Things to Avoid When Assembling an Advertising Spec Portfolio
When you're showing your book around, either as a student or someone looking to switch agencies or , you are looking to impress people. Your portfolio should be a concentration of your skills, featuring solid work spanning multiple mediums and product segments.
The work you show, and do not show, is paramount. So here are some things to avoid when preparing your book.
Never Choose Easy Projects For Yourself
Just for a moment, put yourself in the shoes of an . They have taken the time out of their insanely busy schedule to look through your work, either with you present or by viewing your website or book.
When the pages are turned and endless campaigns for Nike, Wonderbra, Viagra, Victoria's Secret and Red Bull appear one after the other, you are giving a clear indication that you don't like to challenge yourself.
A quick look at a site like Ads Of The World will give you a good idea of this phenomenon. There are dozens of campaigns for Wonderbra. It's easy to advertise; big breasts and the outcome of them is a simple idea to get behind, and it's easy to be visually funny and verbally concise. Most don't even have headlines.
If you want to impress, do ads for bland products or services that have no easily-identifiable or unique traits. Choose an airline, dish soap, a wireless carrier, or something else that you have to use your brain for. You need to create a strategy rather than piggyback one. You need to think, and that's what employers want to see. Spec work should not be easy or like shooting fish in a barrel.
Do Not Throw Money At The Problem
Here's another classic mistake that many up and coming creatives make. A book filled with creative but extremely costly ideas is not going to do you any favors. Advertising and design agencies rarely have the huge budgets to work with that they'd like, and often have to think of creative ways to use the increasingly shrinking budgets that clients supply.
By filling your book with $10 million solutions, no matter how creative, you're pigeon-holing yourself as someone who can only do good work if the budget is good, and 90% of the time, the budget is mediocre at best.
By all means, have examples of places that you could take the campaign if the budget allowed. Don't fill your book with overpriced billboards, stunts, and Super Bowl ads. If you can give people a great idea that costs just pennies, they will know you can do something just as cool with a ton of money.
Don't Ignore The Unpopular Types of Media
Billboards, print ads, and TV scripts are what most student books are filled with. They're big, sexy and fun to work on, but you can have so much more impact if you take your campaign to places that most people want to avoid. Radio, direct mail, websites, point-of-purchase, packaging, these are mediums to explore. It's easy to find people who can produce great billboard ads, but great direct mail, that's another story. As proved, it's a very effective medium when done right.
Don't Spend More Time on Polish than Ideas
Great execution and polish have become commonplace in modern portfolios, but an agency cannot live on looks alone. There needs to be substance behind the style, and if you sacrifice great ideas for beautiful printouts, you're in trouble.
In this day and age, it's easy to go straight to a Mac, knock out an idea and then polish it to perfection, but if the idea is weak, the ad will always be weak. No amount of Photoshop can save it. Add polish if you like. But make sure those ideas and campaigns are concrete and your best work before you start shining.
Don't Include Anything You're Not 100% Proud Of
A portfolio is only as good as the weakest piece in it. By filling your book with mediocre campaigns, you're taking away from the great ones that are in there. A good way to check this is to run through the portfolio and present it to a friend. There will be some pieces that you cannot stop talking about. You'll be excited about them, and will be genuinely proud to show them off.
Then, there are those other pieces, the ones that, when you know they're coming up next, you get lost for words. The ones you'd rather skip past to get to the next campaign. These need to be cut. If your book goes from 15 pieces to 10, fine. If it goes from 15 to 3, you've got issues and your book needs a lot more work. And it's also for this reason that you need to constantly update your book. Something you were proud of five years ago may not have stood the test of time. If in doubt, take it out.
Never Start Strong and Finish Weak
If you follow the advice above, you won't have any weak work in your book anyway. Even amongst great campaigns, some work is better than others. If you put all that up front, you will definitely make a statement. But as you continue, you'll fail to top it and that does you no good. Follow these tips, and you should be well on your way to assembling a portfolio that will get you noticed in any advertising or marketing agency.