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This useful text helps fashion designers prepare a portfolio as they begin their design careers. Drawing on over 25 years as a professor, Linda Tain -- illustrator, designer, and former owner of a sportswear company -- shows how to avoid the common pitfalls of inexperience. Over 300 illustrations, archival photos, and sketches by newcomers and top designers, including examples from recent award-winning portfolios, demonstrate diverse approaches to creating a stunning professional portfolio.

Tabla de contenidos provista por Syndetics

• Preface(p. xi)
• Acknowledgments(p. xv)
• 1 The Portfolio: A Statement of Style(p. 2)
• Material Selection and Technique(p. 4)
• Portfolio Cases(p. 6)
• Table 1.1 Portfolio/Presentation Cases(p. 7)
• 2 The Design Sketch: A History of Style(p. 10)
• 1900 Turn-of-the-Century(p. 14)
• 1916 Pre-World War I(p. 16)
• 1920s The Flapper(p. 18)
• 1930s The Great Depression(p. 20)
• 1940s World War II(p. 22)
• 1950s Fitted Silhouettes(p. 24)
• 1960s Fashion Revolution(p. 26)
• 1970s Length Options(p. 28)
• 1980s Power Dressing(p. 30)
• 1990s Retro Revisited(p. 32)
• 2000 and Beyond Individuality and Eclecticism(p. 34)
• 3 Customer Focus(p. 38)
• Focusing the Portfolio(p. 40)
• Sportswear Design Categories & Markets(p. 41)
• Trunk Shows(p. 42)
• Geographical Factors(p. 42)
• Learning from Retail(p. 43)
• Design Market Overview(p. 44)
• Couture(p. 44)
• Designer(p. 44)
• Young Designer(p. 45)
• Bridge/Better(p. 45)
• Contemporary(p. 45)
• Junior(p. 45)
• Upper Moderate/Lower Bridge(p. 46)
• Moderate(p. 46)
• Budget(p. 46)
• Private Label(p. 46)
• Mass Market(p. 47)
• Exercise: Customer Images(p. 48)
• Customer Profile: Executive Professional--Couture/Designer(p. 49)
• Customer Profile: Avant-Garde--Young Designer(p. 50)
• Customer Profile: Young Professional--Bridge(p. 51)
• Customer Profile: Working Woman--Moderate(p. 52)
• Customer Profile: Student--Junior--Contemporary(p. 53)
• Customer Profile: Student--Moderate(p. 54)
• Sample Customer Profile Form(p. 55)
• 4 Organization and Contents(p. 56)
• Traditional Fashion Portfolio(p. 58)
• What to Include(p. 59)
• Focus and Unity(p. 60)
• Highlighting Special Skills(p. 61)
• Size(p. 62)
• Variety(p. 63)
• Flow(p. 63)
• Dramatic Start/Finish Sequence(p. 63)
• Dramatic Start/Middle/Finish Sequence(p. 63)
• Knock-Their-Socks-Off Sequence(p. 64)
• Contents(p. 65)
• Intro Page(p. 65)
• Leave-Behind Piece(p. 66)
• Mood/Theme/Concept(p. 69)
• Fabric/Color(p. 70)
• Figure/Design Spreads(p. 72)
• Flats/Specs(p. 74)
• Fold-Out Presentations(p. 77)
• Miscellaneous Presentations(p. 78)
• Salon Book(p. 78)
• Mailer(p. 79)
• Design Journal(p. 80)
• Special Presentations(p. 80)
• Photographic Fashion Portfolio(p. 80)
• Press/Print Portfolio(p. 83)
• Specialty Portfolio(p. 84)
• Portfolio Evaluation(p. 85)
• Helpful Hints for Selecting Illustrations(p. 85)
• Exercise: Leave-Behind Pieces(p. 86)
• Evaluation Form(p. 88)
• Blank Portfolio Evaluation Form(p. 89)
• 5 The Design Journal(p. 90)
• Selecting and Using Your Design Journal(p. 92)
• Style and Size(p. 92)
• Thumbnail Sketches(p. 93)
• Using a Fashion Croquis(p. 94)
• Visuals(p. 98)
• Technique and Presentation(p. 99)
• Customizing a Presentation(p. 104)
• Exercise: Customer Vision Croquis Book(p. 104)
• Exercise: Polished Design Journal(p. 106)
• 6 Presentation Formats(p. 112)
• Getting Started(p. 114)
