Are you interested in sound design? What about sound design Sony Playstation? Senior Sound Designer Marc Farly is coming to Cogswell College to share his experiences and background, then open the floor to give students a chance to have their real world questions answered. Don’t miss it!
Archive for the ‘Career’ Category
Former Cogswell Alumni Dean Sala, 52, has found success in the alternative energy industry. He is both the Founder and CEO of Suntactics, a company that specializes in producing portable Solar Chargers and Solar Panels. Dean’s company and products have been featured and covered by Forbes.com, Mother Earth News, NBC, ABC, CBS, The Mercury News and The San Francisco Chronicle. The following is an interview as it appeared in a November issue of the magazine Kiplinger, Personal Finances, and is credited to Patricia Mertz Esswein.
You worked in high tech?
Yes, for 23 years, 15 of them as a software engineer for Hewlett-Packard. In 2008, HP shut down my whole division, and I was out of a job. I didn’t see myself going back to software, so I returned to school to finish a second degree, in electrical engineering.
Solar power has interested me since I was a kid. When I returned so school, I teamed up with a partner to power a full size glider with solar energy. We worked on other projects, and in 2009 we formed a general partnership to focus on making a portable yet powerful solar panel to charge a phone. In 2010 my partner said, “I don’t think this is going to work,” and left amicably. Since then, I’ve developed three products that can charge devices with a USB connection. I have provisional patents on my designs, and I’ve sold almost 10,000 units, mostly via our website (www.suntactics.com) and Amazon.com. Our chargers range in price from $140 to $240. They’ll charge an iPhone in two hours or less in direct sunlight, as fast as a wall outlet. They’re popular with outdoors enthusiasts, among others.
You made the panels yourself at first?
The cheapest solar panel laminator I could find cost $50,000 and was full size. I needed a pint-size one. So I built my first one out of parts from a pizza oven that bought at Goodwill. I cranked out 2,000 panels in my garage.
Did you get any outside help?
To perfect my process, I picked the brains of a scientist and a couple of engineering PhDs. But in my previous career, I never saw the sales and marketing end, and now I was trying to run a business. So I appealed to Score [www.score.org a nonprofit group that mentors small businesses]. When I told them I couldn’t keep with with orders, that’s all they needed to hear. I have two counselors- one is an expert in manufacturing and the other in marketing. They helped me find a small manufacturer to produce more units under contract.
How did you finance your start up?
I took out a home-equity line of credit on my house and borrowed about $42,000. More recently, I got a line of credit that’s backed by the Small Business Administration.
Do you make a living?
In 2013, we did more than $500,000 in sales, and I paid myself about $65,000. That’s a lot less than the $100,000 I made at the peak of my career as a software engineer, but because I’m a sole proprietor I can write off a lot of stuff on my tax return.
Our next product will charge laptops. I’m gradually bringing production into my own facility because contracting it out is expensive. We need to get into retail outlets. Our products are sold in Batteries Plus stores, but it’s a struggle to get into sporting-goods and big-box stores.
Is your work rewarding?
I’d rather do this than anything else. My customers are my bosses, and I like to make them happy. Plus, I bought a company car: a Chevy Camaro that replaces the ’68 model I sold to go to college and the ’98 pickup I had been driving. It’s my dream car.
Dean’s story is proof that it’s never too late to go back to school or follow and pursue your dreams. All it takes is a bit of patience, hard work, and determination. Congratulations Dean!
After an hour and a half stuck in traffic on the way to Emeryville, California, a few misguided GPS turns while I was trying to follow my friend’s car, and a couple of mental debates asking myself if this was really still worth all of the effort, we pulled into Pixar’s parking lot. We were fortunate enough to be invited to an event hosted by Women in Animation, a group focused on the success of women in the field of animation. The group had arranged for Darla Anderson, a Producer at Pixar, to talk about her work and answer questions from the audience.
Darla K. has been the producer for films including Toy Story 3, Monsters Inc., and A Bug’s Life. She was even the inspiration for the name behind “Darla the Fish-Killer” in Finding Nemo, a prank that had been played on her by a co-worker during production.
The first 45 minutes were spent socializing and mixing with other members of Women in Animation. We met plenty of students from San Jose State, and some from the Art Academy of San Francisco while munching on hors d’oeuvres and sipping cocktails (huzzah!). At 7:00 pm, we were ushered into the auditorium.
