
the obvious but rather what can't be realized from the imagery
itself. For example, instead of using "Sections" or "Kitchen
Interior," expand and clarify the content to provide a better
understanding of the image, such as "NorthWest Sections" or
"Kitchen Interior view from the adjacent living room."

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model photography examples

With close-up shots you can

emphasize intricate details,
textures, and materiality of
your model, allowing viewers to
appreciate the craftsmanship and
subtleties that might be overlooked
in broader perspectives.

nicholas macintyre

Outdoor model photography can

take advantage of different
lighting and angles to articulate
unique qualities of the model.
csenge király

Including people, furniture, or

other recognizable objects in your
physical model helps to convey the
scale and proportion of the model.
jek kee lim
 content: strategy and examples step 8

charlotte bascombe

Offering diverse perspectives,

including overhead and eye-level
views, fosters a comprehensive
grasp of the design's essence —
capturing both the overarching
concept of your project and its
human experiential dimension.
charlotte bascombe

Exploring various light placements

and intensities opens up possibilities
for creating impactful shadows,
infusing your model with depth and
dimension to effectively highlight
architectural form.

ali ismail karimi

 content: strategy and examples step 8

One important aspect when formatting captions is to design DO bear in mind

them in a way that doesn't compete with the image itself. that captions
This is easily achieved with the use of a subtle font that is are more likely
easy to read. Commonly, captions exist right next to the to be read by
corresponding image, but they can also be grouped together your audience
and placed in the corner, for instance. In this case, you need
than your project
to clearly indicate each caption's image location, such as
description.
"top left" or "below." However, grouping captions together
on website portfolios can introduce challenges, as various
factors may easily misalign the arrangement of images and
confuse the intent of the captions. Therefore, it's best to focus
on the function first and place captions next to the images to
provide a seamless viewing experience.

how to use callouts

and leading lines

Callouts are another type of textual image description whose DON'T use circles
purpose may resemble captions. However, unlike captions, and bubbles for
which provide broader context, callouts draw attention to the callout. Stay
specific features of an image and highlight their importance. professional.
Callouts are accompanied by leading lines that link them
to the exact area of the image they refer to. Make sure to
place callouts next to the relevant image to support a visual
connection. If you are dealing with a larger image, such as a full
bleed, be sure to establish visual prominence and readability
through adequate type contrast in a way that doesn't interfere
with the primacy of the imagery. Alternatively, you can also
use a simple box in which you insert your callout text.

Leading lines can be represented in full or dotted form and DON'T use callouts
may end with an arrow or bullet point to further emphasize the excessively. It can
particular spot in the image. Don't forget to set up appropriate distract from your
line weights so your leading lines neither overpower nor imagery.
blend in with the image.

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when to use
other graphics

DON'T include Graphic scales are inherent to architectural drawings, but

software used they don't necessarily have to accompany drawings in your

in the project. portfolio. Since portfolios are not documents intended

for construction purposes, it's generally understood that
It's unnecessary.
drawings may not always be to scale or require a scale.
Technical skills
However, a drawing convention like a north arrow can be
are revealed in the
helpful, indeed, as it provides an orientation. If you do end
imagery and listed
up using any of these graphics, make sure they are in the
in your resume.
appropriate proximity and maintained at a small but legible
scale, so they serve their supportive role.

Whether to include software icons in your layouts or not

is your decision. While it can offer a quick way for viewers
to identify the software tools used in the project, it's worth
considering that your resume already highlights your software
proficiency. In addition, software icons could potentially
clutter your layout. Moreover, recruiters in the field likely
have a good understanding of the software tools used for a
project, making this information redundant.

— extras

why to include
non-architectural work

DO include other While your architectural design should be the primary focus of
creative work. It your portfolio, don't shy away from highlighting work beyond
brings out your the architectural field. This section holds double significance
distinctiveness when applying to academia as it offers a more holistic view

and adds a depth of your creativity and skills. Remember that quality matters
more than quantity. Select a few of the most outstanding
to the audience's
photographs, sculptures, paintings, or any other work that
perception.

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aligns with your design thinking. Approach this section with

the same thoughtful attention that you bring to the design of
other project pages.

how to present
research

A theoretical project, such as a thesis or other research DO consider

endeavor, carries significant weight in an academic portfolio. presenting your
These projects reveal the intellect you've brought to a project, research. Use an
which reinforces your potential in architectural discourse. excerpt or abstract
Given their often lengthy and dense nature, presenting these
of an extensive
projects in an appealing visual manner can be daunting.
work.
To overcome this challenge, leverage all your visual aids,
such as diagrams, charts or other analyses, to help the
audience understand essential information or findings and
conclusions. Additionally, if possible, try to condense it into
an abstract summary. Lastly, reformat your text to align with
the established aesthetics of your portfolio to make it appear
seamlessly integrated — all part of your singular effort.

thank you and contact information —

how to end
a portfolio

As you reach the end of your portfolio, remember to bring your

story or journey to a meaningful close. Expressing gratitude by
including a "Thank you" note on the last page of your portfolio
can go a long way in showing your appreciation for the time
and attention of your audience. Another key element to include
at the end of your portfolio is a "call to action." Encourage your
audience to take further steps, such as contacting you through
your email address, phone number and a link to your website
where they can find a fuller display of work.

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A portfolio website, however, doesn't provide you with the

same opportunity to include a definitive last page or express
the final word. But there are still effective ways to conclude
your portfolio website. First, encourage your users to get in
touch with you through the "Contact" page, which should
be the last option in your navigation menu. Beyond this,
you should consider including a link to the "Contact" page
in the footer to allow your audience to access your contact
information from anywhere on your website. Similarly, your
"About me" page can also provide a clear call to action.
Remember that for a nonlinear website, redundancy may be
necessary to guide users effectively.

— common mistakes

too much self-promotion

on cover page

The order in which the objects are placed on your cover page
can greatly affect the message you are trying to convey to
your audience. In a portfolio design, making your name the
most prominent element on the cover page may appear
unprofessional or overly self-promoting /see common
mistakes 1/. Such a hierarchical order is more appropriate for
a well-known public figure. And so, presenting your name as a
subordinate element and prioritizing the use of imagery might
present you as a designer who lets your work speak for itself.

over-designed
or not designed cover

Architecture is a competitive, creative field, and your portfolio

cover should reflect your design flair. An unimaginative,
dull, or generic cover won't elevate your portfolio above
others /see common mistakes 2/. In fact, it might turn your
audience away before they even begin exploring your work.

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On the other hand, while creativity is encouraged, your cover DO experiment

design should not take away from your overall professional with the cover
presentation — it should captivate rather than distract. An page composition
excessively adorned cover with numerous images lacking to get to the right
purpose may risk losing the audience's interest right from reflection of your
the beginning /see common mistakes 3/. Remember that
design sensibility.
your portfolio cover is the first impression you'll make, so
strive for a balance between creativity and professionalism.

borrowed ideas
on the cover

There is nothing wrong with seeking design inspiration online.

However, directly borrowing ideas from another successful
cover page may have a counterproductive effect. A copied
cover is more likely to be broadly applicable and may not
accurately reflect your own unique style and approach. If you
adopt someone else's idea, the designs within your portfolio
may not match up with the expectations set by the cover
page. Remember that your cover page is essentially a visual
representation of your portfolio, and it should introduce your
individuality and creativity. If you do end up using a template,
you should customize it by experimenting with color, fonts, or
even composition so you bring your unique sense of style to it.

poor selection of
cover image

Incorporating an image on the portfolio cover can be a DO think about

powerful strategy to offer a preview of your design style altering an image,
and aesthetics right from the beginning. Nevertheless, if perhaps by
the chosen image is ineffective or unrelated to your work
cropping, to make
/see common mistakes 4,5/, it can derail your best intentions
your cover more
from the very beginning. Therefore, aim to select an image
impactful.
that has both an immediate impact and best represents the
message you wish to convey about your architectural work.

