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How to Craft an Art Director Portfolio — Transcript

by Jason Murray · 4,852 words · 701 segments · language en · Watch on YouTube

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0:00Your portfolio may be proving you're not
0:02an art director. Not just the kind of
0:05work that you put in your portfolio or
0:07the way you show it, but the portfolio
0:09itself might be turning people away. And
0:12I know the immediate reaction of some of
0:13the more veteran art directors going to
0:14be like, "No, like if I have 10 years of
0:16experience, that's how I prove I'm an
0:18art director. You need to actually have
0:20experience in the role." But that's not
0:22always the case, [music] especially for
0:23junior roles or student art directors.
0:26You can prove you have what it takes.
0:29You can prove think like an art director
0:31without having 5, 10 plus years as an
0:34art director. That's why a portfolio is
0:37so important. That's why spec work or
0:39speculative fake projects are so
0:42important. [music] And that's what we're
0:43going to talk about. This video is
0:44sponsored by Framer, the professional
0:46AI-powered website builder, but more on
0:49that in a bit. There's a hard truth I
0:51tell every aspiring art director and and
0:53most creatives in general that your
0:56potential employer, your hiring manager,
0:58the creative director you want to work
1:00for, no one is going to hire you for
1:02something you can't prove you have
1:05experience in or you can't prove you
1:07have capabilities in. And most people
1:09might think I'm saying, "Oh, you need to
1:11get 5 years, 10 years of experience to
1:13become an art director." No, it just
1:14means they're looking for evidence.
1:17They're looking for the way you think.
1:19They want to understand that you have a
1:21creative brain. You have inspiration
1:23outside of advertising, brand marketing,
1:26the the thing that you're being hired to
1:28art direct for. The hard truth is that
1:30employers won't hire what they can't
1:33see. The thing a lot of aspiring art
1:36directors get stuck in or even art
1:38directors who have, you know, years of
1:40experience, even 5, 10 years of
1:42experience, they get stuck in this this
1:44realm of not really showing their
1:47spectrum of capabilities as an art
1:49director. They get pigeonholed into
1:51certain tasks. Sometimes art directors
1:54are acting more like graphic designers
1:56or or illustrators or logo and that's
1:59not to diminish those roles at all. You
2:01can specialize in those roles. You can
2:03have a great career in those roles, but
2:05art direction is a little bit different.
2:07Art direction is encompassing a lot of
2:09different roles. It's It's trying to
2:11create connections between those roles.
2:13I like to say art directors are
2:15multilingual. I could never have a full
2:17career. Maybe I could, but I'm I'm not
2:19going to have a career as an
2:21illustrator, a logo designer,
2:22typography. I love editing, but that's
2:25not my specialty. My specialty is the
2:28way I connect a lot of these different
2:30mediums. And I have enough experience in
2:33a section of these languages. I'm not
2:36the best at all of them, but I'm pretty
2:38good with photography, editing. I love
2:40illustration, set design, color. I have
2:44enough fluency in different visual
2:46languages that I can come up with ideas
2:48and create overarching big ideas,
2:51campaign ideas, and the vision for
2:54creative project. So, if you're wanting
2:56to move into art direction or you're
2:57wanting to prove that your portfolio is
3:00an art director portfolio, we can't just
3:02think about craft alone. If we start
3:05going down the route of just craft
3:06alone, you should just specialize as a
3:09designer in a certain field or as an
3:12executor. That could be cinematography,
3:14animation, lighting. It doesn't always
3:16have to be just design. But, the other
3:1850% of the role of art direction is the
3:21ideas. Art directors are the bridge
3:23between the business, the strategy, the
3:26marketing, and the creative execution,
3:30the art that comes out of it. So, they
3:32either need to be able to direct the
3:34craft or execute themselves. Most art
3:36directors, especially early on in your
3:38career, you're going to need to have
3:39those execution skills, the design,
3:41graphics, editing, animation skills
3:44enough to do a good portion of the work
3:46yourself. But, the other 50% is the
3:48ideas, how you think. So, let's talk
3:51about the ways you can show how you
3:54think and what a creative director is
3:56going to want to see in your portfolio.