• Format Specifics(p. 116)
• Orientation(p. 117)
• Page Relationship(p. 118)
• Flat Formats(p. 118)
• Figure Composition(p. 119)
• Figure Formats(p. 122)
• Single-Figure Formats(p. 123)
• Double-Figure Formats(p. 124)
• Triple- or Multiple-Figure Formats(p. 127)
• Exercise: Double- or Multiple-Figure Compositions(p. 129)
• Cropped-Figure Formats(p. 132)
• Mood/Theme Formats(p. 133)
• Fabric/Color Formats(p. 134)
• Fold-Out Formats(p. 135)
• Customized Presentations(p. 135)
• Helpful Hints(p. 139)
• 7 Flats and Specs(p. 140)
• Flat Sketching Techniques(p. 145)
• Recommended Supplies(p. 145)
• Exercise I Improving Line Quality(p. 145)
• Exercise II Practicing Curves(p. 146)
• Creating Flats(p. 147)
• Developing Flats from a Croquis(p. 148)
• Developing Flats from the Silhouettes(p. 153)
• Intimate Apparel Silhouette(p. 155)
• Drawing a Knit Flat(p. 157)
• Developing Flats from a Library(p. 158)
• Freehand Flat Sketching(p. 164)
• Presentation or Illustrative Flats(p. 166)
• Production Flats(p. 167)
• Helpful Hints for Illustrations(p. 168)
• Measuring Specifications(p. 171)
• General Method(p. 172)
• Measuring for Tops(p. 173)
• Measuring for Skirts(p. 177)
• Measurements for Pants/Shorts(p. 179)
• Measurements for Dresses(p. 183)
• 8 Presentation Boards(p. 184)
• Types of Boards(p. 187)
• Concept Boards(p. 187)
• Product Development(p. 188)
• Forecast and Fiber Services(p. 189)
• Planning the Presentation(p. 190)
• Purpose(p. 190)
• Focus(p. 190)
• Quantity(p. 191)
• Art Supplies(p. 192)
• Visual Elements(p. 194)
• Photos/Photocopies(p. 194)
• Fabrics/Trims(p. 194)
• Sketches(p. 195)
• Layout(p. 197)
• Techniques and Technologies(p. 197)
• Labeling(p. 198)
• Computer Design(p. 198)
• Color Copier(p. 198)
• Handwork(p. 198)
• Creating Dimension(p. 198)
• Velcro(p. 199)
• Reproducing the Board(p. 199)
• Exercise 1 "Five Easy Pieces"--Single-Board Presentation(p. 199)
• Exercise 2 "Art Inspires Design"--Double-Board Presentation(p. 205)
• 9 Men's Wear Presentation(p. 210)
• The Men's Wear Portfolio(p. 216)
• Color Sense/Palette(p. 217)
• Presentation Boards(p. 219)
• Flats(p. 220)
• 10 Children's Wear Presentation(p. 226)
• Defining Age and Gender(p. 229)
• Infants(p. 230)
• Toddlers(p. 230)
• Children(p. 230)
• Girls(p. 230)
• Pre-Teens/Tweens(p. 231)
• Juniors(p. 231)
• Trends and Inspiration(p. 231)
• Historical Inspiration(p. 232)
• Ethnic Inspiration(p. 233)
• Children's Literature(p. 233)
• Character Licensing(p. 233)
• Fabric and Trim(p. 233)
• Exercise: Character Licensing in a Specialty Area(p. 236)
• Specialty Areas(p. 236)
• Infants' Wear(p. 236)
• Toddlers/Boys and Girls(p. 237)
• Sportswear(p. 237)
• Dresses(p. 237)
• Sleepwear and Lingerie(p. 237)
• Outerwear(p. 237)
• The Children's Wear Portfolio(p. 238)
• Size and Orientation(p. 238)
• Contents and Organization(p. 238)
• Portfolio Formats and Presentation Boards(p. 238)
• Flats(p. 239)
• Traditional Fabrications(p. 242)
• Theme Orientation(p. 244)
• Sportswear Coordination(p. 244)
• Stylizing the Sketch(p. 245)
• 11 Fashion Accessories Presentations(p. 246)
• Category Specifics(p. 251)
• Exercise: Designing Accessories to Coordinate with Apparel(p. 254)
• Presentation Boards(p. 254)
• Specialized Presentations(p. 258)
• 12 The Computer as a Design Tool(p. 260)
• Developing Concepts/Storing Information(p. 263)
• Raster/Pixel Paint Programs(p. 266)
• Color Manipulation(p. 269)
