The Epic Portfolio Post

Whenever people ask me "Where to start?" my eyes get really big. *audible gulp.* It's not
that I don't know the answer - it's that there are soooooooo many answers, and the answers themselves lead to more questions... and even more answers.

The quick and easy answer is - To get a job as a creative (copywriter, art director or designer) in advertising, you need a portfolio to demonstrate your skills and understanding of the industry.

Yeah, that wasn't so quick was it?

So now we get to a whole bunch of follow up questions: What is a portfolio? Then, how do you get a portfolio? Then, what do you do once you have a portfolio? How do you get a job? How do you keep a job? (Thankfully, there are blogs like this that are here to help. Whew.) 

Here's a collection of just about everything I've ever written about portfolios. (1. Holy crap I've written a lot. 2. Holy crap there's so much I haven't mentioned yet.) 

(Just About) Everything You Need to Know About Your Portfolio

1. First things first:

Watch the movie Art & Copy and this video Pursuit of Passion.

2. Things to know before you get started: 

What is a Creative? Quick overview of what a creative is and does.

So You Wanna Be A Creative Director?: Tough love and 6 things you need to do right now.

Tips For Aspiring Copywriter & Art Directors: Basic explanation of the whos and hows of working in an agency, plus 5 tips to get hired at one.

3. What is a portfolio? (aka "Book") 

Your Portfolio: General tips about what your portfolio should look like and contain.

What Exactly Do You Mean By "Portfolio"?: Breakdown of what a portfolio/book is and what to put in it.

Tips On Putting Your Portfolio Together: Tips for copywriters, art directors and developers

What Your Portfolio Says About You: 5 things to do to make sure your portfolio is top notch.

4. What To Put In Your Portfolio:

What I Look For In A Book: 3 Things this blogger looks for in a book.

Make Somebody Cry: Why you should make people react.

Beef Up Your Book: Why you should have a non-advertising section on your site

Make Something People Need: Come up with an idea that solves a problem

New Ads for old things: Do a campaign for an old product

Make a PSA Today: Create a public service announcement

Change The World or a Law: Advertise for/against a cause or law 

5. What Not To Put In Your Portfolio: 

What Not To Put In Your Book: Quick answer: Anything you can't say "I came up with this" or "I wrote/art directed that" about.

Don't Benetton Your Book: Why you should be very, very cautious about using edgy humour

Sex Sells:  Don't put anything sexual or tawdry in your book.

Nike Doesn't Need More Ads: Why you should create ads for brands that create amazing ads and ways you can show your talent by the brands you have in your book.

Things to Stop Doing. Immediately: A few things to take out (never put in) your portfolio.


6. Notes On Your Portfolio 

Is Your Campaign Awesome or Awful? Flowchart (and checklist) to help you judge whether your idea is good and has all the elements of a campaign.

Here's an Idea - Keep It Simple: You should be able to explain your idea in 140 characters or less.

How To Train Ideas: E-book about brainstorming with tips, examples and advice.

Is Your Idea Big Enough: An example of a big idea.

Respect the Brand: Show you understand a brand's personality, tone and image.

Using Pop Culture In Your Book: Tips and examples of how/when to use pop culture references in your work.

What the big wigs think about your book: Some of the things young creatives do & don't do

Common Portfolio Review Mistakes: 5 mistakes juniors make when having their book reviewed.

Your Book Will Never Be Finished: 5 Tips about getting through the never-ending creative cycle

7. What are Portfolio Schools (aka Ad School) & Should You Go?

Where For Art Thou Portfolio: Pros & Cons

Portfolio School, Fool: List of a few schools

Portfolio School or Not to Portfolio School? 8 Reasons you should go to portfolio school

What is Portfolio School Like?: 10 things you'll do in portfolio school

How to Apply to Portfolio School: Interview of 3 admission staff at 3 different portfolio schools.

Two Creatives On Portfolio School: Interview of two creatives who did go to portfolio school

Creatives Who Made Their Own Way: Interview of two creatives that didn't go to portfolio school share their journey

What You Won't Learn In Ad School: 6 things they didn't tell you in school

School vs Work: What I Learned My 1st Year Out: 5 things she didn't learn in school and 5 things she did.

8. And lastly, don't say I didn't warn you 

But Are You Really Ready To Work?: It's going to take a lot of hard work

Don't Get A Job In Advertising: Some of the most difficult parts of working in advertising

Portfolio School or Not to Portfolio School?

