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How to create a clickable hyperlink in a PDF document with Adobe Acrobat

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ItsJustLight.com" Photography Tips and Tutorials

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Photography tips, inspiration, and tutorials to help photographers learn more and enjoy the world of photography.

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Discover the wedding photographers who are pulling ahead of the pack with their artistic talent and innovative approaches that inspire today's trends.

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Showcase of the most inspiring portfolios. Available soon on web, newsletter, instagram and twitter.

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Film, Photography and Post Production directory - ProductionParadise

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Directory and Showcase promoting the best in visual media worldwide - film, film production, photography, post-production & other visual media.

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Fine Art Photography Resources - LENSCRATCH

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Jesse Nyberg is a Graphic Designer from Los Angeles, CA. Jesse is skilled in multidisciplinary design aspects, including brand identity, typography, and art direction.

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Meet design mentors from over 40 countries for portfolio review, career advice, mock interviews or leadership advice — all in this global community.

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Published Work — Abigail Wornock Photography

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Andrew Garfield Article graphic design: Gabby Abraham Gingham Fashion Editorial Senior Fashion Collections “Insecta Spectra” “Like We Used To” Port…

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Works (Left to Right):

'Untitled, FL, 2022'

'Josh Silhouette- Diptych, FL, 2022'

Works (Left to Right):

'MTF #4'

'Bateau-fit Flare Gown, SAV, 2023'

Dress by Savannah K. Jones

Works (Left to Right):

'MTF #10'

'Seascape, Fripp Island, 2023'

Works:

'MTF Grouping #2'

'Bubble Damier XXL Detail Dress- Three Quarter Back View, NYC, 2023'

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Works (Left to Right): 'Untitled, FL, 2022' 'Josh Silhouette- Diptych, FL, 2022' Works (Left to Right): 'MTF #4' 'Bateau-fit Flare Gown, SAV, 2023' Dress by Savannah K.

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World Wide Opportunities on Organic Farms | WWOOF

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Explore Destinations Where do you want to WWOOF? Worldwide Opportunities on Organic Farms (WWOOF) is a worldwide movement to link visitors (WWOOFers) ...

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Big Leo Productions is a creative agency representing a talented and diverse constellation of directors, photographers, and stylists with expertise in food and beverage, interiors, lifestyle, beauty, and hospitality . Welcome to our universe.

See more of our work at Zodiac Anthology

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Big Leo Productions is a creative agency representing a talented and diverse constellation of directors, photographers, and stylists with expertise in food and beverage, interiors, lifestyle, beauty, and hospitality . Welcome to our universe. See more of our work at Zodiac Anthology

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Founded by Emanuele Mascioni, MAI Productions is a full-service international print, motion and event production company with offices in London, Los Angeles, Paris and Rome.

Our portfolio has a global footprint where we offer location scouting, art buying, budget management, casting, logistics and peace of mind for all production needs.

Our multilingual team is committed to applying a hands-on and personal approach to every brief, each member with an impressive background in the production realm and a smile.

With over 20 years of professional experience, we are proud to have helped deliver the creative aspirations of some of the world's most respected photographers and directors.

For all enquiries and extreme challenges please contact us at:

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Company - Mascioni Associati International

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Founded by Emanuele Mascioni, MAI Productions is a full-service international print, motion and event production company with offices in London, Los Angeles, Paris and Rome. Our portfolio has a global footprint where we offer location scouting, art buying, budget management, casting, logistics and peace of mind for all production needs.

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Founded by Emanuele Mascioni, MAI Productions is a full-service international print, motion and event production company with offices in London, Los Angeles, Paris and Rome.

Our portfolio has a global footprint where we offer location scouting, art buying, budget management, casting, logistics and peace of mind for all production needs.

Our multilingual team is committed to applying a hands-on and personal approach to every brief, each member with an impressive background in the production realm and a smile.

With over 20 years of professional experience, we are proud to have helped deliver the creative aspirations of some of the world's most respected photographers and directors.

For all enquiries and extreme challenges please contact us at:

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Company - Mascioni Associati International

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Founded by Emanuele Mascioni, MAI Productions is a full-service international print, motion and event production company with offices in London, Los Angeles, Paris and Rome. Our portfolio has a global footprint where we offer location scouting, art buying, budget management, casting, logistics and peace of mind for all production needs.

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PRODn is a boutique production agency with offices in New York, Los Angeles and Paris, offering small to large-scale production and coordination of editorial and advertising photo shoots, film and digital content creation. We can produce + oversee your special projects, including but not limited to original video content for your social channels, animations, and publishing projects.

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A top destination for famed photographers, filmmakers, designers, brands, advertising and production companies worldwide, Pier59 Studios is a premier 110,000-square-foot multimedia studio and live event space in Manhattan, New York City.

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Pier59 Studios: A Downtown Hub for Creativity & Luxury

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Pier59 Studios: Where fashion meets art. Unleash your creativity in our world-class studio, perfect for fashion shoots, events, and unforgettable experiences.

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Browse jobs | BoF Careers | by Relevance

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9 jobs using the term ‘Retouch’ to view and apply for now with BoF Careers | by Relevance

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USAJOBS connects job seekers with federal jobs across the United States and around the world as the official employment site for the federal government

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Search and apply for federal jobs. Learn about unique hiring paths for veterans, students and graduates, individuals with a disability, and more.

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Find New Clients And Grow Your Business | Agency Access

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Find and connect with thousands of creative industry contacts.

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Okay, well maybe this isn't universal knowledge, but it should be. It is the 21st century, you're a professional illustrator (or you will be), and you need a website. They have become a primary method for art directors, editors, and agents to find talent. But if you're not already familiar with the options, setting up a website can be a daunting task.

Don't worry, friend. I'm here to help.

This post is broken into two sections. First, we're going to talk about the technical end of setting up a website; what you need, where to put it, and how to build it. I won't go too deep into detail, and you're encouraged to do your own research, but this will give you a jumping off point. After we've covered framework, we'll discuss layout and content.

Reasons to Have a Portfolio Website

"Why do I need a website?" you might be asking yourself. "I don't know how to make one. I'm an artist, not a web designer!" There are some big reasons why a website is the best way to market yourself as an illustrator.

No One Wants an E-mail Attachment
Unless requested to do so, most editors and agents do NOT want e-mail attachments. Art files are generally too big and exceed e-mail file restrictions. Spam filters will sometimes flag e-mail attachments from unknown senders. And if a director or editor is looking to make make a fast decision, waiting for an e-mail from an artist can take too long. Having a URL (web address) that can be quickly provided and shared on social media, on a business card, or in person is an easy and convenient way to get your work in front of the people you want to see it.

Your Twitter/Instagram Is Hard to Navigate
In the age of social media, some artists use Twitter, Instagram and Facebook as their primary art depositories. And why not? They're free, and it's easy to post images. But they're not so easy to navigate as a director or editor hiring an artist. Art gets mixed in with everyday photos and text posts, making it necessary to scroll or follow links to find the art you're looking for. When you're a busy director looking at dozens of portfolios, this gets annoying. Directors want a pleasant and efficient web-browsing experience so they can quickly find the right artist for the job.

Give Hiring Professionals the Full Picture
Before the age of the Internet, the traditional way of introducing your work to editors and agents was to send postcards or an illustration packet. Postcards are still a common method of reaching out to publishers and agencies, but you are limited by the size and the cost of printing. A postcard can give a glimpse of what you, as an illustrator, are capable of; a website can give a fuller picture. You can host as much art as you want on a website, organized by style, genre, medium, and more. Draw them in with the postcard, but show them who you really are with your website. Speaking of which...

Who Are You, By the Way?
Editors, agents, and art fans aren't just interested in looking at your art. They have questions for you. Who are you? Where are you located? What is your background? What books and projects have you worked on? How do I contact you? You can, and should, provide these answers on your website.

You're Worth it! Look, you're reading this because you are, or you want to become, a professional illustrator. You and your work deserve a professional presentation, and so do the directors and editors who are looking to hire you. Yes, building a website is time-consuming, yes, it can be costly, and yes, it requires design skill to make something great... but the same is true for your art. Your website is an investment in your career, so make it a good one.

Free Services

If money is an issue, or you don't feel ready to host your own website, there are free website options that will allow you to build a gallery relatively painlessly. Here are a few of the more common ones for artists.

Behance is a great portfolio solution because it's designed specifically for portfolios. It allows you to upload your work by project, enabling you to organize images by publication, genre or subject matter. The service is a part of Adobe, so you can link your account to the Creative Cloud and also search job listings and other portfolios.

This cloud-based web design platform is free to use, offers domain registration, and easy site-building. Its design templates are easy to search and offer a number of options for portfolio and art-based sites. There are also video tutorials to walk you through website creation.

Weebly offers a free hosting package with a subdomain option (so your URL would be yourname.weebly.com) and an array of themes for easy website creation, including portfolio themes. If you have a budget, Weebly also has other pricing tiers that offer many more features, but for a portfolio website, the free option is really all you need.

Not to be confused with wordpress.org (which requires hosting and installation), wordpress.com is a blogging platform. It offers a variety of themes that make the design and layout of your website as easy as a few mouse clicks.

Blogger is not as popular among artists as it once was, but many still use it. It is another blogging platform like wordpress.com. Uploading images is easy, but scrolling and image organization might be issues, here.
*Note (2018/12/28): A previous version of this post included mention of Tumblr as a portfolio option. Tumblr has never been the best portfolio option, but that entry has been removed altogether since, in light of recent Tumblr policy changes, I cannot safely recommend the site as a reliable place for artists to build a presence.
Hosting

Though it may seem daunting, hosting your own website is the best option for artists. It allows you to fully control your presence on the web and how your work is displayed. If the cost worries you, think of it as an investment in your career; you may not be financially ready to have a site now, but it's a goal you can save and build toward.

There are two components: the . The domain name is the unique web address by which art directors will find your website. Many artists choose to use their names for their domains; for instance, my address is domain name and the web host nilahmagruder.com. This is a good time to think about branding. Your domain name is going to be your home on the web, so think about how you want to present yourself to art directors, clients, and readers.

Domain names typically cost anywhere from $10-15 a year, but if you're purchasing one along with hosting, sometimes web hosts will throw in the domain for free. A web host is the company or service that will provide server space for your website. Most charge a monthly fee, depending on how many features you want your website to have.

Three things I suggest checking your chosen web host for: web space, bandwidth, and a site builder. Most modern web hosts provide an abundance of the first two; for a portfolio website, you likely won't need more than 5 GB of space. Also standard in most web hosting plans is a site-building component, or one-click installation of a content management system like WordPress. This makes your site setup relatively painless. Most site builders provide templates and themes that allow for drag-and-drop website development, so you don't need to know anything about coding.

You should research web hosts and compare their packages, but here are a few suggestions to get you started.

A popular host among artists, Bluehost offers some of the most affordable hosting packages around. It includes one-click WordPress installation, eCommerce support and free site builders to aid in your website setup.

SquarespaceAnother popular service among artists, Squarespace offers domain registration, hosting, and design templates that make setting up your website quick and easy. This is an ideal solution for individuals who are new to website maintenance.

I've been a Dreamhost user for several years. Their prices are a little higher than Bluehost and Squarespace, but they also offer one-click WordPress installation and site building. Dreamhost recently rolled out a free site builder called Remixer for simple web design. The downside is that Remixer does not allow HTML editing as an option, but if you're new to web design, this should not be an issue.

Content Management Systems

A Content Management System (CMS) is an application designed for managing a website. They allow you to set up a website using templates or themes, and update it quickly and painlessly. You can establish multiple users, multimedia, comment systems, and also add plugins to give your site more functionality. Knowing how to code a website is not strictly necessary to use a CMS, though it can be useful.

This is the commonly used website CMS, and it's a good starting point if you're new to CMSs. It's free, and most web hosts feature easy one-click WordPress installation.

This is the CMS my website uses . It's a bit more streamlined than WordPress, so I would not suggest this if you're just starting out. If you're a more experienced designer that wants a little more control over their website than WordPress, then Kirby is a good option.

HTML and CSS

If you have the time and interest, you can learn to code your own website. The easiest language to learn is HTML (hypertext markup language), and it forms the basis of most websites. You can easily create a functional portfolio website with just HTML. If you want more unique design options for your website, then learning CSS (Cascading Style Sheets) is a must. It certainly depends on your level of interest in maintaining your website. If you'd rather not worry about coding, then a CMS is a much better alternative. Even if you're using a CMS, getting familiar with the coding languages your CMS uses can help you with customization.

Don't Forget

I've mentioned this before, and I'll mention it again: do your research! And I mean beyond Google. Chances are you have friends and acquaintances that have their own websites, and if you don't, you have access to communities of artists who have websites. Ask around; who's using what services, how much do they cost, how are their sites set up, what have their experiences been like? Browse portfolio websites and make a list of the features they have in common, and make another list of the features you like or don't like. Use this information to craft a website that's right for you and your art.

And hey, if you build a website and after a while discover that you don't like how it's set up, that's perfectly natural. Your tastes and knowledge may have grown or changed. Websites are super customizable, and you can make changes at any time, anywhere from switching templates to switching hosts.

Special thanks to for providing their expertise to this blog post. Head on over to Deborah Kim and Part 2, where we'll discuss how to arrange your content! Sarah O'Donnell

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Portfolio Websites for Illustrators, Part 1

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It is a truth universally acknowledged that every artist needs a portfolio website. Okay, well maybe this isn't universal knowledge, but it should be. It is the 21st century, you're a professional illustrator (or you will be), and you need a website. They have become a primary method for art directors, editors, and agents to...

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Ad Agency Creatives is a community for advertising creatives.

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Ad Agency Creatives is a community for advertising creatives.

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To create pleasant and effective user experiences, a UX Designer needs to be equipped with the right set of skills.

Employers may ask a series of questions that put your UX skills to the test. You may also be asked to complete a hands-on design challenge, either on the spot or as a take-home assignment.

Technical UX interview questions and answers for UX design job interviews may include:
Question: Take one of our products. How would you improve the UX?
Answer: In the UX design interview process, this question is really asking: how much do you know about our company and web products? Research is a key part of any UX design job, so seasoned UX Designers will walk into an interview equipped with deep knowledge of a company and its offerings.

Before your interview, explore a company's website (on desktop and mobile), any web applications, and any other products they offer and jot down a few areas for improvement. At the same time, develop a concrete plan for how you would improve the products while keeping in mind the company's target users and overall business goals.

Be diplomatic in your answer and try to avoid being overly negative about the company's products. Try also to acknowledge that as an outsider to the company culture, you might be unaware of valid reasons for the design choices.
Question: Please walk us through your design process.
Answer: UX Designer interviews actually present many opportunities to show your design process - in fact, every time you show the design projects in your portfolio or talk about a favorite project, you should discuss your process. But when you are asked about process specifically, it is an opportunity to go into more detail on what makes you such a meticulous UX designer.

Begin by talking about the research phase, and how you spend time creating personas, conducting user research, running usability tests, and reading up on the latest technological trends in the market.

From there, talk about how you incorporate UX principles like information architecture, interaction design, and experience strategy to develop effective user-centric designs before moving on to creating prototypes, wireframes, and conducting tests. Be prepared to provide more information on your methods and decisions.

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UX Design Interview Questions (2024 Guide)

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To help you prepare for your UX Designer interview, we have compiled a list of commonly asked interview questions, with strategies for answering them...

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Nightshade, the tool that ‘poisons’ data, gives artists a fighting chance against AI | TechCrunch

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Intentionally poisoning someone else is never morally right. But if someone in the office keeps swiping your lunch, wouldn’t you resort to petty Like putting hot sauce in your lunch to deter stealing, Nightshade poisons data used for AI training, giving artists a way to fight back against scraping without consent.

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Get Published - 388 Magazines That Take Submissions for Fashion, Beauty, and Art

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Submit your work to hundreds of fashion, beauty, and art magazines and publishers that accept photo submissions.

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Bookjobs.com is sponsored by the Association of American Publishers, the leading trade association for the U.S. book and journal publishing industry.

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I'm delighted to announce that we've raised a $20m Series A led by Tiger Global Management. The team at Otta is incredibly mission-driven, and hitting this milestone after just 2 years in operation is a testament to their fantastic work.

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Click to rate this article[Total: 0 Average: 0]

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Portfolio Dos and Don'ts with Ellen Su, Artistic Recruiter at Titmouse

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Trijam #158: The 3 hour game jam (195 joined)

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WE'RE IN THE AGE OF DISPOSABLE.

DISPOSABLE MUSIC. DISPOSABLE CONTENT.

MADE TODAY, FORGOTTEN TODAY.

AMIDST ALL THAT TRASH,

EVERYBODY'S LOOKING FOR SOMETHING REAL.

SOMETHING MEANINGFUL.

SOMETHING THAT LASTS.

WE CAN HELP YOU DEVELOP THAT

CONSISTENT BRAND STORY THAT

CUTS THROUGH THE TRASH.

WE CAN HELP YOU FIND THAT MOJO.

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WE'RE IN THE AGE OF DISPOSABLE. DISPOSABLE MUSIC. DISPOSABLE CONTENT. MADE TODAY, FORGOTTEN TODAY. AMIDST ALL THAT TRASH, EVERYBODY'S LOOKING FOR SOMETHING REAL. SOMETHING MEANINGFUL. SOMETHING THAT LASTS. WE CAN HELP YOU DEVELOP THAT CONSISTENT BRAND STORY THAT CUTS THROUGH THE TRASH. WE CAN HELP YOU FIND THAT MOJO.

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Spaces Corners is an artist-run photobook gallery, publisher and project space based in Pittsburgh PA. Founded by Melissa Catanese & Ed Panar in 2011.

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The Frist Art Museum offers paid internships for college students.

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Sharing internship opportunities in tech every Friday!

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Gamers Home - Freelancer Marketplace for the Gaming Industry

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Gamers Home - Freelancer Marketplace for the Gaming Industry

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Gamers Home: A marketplace connecting studios with freelance talent on a project basis.

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GENERAL ELIGIBILITY * We accept submissions from photographers and lens-based artists around the world. Work can have been made at any time, and work that has been previously submitted may be re-submitted as we invite new jurors each year. Work derived from all photographic processes is accepted, as well as video and mixed media that is photo-based.