From the beginning of her talk, it was clear Darla was an exceptional human being. She told us about her past, and her journey from a homeless teenager to a Pixar producer. It was evident from her personality that she never took no for an answer when it was something she wanted badly enough. She’d chased her dreams across California to San Francisco where Pixar had just started up and was undertaking a full-length animated film – a crazy feat in most people’s opinion. It took two years for her to finally get into Pixar, but once there, she worked up the ranks to land her first producer’s job on A Bug’s Life. Her talk was filled with humor and she spoke in high regard of the people she’d worked with over the course of her career, including Steve Jobs.
It was an amazing experience to hear one of the voices behind the films we all love today, and see the path she took to get to where she is now. It was also wonderful talking to so many other people who had the same passion for animation, and we all left Pixar inspired.
~ Sierra Gaston
Digital Art & Animation student at Cogswell College
Have you ever wanted to see an industry professional do an animation demo? Ever wonder how to develop your project? Cogswell College hosts Michal Makarewicz today to answer your questions and more.
Michal Makarewicz, Directing Animator at Pixar Studios and Instructor at Animation Collaborative, will provide an hour-long animation demo at Cogswell. Whether you are new to animation or more experienced, Michal offers tips and techniques for developing your animation project. The presentation is in partnership with Animation Collaborative – an organization that offers workshops throughout the year on various animation industry specialties.
Cogswell Presents: IGDA (International Game Developers Association) Meeting
Wednesday, November 12th
7:00 PM – 9:00 PM
The Silicon Valley chapter of the IGDA (International Game Developers Association) will be meeting on-campus at Cogswell on 11/12 in the Dragon’s Den at 7 pm. PlayPhone will demo integration of the Android SDK into a game and discuss why PlayPhone’s carrier gaming network is the essential addition to traditional publishing channels to maximize discovery, engagement and revenue.
More on PlayPhone:
PlayPhone is the world’s premier mobile social gaming network. Our social gaming platform enables mobile carriers to easily offer their customers a leading edge, personalized gaming experience with the most advanced social gaming features available today. PlayPhone reaches more than a billion mobile subscribers worldwide via game stores live on Verizon, Sprint, SingTel, Telkomsel, Vivo, Claro, TIM, Virgin Mobile, Mobily and Boost Mobile with more carriers coming soon. In addition, PlayPhone lets game developers launch games globally and access carrier billing for all game stores plus a complete toolbox of social and monetization features using a single integration SDK. PlayPhone’s Android, Unity and HTML5 SDK is less than 100KB and takes about an hour to integrate into games.
Additional sponsors: Five Leaf Clover, Mary-Margaret Network.
It was a video game enthusiast’s paradise. Screens and consoles decked every wall of (nearly) every room of the two story Old Mint building in San Francisco, all displaying demos of games to be released within the next year. There was a crowd gathered around each display, each person eager to get a chance at playing the game. I was attending with a few other friends from Cogswell, whose brains I could audibly hear exploding as they took in scenery and games around them.
The turnout of indie game developers was amazing. Day of the Devs was hosted by Double Fine, so they had a room full of their own soon-to-be-released games such as Costume Quest 2 and even a remastered version of Grim Fandango, but the rest of the building was filled with small studio games like Night In The Woods and Knight Squad (my personal favorites), Classroom Aquatic, Push Me Pull You, Spy Party, Ikarus, and Please Don’t, Spacedog. A few of the games were played with an Oculus Rift headset. There was even a swag shop full of t-shirts and books related to the games. Outside in the courtyard was a bar and a stage where live DJ’s played music, and games were actively played on a large screen by their developers.
It was enough to make any self-declared nerd hyperventilate. Being as there were a thousand in attendance, the excitement in the air was palpable. Within the first ten minutes, I was thrown a controller and fighting in an arena with five or six other well-seasoned game players. My first thought was along the line of panic, as I was sure I was going to get my butt kicked by people who definitely played more often than I did, but by the first game I was hooked and throwing other players to their deaths.
In the game Classroom Aquatic, one player wore Oculus Rift headgear and was plunged into an underwater school for dolphins. The character they played was a student diver who hadn’t studied for a test. As a result, the player is forced to cheat off of the neighboring students in the room. The trick was to avoid being caught by the teacher. The game effectively gave the player knots in their stomach, and was especially nerve-wracking when players were caught and scolded by the teacher.
Day of the Devs was amazing for one huge reason; EVERYONE there was in love with games, whether they were fans or developers. As a result, there was a feeling of common purpose and enthusiasm. We were all there for the same thing, and it was exciting to be in a place where people from inside the industry and out of it mixed together in a gaming paradise.
During the course of the evening, we got to talk to Double Fine creators, several other indie game makers, and even managed some networking with other people in the game industry! It was absolutely a beneficial experience, and it made the prospect of graduation and getting to work in the industry more tangible. I’m looking forward to next year with Day of the Devs!