By Tintin44 - Sylvain Masson

That is the question.

My answer is yes, go to portfolio school. But I agree that's not the answer or an option for everyone.

Truth be told, I'll be paying my student loans back for another 100-150 years. I'm okay with that though, because this is America and education is expensive. I signed up for that when I moved here.
Plus, even President Obama had student loan debt. I consider myself in good company.

Outside of money, I can't think of a good reason not to go to portfolio school.

It's a 2 year boot camp program that whips you into creative shape. When I look at my book before I went into portfolio school vs after - wow. I remember when I was going into my 2nd year and it hit me, I get it now. It's like my first few quarters were practice, training daily.

I hated 1st quarter because it felt like Finger Painting 101 but I get it now, it was Idea Building 101, kinda like Thinking 101 - only you had all these people around you who were also "The Most Creative One" wherever they came from, so the competition and standards were different.

By 5th and 6th quarter I was more agile, sharper, smarter. And my last two quarters were mainly refining my book and networking. And working. Don't let anybody tell you you can't do both. I worked retail, hosted and bartended throughout my two years at portfolio school.

Portfolio school teaches you creative advertising - or how to be a creative in advertising. And it actually trains you on how it works. Getting a project, coming up with ideas, presenting the ideas, getting torn apart, starting over, making them better than executing (creating) them. Week after week after week.

So you can be a great designer or artist or writer, but not be a good art director or copywriter. Portfolio school helps you think and act like an advertising creative. And pushes you to do so much more.

At most portfolio schools, your teachers actually work at ad agencies. They know what's good and what isn't because they live it every day. They can give you great insight into how an agency is run, what is means to really be a creative and share some of the ups and downs and day-to-day parts of the job.

They're doing this part time and aren't making a lot of money, so you know they're in that classroom because they really care and want to help you. That means a lot.

There's the network. The fact that schools have mentors, seminars and networking events that introduce you to so many people, as well as connections and info on scholarships, internships and competitions that help get you in the door and known before you're even your final portfolio.

Some portfolio schools offer a Master's program. While that's really great, it's not necessary for a job as a creative. It won't get you farther when you come out - a good book is a good book. But it's always great to learn so don't let me deter you from getting that degree.

Many portfolio school students are just like you. And by you I mean a wide range of yous. There's the you that just graduated college and want an agency job but don't have the chops yet. There's the you that's been working in media or planning and realised you want to be a creative. There's the you that's been working at a law firm or some other non-advertising business and realised you were kidding. There's you writers who realised you like paychecks. And then there are creatives who want better jobs in better markets. And you high school students who think you have the drive to get in and get 'er done sooner than later.

There's no right time to go to portfolio school. If you're thinking about going, do some research. Talk to some students and graduates. Visit the schools. Look at the work their students are putting out. Look at what schools are winning awards. Compare the prices and the cost of living. It may be cheaper to live in Atlanta than it is NY, for example.

It's up to you. Whether you go to the Creative Circus or Art Center, how great your book is and how far you go is all on you. You have to go to school. You have to come up with ideas. You have to think, rethink and then think again. You have to challenge yourself. You have a create a good book. You will go however far you decide to go. This is your book, your career, your life. Make it great.

All in all, two years goes by a lot faster than you think. And a good book will get your further than you can imagine.


Related Posts
Where For Art Thou Portfolio
Portfolio School, Fool
What's Portfolio School Like?
Interview: Two Creatives On Portfolio School
How to Apply to Portfolio School

How to Apply To Portfolio School

Portfolio schools all basically do the same thing: help create amazing campaigns to blow the minds of creative directors and get you a job.

The thing is, portfolio school is nothing like high school or college. No one is going to make you go to class or make you push your ideas more. The grades barely matter. There is no extra credit. Your entire experience depends on you. No matter which school you go to, you are the one constant and the one thing that will determine how far you make it. 

Seeing that you're about to commit your whole life and being to creating your portfolio, you should pick a school that best fits your needs, personality and goals. You're going to be spending a lot of time (and money) there, so do your research to make sure you're in the right place.

Don’t limit yourself by cost or location. Look at the culture, environment, agency liaisons, internship and placement opportunities, teachers, students, awards and the work of recent graduates. Find where you fit in best and then roll your sleeves up and get ready to work.