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inc. is the world's largest non-profit organization dedicated to the promotion of publications made by artists - artists' books or artists' publications. founded as a for-profit alternative arts space in 1976 by artists and artworkers

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printed matter reincorporated in 1978 to become the independent non-profit organization that it is today. originally situated in tribeca

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printed matter moved to soho in 1989 where for twelve years the book displays and artists¹ projects in the large storefront windows contributed to the artistic and intellectual vibrancy of the neighborhood. in february 2001 printed matter relocated to its current space in chelsea

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where it continues to foreground the book as an alternative venue for artists¹ projects and ideas. recognized for years as an essential voice in the increasingly diversified art world conversations and debates

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printed matter is dedicated to the examination and interrogation of the changing role of artists¹ publications in the landscape of contemporary art.

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Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.

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Report for America is a national service program that places emerging journalists into local newsrooms across the country to report on under-covered issues.

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foundryphotoworkshop.org - Foundry: Bringing top-tier, free photojournalism education to the world

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This year in order to include photographers from across the globe, Foundry will again be virtual. Classes will be offered in ten languages. Instructors will hold a series of four classes (three group classes and a one-on-one session) in the weeks leading up to the workshop, which will be held online Dec.

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A Junior Technical Designer plays an important role in the game development process, working at the intersection of design and programming, their primary responsibilities involve ensuring that the design and coding elements of a game work well together.

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Indie Game Academy - HowToMakeAPortfolioV1.pdf

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Fashion Photography Fashion Fashion portraits Coceptual Photography

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How to Use AI to Review Your Resume | ChatGPT Resume Reviewer

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Using ChatGPT for Job Applications | Supercharge Your Job Search with AI

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for all who love color | inspiration & color palettes

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Career Fair 101 (optional)

Learn from your SCAD career advisers about the benefits of attending the SCAD Career Fair, the day's structure, how to prepare, and when to book interviews. All students are encouraged to attend a Zoom presentation for an introduction and overview of SCAD Career Fair.

Friday, Dec. 1, 10 a.m. and 2 p.m. ET

Friday, Dec. 8, 10 a.m. and 2 p.m. ET

Friday, Jan. 12, 10 a.m. and 2 p.m. ET

Friday, Jan. 26, 10 a.m. and 2 p.m. ET

Register on the SCAD Job Portal

Career Fair Practice Interviews (optional)

Build confidence in your presentation and learn to tell your story with authenticity. Get comfortable sharing your screen on the Career Fair Plus platform and hear feedback from your SCAD career advisers, faculty, staff, and alumni who are eager to help. Multiple practice interviews will give you comprehensive recommendations to perform your best.

Friday, Feb. 2, 10 a.m. to 2 p.m. ET

Friday, Feb. 9, 10 a.m. to 2 p.m. ET

Friday, Feb. 16, 10 a.m. to 2 p.m. ET

Plan to book your 15-minute practice interviews beginning Monday, Jan. 15.
Register on Career Fair Plus

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SCAD Career Fair | Student and Alumni Info | SCAD.edu

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SCAD Career Fair is the simplest way to connect with employers while learning about job and internship programs in your industry.

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Photographers are perpetual students: no matter where you are in your career, it's always a good time to learn more, get inspired, spruce up your portfolio, or polish your business skills. That's why we created the ultimate ebook for photographers, the Format Photography Resource Guide.

The reality of being a creative professional involves a lot more than the average person realizes. In this ebook, we provide valuable skills, tools, and resources for every aspect of professional photography, giving you the building blocks you need to create the practice or career you dream of. By providing your email address, you'll get this comprehensive resource in your inbox so you can start using it today.

What's inside the ebook?

When we say comprehensive, we mean it. Whatever aspect of your photography career has you feeling stuck, you'll find tools and valuable insights in the Format Photography Resource Guide to help you level-up your career. Let's take a look at what you can expect in its pages:

Essential photography skills: Learn some of the most important photography skills that every photographer should master. You'll find online courses and resources to help you develop and refine each of these critical pro photographer skills. No matter how many years you've been shooting for, mastering and refining the foundational skills of your craft will help you create work you're truly proud of.

Software and equipment: Get familiar with the software and equipment that make up the professional photographer's toolkit, from the basic to the highly specialized. Whether you're just starting to build your kit or you're adding on equipment to make your life easier, find a rundown of the tools of the trade here.

Document your work: Learn how to ace every shoot by knowing the best ways to capture product, art or designs for your creative portfolio. Gain insights that will help you take consistently better pictures.

Finding inspiration: Never feel short on inspiration again by getting familiar with techniques and tricks for fostering and maintaining the creative spark throughout your career as a photographer. To be successful, you need to be able to reliably produce great work, not just when you happen to feel organically inspired. By training yourself to think and observe the world around you creatively, you can tap into that creative flow with ease.

Building your online portfolio: Understand why an online portfolio is a no-brainer if you want clients to book your services. Plus, gain insights into exactly how to create a stunning, compelling portfolio using Format. Create a home on the web that helps you put your best foot forward professionally.

Building your brand: Master the side of creative life that many photographers struggle with: professional branding, self-promotion, and networking. Learn how to build your network of clients, become a social media whiz, and build a business you're proud of.

From front to back, the Format Photography Resource Guide is packed with practical tips and expert advice on enhancing your creative skills from pros who have been exactly where you are. What sets successful photographers apart is often their willingness to learn continuously and to commit themselves to ongoing improvement. In this ebook, you'll find a wide range of ways to do just that.

Who can benefit from this ebook?

Our resource guide is a comprehensive toolkit tailored to meet the diverse needs of creative professionals of all stripes. Here's who the guide is for:

Aspiring photographers: If you're just stepping into the world of photography, this guide offers a solid foundation. You'll gain access to essential photography skills, understand the tools of the trade, and learn how to effectively capture your subjects. It's your first step towards becoming a skilled photographer.

Amateur photographers: For those who've already dabbled in photography but seek to enhance their skills, the ebook provides opportunities to refine your craft. Discover advanced techniques, equipment recommendations, and tips on consistently producing great work. You'll be leveling up your skills in no time.

Working professional photographers: Even seasoned pros can benefit. Improve your business by mastering the art of building your brand and expanding your client network. Plus, with insights on creating a more compelling online portfolio, you can give your online presence a refresh.

Artists and designers: Creativity crosses disciplines. Artists and designers can learn how to document their work effectively, whether it's painting, sculpting, or crafting. This ebook will guide you in capturing the essence of your creations through the lens, and give you tips for boosting your creative business.

Students: Even if you don't plan to dip your toes into the professional side of photography yet, you can deepen your understanding of photography through the tips and resources available in this ebook. Focus on the sections that are most relevant to you as a photography student.

No matter where you are in your creative professional life, you can also tap into the expansive Format global community to reach the next stage in your career. Through Format, you can showcase your work to a wider audience and find tools, inspiration, and opportunities for business growth.

Format: Empowering creatives

At Format, we're focused on one goal: empowering creatives. For years, we've been committed to providing a platform that supports artists, photographers, designers, and other creative professionals to showcase their work in the most compelling way possible. Our platform is a lot more than just a portfolio site builder: it's a dedicated space for creative expression, professional development, business operations, with a thriving global community of creatives to boot.

To help creatives take their careers to new heights, we've added Workflow to all plans. Combined with the added ability to include PDF file transfers, this tool transforms the experience for both you and your clients, making it easier than ever to collaborate with your customers and manage your business in one convenient place.

This suite of easy to use business tools are free with every plan, and include:

Stunning, branded client galleries for straightforward communication and easier upsells

Simple, secure file transfers

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Around the clock support

From creating a gorgeous online portfolio to giving you tools to run your day to day business more efficiently, Format has what you need to build and manage your creative career.

Sign up to get the Format Photography Resource Guide

Ready to take your creative career to the next level? With guidance on every step of the professional photographer's journey, from mastering the skills and tools needed to create stunning images, to staying inspired, to expanding and managing your brand, this ebook is the comprehensive resource you've been looking for.

Provide your email to sign up now, and get the Format Photography Resource Guide delivered straight to your inbox instantly. Your email won't be shared with anyone else.

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Get Your Copy of the Format Photography Resource Guide

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Discover the Format Photography Resource Guide, a treasure trove of creative inspiration. Learn how to perfect your craft and build an impressive online portfolio. Access it in exchange for your email address and join Format's global creative community.

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I'm a Product Designer in San Francisco.UI Design | UX Research & Design | Consulting

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The portfolio of Lucas Simons - UX & UI Designer - Based in the Netherlands

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WORK - The portfolio of Lucas Simons - UX & UI Designer - Based in the Netherlands

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Lucas Simons is a freelance UX and UI designer and all-round design nutter based in the Netherlands. ABOUT ME

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Madison is a multi disciplinary designer with an emphasis in user experience and interface, brand identity, and motion. Her interests lean towards the exploration of kinetic typography, sound synthesis, and generative art. Learn more here!

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Madison is a multi disciplinary designer with an emphasis in user experience and interface, brand identity, and motion. Her interests lean towards the exploration of kinetic typography, sound synthesis, and generative art. Learn more here!

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Sophie Westfall is a digital designer based in New York City. Her portfolio showcases works of UX/UI Design, Brand Identity, Motion Graphics, and much more.

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Hello!
I'm Yobi.

I'm a Product Designer at Google, who lives in California. I embrace human-centered design and have a love for simplicity.

I have been designing experiences, studying users, and working with multidisciplinary teams on delivering elegant solutions since 2010. Prior to joining Google, I led a team of amazing designers at NETGEAR and have helped several start-ups build successful product experience. With a background in architecture, I have been fortunate to work at award-winning firms, and was named as " 40 under 40" lighting designers by Lighting Magazine . These experiences have awarded me opportunities to work closely with customers, engineers, stakeholders, and trained me how to approach complex problems with solutions that drive business goals while empowering users.

These days, you can find me building the best ad experience for YouTube. When I'm not working, you will find me making a perfect cup of coffee, or enjoying a bike ride. Feel free to drop me a line!

Email: yobi321info@gmail.com

​

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Hello! I'm Yobi. I'm a Product Designer at Google, who lives in California. I embrace human-centered design and have a love for simplicity. I have been designing experiences, studying users, and working with multidisciplinary teams on delivering elegant solutions since 2010.

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What To Include In A UX Portfolio Website

There are two major components that should be included in any portfolio:

1. An "About Me" section or page, where you share your own story to highlight the unique skills, personality, and perspectives that you bring to the table.

2. Design Case Studies, that tell a comprehensive story of your design work, what problem you set out to solve, the process that you went through, as well as the actual designs that you created from wireframe to polished UI.

In addition to these two fundamental components, many UX design portfolios also include:

A contact page

Links to your LinkedIn, or other design-related profiles you have online

An up-to-date, generalized version of your CV

How to Build Your First UX Portfolio

There are two categories of design case studies you can create and put into a portfolio:

1. Original designs

2. Redesigns of websites and apps

Original UX Design Work

If you have any experience working as a UX designer, the case studies you put into your portfolio will often showcase the work you've accomplished during your career journey as a paid designer-or pro bono work that you might have taken on for the purpose of adding to your portfolio.

Redesigns of Websites and Apps

If you haven't yet started working as a UX designer, you might reimagine new features or redesigns within an existing app.

In this case, you would conduct your research and design process as if you were truly a designer working on the existing product. As you present the story within your portfolio, you can showcase your research and design methodology, while making it clear that this was a reimagination, rather than a design that was requested by the company itself.

Redesigns can also be helpful to incorporate if you're hoping to move into a certain industry, since your prospective employers will be looking to see if you understand the particular requirements within their niche.

If you want to work on a redesign and make it worthy of a portfolio, you'll need to work on it as if you were assigned it in a job. You should:

Solve a problem that's affecting the user experience and hurting the business.

Interview users, perhaps getting your friends and family to test the website or app, asking them questions-and/or read comments about it online.

Write out several concepts of how to improve it and explain the pros and cons of each.

Mock up your best ideas into designs that look great.

Your portfolio is your very own little corner of the internet and, in our competitive UX/UI design industry, it's crucial to make the most of this space. In this webinar and interview, Kelly shares her top tips for crafting an effective design portfolio.
11 Tips To Uplevel Your UX Portfolio

If you have several projects to show off-whether your own practice projects or some paid work-you should sit down and go through them all to decide what to put in your UX portfolio. Ask these questions:

What parts of the UX design process do I enjoy the most?

What makes me different from other UX designers?

What types of projects do I appear best at?

Which projects taught me the most?

What projects did I add the most value to?

Are there engaging stories behind any of these pieces?

Pick projects based on your answers, as well as the type of job you're applying to. These answers might even help you decide on the direction you want your career to head in.
Read more: 10 UX/UI Portfolio Examples To Inspire You
Additionally, here are eleven other elements that you will likely want to incorporate:

1. Include Your Elevator Pitch

The design of your portfolio itself is a prime opportunity for you, as a UX designer, to demonstrate that you know what good UX means.
This is more than just having engaging visuals: it's about organizing information in a way that accommodates the needs of your portfolio's users (i.e. potential employers or clients). One of the first key tests of a portfolio is whether someone can look at your site for just 5 seconds and understand what it is that you do.

2. Showcase Your Best Work

Before including a project or case study in your UX design portfolio, ask yourself honestly: what score out of 10 would I give this project? If you'd give it an 8 or below, consider either leaving it out, or doing some more work to polish it up. Sometimes the extra work is purely presentational, and can be done quickly. Other times, you might want to spend more time digging back into the project, for example, to tighten up your screen designs.

It's always better to show a few excellent projects (aim for 3-6), rather than many case studies of variable quality.

Remember: a hiring manager might come to your site, click a random case study, and form their opinion based on that project alone. For each one, ask yourself: would I be happy for my work to be judged on the basis of this case study alone?
Don't forget that your portfolio website is only one place to showcase your work. You can also share other projects that don't make the cut on other platforms. Try Dribbble, Instagram, or your blog to showcase other work that you'd like to have people see, but isn't necessarily a priority.
3. Demonstrate How You Solve Problems

Everyone loves beautiful visuals and stunning mockups-but hiring managers need to see more than just the end result from a case study. They're looking for evidence of your abilities to analyze and define a problem, follow a logical process of research and ideation, and develop a solution that is realistic and meets both business and user needs.

You can demonstrate these skills by including images or videos of your process, and by including a carefully written narrative with each project that explains how the project progressed. This can mean quite a lot of extra effort, but doing so means that potential employers can see your ability to handle projects end-to-end.

4. Your Personal Bio

Hiring managers want to rapidly find out about two things: your work, and your skills background. So make sure that your personal bio is easy to find. It could be on the homepage, or on a clearly-labeled "About me" page that can be accessed from the main navigation. The best personal bios are short and focused-a single brief paragraph is enough. Aim to include something about your skills, your values, and your vision as a designer.

5. Contact Info

Once you've successfully piqued the interest of a hiring manager, recruiter, or potential client, they'll probably want to get in touch. Make this step as easy as possible!

You could have a "contact me" button in the main navigation, a simple contact form, or you could even just include your email address on each page.

6. Other Links to Include

Although a UX designer's portfolio is still their most important asset, it's a good decision to also include links to your resume, LinkedIn profile, and even social media, if applicable.

Many UX designers use Instagram or Dribbble as an extension of their portfolio, often using the platform to show work-in-progress, notes, sketches, and experiments.

Including links to your LinkedIn profile, and a downloadable PDF resume, can also help to remove barriers that might prevent people from following up or contacting you further down the line.

7. Usability

It's tempting to make a strong statement through the visual design of your portfolio website pages. There's nothing wrong with that, but remember that the primary purpose of the portfolio is to present the story behind your case studies and allow people to find the information they need quickly and efficiently.

So, for example, avoid experimental navigation that might frustrate the user in reaching those goals, and don't create a portfolio design that's so elaborate that it outshines the work you're presenting.

8. How To Include Bonus Projects (If You Have Them)

UX designers are often highly creative people, and the chances are you have a lot more awesome projects going on than the few you are professionally showcasing in your official portfolio. It's great to include "bonus" projects that help people to connect with your passion and with who you are as a designer.

This could simply be other self-started UX design projects, or it could be complementary skills like writing, photography, illustration-you name it! The key is for any extra content you include to be something you're proud of and enthusiastic about.

If you have training in both print and digital design, but only want to work on websites, don't highlight your print work. Avoid including work that misleads a viewer to what type of projects you'd like to work on in the future.

9. Incorporate Visual Design and Brand Style

Whether or not you create a logo or use unique typography for yourself, you should always have a brand and personal style. Your brand is the sum total of the presentational choices you make-so make those choices mindfully, and make them meaningful. Even just setting your name in simple text, rather than creating a monogram, can say something about your approach to design solutions: perhaps you favor simplicity and clarity over decoration.

Whatever decisions you make here (including fonts, colors, images, and tone of voice), remember that they represent you both as a designer and as a person. You need to be comfortable with the messages your branding conveys, and that those messages are in tune with the work you present.

10. Tell a Story with Your Portfolio Website

If you're applying to lots of junior positions in big organizations, hiring managers probably have to get through hundreds of applications on a regular basis. Be thoughtful about their needs-and how you can stand out to that person by making their job easier and more delightful.

Show how you are thoughtful as a designer: you can do this by transforming each of your portfolio pieces into a compelling story, rather than just a collection of images. Your portfolio is your best marketing tool. It's your visual resume. When someone looks at a resume, they typically only glance it over, and the same is true for a portfolio. You only have so much time to convey who you are and what you do, so get specific.

11. Be Specific About Your Role in Each Project

If the project was part of a collaboration, it's a huge red flag if other project contributors aren't mentioned. Clearly describe your role and properly credit and link to other people on the project team.

Key Takeaways

Your UX design portfolio website is the #1 tool that you'll use when applying for jobs

Make sure to expand on the design process you used for each case study, in addition to the design work itself

If you don't have enough on-the-job design work to include in your portfolio, you can write full case studies for redesigns that you've worked on personally or as part of UX coursework

Ready to go all-in and learn the skills that will help you make a portfolio that stands out? Our next cohort of UX Academy Foundations is starting soon.

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How to Make a UX Design Portfolio: Tips and Examples To Help You Stand Out

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This comprehensive guide shows exactly what a UX design portfolio is, what you should include, and how you can use it to establish a new career as a UX designe...

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Do not enter business types like LLC or Inc.