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poorly formatted
resume

The impact of a resume is heavily reliant on its layout

and formatting. Resumes should prioritize functionality
over creativity. Without proper formatting /grid scheme,
hierarchy, and negative space/, the text may appear cluttered
and difficult to read and navigate /see common mistakes
6/. Also, the most relevant information may not stand out,
which makes it challenging for recruiters to quickly grasp key
details. If you focus on good readability, clear organization
and formatting and emphasize the key points, your audience
will be able to efficiently extract essential information.

overuse of graphics
in a resume

DO avoid using Although creativity in your overall portfolio design is

both an icon and encouraged, in a resume, particularly, your design intentions
a word if they should be more purposeful and functional. Therefore, you

represent the should refrain from overusing graphics that don't serve any
purpose such as frames, boxes or other decorative graphics
same meaning.
/see common mistakes 8/. In fact, they only distract the
Use the one that
viewer from the actual information and can diminish the
works better.
effectiveness of your resume more than one might anticipate.

While icons and symbols are commonly used to enhance

visual appeal, you ought to be extra cautious about their effect.
Overusing or repeating icons without a clear design purpose
can easily lead to clutter and may give off an unprofessional or
gimmicky impression /see common mistakes 7/. Rather, play
it safe, prioritize clarity and simplicity over redundancy, and
consider using simple words to convey information effectively
instead of relying too heavily on icons.

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rating skills
in resume

One easily avoidable error in a resume is the use of self-

assessment rating for skills /see common mistakes 9/. This
rating is often subjective and generally unreliable, as it's
challenging to judge oneself fairly. Instead, provide only a
simple, straightforward list of your skills without any form of
assessment such as "RhinoCeros, Revit, Adobe Photoshop,..."
and demonstrate your capabilities through the work presented
in your portfolio. Allow your prospective employers or
admission officers to evaluate your skills by themselves.

excessive use
of text

A well-written explanation of your design process is

undoubtedly beneficial, but it loses its value when the
text becomes too long /see common mistakes 10/. Your
audience, with their limited time and attention, is less likely
to engage when confronted with overwhelming amounts of
written content. Take this as an opportunity to show your
writing discipline and creative focus by composing a concise
description. Encourage your audience to seek more details
about your project if they want to hear more.

redundancy of
text and images

When writing a text, particularly a project description or

captions, you need to be attentive and not restate what is
already apparent from the visuals /see common mistakes
11/. Such text won't add value and only becomes unnecessary
filler content. For instance, labeling your project description
paragraph with "a description" or using a caption that says

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Do keep in mind "floor plan" or "photograph of model" is superfluous. Rather,

that architecture is provide additional context, explanations, and interpretations to
a visual discipline. deepen the viewer's understanding, such as "third story floor
Your primary plan" or "projected shadows in late evening."

focus should be
Likewise, including images that convey the same or similar
on the visual
information is a visual filler that doesn't contribute anything
representation.
new to the audience's comprehension. To overcome this,
choose an image that expands the representation of your
idea rather than one that blurs your message with nearly
duplicate content.

use of unnecessary
graphics

DO remove all Creating a portfolio with a strong visual impact is an

unnecessary opportunity, but also it creates a responsibility for you to

graphics. What maintain a seriousness while being inventive and expressive.

You should aim to captivate your audience with visually
remains is your
engaging layouts, but don't get carried away with unique
message.
graphics and visual effects such as obtrusive lines, drop
shadows or gradients /see common mistakes 12,13/. The
overuse or misuse of these graphics doesn't make your work
more noticeable; instead, it might distract from it. So, keep
away from their use and maintain restraint with a striking
yet simple approach. Leverage visual design principles to
emphasize your work and select a consistent aesthetic that
mirrors your design values. Always remember that the visual
layout of your portfolio should complement your work, not
overpower it.

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use of line borders

around design objects

There is no absolute rule against using line borders, but DO remove

before you use them, consider visual principles along with borders and
the design goals of your portfolio. In situations where you dividers. Instead,
need to separate two objects to prevent them from visually use white space
bleeding into each other, applying a border or fill box might to achieve
help to create a visual separation. However, in many cases,
separation.
it can be counterproductive as it creates a visual noise that
distracts from the actual content /see common mistakes
14,15/. Consider using white space instead to create an
invisible separation between the visual objects. This gives
attention to the objects themselves.

poor website
navigation

Of all portfolio types, the website portfolio depends upon

functionality the most. Poor website navigation can diminish
the value of your work, as users struggle to navigate. This
frustration may limit interest and turn users away. A typical
problem is when your navigation menu provides too many
options or categories /see common mistakes 16/. Having
fewer categories that accurately represent the content of
pages will streamline viewing experience.

Users also can lose interest or become irritated with

nonstandard placements or less intuitive designs of
navigation menus. For instance, concealed navigation menus
or full-screen overlays are not immediately identifiable /see
common mistakes 17/. Since such navigation menus require
initial action to reveal their contents, users may become
frustrated as they cannot easily access the navigation
options. Therefore, if using non-conventional navigation

230
content: strategy and examples step 8

menus, make sure they are easily accessed with a clear visual
cue. Alternatively, you should consider adding a secondary
navigational panel with a standard design.

231
 content: strategy and examples step 8

common mistakes

self-promotion

1/ 1/

1/ Overly self-promotional hierarchy

for a cover page might give a limited
or negative message.

When creating a cover page, you

should balance between self-
promotion and expression of your
design identity.

images this page by trevor rodgers

 content: strategy and examples step 8

not designed or
over-designed

2/ 3/

2/ An uninspiring design with 3/ An excessively busy cover

unimaginative composition, generic page with disjointed objects and
fonts, and unappealing colors won't stylish typeface may give off
stand out or reflect creativity. an unprofessional, amateurish
impression.

Invest your time to create a

clean, simple but sophisticated
composition. Showcase your design
sensibilities with your image and
typeface selection and your sense for
dynamic arrangement.
 content: strategy and examples step 8

common mistakes

cover image

4/ 5/

4/ An image that lacks power and 5/ A cover that lacks authenticity,

fails to reveal interesting potential original style or architectural
may not be able to capture the perception will fail to stand out in a
audience's attention effectively. crowded field.

Make sure your cover image reflects

qualities that align with your
distinctive style and perception.
Keep in mind that the placement and
cropping of the image can also have
a significant impact on your cover.

image by trevor rodgers

 content: strategy and examples step 8

graphic overuse

6/ 7/ 9/ 8/

6/ Lack of formatting and hierarchy 8/ Overuse of graphics can distract

makes key information hard to find. the reader from the content.
7/ Redundancy of information 9/ Skill ratings are subjective and
may lead to an unprofessional and their meanings can differ from
cluttered look. person to person.

To create a professional resume,

you should always create several
columns to organize the information.
Employ hierarchy, white space, and
consistency to achieve a clean, easy-
to-scan document.
 content: strategy and examples step 8

common mistakes

text overuse

10/ 11/

10/ Verbose descriptions can feel 11/ Redundant or non-essential

overwhelming and discouraging for information takes up valuable space
an audience to read through. and detracts from the visual imagery.

Use concise project descriptions that

highlight key aspects of your design
process, concept and outcomes.
Prioritize quality over quantity and
avoid repeating information to save
space and to highlight your visual
presentation.
 content: strategy and examples step 8

unnecessary
graphics

12/ 13/

12/ Unnecessary use of graphics 13/ Including effects such as drop

such as rectangles and decorative shadows may give the portfolio an
lines serve only as empty gestures amateurish or cluttered appearance.
and distract from the actual work.

To achieve a polished and

professional look, you should
eliminate all graphics that don't
serve a purpose other than
decoration. Instead, keep the layout
simple and focused on your work.

images this page by emily ussia

 content: strategy and examples step 8

common mistakes

borders

14/ 15/

14/ Excessive use of line borders 15/ Using fill boxes may
can create visual clutter, ultimately lead to visual heaviness and
distracting from the main content. unintentionally overemphasize
some content.

In many cases, removing borders

and using white space contributes
to a cleaner layout design. In
some instances, you may have to
downsize your visual objects to
allow for enough negative space to
create visual separation.

images this page by trevor rodgers

 content: strategy and examples step 8

poor navigation

16/ 17/

16/ Navigational menus with too 17/ A hidden navigation menu can
many items can slow the user's frustrate users by being hard to
exploration of the website. find. It can hinder access to critical
content.