3:57The slides you're seeing right now are
3:59part of a road map that I put together
4:03called the art director road map. I've
4:06made previous videos about this and you
4:07can find the link to this entire FigJam
4:10down below in the description of this
4:11video. And I teach a boot camp about art
4:13direction. It's called Next Art
4:15Director. I teach you how to think like
4:16an art director. I take creatives who
4:18might already have making skills the
4:20craft, execution, and I help them learn
4:22how to come up with big ideas, how to
4:24come up with campaign-level concepts and
4:27brand platforms. But, I'm not a
4:28gatekeeper. That's super helpful for
4:30someone who wants personal feedback, who
4:32wants me to handhold them through the
4:33process. But, this is entirely free. I
4:36walk you through the steps of becoming
4:38an art director because these are the
4:40things that potential employers, your
4:43creative director, managers are going to
4:45be looking for, especially if you're
4:46wanting to an art director job in brand
4:48marketing and advertising. So, like I
4:50said, you want to learn the craft.
4:52They're going to be looking for that in
4:53your portfolio. They want to see that
4:55you can really go all in on something.
4:57But, I want to come back to craft in a
4:59second. The biggest thing that they're
5:01going to be looking for for a conceptual
5:03art director, you'll see that a lot on
5:05LinkedIn, especially if you're you're
5:06looking for jobs and and uh you're
5:09seeing agency jobs pop up for art
5:11directors or at brands, social agencies
5:14even, are often labeling a little
5:16prefix. They're looking for a conceptual
5:18art director, conceptual creatives. That
5:21really means they're looking for someone
5:23who understands insights, understands
5:26how to turn those insights into big
5:28ideas. There's a lot of varying
5:29definitions on big ideas and concepts,
5:33but just understand that in advertising,
5:35big ideas aren't always about the
5:37quality of the idea, but I like to
5:40separate quality from size. They're
5:42looking for a large idea, an
5:45encompassing idea. And I have a lot of
5:47videos on that, especially on my
5:48Instagram. But a big idea is going to be
5:50an overarching concept for that
5:53campaign, that brand platform, that ties
5:56all the different pieces together, so
5:57that every touchpoint of a campaign is
6:00going to be expressing sort of the same
6:02idea, the same message, but can reflect
6:05it in new ways, or reflect that idea in
6:07different ways depending on the medium,
6:09the channel, out-of-home billboard ads,
6:11print ads versus social concepts, or
6:14innovative activations or pop-ups. So, I
6:17have a bunch of those resources here.
6:19This road map's all about, you know,
6:20doing it yourself, finding the resources
6:23so you can learn how to become an art
6:25director on your own. I go deep into the
6:27idea sizing chart and helping you
6:29understand 360 campaign platforms in my
6:32art direction bootcamp Next Art
6:33Director. But this is all stuff, this is
6:35all all verbage and terms you can find
6:38information online about. You can find
6:40resources to learn this on your own. A
6:41lot of great creators and friends of
6:44mine, Mark Pollard, um Ashley has stuff
6:47about advertising. They have content on
6:49this stuff, too. They teach this stuff.
6:50But from there, you need to start
6:52creating actual work. I get the question
6:55so often, like, "How do I get started?"
6:56You get started by getting started. You
6:58got to start making. And what do you
6:59make? You make the kind of work you want
7:01to make. If you want to become a brand
7:02art director, an advertising art
7:04director, you got to make campaigns and
7:06projects. You don't need experience to
7:08do any of this. Spec ads, meaning
7:10speculative, is fake ads. You can go to
7:13The One Show archive, D&AD New Blood
7:16Awards. You can check out a lot of
7:19universities and colleges and portfolio
7:21programs, master's programs, and you can
7:23see the portfolios of other students and
7:25other junior creatives and aspiring art
7:28directors to see, oh, looks like
7:30someone's already in the in the road map
7:32and they're they're they're checking it
7:33out. Let's say hi to them. Hey. You can
7:36see examples of other portfolios from
7:38creatives, and they make the work that
7:41they want to make more of. They want to
7:42get hired to make funny work or they get
7:45want to get hired to make cool art
7:47directed crafted work. Or if you want to
7:49work in sports, you've got to make that
7:51kind of work. So, the new section to the
7:53art director road map, if you follow
7:56this dotted line, is down to art
7:58director portfolios. So, back to the
8:00craft. I want to encourage you to not
8:04just think within a single lane in terms
8:07of craft. Art directors can definitely
8:09specialize, but often times it's it's
8:12helpful to specialize in an industry or
8:15a realm or at least early on to not
8:17pigeonhole yourself too soon. And
8:19especially with the mediums and
8:22techniques to experiment, to try a lot
8:25of different types of things because
8:26you're not just going to be a graphic
8:28designer. I hate saying just, but we're
8:30talking about a different role. I love
8:32graphic designers. Let's make sure
8:33that's clear. So, what I have here is
8:35something I share with a lot of my
8:36students, an art direction menu, just a
8:39list of ideas of different ways visual
8:42decision-making can impact a project.