Replace abbreviations with the entire word or the other way around: IBM or International Business Machine

Note: Our visa sponsor database is based on all Labor Condition Application(LCA) and Labor Certification(LC) filed by United States employers since 2000. Labor Certification(LC) is for employment based green card and Labor Condition Application(LCA) is for H1B Work Visa. Our LCA data not only includes those filed for new h1b visa applications, but also those for H1B Visa tranfer and renew. If a foreign worker changes his or her work location, a new LCA should also be filed.
During this period, some employers used different names in the visa petitions for various reasons, including business name change, merger or typo. Our engine searches all the used names and returns to you the most recent or most commonly used names. This is the reason that some employer names do not have any of the keywords you have entered.

The found visa sponsors are sorted by the total number of visa petitions(LCA and LC) submitted.

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Search Employers(H1B Visa & Green Card Sponsors) | Myvisajobs.com

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Try shorter or smaller number of keywords Make sure the key words are spelled correctly Try a slightly different employer name Do not enter business types like LLC or Inc. Replace abbreviations with the entire word or the other way around: IBM or International Business Machine Note: Our visa sponsor database is based on all Labor Condition Application(LCA) and Labor Certification(LC) filed by United States employers since 2000.

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UX Designer salary US in 2023 - UX Design Institute

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The best time to break into the tech industry is now, check out the average UX designer salary in the USA right now and how you can achieve it

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With the rise of remote work, volunteering in 2023 can take many shapes and forms. So where and how can you find the most suitable opportunities?

Volunteering is a great way to practice your UX skills, build your portfolio, and do some good in the process.

With the rise of remote work, volunteering in 2023 can take many shapes and forms. So where and how can you find the most suitable opportunities?

In this guide, we will:

Show you where and how to find UX design volunteer opportunities

Explore the benefits of volunteering your UX skills

Answer some frequently asked questions about volunteering, with the help of our community experts

Consider this your ultimate resource for UX volunteering. Ready to put your design skills to good use? Let's go.

Where and how to find UX design volunteer opportunities

In this section, we'll share all the best resources and methods for finding UX volunteering opportunities.

1. Search volunteering websites

There are countless websites and portals dedicated to matching volunteers with suitable opportunities. It's usually a simple case of registering as a volunteer and searching for opportunities using certain keywords (e.g. UX/UI design, web design, research) and location criteria.

Here's our round-up of the best websites for UX volunteering opportunities.

UX and tech-specific volunteering websites

Generic volunteering websites

Most of these sites offer remote UX opportunities, but it's worth searching locally, too. Run a Google search for "tech volunteering opportunities" or "UX design volunteer opportunities in [your location]".

This should bring up both national or regional volunteering portals and specific opportunities in your location.

2. Reach out to non-profit organisations directly

Another way to find UX volunteering opportunities is to contact non-profit organisations directly. This is like a speculative job application.

Start by making a list of causes you care about. Maybe you know of a local charity whose website could do with some UX fixes, or of an upcoming initiative that could use your design skills. If nothing comes to mind, run a search for local charities and go from there. Of course, if you're looking to volunteer remotely, there's no need to keep your search local.

Send an email introducing yourself and your reason for reaching out. For example: "I've just completed a UX design course and would love to volunteer my skills. I can help with..."

Even if your speculative applications don't lead to any volunteering work right away, it's a great way to make a connection. It's likely that the organisation will keep you in mind for any future UX volunteering opportunities-or put you in touch with someone else who could use your skills.

3. Advertise your services

If you're active on LinkedIn, why not tell your network that you're looking for volunteer work? Share a post and set it to "public" for maximum exposure.

Word-of-mouth referrals are extremely powerful, and your post may reach someone who knows someone with a suitable opportunity. The same goes for any other social networks or communities you're part of. Put the word out there and see what comes up.

Not part of any groups? Here are 12 UX communities that are ready to welcome you .

Now you have some tried-and-tested strategies for finding UX volunteering opportunities, let's consider why you might want to volunteer in the first place.

5 benefits of volunteering your UX skills

Besides the reward of contributing to a good cause, there are many benefits of volunteering your UX skills.

1. Work on something you're passionate about

Volunteering means you can use your skills to contribute to something you're really passionate about. Your project could focus on anything from saving the bees to helping the elderly.

Whatever area you choose, your time will be valued. Design skills could normally be unaffordable for some volunteer groups. It also feels good to try to solve a social problem and make a difference.

Hiring manager James believes that volunteering signals to employers that you have positive outcomes in mind.

2. Add an interesting project to your portfolio

It's not selfish to think "what's in it for me?" when it comes to volunteer work either. Volunteering can advance your career by adding interesting projects to your UX portfolio and help you stand out in the hiring process.

UX expert Krys believes in doing one project for free starting out:

"I'm a big believer in getting paid for your work, but it's ok to do one project for free when you're building your portfolio. Choose a charity that deserves and needs your help."

James recommends doing volunteering over unpaid internships: "I'm not in favour of unpaid internships. In my opinion they are predatory on the labour of people who don't have a lot of power, organisationally. They are also discriminatory against people who can't afford to live in a city."

Junior designer Vesna chose to do voluntary groups for the same reason, saying "I know designers who've complained about their unpaid internships with corporations. They see that they're doing the same work as other paid designers. I don't think it's fair."

"Everyone has a different UX journey. Think about what's the best option for your career path."

3. Gain real-world experience

Doing UX outside of the learning environment for the first time brings new and exciting challenges. A voluntary project shows that you know how to deal with them.

The UX process isn't always smooth. Krys explains:

"The real world is very different from your classes. You are taught in school that UX works a certain way, but when you get into the trenches, it's different. Having that experience on your resume is incredibly valuable and it will help you as a practitioner."

After studying UX, Vesna wanted to get more real-life collaboration skills. She explained "you won't learn that from a book, but you need to do it to be able to talk about it in interviews."

Vesna advises to "just see if you can get that collaboration experience. Even better if it's something that's going to be handed over to development. If you can't find that, work together with some people to experience what it's like to work on a team."

Volunteering helped Vesna to confidently talk about growing her UX skills in interviews.

4. Develop in-demand UX skills

Volunteering gives you an opportunity to develop important soft and hard UX skills. Vesna increased her UX knowledge by designing a health app with a group of developers:

"I tried to follow the full UX process. I did interviews, competitive benchmarking, created personas, sketches, wireframes and prototypes. The greatest thing was that my team actually listened! It was actually a great first real-life UX experience."

It's important to closely follow the UX process in volunteer projects. Skipping steps can lead to less than ideal outcomes. Don't feel pressured into doing any "quick UX" by your group. Tell them that you need to follow the to get results.

Volunteering shows hiring managers like James that:

"you got up to speed with the sector, increased your knowledge, made changes to your processes, and collaborated with subject matter experts."

5. Grow your network

Volunteering presents a great networking opportunity. Depending on the nature of the work, you might connect with both new and senior designers, as well as other tech professionals such as developers, marketers, and product owners.

Networking is an important part of breaking into a new field, so making these connections early on is a good first step.

UX volunteering FAQs (and answers)

Still got questions about volunteering? We've enlisted the help of our community experts to answer your UX volunteering FAQs. Here's who's on the panel:

Let's dive in to answer your questions.

1. Is applying for voluntary work like a job interview?

When Vesna applied for voluntary projects, she found that "they were more interested in my help. I'd already set up the portfolio from the UX Design Institute and showed them that. Getting a volunteer position isn't that hard."

2. What expectations should I set before starting a project?

It's wise to be honest about your availability before agreeing to a project.

Everyone has different schedules on voluntary projects. You might be free to dedicate 40 hours per week or 3 hours on weekends. Be open about it.

Your team could also be spread all over the world, so projects can move at a slower pace. You need to be patient with your group.

Confirm how many hours per week you can work and discuss what you can deliver in the timeframe. James believes that this will help keep the commitment manageable. "It's also a great portfolio case study to show that you understand how to scope the UX process," he said.

3. I don't have the time to volunteer. What else can I do?

Not everyone is in the position to volunteer free time. There are other things you can do to build your portfolio.

Do you have transferable skills from previous roles or university studies? Do you have any experience building software? Sell these skills and experiences in your portfolio too.

James encourages job hunters to

"always remember that your portfolio is a sales brochure - make it work hard for you. The UX industry is full of people with unique and interesting pasts who apply that to their daily practice. Don't be afraid to sell yourself based on your own past!"

We share more tried-and-tested ways to find projects for your UX portfolio here.

In all, volunteering is a great way to practice your UX skills, gain valuable real-world experience, and add an interesting project to your portfolio. If you're wondering how to build your UX portfolio from scratch, this step-by-step guide has you covered.

Are you brand new to the field? Learn more about breaking into UX here

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How & where to find UX design volunteer opportunities in 2023 - UX Design Institute

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Volunteering is a great way to practice your UX skills and build your UX portfolio. Find the best UX design volunteer opportunities with the help of this guide.

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I recently redesigned my own portfolio website. It was a challenging but enjoyable experience that I really learned a lot from. My goal was to create a unique online presence that represents my personality and displays my design work in detail, while of course serving as a promotional medium to gain more exposure and business.

A long time ago in a galaxy far, far away... a young designer embarked on an epic journey strewn with perilous layout challenges, constant procrastination, devious jQuery errors and deadly Internet Explorer bugs. It was a rite of passage that all designers must take in order to stand proud with their peers in this wide world we call the Web. Yes, I'm talking about creating your own portfolio website.

I recently redesigned my own portfolio website. It was a challenging but enjoyable experience that I really learned a lot from. My goal was to create a unique online presence that represents my personality and displays my design work in detail, while of course serving as a promotional medium to gain more exposure and business.

project planning,

branding,

wireframes,

responsive design and flexible grids,

LESS and SASS,

high-definition screens,

flexible images,

content animation,

WordPress development,

testing and analytics.

A look behind the scenes of my design and development workflow
After receiving a bunch of emails asking me about the design decisions I made during the redesign of my website, I decided to write this article to give a peek at my journey and some of the things I learned along the way. I'll discuss best practices in modern Web design and go through the entire design and development workflow that I followed to create my website, from the initial planning stage to the final live website, including these steps:

I hope this helps and inspires other designers out there who are looking to create their own unique portfolio website. We've got a lot to get through, so let's get started.

Plan The Project

Define Your Brief

The first thing I do with any project is figure out exactly what I want to achieve, and I write it down. What is the purpose of the project? What problem am I trying to solve? My goal was to create an online profile to promote my design work and gain more exposure. I needed to be able to write articles, display my design work and have people contact me easily. I also wanted it to be unique and memorable, while representing my personality.

At this point, we simply need to figure out our ultimate goal; we're not worried about how we will get there. Write down your goals, and look back at them in later stages of the project to ensure that you're on track.

Initial Research and Idea Generation

Do some initial research to get the creative juices flowing. Inspiration can come from anywhere and can strike at any time, often while you're in bed and on the verge of falling asleep (with, of course, not a notebook in sight). Sometimes you might want to look at other sites for inspiration, but sometimes not looking at what other designers have done is best, because once you've seen it, thinking of your own ideas can be hard.

My skill set is a mix of both coding and design, and I wanted this to be prominent.

I'm a big fan of minimalist design and wanted to stick with a mainly black and white palette to allow the design to shine through.

I wanted to use my own photo as a hero image to inject some personality into the website.

I enjoy the experience of seeing animation as I scroll down a page.

I've never liked the way in which one Web page jerks to another, so I wanted my transitions to be smooth.

I like a generous amount of white space and a full-width layout.

Responsiveness is important to me because I want mobile and tablet users to also have an optimal experience.

I wanted my case studies to tell a story about my design process, rather than just be a gallery of random images without context.

Instead, make a cup of tea, find a comfortable spot and brainstorm your own solutions to the problem at hand. All you need at this stage is a pen, a sketchbook and your thoughts. Hopefully, you'll come up with something innovative that hasn't been done before. You can employ plenty of methods to generate ideas. Have a think about your personality and what makes you unique as a designer. What are your interests? How are you different? Do you have a particular design style? Do you specialize in a certain aspect of design? Do you have unusually big ears? Find an angle that represents you and integrate that into your design.

After some initial research, I wrote down a few ideas and elements to include in my portfolio:

Create a Timeline

Once your ideas are together and you know which direction to head in, draw a rough timeline. I'm not talking about strict deadlines or anything, but more of a guide to help you organize tasks and stay productive and motivated. Simply list the tasks that you need to do, and estimate the amount of time each will take. This will give you a rough estimate of how long the project will take, as well as create a task list to work from. Of course, some of your estimates might be a little off, but that's fine; you can adjust the timeline as you go. A bit of organization goes a long way, so get into this habit.

Design

Design Your Brand

Your brand is basically the visual language that describes who you are and that determines how others see you. I wanted to convey a clean, sleek and minimal look and feel. I kept things quite simple and decided to create a logo mark from my initials, using a minimal black and white palette. I sketched some ideas and experimented with typography and letter arrangement before deciding on the final logo (which I drew in Adobe Illustrator). If you're having trouble coming up with a logo, you might want to read " A Systematic Approach to Logo Design."

As part of my branding, I also wanted to design an avatar for my website and various social media platforms. It would need to represent me as a designer and developer, while being unique and memorable. After countless hours of brainstorming (more like procrastination), I finally had an idea that makes sense. The idea was to take a photo of my face and cut it in half. One side would depict the creative designer in me, while the other would show my logical coding side. After numerous sketches and a lot of fiddling in Photoshop, I was finally happy with the concept. I used pastels, grunge-style brushes and masks to achieve the aesthetic I was after.

Create Content

Many designers leave content creation until the end because they're more interested in layout and aesthetics (the fun stuff). Create content early on in the project because it will determine the design. What information do you need to convey to visitors? Think about what you want to say and how to say it. Should a given point be written as simple text, or would it make more sense as an image or diagram?

Be concise and friendly in your copy. I like to write in the first person to make it feel more personable. Break your copy into small chunks to improve readability and scannability. I wrote a draft of my content and broke it down into six main parts: home page introduction, a bit about me, places I've been featured, my design work, my blog, and my contact details.

Show Your Work

Your work is the most important piece of content in the portfolio because it is what most visitors have come to see. Gather your best projects, and explain the process and workflow behind each. Nothing is worse than a vague portfolio of random images with no context or explanation. Including only the type of work you're looking to do more of, rather than all of your work, will help you target the right clients.

Your potential customers will want to see your work in as much detail as possible, so don't shrink it to a small size. I decided to keep the actual sizes if possible to make it easy for visitors to quickly navigate my work. I also decided to talk about the challenges I encountered and how I tried to solve them. Design is all about solving problems, so letting visitors know why a design looks and works the way it does is very useful, and it also gives you an opportunity to reflect on your work and your design process and perhaps improve it next time. Remember that you're telling a story, so it's been important to me to make it as interesting and informative as possible.

Now that our content is figured out, we can move onto sketching wireframes.

Sketch Wireframes

The approach I take to wireframes is simple but effective, and all you need is a pen and sketchbook. I first list all of the elements to include on a Web page. I then group related elements, before prioritizing these groups according to importance. Here is my list of elements for the contact page.

Once the page's elements are grouped and prioritized, arranging them on the page will be much easier. Place more important elements towards the top of the page, and use white space to create groupings. I took a desktop-first approach because I wanted to focus on displaying my work in detail on large screens. When we come to write the CSS later on, we'll take a mobile-first approach, which will simplify the code (we'll get to that shortly). I usually sketch my wireframes with pen and paper, but you can use tools such as Balsamiq or even Photoshop or Illustrator. Below is a wireframe for my contact page. It doesn't need to look pretty - it's simply a plan of a Web page to work from.

Responsive Design and Flexible Grids

I wanted to make my website responsive to ensure an optimal experience for visitors on desktop, tablet and mobiles. When designing websites, I like to use a grid because it provides a structural foundation, while making the development process easier and more efficient. Joshua Mauldin sums up a grid pretty well:

Think of it like a house's foundation. With a solid foundation, the house is stable, and building on it is easy. With a solid grid, your design can easily be adapted to accommodate whatever changes come along.

Some designers find a grid to be limiting, but it really depends on the design. I find that it results in a neater and more organized design. My design is quite simple, so I used a custom 12-column flexible grid, but a 16-column grid would give more definition and accuracy. I also defined a maximum width of 1040 pixels to ensure that the design doesn't look stretched on larger monitors.

Using a flexible grid (rather than three separate fixed widths for mobile, tablet and desktop) enables a website to scale dynamically to fit any device width. Below is the CSS for my responsive grid, but feel free to create your own to suit the design. Use tools such as Gridpak, Responsive Grid System, Golden Grid System and Responsify to create your own responsive grid. I've used ideas from a few of these tools to create my own custom flexible grid.

 /* 12-column responsive grid */ .row { clear: both; max-width: 1040px; margin: 0 auto; } [class^="col-"] { float: left; margin: 0 3.84615384615% 0 0; list-style: none; position: relative; } [class^="col-"]:last-child { margin: 0; } .col-1 { width: 4.8076923077% } .col-2 { width: 13.4615384615% } .col-3 { width: 22.1153846154% } .col-4 { width: 30.7692307692% } .col-5 { width: 39.4230769231% } .col-6 { width: 48.0769230769% } .col-7 { width: 56.7307692308% } .col-8 { width: 65.3846153846% } .col-9 { width: 74.0384615385% } .col-10 { width: 82.6923076923% } .col-11 { width: 91.3461538462% } .col-12 { width: 100%; margin: 0 }

Upon looking at the CSS above, you might be wondering how the [class^="col-"] CSS selector works. It's actually called a substring matching attribute selector, and all it does is select any class that begins with the string col-. You can also use substring matching to select other attributes that end with a certain string, or even those that contain a certain string. Substring matching is a handy way to create more complex and powerful CSS selectors, and they're well supported, too, going as far back as Internet Explorer 7.

The HTML is quite simple, too, consisting of rows and columns, much like a table. Here is a simple two-column responsive grid that I use on my website. The left column spans five columns, while the column on the right spans seven.

 <div class="row"> <div class="col-5">Content spans five columns</div> <div class="col-7">Content spans seven columns</div> </div>

Set Logical Breakpoints

When you design a responsive website, at certain widths the layout will break or the text will become squished and difficult to read ( 45 to 75 characters is a comfortable length per line). These special widths are known as breakpoints, and they're often set to common device widths, such as 320 to 480 pixels for mobile, 768 to 1024 pixels for tablets, and 1024 pixels and up for desktops. The problem is that "common" widths don't really exist anymore with the growing number of devices, so this solution doesn't scale well.

