Lighting Portfolio Guidelines Revised 2014

8/19/2019 Lighting Portfolio Guidelines Revised 2014

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USITT Lighting Commission Revised Lighting PortfolioGuidelines

Edited by Autum Casey, Ellen E. Jones, and Darren E. Levin

Published in TD&T , Vol. 50 No.4 (fall 2014)

Theatre Design & Technology, the journal for design and production

professionals in the performing arts and entertainment industry, is published

four times a year by United States Institute for Theatre Technology. For

information about joining USITT or to purchase back issues of TD&T , please

contact the USITT office:

USITT315 South Crouse Avenue, Suite 200

Syracuse, NY 13210

tel: 800-93-USITT (800-938-7488)

tel: 315-463-6463

fax: 315-463-6525

e-mail: [email protected]

web: www.usitt.org

Copyright 2014 United States Institute for Theatre Technology, Inc.


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LIGHTING DESIGN COMMISSION

Revised Lighting Portfolio Guidelines

The portfolio is a staple document in the life of a designer which must continually reflect a career’s productions

and its direction and design aesthetic. Likewise, any portfolio guidelines must apply to new technologies and the

ever-changing ways in which we communicate and consume information. In 2012, at the Long Beach USITT Con-ference & Stage Expo, the Lighting Guidelines Committee was formed and began the task of refreshing the portfo-

lio guidelines published in 1994 and revisied in 1997.

The committee began work with Todd Studebaker as chair and Steve Shelley, Anne McMills, Andrea Bilkey,

Vickie Scott, Autum Casey, Ellen E. Jones, and Darren E. Levin as members. Over the next year and a half, they

held extensive discussions and developed a framework for a new document. The project stalled, however, and no

final version was completed.

In the fall of 2013, renewed interest from committee members Ellen E. Jones, Autum Casey, and Darren E.

Levin pushed the project forward at a rapid pace, with additional input from the other original committee mem-

bers. The new three-person committee, led by Darren E. Levin, examined the mission of a portfolio guideline

document in depth to determine if revisions could be made to the existing versions but came to realize that the

fomer guidelines were no longer relevant to an ever-evolving, highly technical industry.

Members of the committee began working on a new document that has a concise focus and a clear purpose

and that serves varying levels of student and professional designers and also provides a framework for young de-

signers searching for a basic outline of how to begin a portfolio. We realize that many design and technology pro-

grams across the country have courses dedicated to the development and production of portfolios, and we have

observed great caution not to undermine them. And there are many programs without dedicated design faculty

or portfolio courses. We see the need to reach all these students. The document is be a framework for designers

and educators to expand upon and make their own. Most importantly, through these guidelines we allow for the

portfolio to continue as a natural extension of the designer’s artistic statement.

Given the ever-expanding markets in which designers are working, it is also essential that the guidelines

not limit portfolio creation to a single set of documents or images. Instead, they should allow the user to make

an informed decision about what each potential employer might wish to see. Therefore our mission has been to

create a reference document outlining best practices and the portfolio options available without limiting personalcreativity in the development of a portfolio. We hope these guidelines will serve students, educators, and profes-

sionals well into the future, allowing for growth in one’s aesthetic and career as well as rapidly changing methods

of communication.

Ellen E. Jones and Autum Casey presented the working draft to the Lighting Commission at the 2014 USITT

Conference & Stage Expo in Fort Worth. Following that initial presentation we have gone through multiple steps

in feedback and evaluation of the proposed document. In May, we distributed the next working draft to a large

cross section of the lighting industry (sixty persons) for response. These professionals included designers, educa-

tors, and manufactures of varying genres within the industry. We received fifteen extensive responses, all of which

were very positive and agreed to the serious need to update this document. All felt the document was a giant leap

in the right direction, but there were notable concerns over the document’s length and a concern over a section

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outlining the history of the portfolio. After getting these responses, the committee reevaluated the working draft

and came to the same conclusions. We streamlined the document significantly, editing cumbersome wording and

eliminating components which narrowed the focus of the document further than our original intent.