Be sure to prioritize a visible and

easily accessible navigation menu.
A simple structure with fewer
items will streamline your user's
experience.

images this page by lucia krivá

STEP 9
 CASE STUDIES

The previous Step drew together all the techniques, principles and tools and considered
each of the components of the portfolio. Now this Step will look at real portfolio examples
highlighting specific project pages and their introductions. These studies should help you
search out and critically consider other examples as well. The real value of these case
studies lies in helping you identify and understand the principles that make the portfolios
effective, principles to use in your own expressive efforts.

what to
look for

The following pages showcase excerpts from a diverse array

of creative and successful portfolios. Each layout exemplifies
the various elements, methods, and tools discussed in this
Guide. The accompanying commentary begins to explore
how these ideas have been integrated and what strategies
were employed by each author listed below. Some of what
follows is simple, some complex. Each represents a holistic
achievement composed of many parts.

case study 1 - Maria Rybak •

case study 2 - Roberto Vargas •
case study 3 - Csenge Király •
case study 4 - Sai Raghav H •
case study 5 - Denis Zimakov •
case study 6 - Yoonseok Lee •
case study 7 - Paige Davidson •
case study 8 - Ali Ismail Karimi •
case study 9 - Elissa Sudargo •
case study 10 - Lucia Krivá •
case study 11 - Band Architecture •
case study 12 - Hamish Angus McAndrew •

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portfolio examples

portfolio by The author's approach showcases

Maria Rybak a strong understanding of the
significance of visual elements
in communication, reflected in
the simple yet effective layout
compositions. The design strategies
presented in this portfolio exhibit
a remarkable balance, clarity, and
consistency throughout without
ever descending into monotony.

case study 1

2/

3/

242
5/

7/

7/

4/

3/

4/

243
 1,6/

3/

case study 1

5/

7/

244
introductory project pages project pages
The introduction pages are tacitly The project pages take a more
designed to maximize the use of lenient approach towards the grid
available space on each spread. structure. The author prioritizes
Despite the scattered layout, the the content objects over the
author distributes the content grid system, conforming to the
objects with careful consideration content's needs and then intuitively
of spacing, scale, and proportion, customizing alignments to
resulting in an engaging experience different sizes and proportions to
/1/. The powerful visualizations effectively convey information /4/.
featured in the introductory pages This technique works particularly
are carefully balanced with intricate successfully when presenting only
line drawings, creating a synergy one or two sets of drawings at a
where objects do not compete for time, as it allows the audience to
importance but rather complement appreciate all the details in the rich
each other seamlessly /2/. The visuals. The occasional interruption
generous white space surrounding of simple but varied layouts with
each visual object provides them a dramatic imagery contributes to a
jewel-like quality, effectively making strong visual rhythm throughout
them stand out with prominence the portfolio /5/. Despite the
/3/. This technique is consistently diversity in layouts, the author
present throughout, contributing to maintains visual consistency
a cohesive and visually appealing through a distinct representation
presentation. style that unifies the portfolio
down to the smallest details of line
weights.
textual elements
The minimalistic typeface resonates
with a modest layout, allowing the
visual content to stand out. The
author has strategically isolated the
text into zones, creating a well-
organized layout with a distributed
focus across the spread /6/. The
description block of text on project
pages is always thoughtfully placed
and proportioned to balance the
visual attention in the layout /7/.

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portfolio examples

portfolio by
Roberto Vargas

1/

2/

4/

3/

4/

246
 This portfolio layout employs
a systematic use of dynamic
alternation of grid and black-
and-white themes that keep the
audience engaged. This intentional
design choice not only contributes
to the author's stylish aesthetic but
also creates a sophisticated layout
that, yet, is easy to navigate.

case study 2

1/

4/

247
 5/

2/

4/

6/

case study 2
3/

248
introductory project pages project pages
The strategic use of eye-catching The sophisticated modular grid
imagery that extends across the dynamically adapts from one
spine and dominates the spread, project page to another and
while allocating careful proportion accommodates a diverse curation
to project information, serves as of images, creating an engaging
a compelling invitation /1/. The narrative for each project. The
structured and consistent approach grid's definition, however, is
to the introduction pages becomes almost invisible, as the imagery
a crucial navigational element, has been cut out from its original
particularly as the following pages background, losing its defined
present diverse information. The edge character /3/. This technique
author softens the imagery with a integrates the images seamlessly
sleek technique of rounded corners, into the layout while also making
adding a pleasant graphical touch them stand out. The placement
/2/. and scale of individual images are
thoughtfully considered to create
threads of rows and columns,
giving the layout a film sequence-
like effect /4/. The alternating
background color of the project
pages adds a dramatic touch that
complements the images, further
textual elements enhancing their prominence
A bold project title set with and making them stand out with
a contemporary typeface is heightened visual impact.
proportionally applied to balance
the color-heavy imagery on the
project introduction pages. The
variety of font weights and strategic
spacing between different text levels
promotes a clear text hierarchy,
effectively guiding readers through
distinct levels of information /5/.
The widths of the text block produce
clear lines, which give a definition
to a hidden grid in a subtle yet
effective way /6/.

249
portfolio examples

portfolio by The contemporary design

Csenge Király technique employed in this
portfolio is fearlessly built on a
hierarchical grid, asymmetry and
bold typography. The background
pallet correlating with earthy
tones present in the imagery
ties the presentation together.
Overall, the author's distinctive
approach creates a harmonious and
refreshing presentation.

6/

7/

6/

250
2/

3/

case study 3
4/

5/

251
 introductory project pages project pages
The author establishes each new Despite the more relaxed and open
project category with a minimalistic grid structure in project pages,
colored section divider /1/. This these layouts comprise a range
color tone is then carried over of imagery and drawings with
to the introduction pages to deliberate attention to proportion
continue a seamless transition and proximity, resulting in a well-
between sections. Here, the author balanced hierarchical act that
surprises with a fearless attitude of takes a viewer from one corner
challenging conventional portfolio to another /3/. The effectively
layouts. The substantial amount of utilized grid violations, such as
negative space creates a peaceful partial bleeds and elimination of
and inviting environment, allowing spacing between imagery, inject
the limited content, whether visual a sense of energy and fluidity
or textual, to stand out with clarity. /4/. The sense of pace within the
To reinforce the clarity, the author project pages presents a delicate
maintains a consistent grid, along balance between structure and
with the color coding /2/. creativity, resulting in a visually
stimulating narrative flow. To add
to the rhythmic atmosphere, the
author also contrasts the free
grid layout with a rigid alignment
/5/. Such a departure from the
textual elements conventional layout adds a touch of
The minimalist, soft layout unpredictability and excitement to
is echoed in the light and the overall design experience.
unpretentious typography. The
author makes use of a single
typeface with varying font sizes
to control hierarchical order. The
strategic spacing and placement
of textual elements contribute to
an elegant and orderly design that
guides the reader's attention /6/.
The prominent yet unapparent
project number location varies from
project to project, contributing to a
dynamic yet calm atmosphere /7/.

252
 4/

case study 3

1/

3/

253
portfolio examples

portfolio by
Sai Raghav H

The author's use of a clean and introductory project pages

straightforward design layout in a
The author starts the project
square format effortlessly balances
with a confident approach of
a variety of imagery while ensuring
utilizing a high-quality, realistic,
easy absorption of information
full-bleed image that instantly
without overwhelming the viewers.
grabs the audience's attention and
Such a design strategy guarantees
immerses them in the project /1/.
a visually appealing and informative
The carefully selected imagery
portfolio that engages the audience
effectively depicts the project's
from start to finish.
essence in the best possible light,
thereby establishing an engaging
tone right away.

project pages textual elements

The following pages perfectly The author's attention to legibility is
portray the author's careful evident in a deliberate selection and
negotiation with the format application of typography. With a
restrictions and the number of clear and expressive text hierarchy,
images. The project page always the author uses a delicate font
presents relevant pairs of drawings that maintains full legibility even
in an appropriate scale, enabling against a vivid background /4/. The
the viewer to appreciate the author's thoughtful approach also
intricate details that the author has comes through in the callouts and
put into the artwork /2/. The author legends, which have been adjusted
regulates the pace of the portfolio to unify with the established font in
through a layout alternation. A the portfolio /5/.
full-bleed or crossover image that
spans the entire spread creates a
pause, but the visual rhythm picks
up when a spread is divided into
two pages using the edge of an
image or a subtle background color
change /3/.