I interviewed some admissions folks at Art Center (AC), BrandCenter at VCU (VCU), The Creative Circus (CC) and Miami Ad School (MAS) to get information on the application process and gather some tips for how you can make sure you get in.

When to apply:

AC: Any time. Classes start September, January and May.

VCU: January through May. Classes start in every Fall.

CC: Any time. Classes start January, April, July and October.

MAS: Any time. Classes start January, April, July and October.

What you need to apply:

AC: A portfolio, application, application fee, essays, high school or college transcript.

VCU: A series of assignments based on your track (Art Direction, Communications Strategy, Copywriting, Creative Brand Management, Creative Technology), the Brand You questionnaire, bachelor degree (any degree, doesn’t have to be advertising), college transcripts, 3 letters of recommendation, application and fee, GRE/GMAT (for Creative Brand Management and Communications Strategy only)

CC: High school diploma or GED equivalent, admissions interview (to see if The Circus is the right fit for the student and if the student is the right fit for The Circus.) Application and fee, essay and portfolio.
MAS: A checklist with various, fun assignments to see their ideas and creativity. Along with the regular requirements of an application (contract, letters of recommendation, etc) we require an assignment, creative samples and a video component having them show us how they are creative. 

Who reviews your application:

AC: Admissions staff and chair of the relevant major

VCU: Brandcenter professors

CC: Admissions reps and department heads for each program
MAS:  An admissions person from the specific location

What they look for in your application:

AC: Fresh ad concepts across different mediums (print, web, etc). The ability to connect in a quick, impactful and relevant way. Drawing, graphics and typography skills.

VCU: Creativity. Smart Thinking. Passion.

CC: Passion and drive. Those are attributes we can’t teach.

MAS: Ideas and creativity are the most important. We can teach the skills needed but we can not teach creativity.

Ways to win them over:

AC: Layered meanings. Unexpected solutions.

VCU: Interesting perspectives and life experiences. Humility. Humor.

CC: Enthusiasm. Humility. Talent.

MAS: Ingenuity. Organized applications. Packaging - when I tear open the postal package to find a neat hand-made box or collage binder inside, it shows the effort. 

 

Ways to turn them off:

AC: Shock value for the sake of shock value. Bad spelling/grammar. Pieces with no idea behind them.

VCU: Typos. Immature/ unprofessional communication. Having their mom call me.

CC: Thinking you know more than you do. Not listening.
MAS:  Poor time management. Applying to more than one location. Doubting yourself.

Tips & Advice:

AC: Include finished pieces and sketches and process pieces that lead up to the final ideas in your portfolio.

VCU: Simplicity is best. Just like the industry we serve, we look for diversity in our candidates. Not only racial and cultural diversity but also diversity of life experiences. 

CC: Our most successful students don’t need to be reminded or cajoled into completing their work because they are passionate about it. They do it because they love it.

MAS: If you want to be a writer, submit writing samples - a fun Twitter account or insightful blog. As an art director, you do not necessarily need to be a painter/drawer - things like photography or a Tumblr with everyday things that inspire you show insight.

When you’ll hear back:

AC: Within two weeks.

VCU: Six to eight weeks.

CC: Within two weeks.

MAS: Usually withing two to three weeks of receiving the complete application 

What if you’re accepted:

AC: Work out your financial aid, put down your deposit and start counting down. 

VCU: New student orientation in late August.

CC: A whole bunch of paperwork and financial aid. Start reading and preparing. Get lots of sleep.

MAS: They start getting correspondence about housing, financial aid, software etc. I also try to invite them to our various FB pages so they can start meeting/interacting with current students. 

What if you’re rejected:

Try again. All schools give feedback, make recommendations and encourage students to reapply.

Apply today:

Art Center  

BrandCenter at VCU  

TheCreative Circus  

Miami Ad School

Special thanks to

Shannon Cobourn, Director of Marketing and Admissions at the Creative Circus Shannon.Cobourn@creativecircus.edu

Karen Berndt, Admissions Coordinator at VCU Brandcenter berndtke@vcu.edu

Kit Baron, Vice President of Admissions at Art Center kit.baron@artcenter.edu 
Katie Lever, Admissions at Miami Ad School, Miami katie@miamiadschool.com

Article: How to Get Your 1st Job

Came across this gem and thought you'd like to read. (Also reinforces that I'm not just making up stuff and that you, my dear, are not alone.) I bolded the parts I thought were especially great.