The final draft, completed at the end of May, 2014, is written by Autum Casey, Ellen E. Jones, and Darren E.

Levin. The Lighting Commission leadership, both outgoing and incoming, approved this final document. Commis-

sion member Robert Scales agreed to serve as editor to prepare the final Lighting Commission Portfolio Guide-

lines for publication. We owe a special thank you to him and all those who served on any of the working groups.

Special thanks also to the Lighting Commission members who read and critiqued the various drafts and offered

ideas for improvement.

We hope it serves all our constituents well. The Guidelines may be distributed for educational purposes as

long as the authors and the USITT Lighting Commission are credited as the developer.Go forth and create amazing portfolios!

Autum Casey is an assistant professor in the School of Theatre at George Mason University. She received her

BFA in theatre studies in 2001 and her MFA in theatrical design with an emphasis in lighting design in 2008

from the University of Texas at Austin. Before joining the faculty at George Mason she was an instructional

assistant professor at Texas A&M University and an associate designer at Craig Roberts Associates, an

architectural lighting design firm in Dallas, Texas. Her credits include architectural lighting design,

theatrical lighting, scenic and costume design; including international design credits. She is also a staff

member of the Institute for the Digital and Performing Arts in Costa Rica. Currently a member of the United

States Institute of Theatre Technology (USITT), she also serves as the Vice President of Communications for

the Southwest Regional Section of USITT. She is a designer interested in exploring the use of new technology

in performance including digital lighting and scenery. Her research focuses on design as performance and

the impact of “performance as research” as a teaching philosophy.

Ellen E. Jones holds a faculty design position at Youngstown State University in Ohio. Ms. Jones holds

United Scenic Artist Local 829 credentials as a lighting designer, a scenic artist, and a scene designer. She

received BA degrees in theatre and in political science and philosophy from the University of Tennessee,

Knoxville, as well as an MFA degree from Indiana University, Bloomington. Her professional work has been seen

at scores of theatre companies from Chicago to New York and Florida to Vermont. Her book A Practical Guide

to Greener Theatre: Introduce Sustainability Into Your Productions was published in December 2013. Ms. Jones is

a former Lighting Commissioner of USITT and a former co-chair of the USITT Caucus on Human Issues. She

has published several articles on aspects of theatrical design and sustainable theatre and frequently presents

on those topics at national and international conferences. (ellenejones.com)

Darren E. Levin is the lighting design faculty member at Middle Tennessee State University. He holds a BFA

from Missouri State University in theatre design and technology (2007), and an MFA from the University

of Texas at Austin in theatrical design with a concentration in lighting design (2010). Design credits

include work in theatre, dance, opera, and themed entertainment. Prior to joining the faculty at MTSU, he

worked with Feld Entertainment’s Disney on Ice , Cedar Point Live Entertainment/Cedar Fair Entertainment

Corporation, and at the Juanita K. Hammons Hall for the Performing Arts. He was assistant technical

director/lighting supervisor for McCain Auditorium at Kansas State University. He is a past officer in the

Heart of America Regionional Section of USITT and is a member of IATSE Local 205 in Austin, Texas.

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9/30/2014 – Revision No guideline should be used without adjustments to reflect format and content parameters dictated by a job

advertisement, a competition, grant application, or university tenure and promotion documents. Adhering

to the USITT Lighting Commission Portfolio Guidelines will not guarantee that you will land a job; however it

can help you create presentations that speak more directly to the interviewer.

Final Committee and Authors: Autum Casey, Ellen E. Jones, Darren E. Levin

Edited by : Robert Scales

Initial Committee: Todd Studebaker, Steve Shelley, Anne McMills, Andrea Bilkey, and Vickie Scott. The final version of the

USITT Lighting Portfolio Guidelines was crafted and written by Autum Casey, Ellen E. Jones, and Darren E. Levin based on input

from the initial guidelines committee, feedback at the 2014 national conference, and an e-mail canvas after the conference.