254
 1,3/

4/

case study 4
5/

3/

2/

3/

3/

255
portfolio examples

portfolio by
Denis Zimakov

case study 5

1/

2/

3/

256
 This portfolio adopts a minimalistic introductory project pages
approach that is achieved through
The designer begins the project
a sophisticated level of structure.
by presenting a set of images
The square format boldly uses a
that subtly expose a trace of a
heavy distribution of white space
seemingly invisible modular grid
throughout the portfolio that is
/1/. The captivating image on
attentively employed to maximize
the right gradually directs the
attention on the imagery. This
viewer's attention towards the
allows various types of imagery to
project description, complemented
stand out in their own beauty.
by carefully placed and curated
supportive images around it /2/.
The author skillfully utilizes white
space to frame the content, which
creates a sense of balance and
focus.

8/

5/

6/

257
 4/

7/

case study 5

5/

3/

258
project pages
The following layouts conform to an experiments with the visual weight
existing grid structure with greater of objects to create a sense of
emphasis on achieving a more balanced tension /5/. The success
pronounced horizontal feel across of this approach lies in the fact
all project pages. This has been that every object, regardless
accomplished by increasing the top of size or color, is given equal
and bottom margins to bring more importance. This is achieved by
focus to the content /3/. However, carefully considering the proportion
the author also deliberately between the positive and negative
emphasizes a vertical aspect of the space. Occasionally, the portfolio
grid by arranging images and text is designed with a symmetry to
into a single column-like format. create a more stable feel, and
This approach not only helps to more direct, focused approach
break the horizontal flow but to the imagery /6/. Overall, this
also reinforces hierarchy, guiding portfolio demonstrates how the
the reader's eye throughout the limitation of a square format can
page /4/. The designer carefully be transformed into a design
advantage, resulting in a calming
yet striking, well-structured
textual elements portfolio.
The singular typeface and its
thoughtful weight and size
alterations contribute to the
viewer's understanding of different
levels of information /7/. The
author's attention to detail is also
apparent in the use of the same
font for legends, scales, and
other information that was likely
reformatted from the original
drawing /8/. This comprehensive
approach helps to solidify the
portfolio as a cohesive project.

259
portfolio examples

portfolio by
Yoonseok Lee

1,4/

case study 6

2/

5/

260
The author of this portfolio introductory project pages
effectively showcases his work
Each project story begins with
through a compelling story that
a captivating image spanning
seamlessly integrates both visual
the section divider /1/. The
and textual elements creating
author uncovers the project
an immersive experience for the
in an unconventional manner,
audience. The brave choices taken
using several spreads to provide
in this portfolio have resulted in
insight into the project problem
a slower but also engaging and
with provocative statements
informative body of work.
and imagery. All the content is
generously sized to slow down the
pace and fully immerse the viewer
into a project. A simple column
grid helps guide the reader's
eye through the content in a
straightforward sequence /2/.

5/

3/

261
 1,4/

case study 6

6/

project pages textual elements

The author captures the audience's The decision to use a traditional serif
attention from the very start by using typeface is another bold move that
a wide range of conceptual and final adds a touch of sophistication. The
imagery. The large-scale images detailed imagery helps to minimize
allow the audience to fully appreciate the use of text, which is why the
the detail and quality of the work /3/. typeface barely relies on hierarchy.
The author thoughtfully presents Instead, the author increases the size
the project with a single-color tone of the typeface and places it on top of
to unify the narrative /4/. To make the images to create a contemporary
the grid present, the borders around twist on the classic typeface /6/. This
visual objects are sensibly applied results in a unique and memorable
and correspond with the line work in visual experience for the reader.
the drawings /5/.

262
3/

6/

263
 CASE STUDIES STEP 9

PORTFOLIO EXAMPLES

portfolio by The designer of this portfolio has

Paige Davidson beautifully handled the challenge
of dealing with the ample space of
landscape format. She has skillfully
balanced vibrant imagery with
strategically used negative space,
resulting in a visually appealing
and stimulating portfolio. This
work speaks as a testament to the
author's skills.

case study 7

1/ 3/

2/ 2/

264
 CASE STUDIES STEP 9

INTRODUCTORY PROJECT PAGES

The author introduces a new an impression of a letter format

category using full-bleed graph /2/. This approach mitigates the
paper where she playfully and vast feel of the landscape format.
minimalistically scatters the The blocky nature of the paragraph
upcoming content of the new mirrors the block of the image. The
category /1/. This modest, sharply strategic, consistent placement of
designed category divider does not the project description establishes
interrupt the viewing experience a reliable focal point in the grid
of the actual intro project page on and a steady marker for the reader
the facing page. With effective use /3/. These intro project pages,
of imagery proportion and its box- designed with a clean and cohesive
like aspect, the page is effectively grid, reveal a sense of care and
divided into equal halves, creating professionalism.

4/

265
 3/

5/ 4/ 6/

project pages
The author continues using the of significance /5/. The spreads
same grid to arrange objects on display engaging, asymmetrically
each page in a solid, block-like balanced compositions. But
manner /4/. The negative space sometimes the pace changes
is utilized just as effectively as the dynamically, such as with a strong
positive space. The open areas symmetry of horizontal imagery
guide the viewer's eye toward the /6/. Such layouts break altogether
images, imparting them with a level from the vertical grid columns,

266
 CASE STUDIES STEP 9

TEXTUAL ELEMENTS

further energizing the viewer's The design that gives a feeling of

experience. The technical drawings modernity and simplicity is further
are presented at an accessible strengthened by the use of an easy-
scale, allowing for full appreciation to-read sans-serif font arranged in
of the information /7/. Moreover, a clear hierarchy. The paragraphs
the author enhances the portfolio are judiciously formatted into
consistency with the research narrow strips, which facilitates
formatted in a coherent fashion, fast reading. Lastly, to intensify the
ensuring that it feels like a unified coherent appeal, the author uses a
part of the portfolio /8/. consistent typeface in each textual
circumstance.

case study 7
7/ 8/

267
portfolio examples

portfolio by The author displays exceptional skill

Ali Ismail Karimi in creating visually striking work
through a challenging monochrome
pallet. Despite the limitations of
such a restricted color scheme, the
author is avoiding monotony by using
different levels of gray scale contrast
and utilizing other design elements,
such as a grid, pacing, and image
hierarchy. All this helps to sustain the
viewer's interest and make the work
stand out.

1/

2/

5/

268
case study 8

4/

6/

269
 introductory project pages project pages

The author unveils the project with The project pages are arranged
the embracement of white space in a seemingly disorganized yet
to create a clean and minimalistic systematic grid. Every project page
look. The opening image is centered has a different grid layout, which
within a circle, making it a focal intensifies the viewer's interest
point that stands out against the and builds curiosity for the next
white background /1/. The modestly page /3/. The author breaks the
proportioned circular image is grid rules by using a partial bleed
effectively contrasted with a square technique that interrupts the
block of text formatted in a similar layout's margins, enhancing the
proportion on the facing page. Such dynamics of the monochromatic
a method creates a sense of balance layout /4/. The layouts always
and tension that keeps the viewer present a combination of multiple
interested right at the beginning of images of various styles to balance
the project /2/. the weight of gray-scale images
with line drawings /5/. The
objects are arranged in careful
proportion to one another to let
every single object be noticed
yet not be overpowering. Despite
the variety of drawings laid out
on changing, sophisticated grid
layouts, the author maintains a
textual elements consistent feel throughout the
The selection of serif typeface portfolio. The attention to balance,
matches the elegance of the proportion, and pace of the project
monotone theme of the portfolio. layouts highlights the author's eye
The author's strong sensibility of for design and composition, which
space is also conveyed through speaks of his identity.
fully justified paragraphs that
emphasize strong lines within
every layout, thus fulfilling the
composition /6/.

