Editorial: Behind the Collective (Part One)
From the moment any of us decided that our destiny lay in the heady world of 'the creative industry', most were led into a mentality fed through our tutors and lecturers. Ultimately, focusing on the ‘bread and butter’ of our future in a successful studio; our folio.
We learnt to set type, experiment with grids, play with composition and colour, provide answers to make-believe briefs, express it all and capture it in a print-space small enough to be dragged through the back streets of Soho, but large enough to become a very expensive headache. Your portfolio. Your life. Your integrity. An attempt to catch the eye and the imagination of potential employers and commissioners. Who of course, by the time you get to sit down in front of them, have already seen countless numbers of that same portfolio box you bought from the ‘London Graphics Centre,’ in yet another hope that the most expensive portfolio box money could buy would pay back dividends in the future.
Our portfolios, in the end, cost us hundreds of pounds. The box, the wallets, the prints, the re-prints, the travel cards. But none of us kick-up a fuss because we know we wouldn’t be anywhere without them.
The trouble is, the creative world in which we have placed ourselves now demands much more of us than just one physical book. The world when our folio would simply sit on one person’s desk at any one time is somewhat a thing of the past, and now our portfolios are, and need to be, everywhere.
The problem is that if you are, for example, a musician, writer, or contemporary dancer, you aren’t likely to have much web knowledge. That, of course is okay, but how do you represent your work online?
For 'Part Two' of this article click here.