Initial Considerations in Portfolio Development A portfolio is a package of professional materials collected to represent the talent and skill sets of the owner.

Several excellent lighting design and technology books specify the work products required to complete a fully

realized design from point of initial conceptualization to collaborative communication with the director/choreog-

rapher and the rest of the design team to the industry standard documents required for successful execution of

the design. Others volumes about portfolio design focus on presentation of pictorial documentation. Therefore,

instead of providing a laundry list for content, these guidelines focus on a philosophy for portfolio creation. A

bibliography and final checklist is also included.

Presentation portfolios encompass a range of formats: a portable case with samples of paperwork, a bound

booklet of reproductions, a digital presentation, or a webpage. You may use several of these kinds of portfolios

depending on your experience level and career goals. While other portfolio formats may be suitable for some

job applications, we recommend that lighting designers develop and maintain a web-based portfolio that can be

accessed by potential employers. It is unlikely that anyone will hire a designer based on the web page alone, but

quick and easy access to work samples is essential.

Each individual must determine his or her specific career or educational goals and then select portfolio content

that showcases the skill sets and expertise required. The interviewer appraising a lighting portfolio will most likely be a

member of the creative team who is evaluating how likely the designer’s work is to support his or her artistic goals in the

production process and put the available resources of time, labor, and money to the best use. Identify the targeted viewer

and select content to meet the audience’s expectations. Artistic directors, stage directors, and choreographers will be

interested in understanding how your design supported the overall production concept and meshed with the rest of the

creative team. They will also be keen to know how you communicated your ideas prior to the first technical rehearsal. In

contrast, a rental shop manager may be interested in seeing your designs for special events in a tent and the accompany-ing technical paperwork. Academic search committees will be interested in how you integrated students into the work

presented. Graduate school admission committees are likely to place more emphasis on design process.

Consider how your portfolio will be viewed. The included work samples must speak to the requirements of

the position sought. Contextualize your work samples in terms of the audience’s interest and the job specifica-

tions. With a paper portfolio the order of the content can be changed to reflect the priorities of the position. A

web-based portfolio can be viewed without your knowledge and must present the broadest scope of work related

to any positions you might be qualified to hold. Clear and accurate labeling of all work samples is imperative,

particularly when you won’t be present to elaborate on the content or your collaborative process. While it is ac-

ceptable to point out challenging circumstances that impacted a design, be sure to emphasize solutions, not make

excuses. Remember, mediocre work has no place in the portfolio.

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Web-Based Portfolios A web-based portfolio can introduce your work to a general audience who may remember your work when they are

seeking a designer in the future. The web portfolio should highlight a variety of work and demonstrate your ability to

work in several types of venues while showcasing your unique talents as a designer and/or technician. Photographs

are more valuable than paperwork, although some samples of paperwork and drafting are appropriate. In web page

presentations your layout choices and the information you select to include will be interpreted as an exhibition of

your communication and design skills. The composition and organization are as important as the actual lighting

work products you display. Include keywords and metadata to make your website more likely to appear when ge-

neric search terms are used. Be sure that your résumé is available for download.

Websites come in a variety of styles and layouts. Research your options and educate yourself on the variety of

good free and paid options. Maintaining a website provides you with more space for additional photos and docu-

mentation that you may choose not to include in a hard copy portfolio. Web design style and formatting changes

quickly; using Flash to enhance your site was very popular in the late 1990s, but most agree its use is distracting

and undesirable now. Flash is not recognized by many mobile platforms, limiting access by those using phones or

tablets. Always remember your web-based portfolio will address a general audience.