270
case study 8

3/

4/

6/

3/

5/

271
portfolio examples

portfolio by This clean, straightforward portfolio

Elissa Sudargo layout experiments with different
grid structures, creating a sense of
rhythm. The imagery's color tone
corresponds with the layout's light
and soft feel, expressed through
the ample negative space, making
it feel spacious and uncluttered.
Overall, this portfolio layout is an
excellent example of creating a
sense of light and visual appeal.

1/

2/

272
case study 9

6/

4/

273
 introductory project pages project pages
The introductory page is designed The following pages serve as a
with deliberate rigidity, creating a narration process formatted in a
clear and stable entry into a project. horizontal structure of rigorous
The author sensibly juxtaposes alignments that fortify the visual
a full-bleed page of colored order of content /2/. With the
visualization with a negative facing strict grid lines, the author
page serving as a visual pause marvelously brings movement
that offers a moment of respite into the layout through the
after the captivating imagery /1/. compositional asymmetry of the
This pausing page accommodates object's proportions and scales
a solid text block centered on the /3/. To counterbalance these
page, emphasizing the lines of the dynamics, the author breaks the
established rigid structure. Overall, pattern with layouts of symmetrical
this imbalanced introductory compositions to equalize visual
spread achieves a harmony and prominence in the layout /4/. With
creates a gentle appeal. the category of extras, the author
manipulates the grid into a vertical
formation, introducing further
distinctions to delineate from other
sections /5/. Despite the deliberate
deviations in the layout structure,
the grid consistently acts as a
unifying factor, providing cohesion
textual elements to the narrative. The white space on
The font choice and style the project pages is always cleverly
complement the airy, structured utilized to accentuate the visual
design, with looser letter spacing content /6/.
creating an open feel. Justified
caption text highlights the grid lines
to enhance the layout structure
/7/. The layout's minimalistic
approach to text hierarchy is
skillfully achieved through the use
of spacing, alignment, and subtle
variations in font weights /8/.

274
7/

3/

case study 9

4/

8/

5/

275
portfolio examples

portfolio by An aesthetically pleasing design

Lucia Krivá inspired by magazines can be a
great way to showcase images and
drawings. The designer's approach
is distinct, straightforward,
and consistent while avoiding
repetition. Every layout presents
an exploration of an asymmetrical
grid, resulting in a contemporary
and dynamic appearance. This
can create a feeling of motion and
capture the viewer's interest.

1/

2/

276
case study 10

7/

4/

5/

6/

277
 introductory project pages project pages
The author begins the project While the intro page layout is fixed,
by captivating the audience with the structure of the project pages
an introductory paragraph that is more flexible. The hierarchical
outlines the project's vision and grid used in the layout allows the
serves as a section divider /1/. designer to place and scale images
The actual introductory pages more freely, resulting in a visually
are designed with stability in appealing and dynamic design. To
mind, using persistent elements enhance the visual interest, the
that help the readers navigate author applies a stylish technique
the portfolio with ease and focus that connects the images through
on the content itself. Specifically their corners /4/. This thread-like
speaking, the full-bleed image is graphic treatment creates a visual
placed in a fixed location on the connection that helps the audience
more effective right page, creating understand the project's story.
a visual focal point /2/. The left The plan or section drawings are
side of the page contains all textual integrated into the composition to
elements, distributed evenly across reduce the use of color imagery
the layout, making the page equally /5/. Inspired by a magazine
engaging /3/. graphic style, the author treats the
captions as a pull quote, bringing
more energy and engagement to
each spread /6/. To break away
textual elements from the established, versatile yet
The selected typeface complements cohesive grid system, a large scale
the magazine style through a drawing is used to slow the pace
combination of sans-serif and serif and create a sense of contrast
fonts for the title and body text. /7/. Additionally, after the simple
The textual elements coherently white intro page, a subtle colored
follow a consistent corner-to-corner background is used throughout,
style /9/. While the captions depart which helps tie the project together
from the traditional hierarchical /8/.
order, the author judiciously uses
a bold font to emphasize the key
philosophy conveyed through the
imagery /10/.

278
 3/

9/

8/

case study 10

3/

5/

6,10/

279
portfolio examples

portfolio by case study 11

Band Architecture

The architecture firm Band landing page

Architecture, based in the Czech
Upon opening the website, visitors
Republic, presents a sleek website
are greeted by a gallery wall that
that prioritizes user experience
features a simple horizontal grid
while displaying the firm's
layout with wide margins. This
projects with clarity. The overall
stylistic approach makes the firm's
design choices convey a sense
projects the focal point of the
of professionalism as well as the
website /1/. The clear navigation
firm's dedication to both visual
bar is prominently displayed,
appeal and functional design.
making it easy for visitors to
navigate through the site /2/.
The gallery presents a variety of
project views and representative
styles, giving visitors a glimpse into
the firm's creative design vision.
The thoughtful balance between
full-colored images and voids with
minimalist icons representing the
projects not only adds a touch of
intrigue but also emphasizes the
firm's sense of aesthetics. The
voids in the gallery grid create a
sense of mystery, encouraging
visitors to explore further and click
4/
on specific projects /3/. When
hovering over an image, the project
3/
name is clearly visible, thanks to
the darkening hover effect /4/.

1/

280
 2/

5/

6/

project and about me page

The project page maintains a clean
and structured layout, divided into
different zones to guide the viewer
through the project's narrative
seamlessly /5/. The white space
harmoniously applied between
content, contributes to the overall
sense of clarity. After going through
all the project details, the project
page continues with a large-scale
slideshow of project imagery that
is intuitively navigated through
arrows, allowing visitors to engage
with the images at their own pace
/6/. The "About" page intentionally
switches the text to the opposite
side and uses fully gray-scale
portraits, bringing a sudden
change of pace while preserving
the website's overall structure.

281
portfolio examples

portfolio by The website made by the author

Hamish Angus McAndrew himself uses an unconventional
approach to the website portfolio.
The designer's unique strategy
transforms a static collection of
works into a dynamic journey of
creativity and evolution, and sets
it apart from ordinary website
portfolios.

1/

2/

case study 12

282
landing page
As visitors arrived to the website,
they are welcomed with an
immersive video that show
highlights of the author's projects
/1/. This engaging experience
effectively captures the visitors'
attention and encourages them
to spend more time exploring the
website. The website bravely uses
a fluid scroll-down menu that not
only enhances the exploration but 3/
also serves as a visual storytelling
technique. This is achieved through
a guided series of designer hand-
drawn sketches that represent the
projects, connected by a continuous
thread /2/. This finely illustrated
journey adds a personal touch. The
CV section following the project
menu transitions smoothly from
exploring the designer's creative
works to understanding his
professional background /3/. The
page seamlessly continues with a
straightforward "about me" section
/4/ and ends with the illustrative
static menu that not only serves 4/
as a convenient navigation tool
but also invites visitors to revisit
specific sections of interest or
continue their exploration /5/. 5/

283
 6/

project page
The project pages follow the
same scroll-down experience,
maintaining consistency throughout
the website. The structure of the
page also remains the same, with
the captivating animation on the top
/6/ and the subsequent sections
providing in-depth insights into
the project. The project unfolds in
a compelling visual manner, from
full-screen images to focused
paragraphs or drawings in the
middle, creating a fluctuating
and stimulating effect /7/. This
dynamic presentation adds a layer
of intrigue with another small
animation component and slide
show presentation within the
project page to enrich the narrative
of the project /8/. This varied,
aesthetically pleasing structure not
only reinforces the website's visual
identity but makes the project
pages more informative.

7/

284
 6/

case study 12

7/

8/

285
STEP 10

refine

cover letter

finalize

share
 REVIEW
FINAL REVISIONS

One of the key prerequisites before reaching out to your audience and scheduling an
interview is to thoroughly review and refine your portfolio. This process involves careful
examination and editing to ensure your message is intact, but also free from any textual
errors or visual flaws. Your portfolio is the initial impression that can pave the way for
a successful career or education, so don't get discouraged or lax during this final phase,
despite all the time and effort you have already invested in it. This Step will guide you
through several final tactics to minimize the likelihood of any issues and to present
yourself in the best possible manner.

