Design portfolios and blockbuster movies had become more and more generic. On the design side, I blame all the portfolio reviews and articles shared by “experienced” designers that repeat the same pieces of advice regardless of the project, context and designer’s maturity. Most of those recommendations are followed without a strategy to test and validate its results. We do it because somebody told us and that should suffice.

d ESIGN组合和电影大片已经变得越来越普通。 在设计方面，我归咎于“经验丰富”的设计师分享的所有作品集评论和文章，无论项目，上下文和设计师的成熟程度如何，都重复相同的建议。 遵循了大多数建议，但没有采取策略来测试和验证其结果。 我们这样做是因为有人告诉我们，这样就足够了。

It is very common to hear contradictory advice like “add more detail but make it short”. The receiving leaves even more confused than how it all originally started. The perception of an ideal portfolio is a fake creative constrain impossible to measure and subjective to the extreme.

听到矛盾的建议是很常见的，例如“增加更多细节，但要简短一些”。 接收过程比最初的接收过程更加混乱。 理想投资组合的感知是一种伪造的创意约束，无法衡量且受制于极端。

If the community ends up hearing the same recipe for a great case study everywhere, we tend to believe that is the only way, and therefore everything else is wrong. Overgeneralization about what makes a good portfolio kills uniqueness, to the point that we end up with portfolios that fit in two categories:

如果社区最终在各地都听到了相同的秘诀来进行案例研究，那么我们倾向于认为这是唯一的方法，因此其他所有方法都是错误的。 对什么才是好的投资组合进行过度概括会杀死独特性，以至于我们最终得出的投资组合可分为两类：

A)迈克尔湾电影 (A) The Michael Bay movie)

The portfolio is centred in generic action pieces, that really feels more like a checklist than a cohesive narrative. Every blockbuster movie needs a car chase, well, every portfolio needs user flows. The audience likes explosions, design managers like photos of unreadable post-its in a wall. At the end, what is delivered, even when it could be technically impressive and had interesting ideas, ends up being repetitive, formulaic and tedious… like a Transformers movie.

作品集以通用动作片为中心，这实际上更像是清单，而不是具有凝聚力的叙述。 每部大片都需要追逐汽车，好吧，每部影片都需要用户流量。 观众喜欢爆炸，设计经理喜欢墙上不可读的便利贴的照片。 最后，即使在技术上令人印象深刻且具有有趣的想法的情况下，交付的内容也最终变得重复，公式化且乏味……就像《变形金刚》的电影一样。

B)纪录片 (B) The documentary)

This portfolio is committed to show the facts and nothing but the facts. It is so data-centric and dense that forces the viewer has to do the heavy lifting and connect the dots. All those early wireframes are included, every stakeholder presentation, side note, secondary flow and irrelevant detail is in. Deciphering this portfolio feels like homework that challenges the visitor’s attention to details. It is like when somebody tells me “you have to read the book to understand the movie adaptation”.

该投资组合致力于显示事实，只显示事实。 它是如此以数据为中心且密集的，迫使观看者不得不进行繁重的工作并连接点。 所有这些早期的线框都包括在内，每个利益相关者的演讲，旁注，次要流程和不相关的细节都已包含在内。解密此投资组合感觉就像是作业，挑战了访客对细节的关注。 就像有人告诉我“你必须读这本书才能理解电影改编”。

I would like to propose a different way, that goes beyond the idea of what makes a good portfolio, and lands closer to the notion of what makes a great narrative.

我想提出一种不同的方法，该方法超越了构成一个好的作品集的想法，并且更接近于构成一个伟大叙事的概念。

If your portfolio is a story, why not taking some cues from one the best storytellers ever? Quentin Tarantino.

如果您的作品集是一个故事， 为什么不从有史以来最好的故事讲述者那里获得一些线索呢？ 昆汀·塔伦蒂诺。

像Eams一样设计，像Tarantino一样暴露 (Design like Eams, expose like Tarantino)

Your projects and your portfolio are two very different things. There is a huge distance between the final result of a project and show-casing it.

您的项目和投资组合是两件截然不同的事情。 项目的最终结果与展示案例之间相距甚远。

This is specially hard, if we are used to seeing only the “pretty” results. One of the biggest issues I have against Dribbble, is that it makes everybody thinks a cool interface just showed up like magic. There is almost no mention of what it takes to get good work out there. That is what we are expected to do at the end, show the good side of the story. The value of a design project is not how much work you put on it, it is the positive impact your solution made on the user’s life. As Charles Eames used to say:

如果我们习惯于仅看到“漂亮”的结果，这将特别困难。 我针对Dribbble遇到的最大问题之一是，它使每个人都认为酷炫的界面就像魔术一样出现。 几乎没有提到如何做好工作。 这就是我们期望在最后做的事情，表明故事的好的一面。 设计项目的价值不在于您要付出多少工作，而是您的解决方案对用户生活的积极影响。 正如查尔斯·伊姆斯(Charles Eames)曾经说过的：

Never let the blood show.