Setting breakpoints based on content rather than device width is a more scalable solution. For example, rather than blindly setting a breakpoint at 768 pixels wide for tablets, I instead looked at my content and found that it looked fine until it got squashed under 600 pixels. I thus set a breakpoint at 600 pixels to change the layout to ensure that the content remains legible at and below this width. Yes, you will need to optimize the presentation of your website for various devices, but your content should always determine where the breakpoints lie. These are the four breakpoints I needed for my design: 320, 600, 1024 and 1140 pixels.

When writing the CSS media queries for my website, I took a mobile-first approach. This basically meant writing the mobile styles first as my base, followed by the tablet and then the desktop styles. Mobile styles are generally simpler than desktop styles, so writing them first makes sense. They form the foundation of your styles, and we can then add more complex styles for wider screens. Cascading your style sheet in this way keeps your code clean and DRY (" don't repeat yourself").

Here are the media queries I used:

 /* Mobile styles go first, without media queries. */ @media only screen and (min-width: 321px) { /* Larger mobile styles (wider than 320 pixels) */ } @media only screen and (min-width: 600px) { /* Tablet styles (wider than 600 pixels) */ } @media only screen and (min-width: 1024px) { /* Large laptop styles (wider than 1024 pixels) */ } @media only screen and (min-width: 1140px) { /* Desktop styles (wider than 1140 pixels) */ }

With the breakpoints defined, I could sketch the tablet and mobile wireframes. Sometimes hiding or omitting content on small devices makes sense, but I wanted as much content to be available across all devices as possible. Why should mobile users miss out on valuable content? People are used to scrolling on phones anyway, so think first before you remove or hide content. The easiest solution isn't always the best one.

Design High-Fidelity Mockups

Once the desktop and mobile wireframes were sketched, I moved into Photoshop and started mocking up the website in more detail. I don't like spending much time in Photoshop because it slows down the development process. Don't worry too much about creating a pixel-perfect design; you'll have time to refine it during the coding process. Instead, simply mock up the main page templates, along with any other design elements and assets you need. I mocked up the header and footer, along with the basic elements of the "About me" page below, to make sure I was happy with the aesthetic.

Similarly, I didn't mock up any mobile or tablet designs in Photoshop, because I find that simply coding these based on the wireframes to be quicker. I did, however, spend some time on details such as icons and textures, which can make a big difference in the polish of the final website.

Develop

Now that our website is planned and all of our image assets are ready to go, it's time to start coding. So, get your headphones and favorite text editor! My text editor of choice is Sublime Text. It's simple, fast, powerful and easy to use. If you're a Windows user, I'd recommend Notepad++.

I usually start from the top of the Web page and build each element one by one. Let's start with the header navigation. I like to write out the HTML for the element first, and then move on to the CSS. Remember that we are actually creating the mobile version first to reduce code bloat. Depending on the complexity of the project, you can either code from scratch or use a framework such as HTML5 Boilerplate, Foundation or Compass.

CSS Preprocessors (LESS/Sass)

If you're not yet familiar with CSS preprocessors such as LESS and Sass, definitely familiarize yourself with them because they'll save you a lot of time and effort and will streamline your CSS. A preprocessor gives you more power when coding CSS, enabling you to use object-oriented programming practices when writing styles.

We've all wished that we could use variables in CSS, define functions and reuse code snippets without having to continually copy and paste. CSS preprocessors enable you to do that and much more, while keeping your styles clean and organized. Your LESS or Sass code is then compiled and outputted as regular CSS.

I used LESS to create the CSS for my website. However, after experimenting with both LESS and Sass, I feel that Sass is more powerful, so I'll be sticking with it from now on. Chris Coyier compares LESS and Sass and shows the subtle yet important differences between the two. The deciding factor for me was that Sass uses Compass and gives you access to a library of useful and well-maintained mixins; LESS doesn't. Feel free to play with both to see which you prefer.

Progressively Enhance With Modernizr

Modernizr is a JavaScript library that detects HTML5 and CSS3 features in the user's browser and adds those features as classes to the <html> element. We all want to take advantage of the latest CSS3 and HTML5 features, but what happens in older browsers that don't support them? Modernizr basically tells us which features are supported in the visitor's browser, allowing us to write conditional CSS and JavaScript for each situation. Thus, we can easily progressively enhance, providing everyone with basic features, while enhancing the experience for those with modern browsers.

Create Flexible Images

Flexible images are a simple yet important part of any responsive website. To make your images flexible, simply place them in your responsive grid container and add the CSS below to your style sheet. Insert them using the <img> tag, although there are ways to achieve flexible images using CSS background images, too. If you want to get more technical and serve different images according to the device being used (for example, serving small images to phones to conserve bandwidth), you can look into certain techniques for serving truly responsive images and avoiding duplicate image downloading.

 img { max-width: 100%; height: auto !important; }

Use CSS Image Sprites

We all know to combine our icons and image assets into CSS sprites, rather than leave multiple individual images to load one after another. This decreases loading time and makes it easy for you to edit and maintain image files later on. I usually create several sprites for the different sections of a website. For example, one of my sprites contains all of my icons, while another contains global elements (including logo, header icons, navigation background and footer icons).

Recommended reading: An Analysis Of Navigation In Portfolio Websites

When creating sprites, think about how your website will load. If a bunch of icons are only used on a single page of the website, then separate them from the main sprite. This will ensure that they're loaded only when needed, while keeping your main sprite small. Using sprites will also make it easier to prepare your images for high-definition screens later on. The process can be cumbersome, so use a handy tool such as Sprite Cow to create them quickly and easily. You can also use a combination of Sass and Compass to generate sprites automatically from separate images.

Catering to High-Definition Screens

To ensure that your website looks crisp on high-definition (or "Retina") screens, use CSS as much as possible for presentation. Remember that some of the newer CSS styles won't render in old browsers - this is where progressive enhancement makes sense. In most cases, you won't be able to build the website completely from CSS; you'll need images. Luckily, preparing your images for high-definition screens is not hard.

Basically, you'll need to create larger versions of your images to be used on high-definition screens. Because our images are contained in a sprite, all we need to do is create another version of the sprite that is exactly twice as large. Let's say our sprite is named sprite.png; we would name our high-definition sprite sprite@2x.png. To decrease loading time (especially on mobile devices), compress your images using JPEGmini, TinyPNG or, if you're on a Mac, ImageOptim.

Once you've created the larger images, simply use media queries to show the large images on high-definition screens. Be careful with your media queries because iPhones aren't the only high-definition devices around at the moment. There are other mobile phones, along with Retina iPads and MacBook Pros, too. I use two high-definition media queries on my website: the first for high-definition mobile devices, and the second for tablets and laptops.

Here are the media queries to target high-definition screens:

 @media only screen and (-webkit-min-device-pixel-ratio: 1.5), only screen and (min--moz-device-pixel-ratio: 1.5), only screen and (min-device-pixel-ratio: 1.5) { /* Target all high-definition screens. */ } @media only screen and (min-width : 600px) and (-webkit-min-device-pixel-ratio: 1.5), only screen and (min-width : 600px) and (min--moz-device-pixel-ratio: 1.5), only screen and (min-width : 600px) and (min-device-pixel-ratio: 1.5) { /* Target high-definition devices with screens wider than 600 pixels. */ }

Wouldn't it be great if we could eliminate the need for media queries and separate high-definition images altogether? An even better way to cater to high-definition screens is to use images that are vectors, which will scale to fit any screen size and look crisp on any device. You can draw your images or icons in Illustrator and export them as scalable vector graphics (SVG) files. The SVG file basically consists of XML-based code that describes the image to the browser.

Another clever way to get scalable vector icons that look crisp on high-definition devices is to use icon fonts, such as those from IcoMoon and Font Awesome. I didn't use these methods on my website, mainly because I don't have many icons or vector images. But if you're looking to use vector images and icons more heavily on your website, then these techniques will come in handy.

Page Transitions

I've never been a fan of the abrupt way in which one Web page jumps to another. When the user clicks a link, there's usually a sharp jump, followed by images loading awkwardly on the page in no particular order. I wanted to control the way my content appears, to create a smooth transition from one page to the next as the visitor navigates the website. When a visitor clicks a link to another page, the current page should fade to white before the next page loads. The next page would start from a white background, and then the content would animate smoothly onto the page. This makes for a pleasant and consistent user experience.

To achieve this transition effect, I needed to use a jQuery preloader plugin, such as jPreLoader or QueryLoader2. This ensures that images load before being animated onto the page (otherwise, the animations would occur before the images have loaded). When it comes to Web development, jQuery plugins shouldn't be your first option because you rely on jQuery and it's a performance hit. It's always a better idea to search for more lightweight, single-purpose JavaScript libraries and use them instead. You could also use CSS transitions in some cases.

I'm not a fan of preloaders in general because the user has to wait until the page loads to see anything, but using one is necessary to achieve the effect I want. I'm going to experiment with hiding the preloader when the page loads quickly, and introduce it only on long page loads. This means that most people would simply see one page seamlessly fade to the next, without a preloader being shown. I'd be interested to hear of any other methods to achieve page transitions without the need for a preloader.

Here is a simple jQuery function to fade out the page when the visitor clicks a link:

 /* * Function to animate leaving a page */ $.fn.leavePage = function() { this.click(function(event){ // Don't go to the next page yet. event.preventDefault(); linkLocation = this.href; // Fade out this page first. $('body').fadeOut(500, function(){ // Then go to the next page. window.location = linkLocation; }); }); }; /* * Call the leavePage function upon link clicks with the "transition" class */ $('.transition').leavePage();

I want the leavePage animation to happen when visitors click on a link to another page of my website, so I simply added a transition class to the appropriate links. When a visitor clicks on any link with the transition class, the leavePage animation is triggered. This example is simple, but you can build on it for more complex animation.

So, the user has clicked a link, the current page has faded out, and they've landed on the next page. What happens now? Our jQuery preloader takes care of the rest. The preloader basically displays an overlay that covers the page as it loads. Once the loading is complete, the overlay fades away to reveal the page. Of course, you can create your own custom animation to animate content onto the page in a more interesting way.

I won't get into much detail because there are many ways to animate content onto the page. You could slide content in from the side, one element after another, or fade in elements from top to bottom. Basically you just need to write a function to animate content onto the page, and then call this function once the page has completely loaded. Luckily, both jQuery preloaders mentioned above have callback functions that enable you to call an animation function after the page has completely loaded.

Prevent Flash of Unstyled Content

One of the most annoying issues I faced in trying to achieve the smooth transition between pages was the flash of unstyled content (FOUC) before the jQuery preloader had even started. It wasn't always there, but every now and then I saw some content flash onto the page before the animation had even started. Luckily, I found a clean and simple way to prevent FOUC that works perfectly.

Animate Content on Scroll

I love the idea of including subtle animations as the visitor scrolls down the page. It's become a bit of a trend recently, and I think it improves the user experience and adds a touch of polish. I use a simple yet powerful jQuery plugin called Waypoints to create the on-scroll animations. It enables you to trigger animations at different page scroll distances.

If you're looking for an easy way to do more complex animations on scroll, then check out the SuperScrollorama jQuery plugin.

Custom WordPress Development

I decided to build my website in WordPress, mainly because I'm familiar with it and wanted blogging functionality. Being able to easily install plugins to add functionality is also a nice time-saver. Installing WordPress on a server and turning static HTML pages into a WordPress theme is a pretty simple process. If you're not familiar with WordPress, you could always use another platform, such as Drupal. Or feel free to just build from scratch in PHP (depending on the complexity of the website).

Because some of my pages have quite varied layouts, I needed a few custom page templates. For instance, I couldn't use a standard WordPress page for my home page because that design is quite different. So, I created a custom template for the home page. Creating a custom page template in WordPress is quite easy. I also created custom templates for my portfolio item pages and contact page.

In order to separate my portfolio item posts from my blog posts, I created a custom post type especially for my portfolio items. You might be able to get away with displaying your portfolio items as blog posts and categorizing them in a "portfolio" category, to separate them from standard blog posts. I needed the flexibility of a custom post type with a different layout. I won't get into any more detail about WordPress development because plenty of great WordPress documentation is already out there.

Testing and Analytics

Test Across Browsers

I'm sure you're all aware of the importance of testing to ensure that your website renders correctly across relevant browsers. You'll notice that I didn't say "all browsers," because you really only need to ensure that your website renders properly for your particular audience. If you know that all of your visitors will be using modern browsers, then you don't need to spend valuable time and effort supporting old ones.

So, how do you test a website across all relevant browsers? If you're on a Mac like me, then just download all modern browsers, including Chrome, Safari, Opera and Firefox. But how do you test Internet Explorer on a Mac? One simple and free way is to set up a virtual machine running Windows.

You can also use an Internet Explorer emulator, such as IE Tester. Or sign up to a service such as Spoon Turbo or BrowserStack, which allows you to test the website on all major browsers, including Internet Explorer 6, 7, 8, 9 and 10. Rather than leave cross-browser testing until the end, test the website every now and then during the development process.

Set Up Google Analytics

Add Google Analytics to your website to collect valuable statistics on visitors. You'll know the location of visitors and whether they're arriving via Google searches or from referring websites. One of your blog posts could get mentioned on another website; if you're not monitoring your traffic sources, you might not even know about it. Analytics also help you build a profile of visitors, including their country of origin and browser. You can use this data on an ongoing basis to optimize the website for visitors. Setting up Google Analytics on your website is free and takes only a few minutes. Simply sign up, copy and paste the small JavaScript snippet into the footer of your website, and you're ready to go!

Time To Launch

So, we've designed, built and tested our new portfolio, and we're finally ready to launch - high five! This is one of those experiences you simply shouldn't miss out on as a designer. I had a great time creating my website and learned a lot in the process. Sure, there were hurdles along the way, but isn't that what makes design so interesting? I'd love to hear about your experiences in creating your own portfolio.

Hopefully, hearing about my journey will help and inspire you to create your own website or to finally start that redesign you've been contemplating for the past few years. So, get out your headphones, knuckle down, and start pushing those pixels. I wish you all the best on your epic quest ahead. Good luck, and may the force be with you.

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My (Simple) Workflow To Design And Develop A Portfolio Website - Smashing Magazine

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I recently redesigned my own portfolio website. It was a challenging but enjoyable experience that I really learned a lot from. My goal was to create a unique online presence that represents my personality and displays my design work in detail, while of course serving as a promotional medium to gain more exposure and business.

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Have you ever wondered how the worlds of artificial intelligence and user experience (UX) design could collide to revolutionize your creative process? Welcome to the era of ChatGPT, a game-changer in design.

In November 2022, ChatGPT amazed the world with its versatility. By March 2023, the latest version and other chatbots (like Microsoft Copilot, Bard AI, and OpenAI playground) added features such as video analysis and multi-modal capabilities.

So, why should you care? This AI powerhouse is shaping everything from healthcare to entertainment, and UX design is no exception. Now, you can collaborate with ChatGPT to brainstorm innovative designs, get deep user insights, and even craft user personas.

Are you excited to learn more? Here's everything you need to know about using ChatGPT for UX design.

Why Should You Implement ChatGPT in Your UX Design Process?

Staying ahead in UX design means adopting new tools, technologies, and methodologies. ChatGPT offers a suite of advantages that every UX designer should consider. Below, we'll talk about the capabilities of ChatGPT 3.5 and ChatGPT 4.

1. Generate Ideas and Brainstorming

Feeling stuck or need a fresh perspective? ChatGPT can assist in brainstorming sessions. Pose a design problem or scenario, and the AI can generate a list of potential solutions based on its database. It won't replace the understanding of a seasoned designer, but it can provide new angles.

2. Competitor Analysis

ChatGPT can synthesize large data sets, including reviews or feedback that competitors get. All you need to do is gather the data from publicly available sources and feed it to the tool. Knowing what your competition does, right or wrong, through SWOT analysis can help you curate your design strategy.

3. User Research

While not a substitute for user studies, ChatGPT can simulate common user queries or pain points. Think of it as a mock interview. This helps you anticipate what real users might need or ask. For example, ChatGPT could simulate user questions about booking flights, lodging, or tours if you're designing a travel website.

4. Text Analysis for User Insights

Imagine a user leaving a lengthy review of your app's interface. The AI can analyze this text, extract key insights, and even categorize them into aspects like " usability," " aesthetics," or " functionality." Through this, you can understand what users love or hate without going through mountains of text yourself.

5. Scripted User Journeys

Creating customer journeys for testing is another area where ChatGPT excels. You can program it to guide a user through a series of tasks on your application, collecting data at each step. It can ask questions like, "Was it easy to find the 'contact us' button?" and gather real-time responses. This replaces the need for manual A/B testing and provides better, more contextual data.
Watch this video to understand the power of journey mapping and turn your insights into viable initiatives.
6. Image-based User Feedback

Imagine you've designed a new interface and gathered user feedback. Users can now upload screenshots of the issues they encounter. ChatGPT 4 can analyze these images, identify design elements, and give actionable insights. It results in a streamlined feedback loop.

7. Deciphering Handwritten Notes

Design workshops often produce handwritten notes, sketches, and wireframes. ChatGPT 4 can read and interpret this handwritten content. It can give you a structured summary of what you discussed. This way, you can ensure you don't lose valuable insights in the shuffle.

Now, let's turn our focus to the actual prompts. You can use and modify these seven prompt examples to get better results. Additionally, learn how to use Chat GPT for UX design.

Remember that ChatGPT can only help you enhance the quality of work, not a replacement for your efforts. You should leverage its capabilities to elevate your work rather than relying on it to do the work for you.

Prompt Example 1: User Research

Help us outline the Who, Why, What, and How of our new fitness app. We aim to address specific user pain points and would like to ensure that our design aligns with these factors.

The Who, Why, What, and How form an essential part of the design thinking process that helps you meet user needs. These questions target the user demographic, the problems the product solves, its key features, and how users interact with it.

Why This Particular Prompt?

This prompt gives you a comprehensive overview of the most crucial aspects of product use. It helps align design features with user expectations and needs. Better user research creates a compelling and engaging user experience.
Watch this video to learn when to do user research.
How Can ChatGPT Help?

ChatGPT can provide a structured breakdown of each of these aspects. It can generate questions or prompts that help you explore the intended user base, key functionalities, user pain points, and interaction flows.

Why Is It More Effective than Conventional Methods?

You may find it time-consuming to find these insights and may miss out on key insights. ChatGPT can quickly provide a detailed and structured analysis. It can help you save time and potentially uncover overlooked aspects.

What to Consider Before Using ChatGPT?

You should have a basic understanding of the product, its goals, and its target audience. ChatGPT's analysis will be more precise and beneficial with more information you provide.

