網絡低俗詞

重點 (Top highlight)

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組合和電影大片已經變得越來越普通。 在設計方面，我歸咎于“經驗豐富”的設計師分享的所有作品集評論和文章，無論項目，上下文和設計師的成熟程度如何，都重復相同的建議。 遵循了大多數建議，但沒有采取策略來測試和驗證其結果。 我們這樣做是因為有人告訴我們，這樣就足夠了。

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.

聽到矛盾的建議是很常見的，例如“增加更多細節，但要簡短一些”。 接收過程比最初的接收過程更加混亂。 理想投資組合的感知是一種偽造的創意約束，無法衡量且受制于極端。

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:

如果社區最終在各地都聽到了相同的秘訣來進行案例研究，那么我們傾向于認為這是唯一的方法，因此其他所有方法都是錯誤的。 對什么才是好的投資組合進行過度概括會殺死獨特性，以至于我們最終得出的投資組合可分為兩類：

A)邁克爾灣電影 (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.

作品集以通用動作片為中心，這實際上更像是清單，而不是具有凝聚力的敘述。 每部大片都需要追逐汽車，好吧，每部影片都需要用戶流量。 觀眾喜歡爆炸，設計經理喜歡墻上不可讀的便利貼的照片。 最后，即使在技術上令人印象深刻且具有有趣的想法的情況下，交付的內容也最終變得重復，公式化且乏味……就像《變形金剛》的電影一樣。

B)紀錄片 (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”.

該投資組合致力于顯示事實，只顯示事實。 它是如此以數據為中心且密集的，迫使觀看者不得不進行繁重的工作并連接點。 所有這些早期的線框都包括在內，每個利益相關者的演講，旁注，次要流程和不相關的細節都已包含在內。解密此投資組合感覺就像是作業，挑戰了訪客對細節的關注。 就像有人告訴我“你必須讀這本書才能理解電影改編”。

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.

我想提出一種不同的方法，該方法超越了構成一個好的作品集的想法，并且更接近于構成一個偉大敘事的概念。

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個故事， 為什么不從有史以來最好的故事講述者那里獲得一些線索呢？ 昆汀·塔倫蒂諾。

像Eams一樣設計，像Tarantino一樣暴露 (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.

您的項目和投資組合是兩件截然不同的事情。 項目的最終結果與展示案例之間相距甚遠。

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:

如果我們習慣于僅看到“漂亮”的結果，這將特別困難。 我針對Dribbble遇到的最大問題之一是，它使每個人都認為酷炫的界面就像魔術一樣出現。 幾乎沒有提到如何做好工作。 這就是我們期望在最后做的事情，表明故事的好的一面。 設計項目的價值不在于您要付出多少工作，而是您的解決方案對用戶生活的積極影響。 正如查爾斯·伊姆斯(Charles Eames)曾經說過的：

Never let the blood show.

切勿讓鮮血流露。

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.

這意味著，不要顯示幕后發生的事情。 最終的用戶體驗必須令人愉快，因此需要刪除該過程。

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.

塔倫蒂諾絕對是相反的。 他不回避表現痛苦，因為它是敘事的一部分，而且在大多數情況下是痛苦的高潮。 他給它注入了背景，意圖和細微差別，一滴血比一輛濺滿大腦的汽車更具戲劇性。 他的工作方式獨特，富有影響力，有時甚至很漂亮。

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.

在設計世界中，您的作品集就是您所經歷的事件的敘述。 這是一個關于汗水，腎上腺素和眼淚的故事，不一定需要有一個圓滿的結局，而是需要展示您是什么樣的設計師。 這是您的故事，以最引人入勝的方式展現“鮮血”。

?? 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.

Alert? 警報！ 一旦通過下三個點，您將處在劇透區域，如果您還沒有看過電影《低俗小說》，請幫個忙，并立即觀看。

告訴我故事從一開始就結束了 (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《低俗小說》中，塔倫蒂諾從一開始就吸引了您的注意力，在一個場景中，大多數導演都會離開直到結尾，只用一個短語。 他是非線性講故事的大師！

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廳的桌子旁，討論下一擊。 一切始于：

No, forget it, it’s too risky.

不，算了，這太冒險了。

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.

這句話打開了一部電影，其中發生的幾乎所有事情都比觀眾最初的期望冒險。 這確實是電影的結局，但不會破壞敘事，它吸引了我們的好奇心，并為接下來發生的事情設定了很高的標準。

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.

如何在您的投資組合中使用它？ 永遠不要將項目結果留到最后。 逗他們！ 將項目標題后的第一句話視為“風險太大”的開頭。 它需要吸引來訪者，并提供足夠的奧秘，以使他/她無法停止直到最后。

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!

您的訪客(招聘人員，招聘經理或潛在客戶)最有可能希望聽到您有他們渴望的東西。 呼吁他們最基本和自私的需求。 例如錢！

Title: Financial app redesign

標題：重新設計金融應用

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

“太冒險”副標題：刪除圖標如何節省一百萬美元。

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.