切勿让鲜血流露。

Which meant, do not show what happened behind the curtains. The final user experience needs to be delightful, therefore the process needs to be edited out.

这意味着，不要显示幕后发生的事情。 最终的用户体验必须令人愉快，因此需要删除该过程。

Tarantino is absolutely the opposite to that. He does not shy away from showing pain, because it is part of the narrative, and most of the time it is its climax. He injects context, intention and nuance to it, one drop of blood can have more dramatic effect than a car splashed with brains. He does in a way that is unique, impactful and at times, beautiful.

塔伦蒂诺绝对是相反的。 他不回避表现痛苦，因为它是叙事的一部分，而且在大多数情况下是痛苦的高潮。 他给它注入了背景，意图和细微差别，一滴血比一辆溅满大脑的汽车更具戏剧性。 他的工作方式独特，富有影响力，有时甚至很漂亮。

In the design world, your portfolio is the narrative of the events that you lived. It is a story of sweat, adrenaline, and tears that not necessarily needs to have a happy ending, but needs to showcase the kind of designer you are. It is your story, show the “blood” in the most engaging way possible.

在设计世界中，您的作品集就是您所经历的事件的叙述。 这是一个关于汗水，肾上腺素和眼泪的故事，不一定需要有一个圆满的结局，而是需要展示您是什么样的设计师。 这是您的故事，以最引人入胜的方式展现“鲜血”。

⛔️ Alert! Once you pass the next three dots, you will be in spoiler territory, if you have not seeing the movie Pulp Fiction, please do yourself a favour and watch it immediately.

Alert️ 警报！ 一旦通过下三个点，您将处在剧透区域，如果您还没有看过电影《低俗小说》，请帮个忙，并立即观看。

告诉我故事从一开始就结束了 (Tell me how the story ends from the start)

In Pulp Fiction, Tarantino captures your attention from the start by using one single phrase at a scene that most directors would leave until the end. He is the master of non-linear storytelling!

在《低俗小说》中，塔伦蒂诺从一开始就吸引了您的注意力，在一个场景中，大多数导演都会离开直到结尾，只用一个短语。 他是非线性讲故事的大师！

Pumpkin and Honey Bunny are in a restaurant table discussing the next hit. It all starts with:

南瓜和蜂蜜兔子在餐厅的桌子旁，讨论下一击。 一切始于：

No, forget it, it’s too risky.

不，算了，这太冒险了。

This sentence opens a movie where pretty much anything that happens is riskier than the expectations the audience originally had. It is really the end of the movie, but does not spoil the narrative, it appeals to our curiosity and sets the bar high for what is about to come next.

这句话打开了一部电影，其中发生的几乎所有事情都比观众最初的期望冒险。 这确实是电影的结局，但不会破坏叙事，它吸引了我们的好奇心，并为接下来发生的事情设定了很高的标准。

How to use it in your portfolio? Never leave the results of your project until the end. Tease them! Consider your first sentence after your project title as your “too risky” opening. It needs to hook the visitor, and deliver enough mystery that he/she cannot stop until the end.

如何在您的投资组合中使用它？ 永远不要将项目结果留到最后。 逗他们！ 将项目标题后的第一句话视为“风险太大”的开头。 它需要吸引来访者，并提供足够的奥秘，以使他/她无法停止直到最后。

Most likely your visitor (recruiter, hiring manager or potential client) wants to hear you have something they are craving. Appeal to their most basic and selfish needs. E.g. Money!

您的访客(招聘人员，招聘经理或潜在客户)最有可能希望听到您有他们渴望的东西。 呼吁他们最基本和自私的需求。 例如钱！

Title: Financial app redesign

标题：重新设计金融应用

‘Too risky’ subtitle: How removing an icon saved a million dollars.

“太冒险”副标题：删除图标如何节省一百万美元。

Do not forget that by the end of the case study you need to over-deliver and vastly satisfy the expectations your “too risky” opener set up. If the visitor end’s up feeling manipulated, rest assure you just made an enemy, and that indeed cannot get any riskier.