Navigation

When designing the layout of your site, consider the navigation carefully. How many clicks are required to get to

the desired content? How long do pages take to load? Discrete pages for “about me” and different genres or work

types (i.e., opera, dance, technical experience) can be separated into headings and sub-headings

Content

Web content is very different from print content in size and resolution. Take time to educate yourself on the differ-

ences, particularly if you plan on having both a print and matching web portfolio. You are not in control of how

your viewer chooses to peruse your web portfolio. Web content can be viewed on a variety of devices, and the size

CHANNEL HOOKUP Page 1 of 1

MMC-Fall 2010v5.lw5 9/26/14

MMC 2010 Fall Repertoire

Pursuit, Stasang, Got Dreams? We Insist, Concerto LD: Steve ShelleyNan/Lynn, Alessandra, Jeff, Katie, Pedro TD: Phil TrevinoLast touched: 12/5/10 ss

Channel Dm Ckt & C# Position & Unit# Instrument Type & Wattage Accessory Color Purpose Gobo

(1) 11 Bal Rail Over #13 S4-19° 575w R51 R119





(6) 36 Catwalk #5 S4-36° 575w R51 R119

(7) 35 Catwalk #4 S4-36° 575w R51 R119

(8) 34 Catwalk #3 S4-36° 575w R51 R119

(9) 33 Catwalk #2 S4-36° 575w R51 R119

(10) 32 Catwalk #1 S4-36° 575w R51 R119

(11) 51 1 Elec #6 S4-36° 575w R51 R119

51 1 Elec #10 S4-36° 575w R51 R119

(12) 47 1 Elec #2 S4-36° 575w R51 R119

47 1 Elec #14 S4-36° 575w R51 R119

(13) 3 Bal Rail Over #3 PAR 64 MFL 1kw L116

3 Bal Rail Over #12 PAR 64 MFL 1kw L116

(14) 4 Bal Rail Over #4 PAR 64 MFL 1kw G850

4 Bal Rail Over #11 PAR 64 MFL 1kw G850

(15) 1 Bal Rail Over #1 PAR 64 MFL 1kw G945

1 Bal Rail Over #14 PAR 64 MFL 1kw G945

(16) 14 SR BxBm 2 #2 S4-26° 575w L202 Stars GAM 232

14 SR BxBm 2 #3 S4-26° 575w L201 Stars GAM 231

(17) 12 SL BxBm 2 #2 S4-26° 575w L202 Stars GAM 231

12 SL BxBm 2 #3 S4-26° 575w L201 Stars GAM 232

(18) 52 1 Elec #7 S4-36° 575w R51 CC SP

(19) 13 SL BxBm 2 #1 S4-36° 575w NC BRK R7780

13 SR BxBm 2 #1 S4-36° 575w NC BRK R7780

(20) 9 Bal Rail Over #9 S4-19° 575w Iris* R51 Follow

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Lighting paperwork, suchas a channel hookup thatsupports both cueing forthe designer and channelcheck for the master

electrician, is an essentialcomponent of lightingdesign documentation.Including paperwork in

your portfolio illustrates your attention to detail andability to fully documenta design using standardsoftware and practices.

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and quality of the screen can affect your work. Load time may also be a factor with larger high-resolution images.

Your content and pages should also contain keywords and metadata making your website easily searchable.

Privacy and Your Digital Presence

Your digital presence is important and often much farther reaching than you could ever be. Carefully consider

how much and what kind of content you want the world to see. Choose your e-mail address and social media

links wisely. Nothing on the Internet is private, and everything is archived. It is important to watermark your work,

and obtain permission from the other artists to use their work in a digital setting. You must include the same de-

sign credits you would in a printed portfolio. Posting your résumé is important, but it may not be in your best in-

terest to include private information like your cell phone number and address. Including a contact form on your

website may be a more prudent option to prevent spam and unwanted cyber or physical intrusion.