Prompt Example 2: User Interview Questions

Generate a set of user interview questions aimed at understanding the user experience of an e-commerce website. Focus on elements like ease of navigation, search functionality, and checkout.

User interviews give you direct insights from the people who use your product. They show what users like, what they find difficult, and how they view your design. These insights help you make better design choices and create a more user-friendly interface.

Many people conduct user interviews, but the key is to ask the right questions. Users have limited time, and wasting it with irrelevant or unclear questions is a mistake you want to avoid. Thus, you must choose the right questions.
Watch this video to understand how to order questions in your user interviews.
Why This Particular Prompt?

User interviews are foundational in UX design. Crafting impactful questions can help you obtain actionable insights.

How Can ChatGPT Help?

ChatGPT can generate a set of targeted questions to extract relevant information from users. It can use the project's goals and scope to tailor these questions.

Why Is It More Effective than Conventional Methods?

The AI can create questions in a fraction of the time it would take a human. It also employs best practices in question design so that you get the most out of each interview.

What to Consider Before Using ChatGPT?

Make sure you are aware of the goals and the scope of your user interview. Provide this information to ChatGPT to get questions relevant to your project.

Prompt Example 3: Tools for Specific UX Design Tasks

Recommend tools designed for creating high-fidelity prototypes. Include tools that offer real-time collaboration features and are easy to learn for beginners.

You need a variety of UX design tools for different purposes. These range from sketching and wireframing to user testing and prototyping. Knowing which tool excels in what area can save you time and effort.

For example, you don't want to use a graphic design tool for wireframing when specialized tools exist.

Why This Particular Prompt?

Selecting the right tool can make or break your design process. It's essential to pick tools that align with your specific needs and tasks.

How Can ChatGPT Help?

ChatGPT can provide a list of tool recommendations based on the type of UX design task you're working on. It can even offer insights into the pros and cons of each tool.

Why Is It More Effective than Conventional Methods?

Instead of spending time searching and comparing tools, ChatGPT can give you a tailored list in seconds. All you need to do is select the best fit for your needs.

What to Consider Before Using ChatGPT?

Be specific about the type of UX task you're focusing on. This helps ChatGPT to offer more targeted tool recommendations relevant to your project.

Prompt Example 4: User Personas

Please create detailed user personas for a music-streaming app. Consider factors like age, location, musical preferences, and usage habits. Also, focus on how to increase user engagement.

Creating user personas is a staple in UX design. It provides a concrete idea of who the end users are. These personas help designers understand user needs, behaviors, and motivations.

Often, designers gather data from interviews, surveys, and other sources to craft these personas. The more detailed and precise a user persona is, the better you can tailor your design to meet the requirements of your user base.

Why This Particular Prompt?

User personas serve as the foundation of any design project. A well-constructed persona can guide your design choices. It can help to make your product more user-focused.

How Can ChatGPT Help?

ChatGPT can generate in-depth user personas based on the data and project goals you provide. It can outline the demographic information, needs, pain points, and behaviors critical to your design process.

Why Is It More Effective than Conventional Methods?

ChatGPT streamlines the persona creation process. Instead of spending hours compiling and analyzing data, the AI can generate detailed personas, allowing you to focus on the design.

What to Consider Before Using ChatGPT?

Make sure you have an excellent initial data set and clear project goals. These will guide ChatGPT in creating relevant and valuable personas for your design project.

Prompt Example 5: Color Schemes

Recommend color schemes appropriate for a health and wellness app. Consider factors like user mood, trustworthiness, and readability.

Color schemes hold an influential role in UX design. They set the visual tone of a website or app and impact user engagement. Colors can influence emotions, guide attention, and even affect readability. They help create a visual hierarchy emphasizing essential elements like buttons and calls to action.

Different colors evoke different feelings based on their cultural context. For instance, blue can communicate trust, while red can signify urgency. A well-thought-out color palette can align with a brand's message and encourage specific user behavior.
Want to learn how you can simplify your color palette with ease? Learn in this video.
Why This Particular Prompt?

Colors can impact user engagement and retention. When it comes to an app, pick a color scheme that resonates with its purpose and the emotions you want to evoke.

How Can ChatGPT Help?

ChatGPT can analyze trends and best practices in color theory to suggest color schemes that align with the objectives of a health and wellness app. This can include specific color codes and combinations.

Why Is It More Effective than Conventional Methods?

You may find researching and selecting color schemes time-consuming due to the research and data involved. ChatGPT can quickly provide options based on proven principles. It saves you time and encourages data-driven choices.

What to Consider Before Using ChatGPT?

Be clear about the emotions and reactions you aim to provoke with your color scheme. This information will help ChatGPT generate recommendations most aligned with your app's goals.

Prompt Example 6: Improving Wireframes

Analyze this wireframe for our mobile travel booking app and suggest improvements for a smoother user flow. Focus on elements like menu placement, button sizes, and the arrangement of form fields.

Wireframes outline the skeleton of a website's user interface. Improving the wireframe can enhance the user experience by making navigation more intuitive and elements more accessible. However, pinpointing the areas that require tweaking in a wireframe can be complex.

Why This Particular Prompt?

Improving wireframes is a critical step in optimizing user flow and overall experience. Specific, actionable suggestions can lead to a more efficient and enjoyable app.

How Can ChatGPT Help?

As a UX designer, you aim to understand how to improve the wireframe. ChatGPT can view and analyze the wireframe. So, you can describe specific elements of it to help the tool give you better insights. Based on your description, the AI can suggest best practices in menu placement, button sizing, and other layout decisions.

Why Is It More Effective than Conventional Methods?

Traditionally, wireframe improvements often involve multiple iterations and extensive user testing. ChatGPT can provide suggestions based on design best practices to reduce the number of iterations and tests needed.

What to Consider Before Using ChatGPT?

Have a detailed description or list of elements in the wireframe to share with ChatGPT. The more specific you get, the more targeted the AI's suggestions will be.

Prompt Example 7: Understand UX design terminology

Could you explain the term 'Information Architecture' in a way that anyone can understand without using jargon? Use an example to explain thoroughly.

UX design is full of specialized terms that may sound like a foreign language to clients or stakeholders unfamiliar with the field. Explaining these concepts in simple language can make your presentations more engaging and understandable. It can lead to better collaboration and decision-making.

Why This Particular Prompt?

Mastering design terminology ensures everyone involved in a project speaks the same language. It promotes clear communication, which is critical to a project's success. You can use it to make yourself prepare better for the project as well.

How Can ChatGPT Help?

ChatGPT can simplify complex UX terms into understandable language. This helps make design concepts accessible to team members who might not have a design background.

Why Is It More Effective than Conventional Methods?

You may find breaking down jargon time-consuming. It might also result in unclear explanations. ChatGPT can generate simple, easy-to-understand definitions or explanations.

What to Consider Before Using ChatGPT?

Be clear about your audience's understanding of UX design. This will help ChatGPT tailor the explanation to be as effective as possible.

When You Don't Want to Use ChatGPT for UX Design?

While ChatGPT offers numerous advantages, there are instances where its use in the UX design process may not be ideal. Below are some reasons why we advise you to exercise caution:

1. Limited Context Understanding

ChatGPT doesn't have a deep understanding of the nuances and specifics of your project. For example, if you're designing a medical app, ChatGPT won't know the latest trends or regulations in healthcare UX.

What to Do Instead: Consult with domain experts or conduct detailed user research for specialized tasks.

2. Hallucination

ChatGPT can spit out statistics or claims, but they might not exist. Misleading data can send you down the wrong design path. Imagine designing a color scheme based on false data about color psychology.

What to Do Instead: Cross-check any data or information ChatGPT generates through reliable sources.

3. Ethical Concerns

ChatGPT may create culturally insensitive material. For instance, you wouldn't want your app's UX to include stereotypes that could exclude users from diverse backgrounds. Similarly, ChatGPT is not likely to suggest accessible solutions without careful prompting.

What to Do Instead: Review and edit the AI-generated content, keeping your varied user base in mind.

4. Over-Reliance on Automation

Overusing ChatGPT for every aspect can diminish the human touch. The user interface should evoke emotions that artificial intelligence cannot understand.

What to Do Instead: Use ChatGPT as a supplementary tool while valuing human input and creativity.

5. Limited Interdisciplinary Knowledge

ChatGPT has broad but shallow knowledge. For UX design in a specialized sector, like finance, you would benefit more if you know user behavior through psychological and sociological lenses.

What to Do Instead: Collaborate with experts from relevant fields to better understand the user experience.

Knowing these limitations lets you decide when to use ChatGPT and when to rely on other methods or expertise.

So, What's Next?

You went through various ways ChatGPT can enhance your UX design process. These are a few examples of how this AI model can augment your capabilities and make your design process more efficient and effective. Some key takeaways are:

ChatGPT can help you craft precise and impactful questions. It makes your user research more actionable.

The AI can suggest the right tools for specific tasks. It can save you valuable time in your design process.

Detailed suggestions from ChatGPT can improve user flow. It can reduce the need for multiple iterations.

While ChatGPT can help you do a lot, you must understand its limitations and use it cautiously.

As you have all this information to leverage ChatGPT for UX design, your next steps can include:

Identify Your Needs: Look at your current design workflow and pinpoint areas that need improvement or automation.

Experiment: Try out some of the ChatGPT prompts we've discussed. Gauge how well the AI's suggestions fit into your current process.

Collect Feedback: Compare the outcomes of tasks completed traditionally versus those aided by ChatGPT. Seek feedback from your team members.

Optimize: Based on feedback and outcomes, tweak how you integrate ChatGPT into your workflow for maximum benefit.

Stay Updated: AI is continually advancing. Keep an eye out for updates to ChatGPT or similar tools that might offer new features beneficial to your UX design process.

Incorporate ChatGPT into your design practice, and take steps to make your workflow more efficient. But always treat your interactions with ChatGPT as a partnership where you leverage its capabilities to improve your workflow.

More Resources on ChatGPT for UX Design

Watch this masterclass by Ioana Teleanu on AI-Powered UX Design: How to Elevate Your UX Career.

Get this e-book on ChatGPT for UX/UI Design: Top Prompts and Expert Tips for Maximum Impact.

Watch Anirudh Palaskar explain how to use ChatGPT for UX design.

References and Where to Learn From

Take our AI for Design course to incorporate artificial intelligence (AI) tools into your design process and learn how to design for AI.

Check out this article to learn What is Artificial Intelligence?

Learn more about the capabilities of ChatGPT 4.

Take this course on how to design and develop apps using GPT 4 and Midjourney.

Get a broader view of UX Research here.

Join this course to master user research and get an industry-recognized course certificate.

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ChatGPT for UX Design: 7 of Our Favorite Prompts

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ChatGPT can be a powerful tool to assist you in the UX design process. We share our seven favorite prompts to leverage ChatGPT for UX design.

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Snap Collective – “I have seized the light. I have arrested its f...

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Snap Collective – “I have seized the light. I have arrested its flight.” — Louis Daguerre

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KRAAPS BY LOÏC RODRIGUES Meet Loïc Rodrigues. Talented autodidact. Born in Clermond-Ferrand, living and working in Paris. Down-to-earth guy with an exceptional style and thirst for beauty. “KRAAPS” is a compilation of Loïc’s best works, capturing his edgy photographic and aesthetic style: sharp, d…

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Art is for anyone. It's just not for everyone. I know this viscerally, as a would-be artist who burned out. I wrote about that last year, and ever since, I've been beset - every lecture I give, every gallery I pop my head into, somebody is asking me for advice. What they're really asking is "How can I be an artist?"

When, last month, Banksy jerry-rigged a frame to shred a painting just when it was auctioned, I could almost hear the whispers: "Is that art?" This fall, the biggest museum event in New York is the Whitney's retrospective of Andy Warhol - the paradigmatic self-made, make-anything-art-and-yourself-famous artist. Today, we are all Andy's children, especially in the age of Instagram, which has trained everyone to think visually and to look at our regular lives as fodder for aesthetic output.

How do you get from there to making real art, great art? There's no special way; everyone has their own path. Yet, over the years, I've found myself giving the same bits of advice. Most of them were simply gleaned from looking at art, then looking some more. Others from listening to artists talk about their work and their struggles. (Everyone's a narcissist.) I've even stolen a couple from my wife.

There are 33 rules - and they really are all you need to know to make a life for yourself in art. Or 34, if you count "Always be nice, generous, and open with others and take good care of your teeth." And No. 35: "Fake it till you make it."
Five lessons before you even get started.
Lesson 1: Don't Be Embarrassed

I get it. Making art can be humiliating, terrifying, leave you feeling foul, exposed, like getting naked in front of someone else for the first time. You often reveal things about yourself that others may find appalling, weird, boring, or stupid. People may think you're abnormal or a hack. Fine. When I work, I feel sick to my stomach with thoughts like None of this is any good. It makes no sense. But art doesn't have to make sense. It doesn't even need to be good. So don't worry about being smart and let go of being "good."

Lesson 2: "Tell your own story and you will be interesting." - Louise Bourgeois

Amen, Louise. Don't be reined in by other people's definitions of skill or beauty or be boxed in by what is supposedly high or low. Don't stay in your own lane. Drawing within the lines is for babies; making things add up and be right is for accountants. Proficiency and dexterity are only as good as what you do with them. But also remember that just because it's your story, that doesn't mean you're entitled to an audience. You have to earn that. Don't try to do it with a big single project. Take baby steps. And be happy with baby steps.

Lesson 3: Feel Free to Imitate

We all start as copycats, people who make pastiches of other people's work. Fine! Do that. However, when you do this, focus, start to feel the sense of possibility in making all these things your own - even when the ideas, tools, and moves come from other artists. Whenever you make anything, think of yourself as entering a gigantic stadium filled with ideas, avenues, ways, means, and materials. And possibilities. Make these things yours. This is your house now.

Lesson 4: Art Is Not About Understanding. Or Mastery.
It is about doing and experience.
No one asks what Mozart means. Or an Indian raga or the little tripping dance of Fred Astaire and Ginger Rogers to "Cheek to Cheek" in Top Hat. Forget about making things that are understood. I don't know what Abba means, but I love it. Imagination is your creed; sentimentality and lack of feeling your foe. All art comes from love - love of doing something.

Lesson 5: Work, Work, Work

Sister Corita Kent said, "The only rule is work. If you work, it will lead to something. It's the people who do all of the work all the time who eventually catch onto things."

I have tried every way in the world to stop work-block or fear of working, of failure. There is only one method that works: work. And keep working.

Every artist and writer I know claims to work in their sleep. I do all the time. Jasper Johns famously said, "One night I dreamed that I painted a large American flag, and the next morning I got up and I went out and bought the materials to begin it." How many times have you been given a whole career in your dreams and not heeded it? It doesn't matter how scared you are; everyone is scared. Work. Work is the only thing that takes the curse of fear away.
An instruction manual for the studio.
Lesson 6: Start With a Pencil

Don't worry about drawing. Just make marks. Tell yourself you're simply diagramming, playing, experimenting, seeing what looks like what. If you can write, you already know how to draw; you already have a form of your own, a style of making letters and numbers and special doodles. These are forms of drawing, too. While you're making marks and drawing, pay attention to all the physical feedback you're getting from your hand, wrist, arm, ears, your sense of smell and touch. How long can your mark go before you seem to need to lift the pencil and make a different mark? Make those marks shorter or longer. Change the ways you make them at all, wrap your fingers in fabric to change your touch, try your other hand to see what it does. All these things are telling you something. Get very quiet inside yourself and pay attention to everything you're experiencing. Don't think good or bad. Think useful, pleasurable, strange. Hide secrets in your work. Dance with these experiences, collaborate with them. They're the leader; you follow. Soon you'll be making up steps too, doing visual calypsos all your own - ungainly, awkward, or not. Who cares? You'll be dancing to the music of art.

Carry a sketchbook with you at all times. Cover a one-by-one-foot piece of paper with marks. But don't just fill the whole page border to border, edge to edge. (Way too easy.) Think about what shapes, forms, structures, configurations, details, sweeps, buildups, dispersals, and compositions appeal to you.

Now do this on another surface, any surface, to know what kind of material appeals to you. Draw on rock, metal, foam-core, coffee cups, labels, the sidewalk, walls, plants, fabric, wood, whatever. Just make marks; decorate these surfaces. Don't worry about doing more. All art is a form of decoration. Now ask someone what ideas they get when they look at what you've made. They've just told you more about what you've already done. If the other person sees it in your work, it's there.

Next, draw the square foot in front of you. This can be tight, loose, abstract, realistic. It's a way to see how you see objects, textures, surfaces, shapes, light, dark, atmosphere, and patterns. It tells you what you missed seeing. This will be your first masterpiece. Now draw the same square foot from the other side. You are already becoming a much better seeing machine and you don't even know it.

Lesson 7: Develop Forms of Practice

For instance, on the subway, while waiting or sitting around, practice drawing your own hands. Lots of hands on the same page, hands over other hands. Other people's hands, if you want to. You can draw other parts of your body that you can see, too. But you have to look and then describe with your pencil or pen what you see. Don't make it up! Mirrors are fine, even if you want to draw only where your cheek turns into your mouth. Play with different scales, make things bigger, smaller, twisted.

Exercise: Forget Being a Genius and Develop Some Skills
﻿I think all artists should:
* Build a clay pot.
* Sew pieces of fabric together.
* Prune a tree.
* Make a wooden bowl on a lathe, by carving.
* Make a lithograph, etching, or woodblock print.
* Make one hokey Dalí-like painting or mini Kusama light installation to get this out of your system.

You are now in possession of ancient secret knowledge.

Lesson 8: Now, Redefine Skill

Artistic skill has nothing to do with technical proficiency, mimetic exactitude, or so-called good drawing. For every great artist, there is a different definition of skill. Take drawing classes, if you wish; learn to draw "like the masters." You still have to do it in an original way. Pollock could not draw realistically, but he made flicking paint at a canvas from above, for a time, the most prized skill in the art world. You can do the same - your skill will be whatever it is you're doing differently.

Lesson 9: "Embed thought in material." - Roberta Smith

What does this mean? An object should express ideas; art should contain emotions. And these ideas and feelings should be easy to understand - complex or not.