Tuesday, November 11th
12:45 – 1:30
Do you find yourself starting projects that never get finished, or find yourself swimming in awesome ideas and never do anything with them? Come see Nye on Tuesday to learn how to…
Tips from the industry. How to go from idea to final film, or final game, or whatever you are building. A little bit of project management, a little bit of creative advice and a little bit about the business and how to get your work out there.
Nye Warburton is an animator, cartoonist, game designer and artist. His graduate thesis film, Magnetism, landed him in the Los Angeles animation industry in 2004. He spent a decade at studios like Electronic Arts, Sony Imageworks, Fox, Blur, Proof, Digital Domain and The Third Floor. He has worked on 30+ high budget films including Monster House, Thor, Battleship, Men in Black III and Oblivion. He has had development deals with Fox Animation and Comedy Central, as well working on several independently funded animation and game projects.
Mobile is here to stay, with its own set of rules and constraints. At the same time, it’s a rapidly evolving platform, with new technologies and capabilities being added by the quarter. We can’t design for mobile like we used to do for posters and Web pages. So what toolkit and mindset does a mobile designer need to thrive?
Challenges and Constraints
Every medium has its limitations. Even mobile—one of the richest canvases a designer can dream of—still has particularities that need to be addressed:
There are countless smartphone and tablet models out there, each one with a different screen size, pixel density, and physical input (not to mention screen orientations). This means we can’t just pre-assume an iPhone 5 screen-size and design tightly to it. In mobile Web, responsive design allows us to plan for variations and make the design adjust to different screens with little effort. In native mobile design there is less liquidity, so we need to think our designs as tolerant to screen differences, and document the way such variations impact the layout.
As of today, we have three major mobile operating systems to consider: Android, iOS, and Windows Phone, in order of usage. Every OS has its own set of interface patterns, external inputs, and guidelines, not to mention variations between OS versions as well. Within Android things are even more complex: the version of Android a device will use is going to be influenced by the device maker, which can overlay its own layer of UI on top of it, and the device itself and its processing capabilities (not to mention the upgrade delays imposed by some carrier companies).
Even if this fragmentation does not make the design vary too much, it does influence how users experience an OS and what they expect from it. Consider, for example, that the experience of Android that most users have is actually the TouchWiz or Sense interfaces.
Development and cost constraints
Just because we saw it in that cool new app the other day doesn’t mean that it can be easily implemented. The way we design an app can make the difference between meeting and missing a deadline. If we don’t clearly understand the cost of the design decisions we make, we are basically putting the burden on the developers and creating an opportunity for friction later on.
Things to Unlearn
Many of us have been trained as designers in an era where a digital mindset was still incipient. That has historically caused us to approach digital design from a static point of view (exporting HTML directly from Fireworks, anyone?), and the misalignments that result from this perspective are still being taught in design schools. With mobile design the gap is even wider, as mobile brings a language for which nearly all of our current tools and methods fall short. So it’s time to update our mindset.
Mobile is not a canvas
HTML isn’t a canvas either. You can’t just throw things at it like you’re designing a poster. I suspect that designing in Photoshop is not helping us in making the switch, because we have been using it to design posters and illustrations and retouch photos for more than two decades. We’re still “painting” our interfaces, when screen size fragmentation and the dynamic nature of mobile call for a different approach to design.
Stop thinking of screens and start thinking of transitions
We are just starting to realize that the “screens” approach doesn’t cut it when it comes to mobile design. Thanks to apps like Facebook Paper or Yahoo! Weather that showcase a different way of designing, we know we need to design based on transitions rather than still images.
Transitions, once just disposable eye-candy, are becoming the center of a mobile experience. They not only give a live, interactive tone to the interface: they are an interface element in their own right. Transitions convey movement, space, change, and hierarchy and are a great ally in communicating the underlying app structure to the user. They also render a static approach useless.
Put your designer ego aside
You don’t need to be unique or original, especially when being “unique” means redesigning a known interface pattern just for the sake of uniqueness. More often than not, sticking to native UI elements and patterns is the smartest move to get the app completed on time. Rather than pushing your designed-from-scratch set of UI controls, focus on creating a simple, effective interface and create branding that shines.
For inspiration, real apps are better than designer portfolio sites
Many designers go to the likes of Behance or Dribbble in search for inspiration for their next mobile project. While you will always find beautifully crafted artwork on such sites, if you are not a seasoned mobile designer, those mockups can be misleading. Many of them are just that—mockups that have never met reality, and they can bias your judgment toward believing that you must create an entirely customized UI every time.