Domains and Platforms

It is acceptable for your first website, particularly as a student, to be based on a free hosting site or via a college/

university service. As one makes the transition into the professional world, continuing to update the content and

style of your site shows your evolution as an artist. You should move your site to your own domain name, which is

infinitely more searchable and recognizable as your brand. Select your domain name carefully, especially as new

extensions are released. Creating a website can be entirely free, but may limit your ability to customize. Learning

to build a website in HTML can be very rewarding; it is fully customizable, but requires a significant amount of

time and effort. Please refer to the list of digital resources below.

A page describing yourdesign philosophy givesthe lighting designs in yourportfolio some backgroundand context.

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Physical Portfolios

Book type portfolios

Book type portfolios come in several forms. The large format 24˝ x 36˝ (or larger) hard case portfolios are falling

out of fashion, as they are difficult to manage and costly to ship. More modern options include smaller, more flex-

ible portfolios that may contain reduced versions of large work and bound book portfolios. Depending on where

you are in your career, consider the ease with which you can update your portfolio, and choose your format based

on that calculation. Remember that printed versions of your portfolio will most likely not be returned to you.

Printed Bound Portfolios

Portfolio books are sleek and look very professional. These photo books have become very popular, but it is

essential that your portfolio reflects where you are in your career and provides the employer with the informa-

tion they need. A graduate school committee is typically more concerned with process, and glossy production

photos tell very little of the process story. The quality of the book is also hard to judge until you have one

printed. These high quality professionally bound books are also expensive. The more you have printed, the

cheaper the price, but you may end up with a number of book portfolios lying around that cannot be updated.

Bound photo books from Apple iPhoto or websites like Lulu.com may restrict your layout, and color shift may

occur on photos during the printing process. By outsourcing your printing you lose the ability to get proofs ormake adjustments yourself.

Portfolio Cases

The primary reason that these portfolio cases were so popular is the ease with which they could be updated and the

variety of materials that could be included. A large portfolio case would also allow for an Arch D size light plot. A

portfolio this size is cumbersome, particularly on airplanes. A smaller 11˝ x 17˝ or 13˝ x 19˝ book style portfolio is

acceptable and much easier to travel with. You may choose to include drafting that has been further scaled down

within the story context of your portfolio, but you can also include folded, appropriately scaled plots in back pock-

ets of this style portfolio. This style of portfolio also allows complete control of style and formatting, and updating

is as easy as replacing a page. You also have the ability to quickly reorder your work to highlight examples that are

Thumbnail pages for

individual projectsallow the viewer to seethe overall design of ashow and to click onimages of interest.

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relevant to a particular job or company. This style of portfolio also makes the designer responsible for printing all

the related material. Keep in mind that if you are printing from a natively digital layout (PDF, Photoshop, Power-

point, etc.) you will likely need to make multiple prints in order to account for printer calibration.

Additional Portfolio Options

Digital (non-web) Portfolios

A potential employer may ask for a digital portfolio via CD/DVD/USB. You must consider the ease of navigating

your work while providing a format that you feel comfortable with. Simply loading twenty photos on a USB stick

does not make a digital portfolio. Your digital portfolio must be able to speak for itself, without the designer pres-

ent. Including a short video tour of your work may grab the viewer’s attention and highlight your ability to edit

video, but limits how long someone looks at each image. Providing a portfolio that requires specific software to

view is also problematic. We recommend a single PDF or PowerPoint file that presents your work in a specific

order while giving viewers to the ability to jump to certain sections or pages. Keep in mind that you have no con-

trol over how this digital portfolio is viewed. Images should be high quality, labeling should be consistent, and the

content should be edited for the particular job/employer. Presenting your portfolio on a tablet is acceptable dur-

ing an interview, but the content should be stored on the device and not require an Internet connection.

Portfolio Showcases and Displays

Designers applying for graduate schools or leaving graduate schools are the primary presenters at portfolio displays.