These days, an artist might exhibit an all-brown painting with a long wall text informing us that the artist took the canvas to Kosovo near the site of a 1990s Serbian massacre and rubbed dirt on the canvas for two hours while blindfolded to commemorate the killing. Recently, while I was looking at boring black-and-white photographs of clouds in the sky, a gallerist sidled up to me and seriously opined, "These are pictures of clouds over Ferguson, Missouri, in protest of police violence." I started yelling, "No! These are just dumb pictures of clouds and have nothing to do with anything."

There is a different way. In the winter of 1917, Marcel Duchamp, age 29, bought a urinal at J.L. Mott Iron Works on Fifth Avenue, turned it on its side, signed it "R. Mutt 1917," titled it Fountain, and submitted it to the non-juried Society of Independent Artists exhibition.

Fountain is an aesthetic equivalent of the Word made flesh, an object that is also an idea - that anything can be an artwork. Today it is called the most influential artwork of the 20th century.

This project of embedding thought in material to change our conception of the world isn't only a new development. When we see cave paintings, we are seeing one of the most advanced and complex visual operating systems ever devised by our species. The makers of the work wanted to portray in the real world something they had in their head and make that information readable to others. It has lasted tens of thousands of years. With that in mind ...

Exercise: Build a Life Totem
Using any material on any surface, make or draw or render a four-foot-tall totem pole of your life. From this totem, we should be able to know something about you other than what you look like or how many siblings you have. Include anything you want: words, letters, maps, photos, objects, signs. This should take no longer than a week. After a week, it's finished. Period. Now show it to someone who does not know you well. Tell them only, "This is a totem pole of my life till now." That's all. It doesn't matter if they like it. Ask them to tell you what it means about your life. No clues. Listen to what they tell you.

Lesson 10: Find Your Own Voice
Then exaggerate it.
If someone says your work looks like someone else's and you should stop making it, I say don't stop doing it. Do it again. Do it 100 times or 1,000 times. Then ask an artist friend whom you trust if your work still looks too much like the other person's art. If it still looks too much like the other person's, try another path.

Imagine the horror Philip Guston must have felt when he followed his own voice and went from being a first-string Abstract Expressionist in the 1950s to painting clunky, cartoony figures smoking cigars, driving around in convertibles, and wearing KKK hoods! He was all but shunned for this. He followed his voice anyway. This work is now some of the most revered from the entire period. In your downtime ...

Exercise: An Archaeology
Make an index, family tree, chart, or diagram of your interests. All of them, everything: visual, physical, spiritual, sexual. Leisure time, hobbies, foods, buildings, airports, everything. Every book, movie, website, etc. The totality of this self-exposure may be daunting, scary. But your voice is here. This will become a resource and record to return to and add to for the rest of your life.

Lesson 11: Listen to the Crazy Voices in Your Head

I have my own sort of School of Athens in my head. A team of rivals, friends, famous people, influences dead and alive. They're all looking over my shoulder as I work; none of them are mean. All make observations, recommendations, etc. I use music a lot. I think, Okay, let's begin this piece with a real pow! Like Beethoven. Or the Barbara Kruger in my head says, Make this sentence short, punchy, declarative, aggressive. Led Zeppelin chimes in with, Try a hairy experiment here; let it all show. All the Sienese paintings I've ever seen beg me, Make it beautiful. D. H. Lawrence is pounding on the table, Alexander Pope is making me get a grip, Wallace Stevens listens to my language and recommends words, Whitman pushes me on, my inner Melville gets grandiose, and Proust drives me to make longer and longer sentences till they almost break, and my editor cuts these into eighths or edits them down to one. (Writers need editors. No exceptions.) These voices will always be there for when things get tough.

Lesson 12: Know What You Hate
It is probably you.
Exercise: Make a List of Art
Make a list of three artists whose work you despise. Make a list of five things about each artist that you do not like; be as specific as possible. Often there's something about what these artists do that you share. Really think about this.

Lesson 13: Scavenge

Life is your syllabus: Gather from everywhere.

Andy Warhol said, "I always like to work on ... things that were discarded, that everybody knew were no good." He also understood that "department stores will become museums," meaning that optical information can come from everywhere, even from a Celestial Seasonings package.

Originality did not conveniently die just in time for you and your generation to insist it no longer exists. You just have to find it. You can do this by looking for overlooked periods of art history, disliked and discredited styles, and forgotten ideas, images, and objects. Then work them into your own art 100 times or 1,000 times.
This is the fun part.
Lesson 14: Compare Cats and Dogs

Okay, this sounds ridiculous, but call your dog and it comes right over to you, placing its head in your lap, slobbering, wagging its tail: a miraculous direct communication with another species. Now call your cat. It might look up, twitch a bit, perhaps go over to the couch, rub against it, circle once, and lie down again. What am I saying?

In seeing how the cat reacted, you are seeing something very close to how artists communicate.

The cat is not interested in direct communication. The cat places a third thing between you and it and relates to you through this third thing. Cats communicate abstractly, indirectly. As Carol Bove says, "You don't just walk up to beauty and kiss her on the mouth!" Artists are cats. (And they can't be herded.)

Lesson 15: Understand That Art Is Not Just for Looking At
Art does something.
In the past 100 years or so, art has been reduced to being mainly something we look at in clean, white, well-lit art galleries and museums. Art has been limited this way, made a passive thing: another tourist attraction to see, take a picture in front of, and move on from.

But for almost its entire history, art has been a verb, something that does things to or for you, that makes things happen. Holy relics in churches all over the world are said to heal. Art has been carried into war; made to protect us, curse a neighbor, kill someone; been an aid in getting pregnant or preventing pregnancy. There are huge, beautiful, multicolored, intricately structured Navajo sand paintings used in ceremonies to ask the gods for assistance. The eyes painted on Egyptian sarcophagi are not there for us to see; they are there so the interred person can watch. The paintings inside the tombs were meant to be seen only by beings in the afterlife.

Have you ever cried in front of a work of art? Write down six things about it that made you cry. Tack the list to your studio wall. Those are magical abracadabras for you.

Lesson 16: Learn the Difference Between Subject Matter and Content
One of the most crucial lessons there is!
The subject matter of Francis Bacon's 1953 Study After Velázquez's Portrait of Pope Innocent X is a pope, a seated male in a transparent sort of box. That's it. The content might be a rebellion or an indictment of religion. It might be claustrophobia or hysteria or the madness of religion or civilization.

The subject matter of Michelangelo's David is a standing man with a sling. The content might be grace, beauty - he was just 17, if you know what I mean - pensiveness, physical awareness, timelessness, eternal things, a form of perfection, vulnerability. This content is High Renaissance. Bernini's David, made 120 years later, is Baroque - all action and drama.

When you look at art, make subject matter the first thing you see - and then stop seeing it.

Try to find the content in a painting by Robert Ryman, who has been making almost-all-white work since the 1950s. Ask what Ryman's (or any artist's) ideas are and what his relationship to paint is, to surface, to internal scale (meaning what size brushstrokes were used in the work), to color. What is white to Ryman? Note the date: 1960. Why would he make this painting then? Would this have looked like other art at the time? How would it have been different? Ask yourself what else was being made then. How is the work hung on the wall? Is it in a frame? Is the stretcher or surface thick, thin, close to the wall? How is this like or unlike other almost-monochrome works by Ellsworth Kelly, Barnett Newman, Agnes Martin, or Ad Reinhardt? Is the surface sensual or intellectual? Does the painter want you to see the work all at once or in parts? Are some parts more important than others? Is every part of the surface supposed to be equally important? What are the artist's ideas about craft and skill? Do you think this artist likes painting or is trying to paint against it? Is this anti-art? What is Ryman's relationship to materials, tools, mark-making? How do you think he made the work? How might it be original or innovative? Why should this be in a museum? Why should it not be in a museum? Would you want to live with it? Why or why not? Why do you imagine the painting is this size? Now try a Frida Kahlo.

Exercise: Compare These Eight Nudes
﻿Forget the subject matter - what is each of these paintings actually saying?

Lesson 17: See As Much As You Can

Critics see by standing back, getting close, stepping up and back; looking at a whole show, comparing one work to another; considering the artist's past work, assessing developments, repetitions, regressions, failures, lack of originality; etc.

Artists see very differently: They get very close to a work; they inspect every detail, its textures, materials, makeup; they touch it, look at the edges and around the back of the object.

What are the artists doing? They will say, "Seeing how it is made." I would say, "Stealing."

You can steal from anything. You should! You better! Bad art teaches you as much as good art. Maybe more! Great art is often the enemy of the good; it doesn't leave you enough room to steal.

Lesson 18: All Art Is Identity Art!

This is because it is made by somebody.

And don't worry about being "political" enough: Kazimir Malevich painted squares during World War I; Mark Rothko made fuzzy squares during World War II; Agnes Martin drew grids on canvas during the Vietnam War. All art is a confession, more or less oblique.

Artists who claim that art is supposed to be good for us need also to see that there are as many ways of art being "good for us" as there are works of art.

Lesson 19: All Art Was Once Contemporary Art

Never forget this, that all art was made by artists for and in reaction to their time. It will make you less cynical and closed off and more understanding and open to everything you ever see. Please do this! It applies to all of us.
A guide to the snake pit.
Lesson 20: Accept That You Will Likely Be Poor

Even though all we see of the art world these days are astronomical prices, glitz, glamour, and junkie-like behavior, remember that only one percent of one percent of one percent of all artists become rich off their artwork. You may feel overlooked, underrecognized, and underpaid. Too bad. Stop feeling sorry for yourself; that's not why you're doing this.

Lesson 21: Define Success

But be careful. Typical answers are money, happiness, freedom, "doing what I want," having a community of artists, having people see what I do.

But ... if you marry a rich person and have lots of money, would you be satisfied with just the money? Also, Subway sells a lot of sandwiches, but that doesn't make them good.

What about being "happy"? Don't be silly! A lot of successful people are unhappy. And a lot of happy people aren't successful. I'm "successful," and I'm confused, terrified, insecure, and foul all the time. Success and happiness live on different sides of the tracks.

Do you want the real definition of success? The best definition of success is time - the time to do your work.

How will you make time if you don't have money? You will work full time for a long time. You will be depressed because of this for a long time - resentful, frustrated, envious. I'm sorry, that's the way it is.

But you're a sneaky, resourceful artist! Soon you figure out a way to work only four days a week; you start to be a little less depressed. But then on Sunday night, you're depressed again, back on your ride-to-nowhere job that's still taking up too much of your time.

But you are really sneaky and resourceful; this is a life-and-death matter to you. Eventually - and this comes for fully 80 percent of the artists I have ever known - you scam a way to work an only-three-days-a-week job. You may work in a gallery; for an artist or a museum; as a teacher, an art critic, an art handler, a bookkeeper, a proofreader, whatever.

Now you aren't depressed anymore: You have time to make your work and hang out more; you are now the first measure of successful. Now get to work. Or quit being an artist.

Lesson 22: It Takes Only a Few People to Make a Career

Exactly how many? Let's count.

Dealers? You need only one dealer - someone who believes in you, supports you emotionally, pays you promptly, doesn't play too many mind games; who'll be honest with you about your crappy or great art, who does as much as possible to spread your work out there and try to make money from it, too. This dealer doesn't have to be in New York.

Collectors? You need only five or six collectors who will buy your work from time to time and over the years, who really get what you're up to, who are willing to go through the ups and downs, who don't say, "Make them like this. " Each of these six collectors might talk to six other collectors about your work. Even if you have only six collectors, that's enough for you to make enough money to have enough time to make your work.

Critics? It would be nice to have two or as many as three critics who seem to get what you're doing. It would be best if these critics were of your generation, not geezers like me.

Curators? It would be nice to have one or two curators of your generation or a little older who would put you in shows from time to time.

That's it! Twelve people. Surely your crappy art can fake out 12 stupid people! I've seen it done with only three or four supporters. I've seen it done with one!

In 1957, gallery owner Leo Castelli discovered Jasper Johns while visiting Robert Rauschenberg's studio. Castelli immediately offered Johns his first solo show. It was there that Alfred Barr, the founding director of New York's Museum of Modern Art, purchased three works. Additional works were bought by Philip Johnson and Burton and Emily Hall Tremaine. Before the show even went up, executive editor Thomas Hess put a Johns on the cover of ARTnews.

In 1993, Elizabeth Peyton's New York breakthrough was staged by dealer Gavin Brown in Room 828 of the Chelsea Hotel. Visitors asked for the key to the room at the front desk. They went upstairs, unlocked the door, and entered a small studio apartment facing 23rd Street. There they saw 21 small-to-medium-size black-and-white charcoal-and-ink drawings of dandies, Napoleon, Queen Elizabeth II, Ludwig II, and others. Any of the works could have been stolen; none were. Since then, Peyton has had museum shows all over the world; her works sell for close to a million dollars. According to the hotel ledger, only 38 people saw the show after the opening. It doesn't take much.

I can't sugarcoat this next part: Some people are better connected than others. They get to 12 faster. The art world is full of these privileged people. You can hate them. I do. It is unfair and unjust and still in operation around women and artists of color especially, not to mention artists over 40. This needs to change and be changed. By all of us.

Lesson 23: Learn to Write

When it comes to artist statements, Keep it simple, stupid.

Don't use art jargon; write in your own voice, write how you talk. Don't try to write smart. Keep your statement direct, clear, to the point. Don't oppose big concepts like "nature" and "culture." Don't use words like interrogate, reconceptualize, deconstruct, symbolize, transcendental, mystical, commodity culture, liminal space, or haptic. Don't quote Foucault, Deleuze, Derrida. Those guys are great. But don't quote them. Come up with your own theory. People who claim to hate or have no theory: That's your theory, you idiots!

Important things are hard to write about. That's the way it is. Deal with it. And if it's pretentious to say, don't say it.

Exercise: Artist's Statement
﻿Write a simple 100-to-150-word statement about your work; give it to someone who doesn't know your work. Have them tell you what they think your work looks like. Note the differences.

Two Tips:
( A) Don't make writing a big deal. Just write, you big baby! You already know how to write.

( B) Never just say, "You tell me what it is." That's pompous bullshit. When it comes to your work, you're the best authority there is.
Psychic strategies for dealing with the ugliness (inside and out).
Lesson 24: Artists Must Be Vampires

Stay up late every night with other artists around your age. Show up. Go to openings, events, parties, wherever there are more than two of your kind.

Artists must commune with their own kind all the time. There are no exceptions to this rule, even if you live "out in the woods." Preferably commune in person, but online is more than fine. It doesn't matter where you live: big city, small city, little town. You will fight and love together; you will develop new languages together and give each other comfort, conversation, and the strength to carry on. This is how you will change the world - and your art.

To protect yourselves, form small gangs. Protect one another no matter what; this gang will allow all of you to go out into and take over parts of the world. Argue, sleep with, love, hate, get sick of your fellow gang members. Whatever happens, you need one another - for now. Protect the weakest artist in your gang, because there are people in the gang who think you're the weak one.

Lesson 25: Learn to Deal With Rejection

In 1956, "after careful consideration," the Museum of Modern Art rejected a shoe drawing by Warhol that he had given to the museum. Monet was rejected for years from the Paris Salon exhibitions. The work of Manet and Courbet was rejected as scandalous, sensationalist, ugly. Manet's paintings were said to exhibit "inconceivable vulgarity." Manet didn't want to show with Cézanne because he thought he was vulgar.

Stephen King's most renowned and first book, Carrie, was rejected 30 times. King threw the first pages of the book out. His wife went through the trash, rescued them, and persuaded him to keep writing.

The Beatles were rejected by Decca Records, which believed "guitar groups are on the way out," and "the Beatles have no future in show business."

But don't just ignore criticism. Instead, keep your rejection letters; paste them to your wall. They are goads, things to prove wrong. You may be Ahab about these bad reviews, but don't get taken down by them; they don't define you.

Much trickier: Accept that every criticism can have a grain of truth to it, something you did that allowed this person to say what was said. You might be ahead of your time, but the person couldn't see it. Or maybe you're doing something that isn't up to snuff, that allowed them not to appreciate your work, or you haven't found a way to make your work speak to the people you want it to speak to. That's all on you.

In general, you must be open to critique but also develop an elephant skin. And remember that nothing anyone says to you about your work can be worse than the things you've already thought and said to yourself 100 times.

I always tell anyone criticizing me, "You could be right." It has a nice double edge that the person often never feels and that gives pleasure.

Lesson 26: Make an Enemy of Envy

Envy looks at others but blinds you.

It will eat you alive as an artist; you live in the service of it, always on the edge of a funk, dwelling on past slights, watching everything, always seeing what other people have, scanning for other artists who are mentioned instead of you. Envy erodes your inner mind, leaves less room for development and, most important, for honest self-criticism. Your imagination is taken up by what others have, rather than what you need to be doing in your own work to get what you want. From this fortress, everything that doesn't happen to you is blamed on something or someone else. You fancy yourself a modern van Gogh, a passed-over genius the world isn't ready for. You relinquish agency and responsibility. Your feelings of lack define you, make you sour, bitter, not loving, and mean.

Poor you. Too bad that all those other "bad artists" are getting shows and you're not. Too bad they're getting the articles, money, and love! Too bad they have a trust fund, went to better schools, married someone rich, are better looking, have thinner ankles, are more social, have better connections, or use their connections, networking skills, and education. Too bad you're shy.

A secret: Almost everyone in the art world is almost equally as bashful and skittish about putting themselves out there. I'm unable to attend seated dinners. We all do the best we can. But "poor me" isn't a way to make your work better, and you're out of the game if you don't show up. So grow a pair of whatever and get back to work!

Lesson 27: Having a Family Is Fine

There is an unwritten rule - especially for women in the art world - that having children is "bad for your career." This is idiotic.

Probably 90 percent of all artists have had children. These artists have mostly been men, and it wasn't bad for their careers. Of course, women were tasked almost exclusively with domesticity and child-rearing over the centuries, not permitted in schools and academies, not even allowed to draw the nude, let alone apprentice to or learn from artists. That is over.

Having children is not "bad" for your career. Having children means having less time or money or space. So what? Most children raised within the art world have amazing lives.

As artist Laurel Nakadate has observed, being a parent is already very much like being an artist. It means always lugging things around, living in chaos, doing things that are mysterious or impossible or scary. As with art, children can drive you crazy all day, make you wish all this could go away. Then in a single second, at any point, you are redeemed with a moment of intense, transformative love.
Jerry's cosmic epigrams.
Lesson 28: What You Don't Like Is As Important As What You Do Like

Don't say, "I hate figurative painting." You never know when you will see a so-called figurative painting that catches your attention. So don't be an art-world undertaker pronouncing mediums dead! "Painting is dead," "The novel is dead," "The author is dead," "Photography is dead," "History is dead." Nothing is dead!