Get inspired by real, successful apps. There you’ll find the designs that have made products thrive. Their interface patterns have been tried and tested in the real world, and you know for sure they can be replicated.
New Skills to Learn
Know the platform
Just as you need to understand HTML/CSS to be a good Web designer, you need to understand the underlying structure of mobile apps too, and they are totally different from Web pages. For instance, they don’t “flow” the content as HTML/CSS do, and that changes a lot the way we should think about the layout. You won’t have the magic of CSS inheritance (at least not nearly as polished and not out of the box) to separate markup from presentation. Oh, I almost forgot: there’s no “markup” either.
You will need to get into some documentation for developers, read the manuals and understand how mobile apps are assembled, compiled, and published. Understand how a mobile device works and which things drain the battery the most. You may even need to learn some code basics, which pays off in the long run: you’ll be able to learn the developer’s language and you will design with efficiency and feasibility in mind.
Know the nuts and bolts of mobile technologies
Here’s a laundry list to get you started: location services (Wi-Fi- and GPS-based), Bluetooth, Low-Energy Bluetooth, beacons, front and rear camera, microphone, gyroscope, accelerometer, vibrator, fingerprint scanner, eye tracking, voice recognition, face recognition, tap detection, and the list goes on and on. Every new technology opens the doors to a whole new breed of apps. Your responsibility as a designer is to be aware of the cutting-edge.
Discover how far you can get with native components
Native UI components actually give lots of freedom to customization efforts, but you need to know exactly how to use them. If you can do most of your UI with native controls with a few tweaks, you’ll save a great deal of the developer’s time, which they will be thankful for.
Know the mobile workflow
Learn about mobile SDKs, install them and get them to run. Learn about mobile frameworks, such as RubyMotion, Xamarin, or Titanium. Get familiar with IDEs, where the graphic assets are located within a mobile project, how they should be named, etc.
Learn mobile interface patterns
All three major mobile platforms have similarities and profound differences on how they understand mobile interaction design. Their users expect different things from them. As a mobile designer, you should be completely aware of these differences and able to detect them on the spot.
Don’t stick with a single mobile platform. Try all three, or at least use Android and iOS on a daily basis for at least 6 months each. I did it, and it’s great—you get insights from each platform you’ll never get with casual use or looking at screenshots. And switching is good: being a fanboy is bad for a mobile designer.
Document and explain your UI
Since screens don’t tell the whole story anymore, you will have to document different states, transitions, and animations as well as how the app reacts to data and to the environment. Annotate your mockups, provide animation examples, and plan for device orientation.
Embrace Lean UX in the design phase
A modern designer should be a strategic designer. So your goal, rather than just come up with something beautiful, is to infuse into the design everything the team has learned about the product. Prioritize rapid prototyping in order to get early insights of what the users want. Save the detailed artistic work for later. Ensure that everything that is designed is aligned with the core value proposal and with the users’ needs.
Embrace Agile UX when implementing
You can’t just hand your mockups to the developer and forget about it, as most of the graphic requirements will arise when developing. There will be always screens not previously considered, new transitions and state changes that require new graphic assets. You need to be there and respond in real-time. So bring your chair next to the developers and be ready to step into the design when needed. Make sure that the developers only have their mind in development and that they don’t have to make UX decisions to fill your gaps.
Some Extra Tips for Mobile Web
Be responsible with responsive
For mobile Web, responsive design is not the one-size-fits-all solution. In some cases it makes sense, in others it doesn’t. It’s your responsibility to know where mobile demands a dedicated solution and where a few responsive tweaks are enough to maintain a single code base. Even if you are designing for “traditional” Web, plan your layout so it adapts gracefully to different screen sizes. And mind asset sizes: that nice full-screen 1Mb background image can make your mobile visitors waste money in cellular data consumption.
Use CSS and JS candy with caution
Yes, CSS animations, gradients, transitions, and shadows are great and incredibly easy to implement. And parallax is neat, plus all the cool guys do it, right? But these elements can take a toll on a mobile device battery. The more “live” visual effects you pile up, the more sluggish the scrolling will feel and the more power it will consume.
Even innocent CSS3 selectors can impact performance on low-end devices. Prefer ID’s and classes when possible, and try to keep your descendant selectors low. So if you can go with #submit instead of .main .container .form > div .submit, it’s a good idea.
Use the Right Tools for the Job
This is not at all a definitive list, and you will find great alternatives for many of them, but these are some good tools suited for mobile design (some of them are free, most of them are Mac-only):
Sketch for graphic design and @2x hi-resolution export. This is arguably the heir of the now discontinued Adobe Fireworks, and it has been done with mobile in mind.
