How to Make a Successful Resume for Graphic Designers in 2021

Now that companies and economies are slowly opening after all the COVID-19 pandemic caused unemployment for millions of people, the challenge of looking for a job is even greater this 2021 because of tough competition. But you can increase your chances of getting hired on your dream job by following what I’ve learned in creating a successful resume when I was job hunting.

"The Search" acrylic on canvas, 2018

I applied to hundreds of regular full time job posts for graphic design and creative positions for almost a year and have known the tips and tricks in successfully getting your resume through potential employers. I’ve been off the job market for a while as I got jobs mostly through referrals back in my home country. Since then, the game of job hunting has changed drastically for some freelancers/independent professionals/self-employed like me.

I went through several job hunting seminars, job fairs, and job forums to every workforce centers in Colorado. I’ve even invested in improving my skills and experience. The tips I’m sharing on creating a successful resume are applicable in the US but I’m sure it also applies anywhere in the world as most companies are scaling globally. It’s not enough anymore that you have the experience and skills, you have to be smarter than what you have.

Examples of creative resumes with infographics that really look great, however they won’t cut through HR’s ATS.

I found out that most HR from employers are mostly using the Automated Tracking Systems (ATS). Update: some progressive companies may have updated to modern systems to accommodate equal opportunities. Most companies are even hiring third party HR hiring teams to handle their recruitment and onboarding processes. 

Along the way, I figured out how to outsmart the ATS system to get my dream job through writing an effective resume for a graphic designer position. After applying what I learned, my chances in getting schedules for job interviews went up to more than 85%. I’m now working full time in my dream job!

 

Here are some tips to effectively make your graphic designer resume standout and that will successfully get you at least 50% up chances of getting that important first job interview:

1. Make your resume in a simple format.

Stop making your resume look cool with some colorful design templates and samples you searched online or designed yourself. It simply doesn’t work and won’t get you a job interview from HR managers or hiring specialists. Here’s why – the ATS system wouldn’t recognize your designed resume. Savvy infographics highlighting your skills and summarizing your work experience are great in portfolios but wouldn’t even cut it through a resume ATS. Save the fancy resume in your actual interview. Instead, format using a basic type-setting app like Google docs, Mac’s Pages, or Microsoft Word. Save it per company’s required file format which are usually word, rtf, or–the one I found best for graphic designers is PDF, where the system can scan the texts but still preserving the basic layout.

2. Customize your resume to EACH job position and company you applied for.

Do not send out generic resume that you can just send out to an HR emailing list or job posting contact list. If you send a generic resume, not only that the HR manager or hiring specialist will ignore your resume, but also your resume won’t get through the automated system. Remember, your initial goal in job hunting is beating this automated system that most HRs are using, so be smart! Why do you need to fit your graphic designer resume to each job position and company you are applying? Simply because it automatically scan and tracks keywords that matches the culture of the company you are applying for. And, please don't be lazy to fill-out online applications thoroughly!

3. Don’t expect too much, yet.

I know that most of us are in desperation to look for a graphic design job in 2021 given that millions are unemployed right now and many are in the same boat of job hunting. Add the fact that the graphic design or any creative position, is a very competitive and over-saturated field ever since digital technology took off. For now, never fall in love at first sight to a single job position that you find. Here’s the thing, it’s so much better to place your eggs in multiple baskets than putting much effort to that one graphic design position that averages a hundred applicants. So increase your chances of successfully securing an interview and getting hired in your dream job by applying to several positions you’re interested in and has the most potential BUT customizing your resume to EACH position and company.

I wish you good luck in making your successful resume and finding your dream job!

The strategies above are snippets from this free, handy, easy to digest booklet (click on cover below) that details on how to beat the ATS system and successfully making your resume to standout and on top of the shortlist of an HR manager or hiring specialist, including: 

• never-heard-before top tips, 
• resume and cover letter samples, 
• awesome and useful keywords, 
• how to format your impressive resume, and
• how to compose your cover letter. 

This free PDF also details on how to effectively edit your graphic design–or any job–resume and cover letter that greatly increases your chances of successfully getting that important first job interview to the job and company you’ve always dreamed of! Please share away this free information on creating an impressive graphic designer resume in 2021.

Disclaimer: The information and views expressed are those of the author and does not necessarily reflect the views, policies, and values of the author’s current employer.