Lesson 29: Art Is a Form of Knowing Yourself

Art is not optional, not decorative landscaping in front of the castle of civilization. It is no more or less important than philosophy, religion, economics, or psychology.

Lesson 30: "Artists do not own the meaning of their work." - Roberta Smith

Remember: anyone may use your art - any art - in any way that works for them. You may say your work is about diaspora, but others might see in it climate change or a nature study. Cool.

Lesson 31: All Art Is Subjective

What does this mean? We have consensus that certain artists are good, but you may look at a Rembrandt and find yourself thinking ... It's pretty brown. That's fine! It doesn't mean you're dumb.

It does mean that while there is one text for Hamlet, every person who sees the play sees a different Hamlet. Moreover, every time you see Hamlet, it is different. This is the case with almost all good art. It is always changing, and every time you see it anew, you think, How could I have missed that before? Now I finally see! Until the next time it rearranges your thinking.

This brings you into one of art's metaphysical quasar chambers: Art is a static, non-changing thing that is never the same.

Lesson 32: You Must Prize Vulnerability
Radical vulnerability.
What's that? It's following your work into its darkest corners and strangest manifestations, revealing things about yourself that you don't want to reveal until your work requires you to do this, and never failing in only mediocre or generic ways. We all contradict ourselves. We contain multitudes. You must be willing to fail flamboyantly, do things that seem silly and that might get you judged as a bad person.

Can you?

Lesson 33: Be Delusional

At three a.m., demons speak to all of us. I am old, and they still speak to me every night. And every day.

They tell you you're not good enough, didn't go to the right schools, are stupid, don't know how to draw, don't have enough money, aren't original; that what you do doesn't matter, and who cares, and you don't even know art history, and can't schmooze, and have a bad neck. They tell you that you're faking it, that other people see through you, that you're lazy, that you don't know what you're doing, and that you're just doing this to get attention or money.

I have one solution to turn away these demons: After beating yourself up for half an hour or so, stop and say out loud, "Yeah, but I'm a fucking genius."

You are, now. Art is for anyone, it just isn't for everyone. These rules are your tools. Now use them to go change the world. Get to work!
How to Be an Artist*This article appears in the November 26, 2018, issue of New York Magazine. Subscribe Now! by Jerry Saltz will be published March 17, 2020.

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Jerry Saltz's 33 Rules for Being an Artist

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Jerry Saltz on how to be an artist. New York magazine's art critic on his 33 rules to take you from clueless amateur to generational talent (or at least help you live life a little more creatively).

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Nikos Papadopoulos, George Katsanakis, Thanassis Krikis, Errikos Andreou, Hara Papanikolaou, Christos Kallaniotis, Athina Karakitsou, Nicolas Villiotis

SET DESIGN: Ali Gallagher, Andrew Ondrejcak, Danielle Selig, Elysia Belilove, Gille Mills, Griffin Frazen, James Lear, Jeffrey Miller, Jesse Nemeth, Lauren Nikrooz, Lizzie Lang, Matt Jackson, Randall Peacock, Rebekka Fellah, Ron Zakhar, WayOut Studio. FILM & PHOTO: Anton Esteban, Luis Sanchis, Michael Saint Onge, Peter Szollosi. COSTUME DESIGN & STYLING: Alpha, Kusi Kubi, Mindy Le Brock, Shabdiece. CASTING DIRECTION: Tallulah Bernard MUSIC Pour Le Sport, Rene Arsenault. MOVEMENT DIRECTION: Jay Neale. SPECIAL PROJECTS: Chris Mottalini

Studio 191, Bolade Banjo, Charlotte Cotton, Paul Graham, Alexandra Leese, Bryan Liston, Christian MacDonald, Harsh Patel, Jaime Perlman, Alexander Picon - Stylist / Consultant, Alessandra Sanguinetti, Nick Waplington, Jack Webb

Accessories, Beauty, Celebrity Portrait, Commercial Portrait, Conceptual, Cosmetic, Editorial Portrait, Fashion, Jewelry/Watches, Kids, Lifestyle, Lingerie/Swim, Still Life

Peter Lindbergh, Ellen Von Unwerth, Tom Munro, Miles Aldridge, Yelena Yemchuk, Richard Bush, Carlotta Manaigo, Eric Guillemain, Tania et Vincent,

PHOTOGRAPHERS: ALESSANDRO FURCHINO CAPRIA, BRUNA KAZINOTI, JAMES GILES, JAMES ROBJANT, JENS INGVARS, SON, KENT ANDREASEN, LUCA CAMPRI, MATTEO IMBRIANI, PAUL BARBERA, PHILIP GAY, RYAN BRABAZON, SKYE PARROTT, TUNG WALSH. ILLUSTRATORS: CHRIS EDSER, ELENA XAUSA, JAUME VILARDELL, JUDIT GARCÍA-TALAVERA, KARIN KELLNER, LU LU*, SAM BREWSTER, SARAH HANKINSON, SARAH MAZZETTI, SILVANA MARIANI, SPIROS HALARIS. FILM MAKERS: DANIELE TESTIMATTEO, CHERUBINO. STYLIST: LOTTA ASPENBERG, VANESSA COCCHIARO

Photographers: Alexis Armanet, Roberto Badin, Arthur Delloye, Inès Dieleman, Shelby Duncan, Ricardo Gomes, Doan Ly, Fred Meylan, Romain Sellier. Directors: Roberto Badin, Arthur Delloye, Inès Dieleman, Shelby Duncan, Fred Meylan, Romain Sellier. Stylists / Set designers: Vanessa Deutsch, Tania Rat-Patron. Creative Consultant: Alessandro Moriconi

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Listing of Photography Agents Worldwide - The Agent List

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Find architectural photographers worldwide. Search by location, or even keyword across our extensive listings.

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Justin Bastien Photographer and Director
Heidi: You seem to balance work and your outdoor adventure life well. What was the biggest
surprises within that balance?
Justin: Balancing work and everything else you love in life is always a challenge, especially if you are
a curious person who likes to learn, explore, and try new things. Luckily, I really enjoy my
work, and it often takes me to incredible places around the world, meeting the most
interesting people from all walks of life. I have always tried to live a passion-based life,
following my interests and trying to align those interests with my work. The great thing about
photography and filmmaking is that it's really endless in terms of where you can go with it.
What started out as a happy accident working with Patagonia years ago with my little 35mm
Yashica T4 point-and-shoot camera has really turned into an adventure of a lifetime. I never
would have imagined that I would get to go to every continent on Earth, explore remote
places where humans have never set foot, and take in all that beauty. The best part is actually
sharing the experiences through photography and films with others, hopefully inspiring people
and maybe making a small difference in the world in the process.
The biggest surprise to me has been that you actually can live a passion-based life. It's
certainly not an easy path. It might look glamorous on Instagram, but trust me, it is not. It's a
ton of work, filled with complete uncertainty at every turn and a huge learning curve with
endless ups and downs, but it's so worth it. I couldn't live any other way.

How did you get your start, or what was your biggest break?
I would say my start in photography was my biggest break. I was climbing almost full-time and
doing a wide variety of part-time jobs-geology, construction, web design, guiding, etc.-to
fund the next climbing trip. It was all about getting back out there to climb and see new
places. Work was just a means to an end. Along the way, I was fortunate enough to meet the
Photo Editor at Patagonia, Jane Sievert. She asked me to shoot photos on my climbing and
surfing trips. It was super low-key with no expectations. I would shoot these pretty bad
photos, and she would kindly review them, give me some encouraging feedback, and tell me
to keep shooting and working on certain things. Over time, she found a few photographs that
met her needs. It was a wonderful process, and I had no idea how lucky I was at the time and
how it would change my life. I am so grateful to her and Patagonia for leading me down this
incredible path.
From there, it was a long, slow road. I wasn't a professional photographer yet and had to work
really hard to figure out how to shoot better images and also learn about the business side of
things-all of which is a never-ending process. One thing led to another, and I started getting
some interesting jobs outside of the work with Patagonia: commercial and editorial photo
shoots, and working as a specialty operator on TV commercials, TV shows, and films. The work
was really wide in scope, with a lot of travel, which was a lot of fun. I generally got hired for
strange jobs that required special skills, such as climbing, diving, shooting in remote locations, or where they needed someone who could take on a lot of different roles, such as directing, DPing, shooting still photographs, and VR.

During your career, how many hats have you worn to get to your level?
I feel like I have worn every hat along the way, in one form or another, and continue to do so
to this day. I like to be involved in every aspect of the production and understand how it all
works. From technical capture and workflow to the business side of things, and most
importantly, the creative process. The more you know about each aspect of the process, the
better informed your decisions will be. I started out working by myself out of a backpack in
remote locations, so I had to know how to do everything. It's still like that on small jobs, but as
they scale up in size, I step back-way back.
On the big shoots, we have so many talented people who are really good at their specific
roles. Every person on set really elevates the quality of the work to the next level. At that
point, it's better to focus on the big picture and bring the vision to life. That usually means I am
just focusing on directing and shooting.

Do you shoot a range of big and small jobs?
Yes, I work on a variety of projects, from solo shoots to large-scale commercial productions with extensive crews, elaborate sets, and all kinds of equipment. I enjoy the opportunity to work across this broad spectrum of production scales. On smaller projects, where it is just me and the subject, the experience is rewarding because it allows me to form a genuine bond with the subject, discover their true selves, and capture those raw, authentic moments. On the other end of the scale, large projects are exhilarating because I'm surrounded by a ton of exceptional resources and talented individuals who collectively enhance the final product. It's incredibly satisfying to dream up concepts in the pre-production phase of the project and then see them magically come to life. Stepping onto a set and seeing a large, skilled crew in action, all dedicated to realizing the initial vision is always an awe-inspiring moment.

I value both working styles for the distinct benefits they offer. Each approach enriches my skills and informs my practice in the other context. Sometimes, going light and fast while with minimal gear, relying on my instincts, and capturing a fleeting moment is the right call. Yet, even when I have access to an array of equipment, such as lighting trucks, multiple camera units, and cranes, the true essence of my job is to capture the perfect shot. In contrast, working solo allows me to slow down, delve deeper into the craft, and prepare to capture that perfect moment.

This past spring was a prime example. I was out filming some climbing and snowboarding in the backcountry for a few days. We were camping in the snow, lugging around heavy camera equipment, trying to keep batteries warm, all while trying to find a great angle on this rock wall 3,000 feet across the snow-covered valley. It was filmmaking stripped down to the bare essentials. Immediately following that, I headed into directing a big commercial shoot for Chevy during the Major League Baseball season. Suddenly, I found myself on a set buzzing with 125 crew members, complete with stunts, performance drivers, and two camera units with incredible DPs leading each unit-a stark contrast to the huge packs we carried in the backcountry shoot a few days ago.

For location shoots, how are you tracking weather, and do you have two treatments you prep?
Absolutely, our primary challenge was attempting to shoot a spring/summer-themed commercial amidst an 'atmospheric river,' a massive rainstorm that became one of the most intense to hit California in decades. This is when our adaptability and problem-solving skills truly came into play. Thankfully, I was part of a team where everyone was not only good at what they did but also collaborated well under pressure.

We encountered a significant setback when mudslides rendered one of our key locations inaccessible. The spot was set in a picturesque valley encircled by mountains-a pivotal scene for the commercial that we had to get. During our lunch break, I had a stunt driver take me in a four-wheel-drive vehicle to survey the damage. The roads were covered in deep mud, and it was immediately obvious that we weren't going to make it up there. However, we're in the business of making the impossible possible. We found a ranch hand with a tractor who helped us clear a path so that a pared-down crew could make it up the road. We skipped lunch and pushed our way up the hill. In the meantime, we dispatched the second unit and assistant director to find an alternative location and worked tirelessly to clear the mud. We trimmed the crew down from 125 to only the most essential personnel, who, along with a single Art Director from the agency, barely squeezed into two 4×4 trucks. Time was tight, and we had a lot to accomplish, I wanted to make sure we didn't miss light the epic lighting conditions I knew we were going to get around dusk. Luck was on our side that day, and we managed to capture some fantastic footage.

However, our luck didn't hold the next day. The forecast warned of relentless rain throughout the day. Our location scout was on it, providing hourly weather updates, yet we had to brace ourselves for the possibility of filming in heavy rain.

That's exactly the scenario we faced on our last day, where the boards called for a sunny homecoming scene with a BBQ, and instead, we had a river falling from the sky. We put the cast under the front porch of the house to keep them dry, lit the scene to make it look like a sunny, summer day, and constructed a 60-foot plastic tunnel for the truck to drive through to the set. We planned to use VFX to replace the background plates and simulate reflections on the body of the truck.

We adapted, hustled, and made the most of the challenging conditions. The dedication of every crew member, going the extra mile during the five-day shoot, was crucial to our success. Viewing the final broadcast spot you wouldn't be able to tell that it was shot in a big downpour. And that is the magic of filmmaking!
https://vimeo.com/845713502

Who were your inspirations and mentors then and now?
I would say I am most inspired by the natural world and storytelling. I love how every place
and every person has such an interesting, unique story to be told. You can truly find art and
magic everywhere you look in the world. I think it's a matter of finding that inspiration all
around you.
My biggest mentor has been my mom, who was a Special Education Teacher for 35 years
and a multidisciplinary artist. She was always working on different projects from painting and
Ikebana to quilting and interior design. She really encouraged me to be creative, brave, and
free. As I mentioned earlier, Jane Sievert at Patagonia set me on this wonderful path. My
good friend Ken Merfeld, a photography instructor from the Art Center College of Design, is a
passionate artist with a wicked eye that constantly pushes me to challenge myself as an artist
and take my work to the next level. I am so grateful for all these people and many more who
have been such an important part of this never-ending journey.

The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I'll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I'm just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.

Today's featured artist: Andrei Duman
Organogenesis: Building Blocks of Life Andrei Duman x Nathan Sawaya Collaboration
Organogenesis as a concept was born out of my continued attempt to cope with my mother's fast progressing dementia. I struggled to comprehend the notion that her brain was gradually breaking down, almost piece by piece, brick by brick and I needed to create something to help me come to terms with it. LEGO® bricks, in their most basic form, are simple building blocks and found the juxtaposing analogy of what one can create with them fascinating to represent the imagery.

In scientific terms, Organogeneis is the series of organized integrated processes that transforms an amorphous mass of cells into a complete organ. But on a creative note, I hope this visual concept will help emphasize the fragility of the human body and how we always need to take better care of it. By aspiring to create what has become one of my most personal bodies of work, I partnered with LEGO® master builder Nathan Sawaya. The Organogeneis collection showcases 13 of the most integral human organs and the massive endeavor took 16 months to complete. In terms of physical scale, the skull organ alone is over 40" tall, uses over 36,000 bricks and weighs over 65lbs.
Nathan Sawaya - LEGO® Masterbuilder
"When I was approached by Andrei with his concept to work together on a project to showcase different elements of the human body, I was instantly excited and quickly realized it was something that had never been explored before. Andrei's understanding of how to work with color and his attention to detail made him a great collaborating partner and when his photography is combined with the actual LEGO® sculptures, I believe it makes for a truly unique project."
Andrei Duman x Recom Farmhouse Collaboration
This project was a massive undertaking and could not have been completed without the help of world-class post production house - Recom Farmhouse. From the very beginning, they were instrumental in the retouching work for the images as well as contributing to the joint effort of the creative direction of the LEGO® brick flows. They meticulously arranged them, at times brick by brick, into the unique fluid pattern one sees in the final images. Over 220 hours were spent across the team for this project, and I am beyond thrilled with the way they all turned out.
Andrei Duman x Phase One Collaboration
The project was very complex in nature and demanded the type of gear that would allow for the final images to feel almost lifelike. All images were captured on the world's most advanced camera system - the 151 mega pixel Phase One IQ4 which boasts unrivaled image quality and industry leading color accuracy. The Phase One provided me with that flexible workflow to achieve my creative vision, all in the highest resolution possible.

ART OF THE BRICK® Exhibition

Organogenesis: Building Blocks of Life will have its premiere at the famous Galerie Lafayette Montparnasse in Paris this coming November as part of of the ART OF THE BRICK® exhibition.

To see more of this project, click here
Instagram
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her at @ SuzanneSease. Instagram

By Craig Oppenheimer, Wonderful Machine

Concept: Lifestyle portraits of a celebrity interacting with products
Licensing: Exclusive Web Advertising and Collateral use of up to five images in perpetuity
Photographer: Portraiture specialist
Client: Food brand

Summary

I recently helped a photographer build an estimate and negotiate a project for a food brand client. We were presented with a creative brief depicting a celebrity interacting with products. The final use would primarily be for the client's website and the collateral materials would be used to promote a popular upcoming event. While they requested perpetual usage, it was clear that the images would have a shelf life of about one year considering the wardrobe the celebrity would be wearing and the products they'd be interacting with.

Here is the estimate:

Fees

Given the factors, I based the fee on $2,000 per image for five images and added $3,000 to account for the photographer's creative fee. We then added $500 for the photographer's tech/scout day, which was a bit lower than typical. But we were trying to come in slightly below a $70k bottom line based on intel received from the agency regarding the client's budget.

Crew

I included a producer to help coordinate the production, including their prep, scout, shoot, and wrap days. We also included two assistants (one of which would join the tech/scout day plus the shoot day), along with a digital tech and two production assistants (one of which would help with some prep work), all at rates that were appropriate for this particular market.

Styling

I included a food stylist for one prep day to buy groceries and prep recipes along with one shoot day to cook and style the food on set. We also added a budget for food/ingredients and equipment for their tools to cook on-site. The celebrity had a preferred hair/makeup stylist, and we included their day rate. The client planned to provide all of the wardrobe, however, we still needed a stylist on site to steam/prep the outfits. So we included a wardrobe stylist for just the shoot day. We also included a prop stylist and a prop assistant to procure a variety of dishes and utensils for the food, along with items to supplement the existing items at the location, and included a $1,500 budget for these items. Lastly, we added $750 to cover miscellaneous styling-related expenses as noted.

Locations

Prior to engaging with us for a proposal, the agency had a location in mind and had actually already reached out to them to do some preliminary research on pricing/availability. We included their findings that they dictated to us for location fees, permits, and location security (the location itself would provide the security). We also added a location scout/manager to visit the location to capture supplemental photos and to join our tech/scout and shoot to be our liaison with the location and help with logistics.