Three Ways To Get Your First Job in Advertising
From The Atlanta Egoist
Author Matt Ingwalson

"I want to get into the creative side of the advertising business, but don't have a clue what to do. Help."

I have heard some variation of this question least four dozen times. My answer has become so pat it is more like a speech.

Here it is:

"The calculation is simple. Great personality plus great book equals job. But I feel your pain. You can't get a job without a book and you can't start on your book without a job. You're stuck in a chicken versus egg scenario. What are you going to do?

First, look around you. Every single designer, art director and copywriter you see has found a way to break out of the loop. So take heart. It can be done.

There are all sorts of ways to make it happen. Be lucky. Have the right parents. Be named David Droga. But in general, I've seen three successful, repeatable strategies that anyone can use. And here they are:

First, try to get a job as an account coordinator. That's not to say that being an account coordinator is any easier than being a junior creative. It's not. At all. But the financial barrier to entry is lower. Ten bucks to print resumes versus several hundred dollars to shoot spec ads, buy layout software, and assemble a book. If you can land a job on the account side, you'll be able to spend a couple years learning how to work hard, speak intelligently and sell great advertising. And you'll be in an environment where you can get ahold of briefs, printers, software and most importantly, mentorship. Work on your book at night and on weekends. After a couple years, you can have a surprise epiphany. "I want to be a creative!" And you'll have the tools and the personal network you need to make that happen.

Second, you could go to ad school. The real benefit of Creative Circus (Editors note: or Portfolio Center) or Miami Ad School isn't only a great portfolio. It's access to a giant network of working professionals all over the world. This is a foolproof method. It is also time-consuming and expensive.

The third strategy is the cheapest and fastest, but also the most bruising. It requires you to be fearless and persistent. Take your crappy samples and show them to everyone you can. Even people who you feel might be more junior or less talented than you. Explain that you do not expect a job, just some advice. You will get lots of conflicting comments and you will hear things that hurt your feelings. Don't let it get to you. Instead, go away and work to make everything better. Try new colors, new layouts, new headlines, new media, new everything. You must demonstrate that you are taking the advice you are getting seriously. Within two months, come back to everyone (yes, everyone) and ask to show your book again. Then ask them if there is anyone else they know who would be willing to give you even more advice. Repeat this process. A lot. With each round of showings, your book should get 25% better and your circle of contacts 50% wider. Eventually, you will be in the right place at the right time."

People in advertising have almost infinite patience for passionate, hardworking, humble young creatives. But they won't waste time on anyone who comes off as lazy, helpless, or full of themselves.

So work hard and don't be a jerk. That's my advice.
                                                                             ___

Check out these related posts Your Portfolio,  
Portfolio School, Fool
What exactly do you mean by "portfolio"?
Interview with creatives who didn't go to portfolio school
Interview with creatives who did 
How to Switch Into Advertising
Must Read: Breaking In Book

Mailbag: What exactly do you mean by “Portfolio”?

Question: Here’s the thing, I'm unsure what a book is even supposed to be. I mean even the physical components I'm unsure of, is it glossy paper? How is it bound? I'm confused. I know also as a copywriter, they aren't really looking at the designs but my DIY designs are really CHEESY even though I think the copy may be strong.  - Nicole, copywriter wannabe.

 A: Yikes. This is a pretty big question. Ok. *rolls up sleeves* Let’s take this in pieces… (warning, this one is long. If you want the quick answer, scroll down to the end, I wrote it in blue.) 

What is a “book”?

Your book is your portfolio. Your portfolio is your book. It’s a collection of your work, showing an agency that you can think, write and have a deeper than average understanding of advertising.

It pretty much is physical or virtual evidence of how awesome you are. 

Is it really a book?

It could be a physical ie pages you print out, a PDF or a website. 

Art directors and designers definitely need a physical book since the way things look (type, paper, color etc) matter more for them. I think writers get a bit more leeway. I went to an interview once and we used my book as an expensive coaster.

Everyone should have a website with their work and a link to download a PDF. It’s 2011, if you don’t own www.whateveryournameis.com you’re failing right now. 

What do I put in my book?

- Your best shit. Only the best. Nothing you kinda like. Nothing that’s almost there. Nothing that’s kinda alright. If it’s not great, keep working on it until it is, then put it in your book.