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How to create magical SCENES in children's picturebooks

How to create magical scenes in picturebooks? (Picturebooks as one word to mean children's books as oppose to printed photo album books)

Here's a sweet short video for you >> really cool youtube video on how to create interesting scenes in picturebooks

Or click on the image below here to know how to create magical scenes in picturebooks:

If you'd like a bit more detailed step by step:

The secret in creating magical scenes is to add textures.

You can add textures using not just color or medium, but also shapes, objects, and patterns. In this illustration, I've added boxes that look like houses and buildings that simulate keys of the piano.

Create a rhythmic pattern like a song or lullaby visually using repeating shapes arranged beautifully or harmonically.

Patterns can be arranged from small to big, top to bottom, left to right, or dark to light. You get the idea. The major moon phases I've illustrated here is a perfect example. The moon phases add a bit information while using it as pattern or design in itself. 

Distribute the patterns in the composition or entire book spread.

That's basically it.

***

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How to mask paint with rubber cement

How to mask paint with rubber cement (cheaper alternative to watercolor masking fluid) and acrylic

Full video here!

If you like a step by step, at your own pace tutorial:

I’m using again a kraft cardboard as my canvas. 

First, I lightly draw the elements using a white charcoal. It’s easier to erase and see the outlines with white lines over the kraft paper.

The elements or shapes should be simple with less details. 

Don’t be afraid to make mistakes. You’ll create accidental textures which is great.

Using a fine brush, dip it in just the right amount of rubber cement.

Close the lid immediately after dipping so it won't dry out easily.

Brush the rubber cement to fill the elements you want to mask.

Try to paint as fast as you can because the rubber cement dries fast and becomes too sticky.

You don't have to be perfect.

If the paint has dried, you can wipe the brush with tissue or wet cloth to remove the sticky residue.

Close the lid of the rubber cement as much as you can so it won't dry and stay spreadable. Yeah, like a jam!

I'm using a brush for acrylic, it's firm yet kind of soft while painting with rubber cement.

You can control the acrylic brush once the rubber cement becomes gluey.

You can add in and paint additional details, just remember where are those located. So you'll know where to remove the mask later.

Random shapes or patterns really works best so you don't have to be ultramegaboom detailed with it.

Besides, rubber cement is good for random patterns and textures. 

Rubber cement is not good for detailed paintings or illustrations, ohkay. 

Rubber cement is good for creating lots of yummy textures in your paintings or illustrations.

The one you are painting with rubber cement is the one you don't want to paint over with, or "masking"

Masking works great when you want your canvas or paper as foreground.

You can paint the masked part later, but the effect of masking won't be noticeable.

After the rubber cement has thoroughly dried, you can then paint it over with as usual.

I'm using acrylic here, making note of the masked edges.

Once your paint has dried, the fun part begins! 

Now you can erase the rubber cement with rubber eraser.

Be gentle when erasing, especially if you painted with acrylic and the paint is very thick.

I tried different kinds of rubber eraser such as kneaded and red pencil eraser, but the white firm ones work best.

I had a hard time erasing because the acrylic paint was thick, I had to scrape and help some to get it out.

Clean gently the leftovers with a dry brush.

If you use watercolor, it will probably be easier to erase the rubber cement mask.

I'm done with the masking part so I've added details for this picture book illustration.

I love painting white glass houses!

Adding some more details with disguising water lilies!

DONE! Enjoy! I hope you like this video!

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That could be a possibility anytime soon, who knows.

Meanwhile, snow is very yummy in smoothies.

I mean as art medium. 

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May Darating na Trak Bukas

May Darating na Trak Bukas is my latest children's book that's very dear to my heart and also one of the most unique book project I've ever worked on so far. The book is special not just because it's hardbound (very rare for local books) and beautifully printed but also in the sense that the way we created it was unusual: together with the Adarna House development team, we experimented on what we may call "the reverse process" of making a children's book.

When I was a kid, I loved collecting small things like toys or insects and stuff them in bottles. I also loved making snow globes from inverted mayo bottles.

The usual process in children's book creation starts with a story or manuscript from the author, then the publisher will find a suitable illustrator whose style fits the essence of the story. The illustrator will then begin to interpret the story with his own character designs, settings, flow and pace, etc. Most of the time, or ideally, it's up to the illustrator's concept in portraying the author's story. Of course, his ideas are also subject to both author and publisher's feedback and approval. Their approval largely depends on the accuracy, aptness, clearness of illustration and market research information.

