improve the probabilities of getting a job in a downturn
As the world of work is turned upside down and the economy officially slips into recession, the prospect of a job for graduates and aspiring creatives is rather bleak.
All is not lost, however. While the process has to be strategic, patient, and crucially persistent, there are options out there, even if that doesn't mean you get your dream role from day one. Of course, the work available will vary from discipline to discipline, but here are a number of general pointers to help you get the best chance of taking the plunge into a new role in the creative industry.
From the best way to share your portfolio, to tips on how to make sure you remember, we've highlighted the most valuable lessons shared by a number of design guides in Creative Conversations for Class 2020, Hosting is the Design Advisor Matthew Cockerill.
MAXIMIZE YOUR PORTFOLIO
For many roles, a portfolio is the first step in distinguishing creatives from their peers, especially those who are just starting their creative careers. "Every student who does a design degree in the UK has to some degree the same shape," explains Jo Barnard, founder of the product design agency Morrama. So what she's looking for new talent is an indication that they have made their own way beyond the university curriculum.
For Adrian Westaway, founder of the design agency Special Projects, he would like to see new perspectives and a feeling of curiosity in applicants, especially when this curiosity has developed into an idea for a project. "The folios that really stand out show that someone was curious about something. We had someone who was really interested in their local market and we started exploring and it became a really brilliant project," he recalls Curiosity also applies to skills and techniques as the studio brings in various projects where the team has to constantly learn new techniques.
For Will Howe, director of the Map Project Office industrial design studio, the team is looking for a range of skills and interests that could be useful in the future. "Maybe you have a passion for photography, filmmaking or coding, and I would always think about how we could fit that in in different ways so we could deliver projects in new ways."
However, the ability to demonstrate processes is just as important. "We put a lot of emphasis on strategy and thinking. So when we see a portfolio we want to see the process you went through to get to the final stage," he says. "We're not necessarily interested in what the end product looks like or looks like. It's more about how you got there."
Creatives understandably want to demonstrate technical skills and excellent results. However, it is important not to overlook the steps leading up to an end product, as juniors or interns may initially be more involved in research and brainstorming than producing end work for customers. "It's more about thinking, strategizing, understanding brands, and breaking them down," Howe says.
Barnard notes that the temptation is, of course, to show the most complete version of a project in portfolios as technology continues to advance. However, sketching, showing early iterations, and showing that you don't rely on software are just as important to her as she wants to see “the ability to think offline, to think off the screen, to be able to do so to sit A room that is just a piece of paper and yet is able to generate ideas … and use the environment to quickly turn ideas into something that can be communicated into something else. "
The bottom line is that portfolios have to be pleasing to the eye. While this doesn't mean all personalities need to be removed, creatives need to show that they can communicate effectively. "Everything has to be so clear and refined," Howe says. "I see a lot of portfolios that just try to put so much information on one page that it is no longer legible."
"The difficulty is that you are always measured against the weakest project in some way, but that depends a lot on how it's contained," says Barnard. "If you are able to criticize or improve it or explain what you would do differently, that shows growth." Likewise, Barnard believes that the project can be used to a creative advantage if the project is constrained by study interruptions or a lack of technology available at home. "I think this can be a really interesting challenge in itself – how do you put together a portfolio that might be different because of these limitations?"
MAKE SURE YOU ARE SEEN
A bloated portfolio is a surefire way to shut down an employer. Anything in the region of three projects is considered a magic number, and Howe says that even one project can be enough if it demonstrates many skills. "I can see from a sketch whether you can sketch or not – I don't have to see 50 iterations on the page," Howe says, pointing out that this isn't just because recruiters are short on time, it shows also communication skills that may be required in the role.