• Vector/Object-Oriented Programs(p. 270)
• Presentation Drawings(p. 272)
• Applications and Equipment(p. 273)
• A Glossary of Computer Components(p. 276)
• Suggested Readings(p. 277)
• 13 The Digital Portfolio: Creating a Virtual Resume(p. 278)
• What Is a Digital Portfolio?(p. 280)
• Getting Started(p. 282)
• What Are Graphics Programs?(p. 284)
• Vector-Based Software(p. 285)
• Raster-Based Software(p. 286)
• What Are Peripherals?(p. 288)
• The Web(p. 290)
• Suggested References(p. 291)
• 14 The Job Market: Basic Organization of Manufacturing Firms(p. 292)
• Company Organization(p. 294)
• Management(p. 294)
• Merchandising(p. 295)
• Fabric Research and Resourcing(p. 295)
• Production(p. 296)
• Sales(p. 296)
• Job Descriptions in the Fashion Design Industry(p. 297)
• Vice President of Merchandising/Design(p. 298)
• Associate Merchandiser(p. 298)
• Assistant Merchandiser(p. 298)
• Design Director/Head Designer(p. 298)
• Designer(p. 298)
• Associate Designer(p. 299)
• Assistant Designer(p. 299)
• Colorist(p. 299)
• Technical Designer/Spec-Tech(p. 299)
• CAD Operator/Designer(p. 300)
• Exercise: The Markdown Assignment(p. 300)
• Sample Form(p. 302)
• Markdown Log Sheet(p. 303)
• 15 Resume and Cover Letter(p. 304)
• Resume Preparation(p. 306)
• Paper(p. 307)
• Fonts and Layout(p. 307)
• Resume Styles(p. 308)
• Chronological Resumes(p. 308)
• Functional Resumes(p. 310)
• General Information to Include in Your Resume(p. 312)
• Finessing Your Resume(p. 313)
• Table 15.1 Action Verbs(p. 314)
• Helpful Hints for Resume(p. 315)
• Resume Strategies(p. 315)
• The Cover Letter(p. 316)
• Sample Cover Letter(p. 317)
• 16 Organizing Your Job Hunt, Mastering the Interview(p. 320)
• Getting Started(p. 322)
• Get Organized(p. 322)
• Informational Interviewing(p. 322)
• Job Search Work Log(p. 323)
• Sample Exploratory Meeting Letter(p. 324)
• Preparing for a Job Interview(p. 325)
• Arranging Interviews(p. 326)
• Preliminary Research(p. 326)
• Sample Advertised Job Response Letter(p. 327)
• The Interview(p. 329)
• What to Wear(p. 329)
• Helpful Hints for Grooming(p. 329)
• Exercise: Dress for Success(p. 330)
• Time Management(p. 331)
• Presenting Yourself(p. 332)
• Presenting Your Portfolio(p. 332)
• General Tips(p. 333)
• After the Interview(p. 334)
• Salary Negotiation(p. 334)
• Sample Thank-You Note(p. 335)
• The Three Phases of Negotiation(p. 336)
• Analysis(p. 336)
• Planning(p. 336)
• Discussion(p. 336)
• Helpful Hints for Negotiating(p. 337)
• 17 Freelance Designing(p. 338)
• Beth Clancy(p. 340)
• Kien Chu(p. 345)
• Dearrick Knupp(p. 350)
• Renaldo Barnette(p. 356)
• Helpful Hints for Freelancing(p. 362)
• Sample Invoice Letter(p. 363)
• 18 The First Job: Building Your Career(p. 364)
• On-the-Job Survival(p. 366)
• Employer/Employee Relationships(p. 368)
• Making It Work(p. 370)
• Glossary of Frequently Used Apparel Manufacturing Terms(p. 371)
• Apparel Terms(p. 371)
• Manufacturing Terms(p. 372)
• Textile Terms(p. 373)
• Appendix A Fashion Information Resources(p. 375)
• Fashion Forecast Services(p. 375)
• Color Services(p. 375)
• American Fiber Councils and Libraries(p. 376)
• Fabric/Color Shows(p. 376)
• Costume Collections(p. 376)
• Resource Directories(p. 376)
• Trade Publications(p. 376)
• Fashion Magazines(p. 376)
• Web sites(p. 377)
• Appendix B Art Supplies for Fashion Designers(p. 378)
• Art Supplies for Presentation Boards(p. 380)
• Art Supply Sources(p. 382)