Portfolio is the important tool when artist apply for jobs. It represents us and create a first impression when we are not in front of HR. My ideal role in he animation industry is character design, which is also one of the most competitive positions. The interview with Chris Battle (2024) gives some useful tips about improving a portfolio as a character designer. I also learned from other artists in different animation departments. They have slightly different sights based on their positions, but there is some common knowledge from their experience.
Be Relevant and Selective
Almost every artist emphasised the importance of keeping a portfolio focused to the position being applied for. Ryan Lang (2024), a visual development artist, mentioned that it is acceptable to include a few works from different areas to show the understanding of the entire production process, but the majority of the portfolio should focus on the role you want most. For example, if applying for a character design position, the portfolio should not contain too much animation work.
This is a problem I found in my own portfolio. Students are encouraged to explore different things. Experimenting is a good way to expand our knowledge, but some of work may not good enough and cannot represent us. In my portfolio, I used to include as many skills as possible, such as printing, animation and illustration. However, I realised that showing too many unrelated works can weaken the focus of my portfolio.
Be various within the role
Once the direction of the portfolio is clear, it is important to demonstrate variety within that area. This does not conflict with keeping the portfolio focused. Artists often suggest having a variety of subject matter while maintaining a relevant theme (Ryan, 2024).
For example, character designers should show how their designs relate to the production and how animators might animate the characters (Animation Hustle, 2024). Chris Battle (2024) suggested presenting different versions of similar character types. Instead of designing only one type of little girl, artists can create characters with different personalities, styles, and appeals. This demonstrates creativity and flexible thinking.
Be engaging
A strong portfolio should also attract and engage viewers. Most artists recommend including around 10–15 carefully selected works and placing the best images at the beginning (Ryan,2024). Flashy artwork and layout can quickly capture people’s attention.
Understanding our audiences is the key. Sometimes the first person who review our portfolio may not come from an art background, so the work should still communicate ideas clearly and remain visually engaging.
Personally, I often struggle with balancing a consistent art style and showing diversity in my portfolio. I believe this balance sometimes depends on the direction and role we plan for the future career. It is helpful to check portfolios of artists from specific departments according to the position we want to apply for, as perspectives and expectations can vary across different departments.
Bibliography
ScreenSkills. Build your film and TV art portfolio. Available at: https://www.screenskills.com/starting-your-career/building-your-portfolio/build-your-art-portfolio/ (Accessed 26 May)
Animation Hustle (2024) How to make a CHARACTER DESIGN PORTFOLIO in 2024. 5 February. Available at: https://www.youtube.com/watch?v=H3wWUa9GVR4 (Accessed 26 May)
Animation Hustle (2024) Pixar Recruiter explains Common BEGINNER Portfolio Mistake. 16 February. Available at: https://www.youtube.com/watch?v=5EK1rFwLitU (Accessed 26 May)
LightBox Expo (2024) Dos and. Don’ts for an Animation Portfolio. 3 July. Available at: https://www.youtube.com/watch?v=TA6xRJD1Z-4 (Accessed 26 May)
DanielMtal (2022) DON’T MAKE THESE ANIMATION PORTFOLIO MISTAKES. 26 July. Available at: https://www.youtube.com/watch?v=yYdFbxyxiwE (Accessed 26 May)