不要忘记，在案例研究结束时，您需要超额交付并充分满足您“风险太大”的要求。 如果访问者最终感觉被操纵了，请放心，您刚刚成为敌人，那的确不会冒任何风险。

让每个想法都“点击” (Make every idea “click”)

The magic of a strong narrative comes from curation and interconnection. I have seen many use cases where there is not interconnection between deliverables. The project had a great premise, but the design flows casually forget about it. The user research tells me one thing, the persona completely the does not match.

强有力的叙述的魔力来自策展和相互联系。 我已经看到许多使用情况，可交付成果之间没有相互联系。 该项目有一个很好的前提，但是设计流程随随便便就不用理会了。 用户研究告诉我一件事，角色完全不匹配。

Everything you present must be a necessary vehicle to explain what is going to happen next. Movies use 🔫 the Chekhov’s gun as a narrative principle to help the story create tension, anticipation and engagement. This rule introduces a gun to the viewer in a scene, knowing that it will be used sooner or later 🔫.

您呈现的所有内容都必须是解释接下来会发生什么的必要工具。 电影使用契kh夫的枪作为叙事原理，以帮助故事产生张力，期待和参与。 此规则会向场景中的查看者介绍一把枪，因为它早晚会被使用🔫。

A project in your portfolio should work as a self-sustained storyline, where the connections between the information given and the decisions made should cohesively follow the law of cause and effect.

您投资组合中的一个项目应作为一个自我维持的故事情节，其中所提供的信息与所做出的决策之间的联系应始终遵循因果律。

You will be tempted to add a screenshot of all those “bar napkin” wireframes you spent six hours working on, thinking it will show a future employer/client my work ethics and use of best practices. Cool, if it is part of the process, show only what is relevant and legible. Including 50 variations of the same flow just to drive a point that is not exactly part of the plot is like keeping blooper scenes in your movie.

您会很想添加花了六个小时进行工作的所有“酒吧餐巾”线框的屏幕截图，认为它将向未来的雇主/客户展示我的职业道德和最佳实践的使用。 很酷，如果它是过程的一部分，请仅显示相关且清晰的内容。 包含50个相同流程的变化只是为了驱动不完全是情节的一部分，就像在影片中保留吸血鬼场景一样。

选择适合工作的工具 (Choose the right tool for the job)

Your portfolio is a way to show your skills and how well you have mastered your design tools. They need to see you have the criteria to use the right tool at the right phase, and you are not just a “one-trick pony” that uses the same gimmick all the time.

您的作品集可以显示您的技能以及您对设计工具的掌握程度。 他们需要看到您具有在正确的阶段使用正确的工具的条件，而您不只是一个始终使用相同的头的“单把小马”。

There is a very gruesome scene where Butch needs to choose the right weapon before rescuing Marcellus. First, he picks a hammer, puts it down to go for a bat, grabs a chainsaw, and then decides to go for a katana. You can see Bruce Willis face analyzing the best option, its pros and cons according to the situation. He needed something deadly and silent, therefore the katana is the best!

在一个非常可怕的场景中，布奇需要营救Marcellus之前选择正确的武器。 首先，他拿起锤子，放下锤去打球，握住电锯，然后决定去武士刀。 您可以看到Bruce Willis面对着分析最佳选择的情况，根据情况对其优缺点进行了分析。 他需要致命和沉默的东西，因此，武士刀是最好的！

✅ Tarantino does it this way

ant 塔伦蒂诺就是这样

🚫 Not this way

🚫 不是这样

The way you present your talents needs to convincing and effective. But how we normally do it? We show a list… with percentages!

您展现才能的方式需要令人信服和有效。 但是我们通常如何做呢？ 我们显示一个列表…含百分比！

Really? That is the best you can do to tell me about how awesome you are? You need to convince me you are awesome, not how you are 60% awe and 40% some. Show, don’t tell!

真？ 那是最好的告诉我您有多棒的事情吗？ 您需要说服我自己很棒，而不是说自己60％的敬畏度和40％的 敬畏度 。 显示，不要告诉！

建立强大的性格，目标和动机 (Create strong characters, goals and motivations)

Relying on user personas for your project can be polarizing, some people see it as a useful tool, for others, it is a limiting generalization of your users. You personas are your characters in this movie. They needs to have motivations, flaws, and unique personalities.

对您的项目依赖用户角色可能会两极分化，有些人将其视为有用的工具，而对于另一些人来说，这是对用户的局限性。 您的角色是这部电影中的角色。 他们需要有动机，缺陷和独特个性。

One of the biggest issues most portfolios have is selecting very generic images from sites like unplash. Stock images are meant to be vague and vanilla, since they need to be so generic they can fit in almost anywhere.

