Visual effects and animation

Digital experiences

Video games

Jobs and careers

The art of building and presenting a creative portfolio

By Presented by Pierre-Luc Labbée, President and Founder of rhum

2020-05-23

Building a strong portfolio is, according to many, one of the key factors when it comes to landing a job in the industry.

Many recent graduates or job seekers believe that a portfolio is something you create once, a static, one-time exercise. Job seekers, think again: there’s still a lot of work to do before landing your dream job. You’ve probably received plenty of contradictory advice about what makes a “good” portfolio, depending on who you ask.

Unfortunately, there’s no magic formula or simple answer, but here are some factors, tips, and tricks to consider when it’s time to explore the job market, whether you’re just graduating or looking for new opportunities in the video game, visual effects, animation, or new media industries.

Keep your goal in mind

A common mistake many job seekers make when applying for positions is sending out applications for every possible job in the industry, hoping that one will magically fit their profile. Before beginning any job search or presenting your creative portfolio, it’s important to take time to reflect on several key questions:

What is your objective?
Are you aiming for a generalist or specialist position?
Do you enjoy exploring multiple aspects of artistic work, or would you rather focus on one discipline you’re passionate about?
What type of studio or organization would you like to work in?
What kind of projects do you want to work on?
Which technologies and software would you like to use?

These questions — as complex as they may seem — will ultimately determine how you present and align your portfolio, regardless of the company or sector you wish to grow in.

The “One Size Fits All” Myth

It’s a fact — the job market in Québec’s digital creation industry is vast and diverse, with studios that have very different needs from one another. Job postings often come with specific requirements in terms of style, complexity, software, and technical skills, depending on the role and specialty.

What I tend to suggest is building a comprehensive library of your work and presentation pieces, and then adapting what you showcase based on the specific needs of the position you’re applying for.

For example, if you find an opening for a Texture Artist position at a studio you admire, but your portfolio is more generalist—including textures, modeling, animation, visual effects, and lighting—it’s worth refining your selection.

« As recruiters, when we receive a high volume of applications, we quickly focus on candidates who demonstrate clear interest and expertise, with a portfolio that highlights texture work in a focused and compelling way. (translation)

— Pierre-Luc Labbée

A good approach in this situation would be to isolate your texture work in a dedicated file, making it clear that you understand the position’s requirements and possess the necessary skills. Nothing prevents you from adjusting your portfolio later when exploring other disciplines. Try to put yourself in the shoes of the recruiter or hiring manager — their goal is to match your portfolio to a specific need.

Hyperspecialization… or not!

With the arrival of large international studios and the rise of small local and independent studios, the industry’s needs are vast but highly diverse. Within Québec’s ecosystem, there’s a noticeable trend toward hyperspecialization as project scale increases.

This means that an artist’s work will vary greatly depending on the studio’s structure — and your portfolio should reflect that reality.

For example, if a studio is looking for someone with a wide range of skills, your portfolio should showcase your versatility. On the other hand, if a position requires a specialized focus, your portfolio should include a smaller but more targeted selection of work.

As an artist, it’s important to know in advance what kind of work excites you — whether you thrive as a specialist or generalist within a team. This self-awareness will greatly help you focus your job search and craft a portfolio aligned with what employers are truly looking for.

Extracurricular Work

I’m often asked whether personal artistic work has a place in a portfolio. My answer: absolutely—if it’s positioned correctly, in a separate section of your portfolio.

It’s quite common for hiring managers to show interest in personal work before academic or professional work. For example, a modeling supervisor might be curious to see your sculpting skills, a compositing supervisor might want to see your photography, and a character creation supervisor could be intrigued by your hand-drawn anatomy sketches.

This type of artistic work definitely belongs in your portfolio, but it should be placed in a clearly labeled section. If you want to go a step further, consider highlighting it in your résumé under the “Interests” section.

The Format

When it comes to portfolio format, I tend to follow a simple principle: keep it easy to access. Your work should be viewable in one click, in high resolution, ad-free, and ideally without a password (unless the content is confidential).

Regardless of the platform — ArtStation, Behance, YouTube, Vimeo, or a personal website — quick and easy access to your work is essential. I therefore discourage overly creative or complex websites and fast-paced demo reels, and instead recommend focusing your design efforts on the content, not the container.