Vehicles

In addition to a van for equipment and/or local transportation, we also included a production RV for the shoot day.

Equipment

Based on the number of setups, we had a local equipment company provide a quote for the cameras, lighting, and grip, which we included along with the digital tech's workstation and production supplies (walkies, tables, chairs, coolers, etc.).

Meals

I based this on $75 per person for 25 people, to cover breakfast and lunch.

Misc.

I included $1,500 to cover some unforeseeable expenses, and to give us a bit of a buffer.

Post Production

I included $500 for the photographer to do an initial edit to provide the client content to select from and then included $450/image to retouch 5 images, noting that this included up to 2 hours per image. I included funds for hard drives as well.

Results

The photographer was awarded the project.

My go to answer:

You can search though these instagram posts as most people have described their typical shoot pricing.

You can also search these articles on my blog for examples:
https://aphotoeditor.com/category/pricing-negotiating/

You can hire @wonderfulmachine to help you

You can hire a consultant: https://aphotoeditor.com/2008/02/04/list-of-photography-consultants/

@blinkbid and @cradoc_fotosoftware fotoquote have software with pricing

You can ask your peers.

Founder + Creative Director:Thembi Hanify
Co-Founder+ Editor-in-Chief:Mariah Ernst

Heidi: You and your business partner launched Emocean in 2021, what makes this different from other surf print media?
Thembi Hanify: Emocean is different from other printed surf media because it's one of the few that is owned and published by women: myself (creative director) and Mariah (editor in chief). It's also one of the few surf mags that features a truly diverse range of people. There are a lot of male-dominated mags out there, and then there are a lot of women-only mags out there, so we felt the need to address this underserviced area where surfers of all different genders, backgrounds, and identities could be seen side by side. We also tend to approach the magazine through more of a human-focused or arts-tinged lens, as opposed to a super shreddy, core surf lens. I drew a lot of inspiration from fashion and culture magazines like i-D, The Gentlewoman, and Apartamento in thinking this up.

Will this themed quarterly magazine always centered around emotion? (Issue 01 Joy, 02 Rage 03 Connection 04 and 05 Fear?
The mag is published twice a year, and yes we will continue to have each issue center around an emotional theme. Spoiler alert: the theme of Issue 06 is 'love.'

You both have full-time jobs that intersect fashion, culture, and surf.
Why this labor of love for a print project? (which is not dead BTW)

I have always loved print since I was very very young. Big beautiful coffee table books, monthly mag subscriptions, you name it. In today's environment, we're bombarded with so many fragments of digital information online that I find it incredibly hard to really absorb any of it. Reading things online generally makes me feel scattered and on-edge. I find that reading a physical, printed object cultivates presence and allows me to slow down and truly pay attention. You really can't beat that feeling. Also I love the smell of print hahaha. In terms of values, Emocean encompasses the core values that are most important to me-diverse perspectives, relatability, empowerment, and creativity. It feels like these values are much needed in pushing mainstream surf culture forward, so I'm very passionate about what the magazine has to offer.

The Fear cover features a soulful tight portrait of Mario, the co-founder of @un.mar.de.colores. The cover breaks a historical tenant of portraiture: it lacks reciprocal eye contact but rather celebrates a co-existence. Was that a specific photo direction or did it unfold naturally?
Gala Slater (creative director of the shoot): Well it was really a combination of both things, a carefully planned portrait that I had envisioned using natural debris from the beach that we would find on the day, but the idea was always to have him looking direct camera. I felt drawn to each object we placed over his face, and as he lay there with his eyes closed while we were carefully arranging them, I felt a moment of calm and peace that led us to choose that moment to capture, eyes closed.

Thembi Hanify: As soon as I saw the image I knew it would be an amazing cover. We hadn't pre-planned that, but it was such a captivating image. The sense of ease and harmony the image gives off represents the flip-side of the coin so to speak of fear. I think with surfing, the goal sometimes is to harness the fear you feel into a harmonious kind of focus that allows you to be very present and zen-like.

I loved the intention behind the styling What was the premise of the feature on Mario?Un Mar De Colores, which translates to an ocean of colors. The styling team created pieces from found beach waste, thrifted items, and leftover materials from previous projects.
Gala Slater: The goal of the feature on Mario was not only to share the story of a person who is doing such incredible work within the surf community and to share his warm soul with the audience but to also visually represent him in a way that he hadn't been seen before. Mario had done shoots before for some of the bigger outdoors brands and I felt like I wanted to do something less expected, something more artful that married his beautiful exterior to the earth. It felt off to dress him in traditional 'fashion' and so I challenged Heather and Logan (both stylists & makers) to see what they could accomplish by using found/discarded materials to make custom pieces for Mario. These materials included metals, rubber, shells, plastic, fabrics, yarn, and more. The results were beautiful and combined with the beach as a backdrop the photos turned out better than I could have imagined.

How do photographers and writers get in touch with you?
We are always open for submissions! People can email us at info@emocean.surf to submit their work for consideration in upcoming issues.

Where can we pick up a copy?
You can order a copy of the mag and our special edition merch range on our website. We also have a bunch of stockists across America, and a few international ones in Europe, Indonesia, and Australia.

I suppose it's not a huge surprise per se, but the thing we've relished the most is the incredible network of people we've become connected with through publishing Emocean. I really see this magazine as a vessel for telling other people's stories, and were truly honored to be able to do that. Community is everything, and the community we've encountered and become a part of throughout this journey of independent publishing has been the most wonderful and invaluable thing of all. Now that you're almost 3 years old, what surprised you the most about this project and your creative growth?

- - - - - -

FEATURING CREATIVE DIRECTION AND CASTING BY PHOTOS by STYLING BY GROOMING by Mario Ordo GALA SLATER JULIEN SAGE HEATHER MELODY REST AND TERRI WALKER LOGAN NEITZEL

ñez-Calderó n REPRESENTED BY OTHER PEOPLES CHILDREN

I reached out to the Artists Management Association and this is the language they have shared with members (short and long).

1. Deliverables not approved for AI use and/or AI training

2. Unless explicitly stated in an invoice, licensee may not use the assets in connection with an immutable digital asset intended for sale, including but not limited to non-fungible tokens. All rights not expressly granted to the licensee are reserved to company and the copyright holder. No machine learning, AI, or biometric technology use. Unless explicitly authorized in the invoice, licensee may not use the asset (s) including any caption information, keywords, or other metadata associated with content) for any machine learning and / or artificial intelligence purposes, or for any technologies designed or intended for the identification of natural persons.

visit https://artistmanagementassociation.org to learn more.

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" Back to Jobs Listing
School of the Art Institute of Chicago

TENURE-TRACK ASSISTANT PROFESSOR POSITION IN PHOTOGRAPHY

Location: Chicago, IL
Posted: July 03, 2023
Application Deadline: October 01, 2023

Contact

School of the Art Institute of Chicago
saicteach@saic.edu
Chicago, IL, 60603
https://www.saic.edu/about/jobs-at-saic/faculty-positions/full-time-faculty-positions

PLEASE NOTE: All applications must be submitted via Slideroom (http://saicfaculty.slideroom.com/) in order to be fulluy considered.

The Department of Photography at the School of the Art Institute of Chicago (SAIC) invites applications for a full-time, tenure-track Assistant Professor position, beginning in August of 2024. Salary is competitive with peer institutions and commensurate with quality of practice, scholarship, academic research, extent of teaching experience, and current professional standing.

PROGRAM PROFILE
The Department of Photography offers over 60 courses each year with approximately 600 enrollments and 16-20 dedicated MFA students. It embraces a diverse philosophy towards the discipline, and seeks energetic and visionary practitioners actively engaged in extending the multiple traditions and emerging practices in the expanded field of contemporary photography.

Students use a broad range of media and methods with an emphasis on individual practice, research, and historical precedents. The Department prepares students to become independent, self-directed artists, scholars, and citizens. The department establishes a learning environment that values respectful questioning and creative subversion, facilitating the process by which our students become active participants in the transformation of material and intellectual culture. The School's interdisciplinary openness challenges each student to take responsibility for their own learning within and across the lines of traditional disciplines. Models of civic and social engagement set examples for students' guided construction of themselves as global citizens in a world of intensifying diversity.

The Department fosters a multidisciplinary, multicultural curriculum through self-initiated individual projects and active student participation in visual, aesthetic and intellectual research. Students are immersed in a culture of public critique of their own and others' creative work in an atmosphere of supportive challenge. We aspire to integrative, critical thinking, and the actions such thinking generates.

Further information about the Department of Photography can be found at: https://www.saic.edu/academics/departments/photography

RESPONSIBILITIES
Full-time faculty teach undergraduate and graduate level studio classes, seminars, and graduate tutorials within the interdisciplinary art and design school environment of SAIC. Full-time faculty members are expected to teach across the Photo curriculum, maintain active professional careers, and participate in the SAIC community through ongoing curricular development, departmental administration, and school governance.

QUALIFICATIONS
MFA or equivalent terminal degree preferred. A minimum of 3 years of college-level teaching experience is required. Candidates are expected to have an active studio practice and be accomplished artists. Successful candidates will have familiarity with all technical aspects of photography and a comprehensive knowledge of photographic history. Ideal candidates will also demonstrate an interest in the creative engagement of new and emerging themes in photography, including but not limited to, new collaborative practices, environmental justice, virtual and augmented reality, artificial intelligence, or any new form of practice that contributes to the expanded field.

Candidates should demonstrate the ability to teach theory and practice to undergraduate and graduate students within an interdisciplinary art and design context. Candidates must have an expansive understanding of contemporary approaches to the medium of photography, as well as knowledge of the conceptual and critical issues relevant to contemporary art and the future of the discipline of photography within the art world. The ideal candidate will contribute to the diversity of the School by bringing a perspective, way of thinking, and/or a unique set of experiences that expand the intellectual conversations and practices in the field. We seek candidates with the knowledge and aptitude to teach and mentor students from diverse backgrounds. Candidates should demonstrate their experience with, or aptitude for, departmental administration including developing curricular initiatives and strategic planning.

APPLICATION PROCEDURES
Applicants are encouraged to apply by September 1, 2023 for full consideration. Please submit application materials via http://SAICfaculty.slideroom.com. You will be asked to create an account after which time you may complete the application, which consists of fill-in fields and required documents to upload. You are encouraged to begin the application well before the priority deadline. Applications will not be accepted after October 1, 2023.

Complete the fields for: educational background; current position; and contact information for three professional references.

Please convert all word documents into PDFs before uploading. Required files to upload include:

● Cover letter stating your interests and qualifications
● Resume or curriculum vitae
● Diversity statement
● Artist statement
● Statement of teaching philosophy including details on how your teaching has supported the success of students from racial, ethnic, gender, and/or socio-economic backgrounds that are underrepresented in your academic field
● Sample syllabus for a 15-week studio course that would reflect your own interest in theory, research and/or studio practice
● A portfolio of creative work and support materials or other documents as appropriate

All applicants for this position must complete and sign a Prior Workplace Conduct Declaration (https://www.saic.edu/sites/default/files/Full-Time-Faculty-Candidate-Declaration-and-Release-Form-05-12-2023.pdf) as part of their initial application materials in order to be considered as a candidate and sign a release authorizing SAIC to conduct a misconduct reference check should the candidate ultimately be selected as a finalist for the position.

QUESTIONS
Questions regarding the School and its open positions, application procedures, or the search process may be emailed to saicteach@saic.edu. Please consult www.saic.edu for information on the School and its programs, or https://www.saic.edu/about/work-at-saic for open positions and application procedures.

ABOUT SAIC
A leader in educating artists, designers, and scholars since 1866, the School of the Art Institute of Chicago (SAIC) offers undergraduate, graduate, and post-baccalaureate programs to students from across the globe. Located in the heart of Chicago, the School is one of the largest and oldest private schools of art and design in the country with programs reflecting current practices in art. SAIC's educational philosophy is built upon a transdisciplinary approach to art and design that provides unparalleled opportunities for students to develop their creative and critical abilities with renowned faculty who are leading practitioners in their fields. SAIC's resources include the Art Institute of Chicago and its Modern Wing, and numerous special collections and programming venues that provide students with exceptional exhibitions, screenings, lectures, and performances. The campus is located on Chicago's magnificent lakefront amid the city's cultural and architectural treasures.

Degree tracks include the Bachelor of Fine Arts (BFA) in Studio; BFA with Emphasis in Art Education or Writing; BA degrees in Art History and Visual and Critical Studies; Master of Architecture; Master of Design (MDes) in Designed Objects; MDes in Fashion, Body, and Garment; MFA in Studio or Writing; MA degrees in Arts Administration; Art Education; Art History, Theory, and Criticism; Art Therapy; Teaching; Visual and Critical Studies; and a Master of Science in Historic Preservation.

Equal Opportunity Employer
The Art Institute of Chicago, including both the school and the museum, is committed to providing an inclusive and welcoming environment for its students, visitors, faculty, and staff, and to ensuring that educational and employment decisions are based on an individual's abilities and qualifications. The Art Institute of Chicago does not tolerate unlawful discrimination based on race, color, sex, religion, national origin, disability, age, sexual orientation, gender identity, military or former military status, or any other status protected by federal, state or local law, in its programs and activities, public accommodations or employment practices. The following individuals have been designated to handle inquiries regarding the non-discrimination policies:

Title IX Coordinator
Robert Babcock, 116 S. Michigan Ave., Suite 1200, Chicago, IL 60603, rbabco@artic.edu.
Section 504 Coordinator

Felice Dublon, PhD, Vice President and Dean of Student Affairs, The Office of Student Affairs, 36 S. Wabash Ave., Suite 1204, Chicago, IL 60603, 312.629.6800, fdublon@saic.edu.

For further information on notice of nondiscrimination, see the Office for Civil Rights Discrimination (https://ocrcas.ed.gov/) for the address and phone number of the office that serves your area, or call 800.421.3481.

REQUESTS FOR ACCOMMODATIONS
SAIC provides reasonable accommodations during the interview process for candidates with disabilities in adherence with the Americans with Disabilities Act. Should you need accommodation to participate in an interview, please contact Molly Roth Scranton, Associate Director of Faculty Affairs at mscranton@saic.edu.

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TENURE-TRACK ASSISTANT PROFESSOR POSITION IN PHOTOGRAPHY

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The Society for Photographic Education (SPE) is a national non-profit organization that seeks to promote a wider understanding of photography in all of its forms and to foster the development of its practice, teaching, scholarship and critical analysis.

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Power your portfolio with industry-recognized certifications for Photoshop, Illustrator, InDesign, Premiere Pro, After Effects, Animate, and Dreamweaver.

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Bicycle People

When I moved to Chicago I wouldn't have felt as at home if it hadn't been for bicycles. People find togetherness through music and art , and I don't dispute that they do, but bicycles did the same for me. These simple machines connect two or many places together. Cities or the wilderness open up beyond what is bipedally possible. People on opposite ends of the world, most will never meet, share and find solidarity in this sub-culture. For me, Africa and North America were joined. Johannesburg and Chicago connected because of a simple mechanical work horse.

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See my photography exhibition about bicycles and the people who ride them.

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Sweeney Boo is a comic artist, illustrator and writer who works with various publishers including BOOM! Studios, Archie Comics, Dark Horse, Dynamite, IDW, Marvel, Image Comics, DC Comics and more. She is also the author of graphic novels Eat, & Love Yourself, and Over My Dead Body and is the current artist on the Harley Quinn ongoing for DC Comics.

Represented by Britt Siess of Britt Siess Creative Management.

Clients:
Insomniac / Dynamite / EA Games / Dogu Publishing / Titan Comics / / Marvel Entertainment / IDW / DC Comics / Disney Publishing / Scholastic / Action Lab / A Wave Blue World / Archie Comics / Image Comics / Boom! Studios / Space Between Entertainment/ Warn Everyone Comics / Bliss Comics / Huion / Sakura Of America / Graphmaster / Hachette / Mad Cave / Harper Collins / XP Pen / Dark Horse / Imagine FX / Valiant / / Ankama

Interviews and features:
Newsarama / CBC / Art side of Life / Dan Ekis podcast / Previous World

Nominations:
- 2021 Joe Shuster - Cartoonist - Eat, and Love Yourself (Boom! Studios)
- 2020 Joe Shuster - Cover Artist
- 2020 Joe Shuster - THE DRAGON AWARD (COMICS FOR YOUNGER READERS) Marvel Action: Captain Marvel - Sam Maggs, Sweeney Boo (IDW Publishing/Marvel Comics)

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Sweeney Boo is a comic artist, illustrator and writer who works with various publishers including BOOM! Studios, Archie Comics, Dark Horse, Dynamite, IDW, Marvel, Image Comics, DC Comics and more. She is also the author of graphic novels Eat, & Love Yourself, and Over My Dead Body and is the current artist on the Harley Quinn ongoing for DC Comics.

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Lead Character Artist - Blizzard Entertainment

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Build an online photography website that showcases your work the way you want with Format. Start your free trial today. No credit card and no strings.

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10 Excellent Free Online Graphic Design Courses | Dribbble

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Learn graphic design with these 10 free online graphic design courses. Build your skills and jumpstart your graphic design career.

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Condé Nast is an equal opportunity employer. We evaluate qualified applicants without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, veteran status, age, familial status and other legally protected characteristics. Conde Nast is committed to working with and providing reasonable accommodations to individuals with disabilities.

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Monday - Alexander Hall / Walk-ins 9:30-11am / In-person appointment's 2-5pm

Tuesday - No Advising

Wednesday - Haymans / In-person appointment's 10-12pm / Walk-ins 2-5pm

Thursday - Graham Scott Building / Walk-ins 9-11:30 am / In-person appointment's 1:30-4pm

Friday - Virtual Appointments ONLY

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There are unlimited ways to build your online portfolio with Carbonmade. Here are just a few examples of what you can do with our layout blocks.

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Poppy Creative (poppycreativeagency.com)

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Mark & Graham
Chronicle Books
Pottery Barn
Better Homes & Gardens
Shutterfly
Rejuvenation
Restoration Hardware
Serena & Lily
Google
tinyprints
Sunset
west elm
Design Within Reach
Design Public
Lowe's
Vegamour
Z Gallerie
Sakara
AARP

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https://youtu.be/3_Fw6FAkAak?si=nihknUE25NpWdC4P

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Portfolio Dos and Don'ts with Ellen Su, Artistic Recruiter at Titmouse

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paige maccready

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photo | cosmicecilia