8:45And all these different visual decisions
8:47are ways that you're able to deliver a
8:50message and try to strike emotion with a
8:53viewer, with a customer, instead of
8:55just, you know, taking the concept of a
8:57of a campaign and just saying it
8:59straight. We're creatives. We want to
9:01creatively communicate. So, that could
9:03be with color and light. That could be
9:05with styling and set, cast and talent,
9:08the visual references that you pull in,
9:10the mood of that campaign. If you want
9:12to prove that you're an art director,
9:14that you can think like an art director,
9:15you got to show that you're
9:16multilingual. Each project needs to
9:19maybe take a few different ingredients.
9:21You don't have to cover the the entire
9:22thing, but take a couple different
9:24ingredients and have a purpose so that
9:26each project in your portfolio showcases
9:29maybe a different aspect of you. Now,
9:30that's craft, but I keep emphasizing
9:33ideas. Showcasing how you think should
9:36be 50% of this, 50% of your effort and
9:40your energy. So, how do you show that?
9:42Part of it is first understanding big
9:44ideas, understanding insights, and then
9:47the campaigns that you execute, the
9:49projects that you execute, they're going
9:51to have an overarching concept, and you
9:54should be able to understand those
9:55concepts. We'll look at some work later.
9:57But, just look at my project checklist
9:58here. Not every project has to be a
10:00brand project. You can do passion
10:01projects. But, for brand projects, you
10:03want to have a brand, a globally
10:05recognized brand ideally, so that you
10:07don't have to do a lot of the education
10:09there of what we're, you know, even even
10:11coming up a with a concept for. Give
10:12your project a title, as in the idea has
10:17a name, the campaign concept has a name.
10:20That's going to show that you can
10:21distill an idea down to a single line.
10:24It's going to make it memorable. An
10:25optional thing, but I highly recommend
10:27always having a key visual or a lockup.
10:30That's some sort of a key visual as in a
10:32single image that represents the entire
10:35campaign. This can be tough, because how
10:37do you distill visually an entire
10:40concept, maybe a larger story, down into
10:43a single message? Well, think about some
10:44of your favorite campaigns. One recently
10:46that I'm thinking about is Nike's rip
10:48the script. The single uh key visual or
10:51lockup is is maybe just the title rip
10:55the script, and they've got the cracked
10:57screen, the digital cracked screen down
10:58the middle where it's like breaking.
11:00You're visually hinting at the entire
11:03idea. That's going to show that you can
11:04think big and and distill everything
11:06down into a single creative concept. As
11:09in you have a big idea, that's the
11:11creative formula for your entire
11:13project. Then, at the top of your
11:14project, a little overview, a little
11:16description. Some people like to
11:18literally label, "This is my insight.
11:20This is my idea." But, you don't have to
11:21do that. I don't always recommend that.
11:23Just talk about your project and and
11:25what the concept is. Emphasize the why.
11:28Just know, and this is my my next
11:30bullet, that there is an insight, an
11:32idea, or you need to prove that there is
11:34an insight and idea there, whether you
11:35label it overtly or not. And you'll see
11:37on the right, I'm kind of showcasing the
11:40the order of your project portfolio
11:42project as if it's a website page, you
11:45know, key visual locked up at the top,
11:47then you know, this, the overview, then
11:49the different hero executions is what
11:51we're going to talk about next. You can
11:53change the order a bit, you can design
11:55how you want, but this is kind of the
11:56order of thought process where we're
11:59emphasizing the idea, where art
12:02directors were emphasizing the the
12:03entire concept that is a sort of
12:06through-line or connective thread
12:08between all the different touch pieces.
