The portfolio, simply put, is a carrying case or presentation case containing your ideas. Employers in the advertising industry want to see that you know how to sell a product-- that you're an advertising thinker . If you mention in your resume a project or campaign you worked on, you should be proud enough to show it and prove it.

Even if you are not interested in art direction or copywriting, you should still put together your best pieces that show you are an advertising thinker. If you are interested in media, show how your media plan fit with the overall advertising strategy. It's not inappropriate to show in your book that you have added skills, but only put those items in that are truly creative and well-designed. The best way to express your abilities is in a campaign format.

Typical Questions Regarding Portfolios

Q. What products should be represented in my portfolio? Should I work on a variety of accounts?

A. People judging your book are looking for quality ideas and craftsmanship. Showing that you can work on a variety of products is a wise thing to do. But keep in mind that most people will go over the book and consider the degree of difficulty you set for yourself in problem solving, so don't pick products that already have successful campaigns. Another suggestion is to stay away from "image" advertising.

A. Ads that come from the heart of the creator--an ad that really speaks to your audience. Ads that use humor that works. Ads that are founded from an original idea. Ads that are well-crafted.

Don't include ads that use pun headlines. The inappropriate use of celebrity endorsements. Ads that are truly not creative. Ads that contain vulgar or politically incorrect advertising. Sloppy ads. And don't fill your book with class assignments. If you did one or two that you felt were truly exceptional, than clean them up and put them in. Otherwise, don't expect that what you did for class is really going to fly in the "real world."

A. To be an art director you must have some technical education. You must have mastered some basic art skills. Your book should demonstrate that you are able to do mechanicals, and that you understand type and advertising layout and design. Include one or two tight comps. The rest should be finished ads--that means they look ready to go to press. If you can afford it, find someone who will put your ads together for you.

In terms of ads, art directors will be critiqued on their ideas, campaigns, and headlines--yes, art directors have to be able to write headlines. If you have copy skills that can be a real bonus.

A. Although a copywriter is not expected to draw, it is important that your book be neat. Of course, if you can draw that can be a real bonus. As a writer, your goals are big ideas and great words. As with art directors, smart and gutsy applies to you as well. Take some risks. Each ad in your campaign should have a new headline. Each word in each headline should be well-chosen, and grammar and spelling count. Body copy is also important and should be well-crafted. Be sure to include at least one, well-developed, long copy ad.

A. For your book, three ads per campaign is generally enough, but that's not a rule. Of course, two good ads is better than two good ads and one bad ad. The point is that it isn't the number of ads in the book, or the number of campaigns in the book, it's the consistency and quality of your ideas.

A. There is no one answer to this question, although a general rule is 10 to 18. That number should break down to about three or four campaigns--about three ads per campaign--and maybe a few one-shot ideas. As for order, put your best foot (ad) forward first and end with an equally impressive one.

A. Storyboards should only be included if they are part of a campaign, and even then it should only be included if it is relevant and really makes your campaign concept come alive. To cut down on storyboard size, eliminate visual and camera cues--what's most important is the concept and the words.

A. If you're a writer, and especially good with dialogue, a script can demonstrate your ability. However, do not bring a tape.

A. For writers it is acceptable to cut pictures out of magazines to use as visuals. You may also wish to hire a budding artist to sketch comps for you. Of course, all copywriters should be computer literate and therefore all type should be computer generated. As always, your objective is to make your ads as clean and communicative as you possibly can.

A. It is important that you be scrupulously honest about what part you played in the creation of each ad that you include in your book. The same rule applies if you hired someone to draw or write and that person contributed to your idea. Honesty counts. Big time.

A. If it's a good ad a creative director should be able to guess the strategy, so don't include it. Also, don't include campaign books in your portfolio. If you feel that an employer may want to see more details, carry it in a separate case.

A. Putting in a few samples shows that you're well-rounded and talented, but don't weigh the book too heavily with non-advertising material. If you are undecided about possible careers, you definitely need two books.

A. You want to have your presentation as easy to "access" as possible. Most people do not have slide projectors in their offices. The best way to show them is in a plastic slide page. If an employer is really impressed with your book he or she may wish to review your slides. The same rule applies to portfolios on CD-ROM or Syquest Drive.

A. Just as an art director can put in slides and some design and photography pieces, a copywriter can add non-advertising writing. If you've written a very short, short story you can tuck it into your book. As far as poetry, newspaper articles, and other kinds of writing are concerned, use your judgment.

A. No more than one or two. Remember, coming up for new product ideas is the least of what a creative person does. Of course, if you do come up with a new product idea, be reasonable. Products you "invent" should be ones where the technology is already in existence or at least, feasible.

A. No and no. You are only setting yourself up for trouble if you put in ads that are there for a specific reason rather than showing the best ads you can do.

A. Leaving books is a fact of life so be sure and remember that when planning your interviewing schedule. You should typically allow two days before returning to pick it up. An alternative solution is to prepare several color copy leave behinds for just that purpose.

A. If you feel or are told you're not going to be considered for the job, go ahead and ask for opinions and advice. The worst they can say is no.

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