ABSTRACT
The project sequences, support materials, and general organization of the book are also important. They will assist in conveying the individual’s capabilities. “Do start with your strongest produced work. Do only show work that you feel confident about,” suggests Kitty Leech, who is on the faculty at New York University’s Tisch School of the Arts Drama Department. Kitty has reviewed hundreds of portfolios while chairing the Costume Design Exam Committee for the United Scenic Artists Local 829 (a committee she has served on since 1987) and also chairing the Young Master’s Award Committee for the Theatre Development Fund’s Irene Sharaff Awards. Kitty states that it is important to “be able to talk about the work from a number of different points of view: concepts, process, budget. . . . Do try to include a piece of promotional material (a program or flyer not reviews), as well as a minimum of one or two sketches and production photographs for each production being shown. Do show class projects, but at the end, not at the beginning of your presentation.” Donna Meester adds: “Organization, organization, organization! ‘Nuff said. Detail, detail, detail! More to say here. Good design relies on attention to detail. A portfolio is no different. Starting with the sketch, lettering should be neat, edges should not be ragged, pastels need to be fixed, etc. Sketches, swatches, research, etc., should be affixed to the page neatly when put in the portfolio. While many like to present their portfolio in chronological order, the reverse may be more effective. There is no rule saying that a portfolio needs to be in any type of chronological order. I like to see the strongest (and produced) work first and then move on to weaker projects. It is nice to end with a bang!”