12:09But then we go into the touch points,
12:12the executions. You want at least four
12:14to six touch points, and that might be,
12:17you know, three, four to six different
12:20channels, print ads, out-of-home,
12:22social. I often, you know, even in this
12:25modern era, I love print ads, I love
12:27out-of-home because it really showcases
12:30I mean, out-of-home ads still work,
12:31billboards still work, subway ads, all
12:33of that still great. But it showcases
12:35the idea in a
12:37in a simpler format than always thinking
12:39about video. But then, you know, you
12:41could, if you have those skills,
12:43represent it in video, in social, create
12:45small GIFs, think of something
12:47innovative, a digital execution, a
12:49pop-up. That's where you're going to
12:51showcase more touch points, and between
12:53each of those touch points, maybe you
12:55just label the different channels, we've
12:57got social, we've got this, we've got
12:59that, but I'll also love to hear a
13:01little bit of your thinking. If that's
13:02me, I would probably just keep thinking
13:04about, you know, how does this tie in to
13:06the overarching concept? How does this
13:08help and build up to the big idea that
13:11you explained at the very top? Now,
13:12speaking of building creative websites
13:15and building your portfolio, I want to
13:17make sure you have the best tool for the
13:18job. Look, I've swapped my portfolio
13:20around to a lot of different website
13:22builders, but this is the one that that
13:25finally landing on, and I'd recommend to
13:27start with. Framer is the AI website
13:30builder for standout sites, but is more
13:32than just an AI website builder. It is a
13:36professional website building tool. It's
13:39become an industry standard tool. Some
13:41of the most amazing websites you've seen
13:43online, including companies like Miro
13:46and Perplexity, build their websites
13:48with Framer. Now, our directors aren't
13:50always the most technical on the website
13:52side of things. There are art directors
13:53that are great at websites, but that's
13:55why I love Framer so much is you can get
13:57as technical as you want, but they also
13:59have agents that can work alongside you
14:02and help get your vision out onto the
14:04canvas. And that's a design canvas,
14:06which is the core of Framer versus code
14:08only or drag and drop only. Everything
14:11is fully editable the way you'd expect
14:14from a design tool. I'm actually redoing
14:16and building my own portfolio and all of
14:18my sites really in Framer as we speak.
14:21And look, you want to be creative.
14:22That's what this agent is for. It's for
14:24the tedious stuff that you don't want to
14:26deal with or for helping translate your
14:28vision. Framer allows you to focus on
14:30the design, the storytelling, but like I
14:33said, it being a professional tool, it
14:36has all of those capabilities there.
14:38It's more than just a builder, honestly.
14:40It's the whole platform. You design it,
14:42host it, publish it. And I recommend it
14:45as the tool for your portfolio because
14:47you can keep it simple, but as you
14:50continue to progress your portfolio, you
14:52can tinker with stuff. You can continue
14:54to craft it. It's going to be the tool
14:56that you can use throughout your career,
14:58not just for your portfolio, but even on
15:01the job where you're going to be an art
15:02director who can also design websites or
15:06understand the visual language of
15:08websites as you're working with web
15:09designers and developers. Like look at
15:11some of these websites all built in
15:13Framer. We're talking about building a
15:15creative portfolio that represents you,
15:16but it's more than just putting your
15:18work onto a website. The website itself
15:21should almost be a portfolio piece. It
15:24should reflect your personality. And
15:26you're not going to be able to do that
15:27in just a standard website builder.
15:29You're going to want to use a tool like
15:30Framer. And look, I get it. I'm an art
15:32director. I'm not a technical web
15:34designer. But even their templates are a
15:36great place to start. Look at these.
15:38Pick one of these. Visual frame will
15:40just showcase your work. Some of these
15:43include a little bit of those more
15:45creative elements, interactive cursors
15:47and animations. Start building your
15:49website with Framer. You can use my code
15:51Jason 1 for 30% off of the annual pro
15:54plan. And now, a bit more on portfolios.
15:56I've got some of my best advice for you.
15:58Now, how many of these projects should
16:00you create for your portfolio? I
16:02recommend four to six strong projects.
16:07Four only. If you only have four strong
16:10projects, only show your strongest work.
16:13Only show work that you deem to be the
16:15best work you have. If you've got six
16:17projects and one of them is crap, just
16:18get rid of the crap one. And if you have
16:20a longer [clears throat] career and
16:21you've got six plus, seven, 10 awesome
16:24projects, that's great. But if you're
16:26pivoting from another path or if you're
16:28building your portfolios from scratch,
16:29you know, I've seen portfolios with only
16:31three projects. It's going to be harder,
16:33but, you know, four projects isn't a
16:35lot, but it is enough to prove you can
16:38think like an art director. All of these
16:39projects could be spec. They they could
16:42be fake or made up. Or they could be,
16:44you know, self-initiated things. You
16:46don't have to have a client to get
16:47experience as an art director. What
16:49matters most, and that's the emphasis of
16:51this this entire video, is you're not
16:53just showing your strong craft, the way
16:56that you're able to execute a lot of
16:58different visual languages from an art
17:00direction menu like I showed you,
17:02but each piece has a single strong idea.