"We have to attend several presentations for clients every day. We are effectively telling a story, it's about communicating something, and if you can't communicate your work in 20 slides right away, it's just turning it off," he adds. "Sometimes we get portfolios that are 70 or 80 pages long. You will never have the ability to have that many slides in a presentation. So you have to understand what you're saying, communicate it, and break it down into a really cohesive one Set of slides in a way that is really nicely presented. "
The same applies to the initial introduction. Instead of writing a long email that is likely to lose your attention, Howe recommends simply communicating key points, such as: B. What interests you in the company, agency or studio and what you think you can offer. "Then don't add another cover letter – that happens very often. You know, I've just read about you, I don't want to read an unabridged version!"
Barnard, who got her first job with a seven-page portfolio, agrees that conciseness is key. "In advertising, you have a fraction of a second to convince someone to buy your product. Why shouldn't you be able to convince me in a fraction of a second why I should hire you on my team?"
Much of this is due to the fact that some managers – especially in smaller studios – just don't have the hours they need to devote to inflated portfolios. Barnard often goes through emails on her cell phone first thing in the morning. As a result, websites that load slowly (or worse, broken links) and Zip folders that she can't easily open are likely to be scanned. Countless email attachments or large files that swallow data are also at a disadvantage. Unless websites definitely load quickly, she recommends a PDF attachment with the CV integrated on the first page and a brief introduction.
For Barnard, a face-to-face introduction is seen as the way to go ("the whole thing the creative industry is about" just isn't needed "), especially since it is usually now possible to find the names of the individual, or at least the team to address. She also emphasizes the importance of a personalized introduction: "I always like when you say something nice about Morrama because it means you didn't just copy and post it from the application you sent to Will!" I definitely had it where they left the wrong company name which will throw you in the trash instantly. "
FORGING CONNECTIONS
Even if the pool of jobs has decreased as a result of Covid-19, it is still worth laying the foundations for recruiting companies. "If jobs aren't hired, it doesn't mean you can't start talks," says Barnard. "Once you get someone interested and start this conversation, you will be shortlisted for the future."
Howe got his best advice from Seymourpowell and recommends him to this day: "Just call people – you have to call people. I've even noticed that the young people in the studio are now scared of landlines, so they pick up the phone and answer the call. It's really important that you learn how to present yourself on the phone. "
Of course, social media can be useful for getting in touch and showing interest. However, when applying for an advertised position, Westaway emphasizes the importance of respecting the channels the company has established: “If there is an email address to apply for, really try it because you may think you have one Link and get straight to someone, but the fact of the matter is that we may read, archive, and lose this email quickly. "
"I think what's important is that the email doesn't really stop after it's sent. For me, you should follow up," says Howe. "We're constantly inundated with resumes and resumes at all levels, whether intern or senior You should follow up. You should be really belligerent and focused just to get your foot in the door. "Barnard agrees, noting that the process of trying to secure working with clients is similar:" Sometimes we always take up a conversation with a customer before we receive a project. "
GAIN EXPERIENCE
The age-old dilemma for people starting out in the creative industry must have experience before they can gain experience. It can feel like an annoying chicken and egg scenario that encourages nepotism, but it's possible to overcome it even without industry connections.
"When you're starting out, it's all about getting as much experience as you can. It can be little tiny freelance jobs or short-term contracts in studios. It's just about building your skills," Howe says, adding that "the first job you get may not be right, but at least experience. ”Even with very little experience, there is a consensus that creatives should still be charging for their work.
If you can't get a full-time position straight away, Barnard recommends reaching out to companies on a freelance, short-term, or project-specific basis rather than asking for a job out of the blue. "There are a large number of agencies that hire people as freelancers," she says, suggesting that supporting a project might be enough experience to get the internship or junior role that it requires. Even freelance work for a local company is useful: "This still works – it gets paid, you have a customer, you produce something that can be delivered in the end."
Jo Barnard, Adrian Westaway and Will Howe spoke at Creative Conversations for the Class of 2020, organized by Matthew Cockerill. The full talk is available here
How to Increase the Chances of Getting a Job During a Downturn first appeared in Creative Review.