LiveView and Sketch Mirror (a companion for Sketch) for mirroring your screen to your phone. Things look and feel very differently in a device. You’ll be able to easily test the size of interaction areas and controls.
Origami (by Facebook) and Quartz Composer for mobile interaction and animation prototyping. This is the closest you can get to a native UI prototyping without coding, and will give you a good introduction of the kind of logical thinking that programmers use.
PaintCode for creating UIs and graphics and exporting them directly to Objective-C.
Mockup web software. There’re plenty: Balsamiq Mockups, Axure, UXPin, Moqups, Proto.io, just to name a few.
Flinto for creating mobile interactive mockups that can be installed in your iPhone, mimicking real apps (taking advantage of Safari’s Add to Home Screen feature).
ImageOptim for compressing your PNG and JPG files without loss of quality.
Version-control software, preferably Git or Mercurial. Commit your assets and changes directly to the repository and in real time, rather than e-mailing a ZIP to the developer.
All of this is Already Obsolete
Not really, but the pace of progress in mobile technology is incredibly rapid. In no time we will be faced with the challenge of designing for wearables, smart appliances, and sensors connected to our mobile apps. New challenges and innovations come out daily. So, if anything, being dynamic, flexible, and ever-curious as a designer is what will ensure you grab a seat in this roller coaster.
This article originally published at UX Magazine here.
But no matter what field you’re in, having a permanent link where people can access your work has other benefits, too. It’s standard practice these days for recruiters to Google candidates’ names to see what they can dig up—and when they do? Having a website that shows off the articles you’ve written, campaigns you’ve been part of, or other past work you’re particularly proud of is a very, very good thing.
In addition, an online portfolio allows you to easily collect all of your clips or work samples in one spot. When you need to pull together materials to showcase in an interview, you’ll be happy that everything is available and up-to-date. I’ve found my collection of clips that I keep on Tumblr to be a great way for others to see my latest articles all in one place and for me to assess the trends and topics that I cover best.
Of course, before you start throwing things up on a website, you’ll want to make sure that this micro-homepage is visually attractive and dynamic. There are plenty of platforms you can use (Cargo, DripBook, Krop, and Carbonmade are some of the best) but no matter which you choose, here are some tips to make sure that you convey the right message.
1. Get to the Point
Recruiters will usually make their hiring decision within the first minute of meeting you, and that same rule should apply for your online portfolio. From the second someone arrives on your page, you have to make sure he or she gets the best, most effective impression of you.
Besides having a clean, professional design, one of the easiest ways to do this is to have a single, compelling image to greet people at the top of your page. Even if you’re not adept at shooting a camera yourself, you can use a stock photo that will represent you well. Just make sure that your selection matches the industry in which you’re competing—for instance, if you’re a PR professional, you’ll want an image that shows activity and connectivity; if you’re a writer, something that uses words, letters, or writing tools.
No matter the industry, check out Curalate’s infographic for guidelines on which types of images work best: Images that are reddish-orange, for example, do better than images that are blue, and photos without people in them are shown to be more compelling.
2. Keep it Simple
During the interview process, you will have plenty of time to talk about your best projects and greatest achievements. On your online portfolio, though, you just want to whet people’s appetites. Think of it like an auction—you get to see the item in a catalog and fall in love with it beforehand. Then, during the live portion of the event, the auctioneer will give you more info about the object up for sale.
Sell yourself in this same way by telling the story with less on your portfolio. For example, include the front page of the brochure that you designed and created—not all 16 pages—or links to your top 10 articles, not top 100. Wait for a prospective employer to request the rest. It’s a good sign. And once someone is interested in your work, you will have plenty of time to give him or her more information.
3. Give Your Interviewers What They Want to See
Found the perfect job to apply to? Great. Don’t be afraid to adapt and adjust your portfolio from time to time, especially if you’re interviewing for a specific position.
Pay particular attention to the skills advertised in the job description, then use that information to help guide you on what to put front and center on your portfolio. For instance, if you’re interviewing with a healthcare company, make sure the work you’ve done for other healthcare clients is easily accessible—more so than say, your fashion, sports, and media work. It’ll be comforting for the interviewers to see your relevant experience in action, and it could even help them carve out their vision for what they want for theirs.
Like your resume, your cover letter, or anything else in your job hunt, your online portfolio should showcase what you have to offer in a concise, compelling, and interesting way. Keep these rules in mind, and you’re already one step ahead.
This article originally published at The Muse here