— refine

what is the first

step of refinement

DO remember As you near the completion of your work, it's essential to

that quality is take a step back and assess the content carefully. This is
an ideal moment to fine-tune your portfolio and make sure
always better than
you have included the information that you consider most
quantity.
relevant to effectively convey your message. This involves
double-checking on imagery that may not resonate with your
intended audience and eliminating redundant or irrelevant
content. Remember, feature imagery that you know is
meaningful.

why to ask
for feedback

It's not uncommon to find self-evaluation challenging. But

now is when others can be invaluable. Ask an experienced
peer, professor, coworker, or anyone in the field who can
offer an objective perspective on your portfolio. Such critiques
can help identify aspects that you may have overlooked due

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 review: final revisions step 10

to your familiarity with your work. These could be issues with DON'T neglect to
the interpretation of your images or text, overloaded layouts, share your work
improper emphasis, or confusion in the composition. Rather with others. A lack
than expecting praise for a flawless portfolio, be receptive to of feedback can
these critiques and ask for suggestions for improvement. In haunt you.
the case of a portfolio website, specifically seek feedback on
usability, as it can make or break your website's effectiveness.
It's best to ask for direct one-on-one reviews allowing you to
observe how others navigate through the website. Getting
critical input can be difficult but increases the possibility of
achieving your goals. So, get feedback, go back to your work
and address the problems you hadn't noticed before.

why to re-check for

different requirements

Now is not the time to forget that every institution and DO have two or
employer has their own requirements. It's vital for you to take three different
the extra time to ensure that you align your submission with versions of
the instructions and specifications of each firm or school. your portfolio to
Academic institutions, especially, may ask for a preferred
reach different
portfolio medium, a specified number of pages, pacing and
audiences.
the specific information needed for cover and project pages.
Be prepared to make any necessary last-minute edits. Get it
right. Give yourself enough time to implement these possible
adjustments while maintaining the quality of your portfolio.

why to stay
updated

Like any project, a portfolio can be perfect at one moment in

time, but it will not remain perfect forever. You wouldn't want
to miss potential opportunities due to an outdated portfolio.
And so, as you progress in your career, you should add new,
more relevant projects to your presentation. These could be
projects showcasing your latest work or demonstrating new
skills you've acquired. At the same time, you may also need

288
 review: final revisions step 10

to remove projects that are outdated or no longer relevant.

Actively maintaining an up-to-date portfolio is especially
crucial when it's a website that is accessible 24/7 throughout
the year.

Apply the same approach to your resume as you do to your

portfolio. Keep it updated with your latest work experience,
skills, and achievements while removing irrelevant content.
Regularly updating your portfolio and resume ensures that
you are always prepared to present your best work in a way
that reflects your professional growth.

why to
proofread again

DON'T be reluctant Always double-check for grammar and spelling before

to ask someone finalizing your portfolio, resume and cover letter. Even a
to proofread your single mistake has the potential to undermine your hard work.

work. Fortunately, there are numerous free tools like Sentence

Checker and Grammarly that can assist in checking for
spelling and grammar issues. Also, seeking fresh eyes for
proofreading can be immensely beneficial, especially if you're
not a native speaker of the language you're using. Alongside
grammar, hunt for common typographical errors, such as
incorrect hyphenation, orphans and widows.

— cover letter

how to create
a cover letter

DO coordinate Besides a portfolio, resume and perhaps even a design

the design of a statement, your application package will probably also

resume and cover require a cover letter, especially if you are pursuing an open
position. The cover letter offers an opportunity to elaborate
letter together
on the details in your resume with specific examples or brief
with your portfolio.

289
 review: final revisions step 10

stories that validate your expertise and job-related skills.

To create a compelling cover letter, you need to maintain
conciseness and focus while answering these questions:

• Who are you and what is your current position?

• How are you aligned for the position/firm you are applying to?
• What are a few relevant projects that showcase your skills?
• Why would you be a positive asset to the firm?

how to start
a cover letter

To infuse a more personal touch into your cover letter, take DO avoid outdated
the time to find out the name of the person responsible for greetings such as
reviewing applications and then address your letter to them "To whom it may
directly. This attention demonstrates your commitment to the concern."
opportunity. Start a cover letter with a concise and engaging
introductory paragraph that introduces yourself and provides
a brief preview of your most relevant experience and
qualifications or academic accomplishments. This paragraph
should grab the recruiter's attention and raise their interest
in learning more about you. However, you need to find a
balance between expressing confidence in your capabilities
and keeping a personable tone.

how to address
alignment

The body of your cover letter is your chance to develop a DON'T echo your
compelling argument for your candidacy. Remember though resume! Rather,
— never more than a page. Express your enthusiasm for the use your cover
position or school program and demonstrate why you are letter to enhance
drawn to this particular architecture firm or school. This
your resume.
could be the nature of their projects that captivates you, or
perhaps it's their design philosophy and values. Whatever the
motivating factors, make sure to articulate specific reasons
that define your alignment with the opportunity.

290
 review: final revisions step 10

how to describe
qualifications

DO avoid using In this paragraph, focus on highlighting your relevant skills

a generic cover and experiences without duplicating information readily
letter as it may available in your resume. Speak about your qualifications

imply a lack of that clearly fit the role you're applying for, as each position
or program has unique requirements. Use specific examples
interest in the
to demonstrate how you have performed in previous roles or
position.
projects. You may even consider highlighting skills that go
beyond the typical architectural domain. The aim is to offer
the employer or school a clear idea of how you can bring value
to their firm or program.

how to end
a cover letter

DO take time to Conclude your cover letter with a succinct summary that
make your cover briefly re-states what sets you apart and makes you uniquely
letter clear and valuable for the desired role or program. Wrap up by making
persuasive. clear your desire for the opportunity. If sent via email, mention
that you have included all the necessary documents and
encourage them to reach out for any questions or additional
information. Lastly, of course, extend gratitude to your contact
for their time.

— finalize

why to compress
the pdf file

Once you've refined your portfolio into its finalized format,

save it as a single PDF file. Given that portfolios typically
contain high-quality images, there is a high chance that your
file will become extremely large. This can be problematic
when you need to send it via email or submit it to an admission
portal. Providing a download link to a storage service like

291
 review: final revisions step 10

Google Drive or Dropbox might require extra steps or DON'T send your
verifications and burden the audience with saving a heavy portfolio as a link
file on their devices. And although universities may have to Google Drive.
submission procedures that do not limit your file size, it is
still a good practice to compress your file to make it viable
for many uses. To compress your file, refer to Step 3 to read
about compression techniques that could reduce the file size
without compromising the quality of your portfolio.

why to practice
presenting ahead of time

As you complete your portfolio, it is a good idea to practice DO ensure the firm
talking through the content and ideas within it – no matter how has an available
well-versed you are. These pre-interview practice sessions screen to display
can be treated as a walk-through to better articulate your your portfolio
visual ideas so you won't find yourself stumbling during actual
when having an
interviews. Keep in mind that you don't need to memorize
in-person
your entire presentation; instead, focus on identifying the
interview.
most crucial aspects and practice communicating them in
a concise manner. Rehearse these presentation skills with
friends, whether from within or outside your field, or even
by yourself. Remember that this practice time will greatly
improve your confidence to effectively communicate your
portfolio, which will be much needed during actual interviews
and in other professional settings.

share —
what to do before
sending your materials

When it comes to the moment to share your portfolio with

your prospective employers or academic institutions, check
once again that you are including everything. Also, consider
sending your portfolio to a friend, peer or co-worker first

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 review: final revisions step 10

DO name the as a test to make sure that the files are easy to download,
digital files open and view without any issues. This proactive approach
that you share can help you catch any technical problems, such as broken
correctly and links, missing files or incompatible formats. Also ask your test

professionally. recipient to check for the image resolution, color accuracy,

and functionality of any multimedia used in the portfolio so
that you can make any last adjustments if it's needed.