Also, especially as a recent graduate, much of your artistic work will likely be collaborative. It’s important to clearly explain your role in group projects, even if it was minor. You can absolutely include a team project you’re proud of, even if you didn’t create 100% of it — just make sure to state your specific contribution.

« Most online portfolio platforms allow you to add written descriptions beneath your pieces. Take advantage of this feature to provide useful context — mention your time constraints, the software used, your references (especially for animation or concept art), and the context or assignment in which the work was created. (translation)

— Pierre-Luc Labbée

For static 3D projects, 360-degree rotations are highly appreciated — they’re often what a hiring manager will spend the most time examining. In the visual effects field, particularly in compositing, including a step-by-step or layered breakdown of your work is also greatly valued, as it allows reviewers to clearly see your creative process.

A quick note on confidentiality: throughout your career, you’ll likely want to showcase pieces from your professional projects. Always make sure you’ve obtained the necessary permissions and information from your employer (or former employer) regarding the publication rights for these works.

For example, some employers may grant permission but require that your portfolio pieces be password-protected. These confidentiality terms are often specified in the non-disclosure agreement (NDA) you signed when hired — respecting them can save you from potential legal issues later on.

Quality vs. Quantity

I often meet candidates—especially recent graduates—who worry about not having enough material in their portfolio, as if more content automatically increases their chances of getting hired. In reality, I strongly advocate for quality over quantity.

I’ve frequently seen candidates present their best work first, only for the quality to decline as the portfolio progresses. When this happens, hiring managers tend to question the candidate’s judgment and quality standards.

When reviewing your own pieces, ask for feedback from colleagues, professors, or mentors. If a piece doesn’t represent your best level of work, I strongly suggest removing it and investing more time into improving it until it meets your highest standards.

In terms of length and quantity, there’s some variation depending on context, but as a general guideline:

Between 3 and 10 static pieces (modeling, texturing, lighting, concept art)
Or between 20 and 60 seconds of animation (2D or 3D)

The number and length depend on your experience level, but this gives you a good industry average.

As a best practice, I also recommend regularly updating your portfolio with professional work as it becomes available. This not only shows your growth over time but also keeps your portfolio ready for new opportunities—because you never know when the next one might come along.

The Power of Storytelling

You’re almost there — your pieces are aligned with your ambitions, goals, and dream project. Congratulations! But one thing many artists forget is the importance of telling the story behind their portfolio.

Too often, during interviews, candidates under stress may freeze up or forget key details when asked to discuss their work in depth. To prepare, I recommend writing out your creative process using the following structure:

Human challenges and team dynamics
Your inspirations
Time constraints
Software used
Project context
Initial assignment or brief
What you would do differently next time

This storytelling exercise helps you reflect clearly on your work, communicate your creative thinking with confidence, and leave a memorable impression during interviews.

« When it comes time to discuss your work in an interview, you’ll greatly increase your chances of landing the job by being fully confident and in control of your subject. (translation)

— Pierre-Luc Labbée

I therefore recommend preparing by reviewing the key highlights of your projects — this will significantly reduce your stress level during interviews (a friendly tip for all the introverts out there!).

Community Feedback

The creative community is incredibly active, and many mentors are available to provide honest feedback on your work. Don’t hesitate to seek out diverse opinions from your peers, mentors, or industry professionals.

Social media is full of discussion groups, and I strongly encourage you to get involved and share your work. Doing so will help you gain valuable insights and tips to refine your portfolio when the time comes to apply for a job.

A great example is Patrick Heumann, Animation Director in Montréal, who has many years of experience and shares “Honest Reel Review” video capsules — available right here.

Wishing you all great success in your careers!

About Pierre-Luc

Those who know him will tell you — he practically eats creativity for breakfast. Over the past 15 years, Pierre-Luc has traveled the world (and the web) to connect with the best creative talent across highly competitive fields, including Framestore, Ubisoft, Atomic Fiction, Sid Lee, Félix & Paul, and many other renowned creative organizations.

He understands the challenges of attracting top-tier talent and has become a go-to reference when it comes to taking the pulse of the industry.

Pierre-Luc founded rhum in 2017, an organization that helps creative companies attract, hire, and manage talent to ensure the success of their projects — primarily in the video game, visual effects, 2D and 3D animation, interactive media, and innovation sectors.