大多数产品组合面临的最大问题之一是从unplash等网站中选择非常通用的图像。 股票图像本应模糊不清，因为它们必须具有通用性，因此几乎可以放在任何地方。

One way to waste a good persona is by thinking that just by adding information in a persona template, the job is done. Remember, great characters will bring emotion to the explosions, make them part of the action.

浪费好角色的一种方法是认为仅通过在角色模板中添加信息即可完成工作。 记住，伟大的人物会给爆炸带来情感，使它们成为动作的一部分。

The interaction between the characters is a way to expose their personality and avoiding long descriptions. Use conflict to bring up the contrast between them. In Pulp Fiction you will have a character going through a terrible situation interacting with another user that was just having a very normal day. The way they react is the final signature of who are they as a person.

人物之间的互动是一种暴露人物个性并避免冗长描述的方式。 使用冲突来显示它们之间的对比。 在低俗小说中，您将遇到一个角色，该角色正在经历与另一名刚刚过着非常正常一天的用户交互的可怕情况。 他们的React方式是他们作为一个人的最终标志。

At the end of your case study, your personas should have made a long-lasting impression of the users you targeted and their context. If you ask the reader: “What your persona look like? And the answer is: What? You did something wrong.

在案例研究结束时，您的角色应该对您所针对的用户及其背景产生长久的印象。 如果您问读者：“您的角色是什么样的？ 答案是：什么？ 你做错了

不要从错误中回避 (Do not shy way from errors)

I cannot think of a real project where things went peachy from the start. We buy into the narrative that great designers never make mistakes, but most hiring managers are looking for hints to know how you deal with situations where things do not go the way we want it.

我想不出一个真正的项目，从一开始，事情就变得扑朔迷离。 我们认同伟大的设计师永远不会犯错误的说法，但是大多数招聘经理都在寻找提示，以了解您如何处理事情未如我们所愿的情况。

Show me the “blood”, means owning your mistakes and the series of actions you had to endure to clean up the mess.

给我看“血统”，意思是拥有自己的错误以及清理混乱所必须采取的一系列行动。

The only designers that never have challenges are the ones that are not doing anything at all. You will have 99 problems, showcasing them should not be one.

唯一从来没有挑战的设计师就是根本没有做任何事情的设计师。 您将有99个问题，展示它们不应该是一个。

让我想要更多 (Leave me wanting more)

We tent to forget that a portfolio should be just the beginning of a long friendship. After seeing it, I need to feel compelled to send you an email, follow you in twitter or connect on LinkedIn.

我们要忘记，投资组合只是长期友谊的开始。 看到它之后，我不得不强迫您发送电子邮件，在Twitter上关注您或在LinkedIn上建立联系。

If you introduce enough information for me to know about you but leave some well-planned puzzles, my curiosity will make you contact you. We all want interesting people around us, it is part of our nature.

如果您向我介绍了足够的信息让您了解您，但留下了一些精心计划的难题，那么我的好奇心将使您与您联系。 我们都希望周围有有趣的人，这是我们自然的一部分。

The “about you” section is the perfect place to set those hints. Please do not waste your time saying you are passionate about design, that would make you just like everybody else. Show me you are passionate, bring up the projects you are working on, the causes you support, the challenges you want to tackle, and leave mysteries behind.

“关于您”部分是设置这些提示的理想位置。 请不要浪费时间说您对设计充满热情，那会让您像其他人一样。 向我展示您充满激情，提出您正在从事的项目，您支持的事业，您要解决的挑战，并留下奥秘 。

最后，您的作品集是一部关于您的电影 (At the end, your portfolio is a movie about you)

The way you do something is the way you do everything. You can have an idea of what Tarantino cares about just from watching his movies. He is a talented fan, obsessed with following his passion. At the end of your portfolio, your visitor needs to arrive to the same conclusion about you as a designer.

您做某事的方式就是您所做的一切。 您可以通过看他的电影来了解Tarantino关心的是什么。 他是一个有才华的粉丝，痴迷于他的激情。 在您的作品集的最后，访客需要得出与设计师相同的结论。

Create your own personal brand as a director of an oscar-winning blockbuster. Tell it the way you want it, break the mold of “a perfect portfolio” if you have to, and never forget about the little differences that make you unique.

创建自己的个人品牌，作为获得奥斯卡金像奖大片的导演。 随心所欲地告诉它，必要时打破“完美投资组合”的范式，并且永远不要忘记使您与众不同的微小差异。