Now as you are finally all ready, you can send your application.
In a professional setting, you typically include your portfolio
as part of an application, along with your cover letter
and resume /if not already integrated in your portfolio/.
Consolidate all attachments into one email and write a brief
message expressing your interest in the job opening. In some
instances, you might need to upload your portfolio to an online
job portal or a company website. Submission portals are
especially common for academic institutions. But be attentive
to their requirements — some may use submission portals,
while others prefer email submissions.

DO remember that With everything completed, now it's time to practice patience
rejection does not and wait for the outcome of your efforts. Relax for a minute.
define your worth Although there is always a possibility of receiving a negative
or your abilities. response that may come as a disappointment, it is important
to recognize that you have accomplished a lot with a well
done portfolio. Continue to believe in yourself and your
abilities and do not get discouraged. The best opportunities
often take a while to develop. So, please remain optimistic!
Keep updating your portfolio. Good work will be rewarded!

Congratulations!

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 the architect’s pocket guide to portfolio design

acknowledgments

I want to express my sincere gratitude to Routledge, which

gave me the opportunity to work on this project. I would like
to give my special thanks to Lydia Kessell, who expressed
enthusiasm and support for this book at the very beginning
of this journey.

I would never have embarked upon this path had it not been
for the incredible teachers I have had throughout my life who
taught me about design and aesthetic values, from Veronika
Mikulašová, Tomaš Krivý and Jiří Svoboda to Ken Visocky
O'Grady. I am thankful to Dean Mark Mistur, who allowed me
to be a part of portfolio reviews, gave me the opportunity
to deliver lectures on portfolio design to KSU students, and
encouraged me to start this research.

I am equally indebted to my friend Ted Lyons. Besides his keen

editorial eye, his unwavering belief in the value of this book,
which was present from the early phases of this project, he
became a constant driving force behind this work. Additionally,
I am also grateful to Tim Bell for his steady advice during the
process of creation. Also, this book would never have been
possible without each invaluable image contributor from
around the world.

The greatest motivation behind this book has always been

to help guide students and professionals to achieve success
in their architectural pursuits through presentations of their
work. May this book inspire their creativity, foster learning and
provide practical insights that empower their architectural
presentations.

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 the architect’s pocket guide to portfolio design

image credits

page number contributors

38, 39__ Lucas Denmeade, Kent State University, OH, USA

64, 65__ Lucas Denmeade, Kent State University, OH, USA
66, 67__ Nicholas Macintyre, SCI–Arc, CA, USA
68, 69__ Somesh Mhatre, Pillai College of Architecture, India
106__ Eish Ahlawat, @_eish, India
106__ Abdal Karim Rabi, Istanbul Bilgi University, behance.net/abdalkarimrabi, Palestine
106__ Thiago Lee, Columbia University GSAPP, NY, USA, Thiago Lee | LinkedIn, Brazil
107__ Denis Zimakov, State University of Land Use Planning, Russia
107__ Band Architecture, www.architectureband.cz , Czech Republic
107__ Ilia Aladov, Architect, Rotterdam, Netherlands
122, 124__ Christopher Mathes, Kent State University, OH, USA
125–127__ Evan Bluemel, Kent State University, OH, USA
132__ Elizabeth Adebayo, The University of Texas at Arlington, College of
Architecture, Planning and Public Affairs, USA
132__ Paige Davidson, Co Founder, Gluten, USA
133__ Roberto Vargas, Institute for Advanced Architecture of Catalonia (IAAC), Spain
133__ Jek Kee Lim, Deakin University, Australia
136__ Ali Ismail Karimi, Harvard GSD, Bahrain
136__ Elissa Sudargo, behance.net/elissa-sudargo, interior designer, Indonesia
137__ Csenge Király, Hungary; graphic designer – Bertalan Bessenyey, Hungary
137__ Thiago Lee, Columbia University GSAPP, NY, USA, Thiago Lee | LinkedIn, Brazil
144__ Nicholas Macintyre, SCI–Arc, CA, USA
144__ Abdal Karim Rabi, Istanbul Bilgi University, behance.net/abdalkarimrabi, Palestine
145__ Ali Ismail Karimi, Harvard GSD, Bahrain
145__ Lucia Krivá, www.luciakriva.com, Slovakia
148__ Burak Celik, Assoc. AIA, SCI_Arc ‘21, CA, USA
149__ Anastasiia Perova, behance.net/perovadesign, Canada
154__ Trevor Rodgers, Kent State University, OH, USA
155__ Lucia Krivá, www.luciakriva.com, Slovakia
157__ Lucas Denmeade, Kent State University, OH, USA
158, 159__ Evan Bluemel, Kent State University, OH, USA
158, 159__ Emily Ussia, Kent State University, OH, USA
178__ Claudia Crespo, University of Puerto Rico School of Architecture,
behance.net/claudiacrespo6, Puerto Rico
178__ Ali Ismail Karimi, Harvard GSD, Bahrain
179__ Charlotte Bascombe, Syracuse University School of Architecture, USA

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 the architect’s pocket guide to portfolio design

179__ Mohsen Oliaei, Chalmers University of Technology,

Mohsen (Daniel) Oliaei | LinkedIn, behance.net/mohsenoliaei1, Sweden
185__ Christopher Mathes, Kent State University, OH, USA
186__ Evan Bluemel, Kent State University, OH, USA
194__ Anna Gabitova, Portfolio'23 by Anna Gabitova, Technical University of Munich, @
ann.gabitova, Kazakhstan
194__ Ali Ismail Karimi, Harvard GSD, Bahrain
194__ Burak Celik, Assoc. AIA, SCI_Arc ‘21, CA, USA
195__ Elizabeth Adebayo, Conceptual Drawing II. 2021, Charcoal on Paper, The
University of Texas at Arlington, College of Architecture, Planning and Public Affairs, USA
195__ Daniyar Magadiev, Russia
195__ Abdelaziz Awad, behance.net/azeezawad, Palestine
196__ Gabriel Nunes, Pontifícia Universidade Católica do Rio de Janeiro, Brazil
196__ Lucia Krivá, www.luciakriva.com, Slovakia
196__ Lucas Denmeade, Kent State University, OH, USA
197__ Ilia Aladov, Moscow School of Architecture, Russia
197__ Mohsen Oliaei, Chalmers University of Technology,
Mohsen (Daniel) Oliaei | LinkedIn, behance.net/mohsenoliaei1, Sweden
197__ Jek Kee Lim, Deakin University, Australia
202__ Claudia Crespo, University of Puerto Rico School of Architecture,
behance.net/claudiacrespo6, Puerto Rico
202__ Mohsen Oliaei, Chalmers University of Technology,
Mohsen (Daniel) Oliaei | LinkedIn, behance.net/mohsenoliaei1, Sweden
203__ Lucas Denmeade, Kent State University, OH, USA
203__ Elissa Sudargo, behance.net/elissa-sudargo, interior designer, Indonesia
208__ Claudia Crespo, University of Puerto Rico School of Architecture,
behance.net/claudiacrespo6, Puerto Rico
208__ Ryan Tucker, Kent State University, OH, USA
209__ Lucia Krivá, www.luciakriva.com, Slovakia
209__ Elissa Sudargo, behance.net/elissa-sudargo, interior designer, Indonesia
220__ Nicholas MacIntyre, SCI-Arc, CA, USA
220__ Csenge Király, Hungary; graphic designer – Bertalan Bessenyey, Hungary
220__ Jek Kee Lim, Deakin University, Australia
221__ Charlotte Bascombe, Syracuse University School of Architecture, USA
221__ Ali Ismail Karimi, Harvard GSD, Bahrain
232, 234__ Trevor Rodgers, Kent State University, OH, USA
237__ Emily Ussia, Kent State University, OH, USA
238__ Trevor Rodgers, Kent State University, OH, USA
239__ Lucia Krivá, www.luciakriva.com, Slovakia
242–245__ Maria Rybak, Russia

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 the architect’s pocket guide to portfolio design