17:06Not a dozen different disparate ideas.
17:09You got to show that you can unify
17:12multiple touchpoints to a single idea.
17:14What could those projects look like?
17:16These are example projects, an example
17:20mix of ways you could put a portfolio
17:23together. And I try to show different
17:25examples of different types of projects,
17:27not just 360 campaigns, cuz you could be
17:29coming from this from a different
17:31creative career path. And a lot of the
17:33work you already have, whether it's
17:35graphic design work or logo work or
17:37passion projects, video, film,
17:39animation, those kind of projects could
17:41still help round out your portfolio. But
17:44at the top of this list, I usually
17:46recommend at least some sort of 360
17:49campaign. 360 In In my mind, I just want
17:53you to showcase a lot of different touch
17:55points and channels, and show that you
17:56can think of a big idea that can stretch
17:58across different touch points. I've
18:00included here some examples of some 360
18:02projects. You can check them out, judge
18:04the idea yourself, whether you think the
18:06idea is strong. I like this one cuz it's
18:08all about embracing sort of what is it?
18:12Bottle scars, embracing the personality
18:15and, you know, embracing the rugged
18:17nature of Hydro Flask bottles and how we
18:19bang them up, scratch them up when
18:21you're taking them on your adventures.
18:23So because of three is a 360 campaign,
18:25he's not only putting together print
18:26ads, and the craft is great. He's, you
18:29know, stitching them together, collaging
18:31them together, showing them almost
18:33handmade. You can kind of feel the
18:35effort there. You can do stuff with AI
18:37as well, but just try to show effort,
18:39try to be impressive and impress your
18:41potential creative directors. But more
18:43than just print ads, he's showing social
18:46ads. He's showing something a little a
18:48non-traditional, something a little more
18:51interesting than just typical
18:52traditional advertising. Stickers that
18:54like highlight the the bottle scars on
18:57the bottles. He's thinking outside the
18:59box. Maybe you can go out and find
19:01actual
19:03bottle battle scars out in public on,
19:05you know, scratching the surfaces of
19:07different things in the city. And he's
19:08got stickers that puts the bottle
19:11creating the silhouette around it. That
19:13is just so cool. Honestly, I'd love to
19:14see even more of that. Not a ton of
19:16touch points on this one, but that's how
19:18you show you have a bigger idea cuz it
19:20stretches across multiple touch points.
19:22This one for Dollar Shave Club, the idea
19:25here make a campaign that's inescapable,
19:28a seed of doubt that grows with every
19:30shave. Probably just looks looks like
19:32highlighting the the bloody horror
19:35aspect of when shaves go wrong. So he's
19:38treating his his his print ads as like
19:41horror film movie posters. There's
19:43posters, there's out of home, like a fun
19:45activation of like emergency razor
19:48replacement. I love this kind of stuff.
19:50You show you can think outside the box.
19:52A hotline you can call and they'll bring
19:54you an emergency razor replacement. Like
19:56a dispenser, a booth to get an emergency
19:59razor. It's like the the booth itself,
20:02the channel the channel itself or you
20:05know, the tactic of emergency products,
20:08that's not the interesting part. It's
20:09how it connects to the big idea. You
20:12know, I think art direction wise there's
20:13ways that even the dispenser it could
20:16tie closer into that like maybe the the
20:19horror movie aspect or the yeah, the
20:21scary fear aspect of that. But as an art
20:23director, you've translated this big
20:26idea and message into visual ingredients
20:29that you can pull in. So you don't
20:30always have to be super overt with that.
20:32Often times in retail and on product
20:34packaging, you're not going to have the
20:36actual like campaign hero messaging. But
20:40you'll pull in the look and feel. You'll
20:41pull in colors, the type might pull from
20:44the the recent campaign. You'll see that
20:46on product packaging a lot. But yeah,
20:48this is a great 360 campaign with out of
20:50home stuff, how it can show up on
20:52product, online ads. He shows some of
20:55his process, mood That's I love that.