I used colored pencils, chalk pastels, and charcoal on illustration board 

for the illustrations of May Darating na Trak Bukas

This time, we followed a different approach, I was commissioned to come up with narrative images that could inspire a story from it. As an illustrator who's non-verbal, my challenge is to start with a plot only this time, visually. Is it really possible for a visually-oriented person like me to draw a narrative image without thinking first a written story (whether mine or other's) at all? Or do we create an image intuitively just as Nathan Spoor refers to "suggestivism," wherein imagery is suggested by the mind or emerging from some kind of force as you draw or paint, without "predetermined narrative or a conscious attempt to render a figurative image"? Which really comes first, the story or an image? I'd like to describe this process similar to the "binary phenomenon" observed in the word and image relationship particularly in typography: we see design (as font) and word (as letter symbol) simultaneously. That's heavy stuff but nevertheless, creating narrative images intuitively is absorbing.

One of the sketches that inspired the story of May Darating na Trak Bukas

So I made several sketches. From one of the sketches, I still had to outline the imagery in words to form a storyline. The team decided to ask our National Artist for Literature, Sir Rio Alma to write a poem to accompany those "imagery." I'm just so grateful that he agreed! The collaborative result is very interesting. The poem stands on its own, at the same time, it gives the essence for the illustrations, which is usually the other way around. The illustrations can also be independent while giving another dimension to the poem.

Thumbnails showing the flow and consistency of narrative

Thumbnails also show the overall composition within a spread

Sampling a sketch for the overall style and technique for the medium, pencils on board.

Like in all of my books, as much as possible, I put on many details so that the reader can re-read them all over again. I also placed many details on this book so when they read it again, I'm hoping they will find things they haven't seen before.

I'm very, very HAPPY with the print (matte-finished like/book paper) because the effect seems like I have drawn directly on the book itself, making it more really special for readers. You're like holding on an original artwork. This is one of the reasons I think why I love illustrating picture books, I can share my art and message to a lot of people as much as possible through the print medium.

Most of the images like toys and activities in the illustrations of May Darating na Trak Bukas 

are drawn from my childhood experiences. 

Work in progress documentation of the illustrations. Sometimes working as an illustrator/artist today have distractions more than ever because you now have to document your process along the way for intellectual property protection and for promotion.

For kids, definitely, those grownup things don't really matter. But who knows, who are we to judge their smartness?

***

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How to remove yellow stains on paper

While checking some past works for personal recollection, it's disheartening to see what I found. 

As I opened some illustrations on paper, I saw lots of yellow spots sprinkled all over. The photo above shows my freckled watercolor illustration on cream Berkeley pad. 

The spots are signs of "foxing," or the browning and aging process of paper, according to a wiki entry.

The causes of foxing are still unknown, but based on studies some theories include discoloration-causing spores and oxidation. I found many suggestions on the web in removing the yellow spots, one site thoroughly describes the processes and techniques, but I can't seem to find anything that actually shows how. 

So I risked trying out some of their techniques and apply them to some of my works. 

I applied the bleaching method using household hydrogen peroxide 20% volume diluted in at least 10% water. The peroxide was then brushed (soft sable paintbrush for water-based media) directly on the spots, repeating on several layers after the first layer has dried. I kept on carefully brushing peroxide only on the spots area until they're almost unseen.  

Diluted hydrogen peroxide with water

Warning though, using this method will loosen the paper's fibers if you're not that careful in applying. The photo above shows my excitement, fibers are splitting away. Also, take note that you can't completely eliminate the spots but you can significantly reduce them.

Also, I tried not to brush over the colored part because I don't want it to fade. This method is applicable only to blank areas of the paper, or to black and white artworks. In the photo above, I tried removing spots on the colored areas by brushing it very lightly.

Some before and after photos of minimizing foxing on paper

Another illustration applied with the bleaching method

I also applied the peroxide method to my other illustrations and books. The results were satisfying, at least for now.

Peroxide bleaching is just one of the methods in restoring works on paper. There are many methods of preserving and restoring works you can browse the web. But try it at your own risk, I suggest leaving the restoration of very precious works to professional conservators. 

In spite of preservation measures, my non-acidic papers and "non-yellowing" fixatives didn't even survive foxing and other forms of aging. This only proves that nothing really lasts forever. 

Besides, sometimes the stains and flaws add charm and character.

***

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