“Shit” being fake ads, of course. Or real ones if you’ve freelanced and they are great. (Don’t just include produced work just because it was produced. If it’s not good, cut it.) 

-  Include around 5 – 9 campaigns. Anything more is tiring to look at and will give people a reason to hate you. Lean more to 5 in your physical/PDF book (when someone sees 30+ pages they get overwhelmed and look for the next shiny object) Lean more to 9 online.  

-  Show executions across various media – print, interactive, mobile, out of home, innovation and guerrilla. (Best practice is to leave out TV storyboards/commercials or radio scripts/ spots unless they are really, really great.) 

-  Online feel free to add a few extras, fun stuff you made/did/wrote – your paintings, photography, blogs, random videos – whatever shows your creativity, personality and style. But only one or two things, anything more is overkill and distracting. And make sure it’s separate to your work. Your work is the hero.

Who should I do campaigns for? 
- Pick products, services and special interests/causes to advertise and pretend that they gave you infinity billion dollars to come up with the most awesome and effective campaign ever to get people love and buy their brand. (Note I said “effective” so that means whatever you do needs to make sense and make them money in some way.) 

- You can do big, national brands or little, local names, but switch it up. Do one campaign for Tide and one for Tito’s Bakery & Salsa Studio. (Is that racist?)
 

-  Do not do any brand that already does amazing work. You’ll look stupid next to them. Unless you’re adding something amazing to expand something they’ve already done, or coming up something groundbreaking they (or their agency in Tokyo) haven’t even thought of yet, then leave the Coke/Nike/ Budweiser, etc ideas out of your book. 

- Include a social interest piece or cause. It’s a nice break in your book and gives you a chance to show a range of emotions. (Please note, not everything you do should be funny. You’re not going to be making ads for 24 year old frat boys. Be smart, be strategic and think about who you’re talking to and do something that is relevant to them. Not you.) 

- Do not do several clients in the same category. So if you do Sprint, don’t have an ad for Verizon later on. You have a wide range of categories to pick from - household goods, financial services, automotive, tourism, entertainment, food, medicine, blah blah blah. 

- Diversity is key here. You want to show the depth and breadth of your skills. Hey look, I can write long copy! Hey look, I can do a banner! Hey look, I can do something very serious! Hey look, I’m being funny here! Hey look, here’s an iPhone app! 

What my 5 – 9 campaigns should look like?

This changes from place to place and probably year to year so feel free to ignore everything I say, but here’s a basic idea. 

- Print: something type heavy and something visually driven – both idea-heavy and strategy-driven. Writers, there is where you show you can write and make things sound good. Art directors, this is where you show you can lay type and make things look good.

- Fully integrated campaigns showing a big idea executed online, in print, OOH, events, social media, mobile and anything else that shows how the brand would engage with people.

- Online/social/mobile ideas. How can you engage and involve people online in new and exciting ways? *jazz hands*

- A miscellaneous item. A poster. An app. A product enhancement. A new way to use media. An idea to change the world. (Thunder rolls and lightning strikes in my head whenever I read that sentence. Does that happen to you too? Maybe try saying it out loud. The thunder should hit right around “WORLD.” No? Just me? Oh.)

-    Use video case studies where necessary to show how your idea works. Make it short, lively and self-explanatory. If you're not around it should be able to do the talking for you. And make sure it looks amazing. 

 

And when I have my campaigns, then what?

- Put your book together.

- Put your strongest pieces first and last, so you start with a bang and end with a bang. 

- Spread the campaigns out to keep things interesting. Something copy-heavy is followed by something visually-driven, an big integrated campaign is followed by a super simple, one-page idea, a very manly product is followed by something for babies, and so on. 

- If you're an art director, make sure all the layouts, designs and visual elements are on point. If you're a writer, make sure the copy is smart, quick and engaging. Ugly layouts make good copy look bad and bad copy makes beautiful layouts look bad. So  no matter what discipline you are, make sure your work is creative, strategic and smart - you are responsive for the overall aesthetic and strength of your book. 

 - Include a quick description if an idea needs a bit of background. People don’t have time to Google Tito’s Bakery & Salsa Studio is the only Cuban establishment owned by Koreans. Say what problem you solved or what strategy you took to end up with your campaign then let you work be the hero. 

How do I make my physical book?