Portfolio displays/showcases are typically attended by industry professionals, but occasionally a showcase may be

open to the public. Your display will often be viewed without you in the room, and it is imperative that your work is

clearly labeled. Space requirements are often limited and very specific. Do not make assumptions about power or the

types material you may be mounting to, and come prepared with your own mounting materials. Be sure not to clutter

your space, remember that composition and ease of viewing are still important, and never extend beyond the allow-

able area. Your display should also be tailored to the audience and the location of the display/showcase. Provide

copies of business cards, résumés, and illustrated color brochures or postcards as handouts.

After selecting a thumbnail,

the viewer sees a largerimage with credits andcontextualization information.

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Selecting Work Samples for the PortfolioIncomplete, sloppy, or undeveloped work is not appropriate and will hinder your interview process. Included pro-

ductions should show your breadth and abilities as a designer. Development of concept should be evident in each of

the images selected for inclusion. Take the time to research potential employers. Select and include work that speaks

to a company’s mission statement or production history. Creative work from outside the genre of the application is

acceptable, as long as its relevance to your application is clear.

Include projects that you feel reflect your artistic perspective. The images and productions included should

develop dialogue if in person and engage with the reviewer in any situation. Your work will often be viewed when

you are not present to explain a design concept or discuss a particular challenge. Think about including a short

description of each project including concept, how you worked through the process, and challenges encoun-

tered/solved. Be able to describe your concept or premise of each piece in your portfolio for in-person inter-

views. You should be able to discuss at length the process, challenges, and strengths of each included work.

Shows that illustrate your diversity and abilities as a designer will represent you best as long as you explain

their relevance. Diversity in types of productions may be equally beneficial. Photos of productions should be of

high quality and illustrate strong lighting compositions within the production. Select only your strongest images

for each production. Determine if your show contracts require permission letters from performers or if designersin other areas, the producer, or the photographer should be credited in a public display of their work. Make sure

that any lighting plots are large enough to be easily understood.

Quantity of work is tied to quality of work. Choose your strongest productions and gear the productions to-

wards your audience. Show an appropriate breadth to your work, but don’t oversaturate your audience. Three or

four strong images per production will represent your work more effectively than an image from every scene. Each

item in your portfolio must illustrate your abilities as a designer and as a collaborator.

Your résumé and cover letter can be more important than your portfolio. Interest in these documents causes an

employer to look at your portfolio, not the reverse. Some organizations and competitions have a preferred format for

student résumés to meet specific goals. Give careful consideration as to whether this same format serves you well in

other situations. See the checklist for specific steps.

A display of studentwork at the GilbertHemsley PortfolioReview.

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You will need to provide contact information for references. You may need different references for differ-

ent kinds of jobs. Don’t ask if someone will give you a good reference, ask if the person is able to discuss your

work in the context of the specific job. This allows someone to decline to be a reference gracefully and ensures

that a reference will speak to the requirements of the job. An indifferent letter or one discussing only your talents

unrelated to the job application does not serve you well. Students frequently do not realize the value of references

from outside their primary area. References from those who have collaborated with you on a show are vital.

Two caveats: First, be aware that some institutions allow only quantitative not qualitative references for previ-

ous employees—pay scale and dates of employment. Make sure this is not an issue before you list someone as a

reference. Second, a potential employer may contact people other than your listed references. Some employers

will ask you if that is acceptable. Other places consider those unofficial actions, and you may never know. If your

current employer does not know you are looking for a new job, request confidentiality in your cover letter or ask

the reader to inform you before contacting anyone at that organization. See reference checklist for specific steps.