246–249__ Roberto Vargas, Institute for Advanced Architecture of Catalonia (IAAC), Spain
250–253__ Csenge Király, Hungary; graphic designer – Bertalan Bessenyey, Hungary
254–255__ Sai Raghav H, behance.net/raghav_1701, India
256–259__ Denis Zimakov, State University of Land Use Planning, Russia
260–263__ Yoonseok Lee, Various Artists and Architects, South Korea
264–267__ Paige Davidson, Co Founder, Gluten, USA
268–271__ Ali Ismail Karimi, Harvard GSD, Bahrain
272–275__ Elissa Sudargo, behance.net/elissa-sudargo, interior designer, Indonesia
276–279__ Lucia Krivá, www.luciakriva.com, Slovakia
280–281__ Band Architecture, www.architectureband.cz , Czech Republic
282–285__ Hamish Angus McAndrew, www.hamish-mcandrew.com, Scotland, UK

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 the architect’s pocket guide to portfolio design

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Prague, Kafka Design, 2005.
Davis, Meredith and Jamer Hunt. Visual Communication
Design : An Introduction to Design Concepts in Everyday
Experience. London, UK ; New York, NY, USA, Bloomsbury
Visual Arts, 2017.
Dawson, Peter. Graphic Design Rules. London, White Lion
Publishing, 2020.
Evans, Poppy, et al. The Graphic Design Reference &
Specification Book. Rockport Publishers, 2013.
Fletcher, Margaret. Constructing the Persuasive Portfolio.
Taylor & Francis, 13 Sept. 2016.
Lewis, Karen. Graphic Design for Architects. Routledge, 26
June 2015.
Linton, Harold and William Engel. Portfolio Design
for Interiors. New York, NY, Fairchild Books, an Imprint of
Bloomsbury Publishing Inc, 2017.
Lupton, Ellen and Jennifer Cole Phillips. Graphic Design :
The New Basics. New York, New York : Princeton Architectural
Press ; Baltimore : Maryland Institute College of Art, 2008.
Lupton, Ellen. Thinking with Type: A Critical Guide for
Designers, Writers, Editors, & Students. 2nd ed., New York
Princeton Architectural, 2010.
Malamed, Connie. Visual Design Solutions : Principles and
Creative Inspiration for Learning Professionals. Hoboken, NJ,
Wiley, 2015.
Pecina, Martin, et al. Knihy a Typografie. Brno, Host, 2017.
Samara, Timothy. Design Elements : Understanding
the Rules and Knowing When to Break Them. Beverly,
Massachusetts, Rockport Publishers, 2020.
Samara, Timothy. Making and Breaking the Grid : A Graphic
Design Layout Workshop. Beverly, Massachusetts, Rockport
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Tondreau, Beth. Layout Essentials: 100 Design Principles
for Using Grids. Beverly, Rockport Publishers, 2011.

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index 289, 291
cover page 89, 189, 190, 191, 192
hardcover 48
softcover 48
A
crossover 113, 115, 117, 118, 121, 126, 127, 254
adaptability 9, 57 curation IV, 17, 20, 21, 32, 33, 35, 38, 39, 95, 249
adaptive 77, 83, 85, 109, 112 CV 283
Adobe Photoshop 94
animation 284 D
application 119, 138, 254
archiving 18 diagram 91
audio 11, 74 digital
digital fabrication 200
diversity 25, 28, 245
B
divider 89, 92, 252, 265
backdrop 36, 194 drawings 21, 26, 129, 134, 152, 157, 218, 219, 245,
background 28, 39, 137, 138, 139, 249, 250, 254, 252, 267, 284
270, 283
backup 20 F
binding 45, 46, 47, 48, 99, 118, 120, 121
bleed 113, 114, 115, 117, 137, 150, 254, 265 feedback 287, 288
fullbleed 117, 137, 150, 195, 211, 216, 254, 265, flexibility 14, 91, 108, 109, 122
274, 278 flowlines 102, 108, 113
partial bleed 114, 117, 270 fluid grid 103, 109, 111
booklet 89 folio 161, 162, 169, 212, 216
browser 83 font 162, 164, 167, 168, 169, 176, 177, 178, 179,
browsers 83, 167 180, 182, 185, 186, 202, 207, 233, 249, 252,
254, 259, 274, 278
C font color 168, 176, 180
font size 168, 169, 176, 177, 180, 185, 186
callouts 222 font style 177
Captions 169, 219 font weights 169, 176, 249
category 26, 27, 30, 31, 33, 34, 252, 265
character 90, 249 G
characters 169, 172
chronological 30, 32, 204 gradient 138, 139
column grid 103, 106, 108, 110, 113, 261 graphic 94, 112, 120, 158, 191, 235
compatibility 83 graphic design 94, 120
composition 90, 94, 97, 101, 113, 129, 130, 134, graphic elements 158, 191, 235
135, 139, 140, 142, 144, 192, 193, 194, 226, guidelines 97
233, 242, 266
layout composition 139, 242 H
principles of composition 140 Hardcovers 49
compression 54 hierarchical grid 103, 107, 108, 109, 250, 278
concept 98, 130, 221, 236 hierarchy 98, 109, 118, 119, 128, 129, 131, 134,
construction 26, 97, 219 135, 138, 139, 140, 144, 145, 152, 156, 165,
construction fields 219 174, 176, 178, 179, 181, 182, 185, 192, 193,
contrast 116, 138, 139, 144, 150, 154, 156, 168, 202, 203, 208, 232, 235, 249, 254, 259,
170, 176, 180 262, 274
convert 150 hue 143
cover V, 48, 89, 92, 103, 118, 188, 189, 190, 191,
192, 194, 195, 196, 197, 226, 233, 234, 286,

300
K R
keywords 75, 215 readability 66, 99, 101, 116, 160, 168, 169, 170,
172, 183, 184, 187
L relevancy 30, 33
representation 26, 191, 245
label 18
research 5, 9, 17, 26, 224, 267, 294
layering 113, 114, 116
resolution 39, 50, 51, 52, 100
leading lines 218, 222 print resolution 50
leave-behind 12, 14 screen resolution 100
legibility 168, 183, 254 responsive 74, 77, 83, 90, 112, 169
line 134, 168, 170, 229, 238, 245 resume V, 89, 188, 189, 198, 199, 202, 203, 204,
grid lines 103, 131, 274 207, 228, 235, 289
leading lines 218, 222
line length 168, 170
line spacing 168 S
line weights 134, 245 safe zone 100, 120, 124, 183
link 292 saturation 143
scale 22, 90, 91, 129, 134, 135, 139, 157, 202, 220,
M 245, 249, 267, 281
scanning 140, 141, 175, 183
models 19, 26, 36, 191, 217, 219
sequence 249
modular grid 15, 103, 107, 108, 109, 249, 257
storytelling 283
N
T
narrative 89, 249, 252, 281, 284
technical
navigation 101, 139, 148, 159, 216, 239, 280, 283
technical drawings 26, 134, 218, 267
navigation bar 239, 280
template
navigation menu 239
pre-made templates 89
navigation text 216
test 83, 134
theme IV, 14, 86, 94, 158, 198, 270
O three-act 30, 31, 32
optimal 99 thumbnails 90, 92, 103
organization V, 17, 20, 87, 90, 91, 94, 202, 208 timeline 15
file organization 20 typeface V, 94, 160, 162, 163, 166, 168, 169, 176,
layout organization 87 177, 179, 182, 184, 195, 245, 249, 252, 259,
overlay 116 262, 278
typeface selection V, 94, 160, 163, 166
P
pacing IV, 16, 29, 32, 34, 90, 268 V
paper 49, 91, 117, 139, 265 video 74, 283
pattern 148, 150 visual
photography 19, 34, 36, 219 visual communication 140
model photography 19, 219 visual identity 138, 284
pixel 78 visual weight 98, 135, 140, 141, 142, 259
platforms 57, 58, 59, 71, 72, 73, 76, 167
hosting platforms 73, 76 W
online publishers' platforms 72
pre-made 76, 89 wireframes 90
printing 44, 99, 117, 139

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