- Use high quality paper and ink. Get it professionally done to make sure it’s as top-notch as possible. 

- Use tabloid size print-outs or larger, but not too large that it’s cumbersome to carry or hold. 

- Try to avoid binding because you may get feedback to remove things or move things around and if it’s bound you’re stuck now aren’t you?

- Avoid plastic covers because they give a bad glare 

How do I make my online book?

-       There are great websites and templates out there, pick which best work for you or just design your own. 

-       Try carbonmade or cargocollective. Some copywriters can even get away with using blogs like blogger or posterous. Whatever you do, make it professional, clean, clear and classy. 

 - Make sure it’s easy to navigate, and I don’t know if I’ve said this before, let your work be the hero.

Ok, now what next?

- Read the Breaking In Book. It’s full of interviews from top CDs saying exactly what they look for in books and is far better than 93% of anything I’ve written here today.

- Read my post on Your Portfolio. Start contacting people. Email recruiters, head hunters, regular working folk and ask them for feedback (See emailing tips here) on how to make your book better, stroke their egos and try to get some face time. Try to do freelance or get an internship to get real-world experience. 

- Keep pushing and keep improving.  

Quick Answer: If this felt overwhelming and scary and borderline impossible, go to Portfolio School. There are people there whose job it is to help you and they know so much more than I do. 

I need a nap now. 

~N

Interview: Two Creatives On Portfolio School

And now, a word from the folks who went to Portfolio School. 

Meet Jax, an Art Center graduate and a senior art director and Qiana, a third quarter (first year) art direction student at the Creative Circus. 

 

Q: How did you know you wanted to be a creative?

Jax Jung

 Jax: Really was born with a marker in my hand. To NOT be creative was never even an option.

Qiana: I'd always been creative I just didn't know what to do with it and that you could actually get paid to dream up cool stuff.

Q: Why did you go to portfolio school?

Jax: Graduated a few months from undergrad early [with a fine arts degree] and figured I’d kill time by taking some night classes at ArtCenter. I picked up the manual and went down the list of classes still open for enrollment. Graphic Design was my first choice but the class was full, transportation design was next on my list and it was also full. Saw Advertising Design and they had one spot opened. So I signed up. And I loved it and started going full time.

Qiana Lee

Qiana: I knew I didn't want to work in a crime lab my entire life (I'm too plaid and polka dots for such a drab career) and I knew I had to go back to school.  After looking into a lot of different whack Masters programs that totally didn't fit my personality, a friend recommended portfolio school and it totally made sense.

Q: Why that school in particular?

Jax: The school was always decorated by amazing pieces of art and design by the students. It always made me want to go there.

Qiana: I had talked to a few people at the various schools across the country and the most welcoming, caring, genuine people I found at the Circus.  Plus you had gone here and you're doing awesome and who doesn't want to be able to say "I just quit my job to join the Circus."

Q: How was/ is it?

Jax: Intense. I remember first day of school, a teacher had asked his students "Who has a boyfriend/girlfriend raise your hand." Then he said "Wow.... that's a lot of hearts that will be broken because by the end of the term, you'll all be done." Sure enough, he was right. School took over your life.

Qiana: I can't remember the last time I was this challenged.  In a good way. We work crazy long hours (15 hrs of sleep a week is a treat). I'm not the most creative person here (which I'm not used to and pushes me to do things and come up with crap I didn't know I had in me

Q: How did it help you grow?

Jax:  You lived at school so you became really close to everyone. You learned from each other. Everyone is their own photographer, art director, copywriter, designer. It really came in handy when I started to work professionally because I didn't have to depend on too many people to make things happen.

Q: Do you think you could've gotten to where you are without portfolio school?

Jax:  No. ArtCenter played an integral part of my career. The training I got in the 3 years in school really prepared me. Plus I always run into old school friends who are in the business. The networks you make are very valuable because half of advertising is who you know as well.

Q: Any advice for someone trying to decide if they should go to portfolio school?

Qiana: Surround yourself with amazingly talented people you'll be glad you did.  

Have fun bc that's when the creative gods rain down on you.  

Experience life bc every dumb random thing to do and experience will help you.  

Grind, because while you're sleeping someone is working extra hard.

See Jax's work at www.jaxjung.com and look out for Qiana's in about an year. 

Here's a list of some portfolio schools you can check out if you're interested.