Additional Reading Lighting and the Design Idea, 3rd edition, by Linda Essig and Jennifer Setlow (Cengage Learning, 2012)

Showcase: Developing, Maintaining, and Presenting A Design-Tech Portfolio for Theatre and Allied Fields,

2nd edition, by Rafael Jaen (Focal Press, 2011)

A Practical Guide to Stage Lighting, 3rd edition, by Steven Louis Shelley (Focal Press, 2013)

The Assistant Lighting Designer’s Toolkit by Anne E. McMills (Focal Press, 2014)

Digital Portfolio ResourcesThe following are some common platforms utilized for website and digital portfolio creation. It is by no means

exhaustive and should not be read as a recommendation from USITT. You may consider using a resource like

bitly.com to shorten a lengthy URL to make it more user friendly. Some web platform and hosting options include:

Wix, Weebly, Squarespace, WordPress, FatCow, about.me, Flickr, and goMobi. Whatever option you use, always

make sure your audience can identify the content they are reviewing.

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A display of studentwork at the GilbertHemsley PortfolioReview.

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ConclusionThere is no single recipe for the perfect portfolio. Your career goals and work experience, as well as the target audience, will dictate the appropriate proportions for each ingredient. Take the time to seriously assess these factors when you create

your portfolio. Remember to look at the guidelines for any portfolio competition that you may be entering. It is also worth

looking at the guidelines from other USITT Commissions as reference. Remember that portfolios and presentations need to

be tweaked as your goals or work experience or your target audience changes. A job search can be lengthy, and for free-

lancers, it never ends. Review your portfolio and résumé periodically making sure that the brand you are presenting still

serves your interests and career or educational goals.

Résumé Checklisto Proofread!o Include your name, contact information, and type of work you seek in the header of the résumé.

o Select a uniform style of presentation. For example, most recent work goes at the top, genres of shows grouped together,etc. Be logical and be consistent.

o Do not crowd the page; the flow should be easy to read and sections easy to define.o Do not include the phrase, “References upon request.” You must provide a list of references including phone numbers

and e-mail addresses, although it may be a separate document. If you are posting your résumé online, you may

replace with “references upon request” for security purposes. (See more about references below.)o Focus on relevant experience and tailor your résumé to your audience and the position(s) you seek. You do not need to

include every production credit. You may include a related work section if you have numerous relevant credits.o Theatre specific and academic résumés rarely include a career objectives statement at the top of the résumé. These may be ap-

propriate on résumés posted to broad based online job search site or state job recruitment sites. An employer using those

sites may only see the first ten lines of your resume and then decide whether or not to download the entire document.

Images selected for theportfolio should engagethe viewer and createinterest in your work. I

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o Your résumé may need to be frequently revised for similar jobs. If Human Resources or a computer scan is the initial review point,

labeling your work using the same language as the advertisement may increase the chance that it is actually read.o When listing your degree, be sure to list full degree and institution. While still in school, list your anticipated graduation

date. Any specific department accreditations (NAST, etc.) may be listed as well. Graduation year should only be

included if you are fifteen years out or less.o If submitting files digitally, include your name in the file title and save it in PDF format (e.g., John_Doe_Resume.pdf).

This format helps ensure that your document will not lose formatting during submission and transmission. Addi-

tionally, the inclusion of your name aids in making your submission easily recognizable and searchable.

Cover Letter Checklisto Proofread!

o Include your name, contact information, and type of work you seek in the header of the résumé.o Résumé and cover letter should be stylistically similar; same letterhead or headings when appropriate, same font and layout style, etc.o Do no use “To Whom It May Concern.” Do your research. Use a person’s name or Members of the Fill-in-the-Blank Committee.o Use the specific advertisement to craft your letter. Be sure to address minimum requirements from the advertisement us-

ing the same language as the job posting.o Do not ignore a specified skill or experience that you do not possess. Either indicate how your previous experience pre-

pares you to take on that responsibility or indicate your interest in expanding your skill sets.o Research the organization and institution so you can relate your experience to that setting or specify what interests you

about the group.o Most cover letters are one page. However, don’t be afraid to spill onto another page if you need the space to fully address

the application.o Be concise in your writing. Address your skills and strengths to the company as efficiently as possible. However, don’t simply say “see

attached résumé and give me a call.” Expansive prose or flowery language will not serve you well in business documents.o Use language appropriate to your audience. Human Resources staff members do not speak lighting jargon.o While using cut and paste for cover letters is an easy option, starting from scratch may help maintain quality and force

you to directly address each opportunity specifically.o If you use cut and paste pay particular attention to the addresses, salutation, and any mention of organization names

throughout the letter to avoid embarrassment.o If submitting files digitally, include your name in the file title and save it in PDF format (e.g., John_Doe_Cover_Letter.pdf).

