Theatre Design & Technology - Winter 1998 - 61

usitt

USITT
Lighting Design Commission
PORTFOLIO GUIDELINES for DESIGNERS
HISTORY OF THE PROJECT

In 1993, the SlIT Lighting Design Commission set up a committee composed of Marc Riske,
chair, EUen E. Jones, Mark Zetterberg, Lee Thomas, and Robert Smith, with the goal of writing
some gUidelines for preparing a lighting design portfolio. This committee approached the project
by drafting a gUideline specificaUy for the exiting BA student, with the intention of drafting two
more gUidelines; one for the exiting MFA and one for use by faculty approaching tenure! promotion. Marc Riske authored an initial draft of a Student Portfolio GUideline.
In 1994 the Lighting Design Commission charged EUen E. Jones with finalizing the
committee's work in preparation for publication. She took over the portfolio guidelines project
with two enlarged subcommittees. The new conmlittee decided to develop the guidelines in two
phases, one dealing with student designer portfolios and the other with portfolios created by designers for promotion and tenure in academic settings.
The Student Guidelines Subcommittee included EUen E. Jones, Penny Remsen, Michael
Baumgarten, Marc Riske, Vickie]. Scott, Lori Dawson, David R. Zemmels and Judy Wolcott.
EUen E. Jones authored the final draft of both a Student Portfolio Guideline and a Guideline
for Lighting Designers Seeking Tenure, \\~th editorial input from Penny Remsen and Michael
Baumgarten. Both guidelines were edited in 1994, but were not adopted nor published.
In 1997, a review of the 1987 USIIT document, "Promotion and Tenure Evaluation of the
Theatrical Design and Technology Faculty: Issues and Recommended Guidelines," authored by
Lucy Terry NoweU, with Frank Silberstein, John Carr, Gary Gaiser, Leon Brauner, and Adel Migid,
suggested that there was no need for another set of guidelines for lighting designers seeking tenure. However, that publication did not offer specific guidance for preparation of a lighting design portfolio, and the Lighting Design Commission proceded ,,~tll plans to publish its portfolio guidelines.
The foUo,,~ng document represents the culmination of this project. It is based on the input of
many individuals ranging from students to acadenlicians to professional designers. In order to be
as consistent as possible with existing gUidelines and recommendations, comnlittee members
have exanlined the portfolio guidelines for University and Resident Theater Auditions as weU as
the materials relating to documentation of design tllat were part of the United Scenic Artists Local
#829 Midwest Chapter's Track BLighting Exanlination for 1992-1994.
Tllis final draft was written by EUen E. Jones, project chair, with Marc Riske, Penny Remsen,
and Michael Baumgarten, and edited by Penny Remsen and Marc Riske.

The portfolio presentation and aU included material must be of the highest quality possible. Neatness counts in both drafting and paperwork. Photos or slides that do not accurately reflect tlle
color or intensity of lighting levels should never be included in the portfolio. Material should be
organized in a manner tllat aUows for easy retrieval and a coherent re\~ew, particularly if this is a
mailing portfolio tllat will be sent out prior to an interview.
The resume is an important part of the presentation. It should include the job applicant's correct addresses (including e-mail if possible) and a list of references, Witll their addresses and
phone numbers. The resume should reflect the person's educational level and his or her range of
design experience. Key production credits should be listed (be certain to indicate original
scripts), as weU as lighting design related work experiences. These activities may include special
courses taken in CAD, participation in workshops offered at conferences such as Lighting Dimensions International or SlIT Conference & Stage Expo, or even stage management experience.
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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998