20:58He's showing his thinking, where he's
20:59getting his inspiration. The early
21:01iterations is fun. Yeah, it could have
21:03been it could have gone a different
21:04direction, but I like I like where he
21:06landed. And let's see, where is Ian
21:08working now? He's an art director that's
21:10freelancing at Google. Google Brand
21:12Studio. That's how you go from being a
21:15student or not being an art director to
21:18getting a job at Google as an art
21:19director. You show it. You prove through
21:22your portfolio that you have what it
21:24takes. None of that is real. He didn't
21:25actually work for Dollar Shave Club. He
21:27just proved he could. So, back to our
21:30rubric or table of different projects
21:32you could fill your portfolio with.
21:34Check this out in the road map linked in
21:36the description. You could do one or two
21:38360 campaigns. You could include a
21:40passion project, maybe a passion project
21:42you already have. One or two of those.
21:44Create some social content. Do a project
21:46that's just a design craft-oriented
21:48project. I have examples of this, but
21:50maybe you just do a really cool font
21:52typeface sort of project. Or maybe one
21:54of your ad campaigns is just print ads
21:56and it's just you just pour a ton of
21:58energy into it and you make sure that
22:00the person, the creative director seeing
22:02that project, can feel how much effort
22:05and craft was poured into that project.
22:07So, not every portfolio is going to look
22:09the same. These are a couple different
22:10examples of the of the mix of your
22:12portfolio. Not the design. Your design
22:15should should look more like you. You
22:17know, get a good website builder tool
22:19like Framer. Really pour some energy
22:22into making the experience of looking at
22:24your portfolio worth looking at. But the
22:26project mix, maybe you've got two 360
22:28campaigns, a social thing, experiential,
22:31passion projects, a stunt or cultural
22:33response project. That's a pretty full
22:35portfolio. You just start with one
22:37project at a time and you create your
22:39portfolio. But also, you you don't need
22:41to have six projects. You can start with
22:42five. You could do just four and maybe
22:44you just do one 360 campaign that just
22:47really proves you can think. And then
22:49your other projects, you've got a really
22:51fo- a craft-focused project, a passion
22:53project, and another passion project.
22:55It's going to depend a lot on the
22:58company that you want to work for, the
23:00brands you want to work for, or maybe
23:02the creator that you want to work for
23:03cuz there's a lot of creators and
23:05creator focused companies that are
23:06starting to hire art directors. It can
23:08be different. It's I'm not going to say
23:10there's a one-size-fits-all, but with
23:12every single one of these projects, just
23:14have an intention, have a reason for
23:17doing that project. This is the project
23:20I show that I can think really big. This
23:22is the project that I show that I have
23:24these craft skills. This is a project
23:26that shows this passion I have because I
23:30know that this employer doesn't want
23:31just a someone who only cares about
23:34advertising and marketing. I'm a person
23:36who pulls inspiration from, I don't
23:38know, wrestling or equestrian horseback
23:41riding, or I'm super into bugs, or I
23:44don't know. They're just random stuff.
23:45You could art direct a project. And
23:48those passion projects, you kind of
23:49follow the same process. You've got a
23:52some sort of big idea, or some sort of
23:54insight, a why behind that project. And
23:57then, you know, give it a name. Give it
24:00a a sort of key visual or lockup. Walk
24:03me through the process of that passion
24:04project. Your portfolio might be proving
24:07you're not an art director. And now I'm
24:10almost just speaking to myself and
24:13fellow art directors, not even not only
24:15just aspiring art directors, but you
24:16know, fellow art directors with 5, 10,
24:18plus years of experience. It's a
24:20reminder that our portfolios communicate
24:23on our behalf. And they might not always
24:25be the perfect reflection of what we
24:28want out of our careers and what we're
24:30capable of. And no brand or corporation
24:33wants to take a risk, wants to take a
24:35bet. They're looking for evidence. They
24:37want to see that you can do what you say
24:40you can do. So, thank you, Framer, for
24:42sponsoring this video, for being a great
24:44tool for art directors, creating
24:46portfolios, creating websites for
24:48brands. And if you want access to this
24:50roadmap, check the link in the
24:51description. It's a ton of resources. I
24:54share a lot of resources about how to
24:56become an art director, about being an
24:58art director, and thinking like an art
24:59director. I love art direction. I love
25:02this stuff. So, make sure you're
25:03following along for more videos like
25:04this. Check out the newsletter for more
25:06about modern art direction, the modern
25:08art direction newsletter. Join me for a
25:10workshop or a class. There's going to be
25:12lots coming up. And make sure you
25:13comment below if you have any specific
25:15questions cuz that's where I get these
25:18videos. I want to make sure that they're
25:20answering your questions about how to be
25:22the best creative you can be and how to
25:24be a great art director.

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