This format helps ensure that your document will not lose formatting during submission and transmission. Addi-

tionally, the inclusion of your name aids in making your submission easily recognizable and searchable.

Reference Checklisto Give your reference a copy of the job posting and a few details about what areas you hope he or she will address.o Ask your references to supply the contact information they prefer you use. Make sure the reference knows the timetable

for completing your application packet.o Make sure the reference is willing to write and upload/send confidential letters if required. Application processes may

distinguish between the value of confidential letters of reference (those you never see) and those you can read

because you upload them to be included with your application.o Create a universal reference group that can be listed as phone references for a variety of kinds of job applications. Make

that group aware of the range of positions you are exploring and that they may receive many phone calls from

different potential employers.o Some positions will require all reference letters to be combined into a s ingle file in PDF format. Acrobat Pro or other

inexpensive software is required to create these multiple-document PDF files.

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o Make sure the reference has your latest résumé or CV.o Provide preaddressed, stamped envelopes for applications that require hard copy letters.o If you have a reference page, group names and contact information logically. For example, you might have a group of

professional references and one of academic references.o Keep references posted on your job search with regular updates on your applications and what each job entails. This is

particularly important if they are fielding phone calls instead of writing letters.o Periodically ask references if they still have the time to continue supporting your endeavors. Finding a job can take some time.o Your references should include directors and other designers outside lighting who have worked with you on a production

and can speak to your collaborative style.

Website Packaging Checklisto Choose a website title and URL that reflects professionalism.o Choose content for your landing page carefully. It is the first impression.o Make sure page titles are clear and concise and facilitate easy navigation through the site.o Your résumé, cover letter, business cards, and portfolio should be a consistent color scheme and layout that enhances

your work.o Your digital web page may be viewed on mobile devices. Use goMobi or some equivalent to make sure it looks good in

that format.o Use an image resolution appropriate for web viewing (i.e., no pixilation).o Choose image digital size with download times in mind.o View your site on multiple devices, browsers, and operating systems to ensure consistency across platforms.o A downloadable version of your résumé should be available. Consider removing address and phone information.o Use a contact form as opposed to listing your e-mail and/or phone number to help eliminate spam.o It is acceptable to list “references on request” for web versions. Protect your references’ privacy (i.e., e-mail, address,

and phone) as you protect your own.o You may wish to include a downloadable version of your digital portfolio. This is an easy alternative to transmitting large

portfolio files via e-mail.o Watermark all images if you hold the copyright.o Give appropriate credit to the other artists who worked on the productions displayed as well as credit to the photographer.o Consider including a short conceptual description of each show. Your website will almost always be viewed without you in

the room.o Include keywords and metadata to make your site more search friendly.

Final Checklisto Proofread!o Provide exactly what your audience is asking for, whether it is a digital copy, hard copy, or a website.o Build your portfolio to be visually consistent across platforms, particularly if you are not applying for a specific position.

Your digital web page may be viewed on mobile devices.o Create a package that reflects your personal brand.o Your résumé, cover letter, business cards, and portfolio should be a consistent color scheme and layout that enhances your work.o Keep your portfolio up to date. Plan some time after each production (or quarterly) to maintain your portfolio

in all its forms, print/web/etc.o If a traditional portfolio is requested do not send original material.o Determine if your work will be returned. Some search committees do not return any material.

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Documents

Lighting Portfolio Guidelines Revised 2014