不要忘記，在案例研究結束時，您需要超額交付并充分滿足您“風險太大”的要求。 如果訪問者最終感覺被操縱了，請放心，您剛剛成為敵人，那的確不會冒任何風險。

讓每個想法都“點擊” (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.

強有力的敘述的魔力來自策展和相互聯系。 我已經看到許多使用情況，可交付成果之間沒有相互聯系。 該項目有一個很好的前提，但是設計流程隨隨便便就不用理會了。 用戶研究告訴我一件事，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 🔫.

您呈現的所有內容都必須是解釋接下來會發生什么的必要工具。 電影使用契kh夫的槍作為敘事原理，以幫助故事產生張力，期待和參與。 此規則會向場景中的查看者介紹一把槍，因為它早晚會被使用🔫。

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.

您投資組合中的一個項目應作為一個自我維持的故事情節，其中所提供的信息與所做出的決策之間的聯系應始終遵循因果律。

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.

您會很想添加花了六個小時進行工作的所有“酒吧餐巾”線框的屏幕截圖，認為它將向未來的雇主/客戶展示我的職業道德和最佳實踐的使用。 很酷，如果它是過程的一部分，請僅顯示相關且清晰的內容。 包含50個相同流程的變化只是為了驅動不完全是情節的一部分，就像在影片中保留吸血鬼場景一樣。

選擇適合工作的工具 (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.

您的作品集可以顯示您的技能以及您對設計工具的掌握程度。 他們需要看到您具有在正確的階段使用正確的工具的條件，而您不只是一個始終使用相同的頭的“單把小馬”。

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!

在一個非常可怕的場景中，布奇需要營救Marcellus之前選擇正確的武器。 首先，他拿起錘子，放下錘去打球，握住電鋸，然后決定去武士刀。 您可以看到Bruce Willis面對著分析最佳選擇的情況，根據情況對其優缺點進行了分析。 他需要致命和沉默的東西，因此，武士刀是最好的！

? Tarantino does it this way

ant 塔倫蒂諾就是這樣

Pulp Fiction (1994) Butch choosing his weapon低俗小說(1994)

🚫 Not this way

🚫 不是這樣

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

您展現才能的方式需要令人信服和有效。 但是我們通常如何做呢？ 我們顯示一個列表…含百分比！

https://asphaltthemes.com/docs/portfolioo-pro/how-to-setup-front-page/skillbar-widget/https://asphaltthemes.com/docs/portfolioo-pro/how-to-setup-front-page/skillbar-widget/

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？ 那是最好的告訴我您有多棒的事情嗎？ 您需要說服我自己很棒，而不是說自己60％的敬畏度和40％的 敬畏度 。 顯示，不要告訴！

建立強大的性格，目標和動機 (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.

對您的項目依賴用戶角色可能會兩極分化，有些人將其視為有用的工具，而對于另一些人來說，這是對用戶的局限性。 您的角色是這部電影中的角色。 他們需要有動機，缺陷和獨特個性。

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.

大多數產品組合面臨的最大問題之一是從unplash等網站中選擇非常通用的圖像。 股票圖像本應模糊不清，因為它們必須具有通用性，因此幾乎可以放在任何地方。

So what do you know about this persona? Credit: Anika Huizinga那么，您對此角色有什么了解？ 圖片提供：Anika Huizinga

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.

浪費好角色的一種方法是認為僅通過在角色模板中添加信息即可完成工作。 記住，偉大的人物會給爆炸帶來情感，使它們成為動作的一部分。

User persona card for Marcellus Wallace, played by Ving RhamesVing Rhames扮演的Marcellus Wallace用戶角色卡

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.

人物之間的互動是一種暴露人物個性并避免冗長描述的方式。 使用沖突來顯示它們之間的對比。 在低俗小說中，您將遇到一個角色，該角色正在經歷與另一名剛剛過著非常正常一天的用戶交互的可怕情況。 他們的React方式是他們作為一個人的最終標志。

Every character in Pulp Fiction is unique and instantly recognizable.《低俗小說》中的每個角色都是獨一無二的，可以立即識別。

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.

在案例研究結束時，您的角色應該對您所針對的用戶及其背景產生長久的印象。 如果您問讀者：“您的角色是什么樣的？ 答案是：什么？ 你做錯了

https://www.quentintarantinofanclub.com/. Cool site by the way!https://www.quentintarantinofanclub.com/ 。 不錯的網站！

不要從錯誤中回避 (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.

我想不出一個真正的項目，從一開始，事情就變得撲朔迷離。 我們認同偉大的設計師永遠不會犯錯誤的說法，但是大多數招聘經理都在尋找提示，以了解您如何處理事情未如我們所愿的情況。

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

給我看“血統”，意思是擁有自己的錯誤以及清理混亂所必須采取的一系列行動。

Stuff hits the fan all the time, but very few designers take the time to clean it.東西一直困擾著風扇，但是很少有設計師花時間去清理它。

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.

唯一從來沒有挑戰的設計師就是根本沒有做任何事情的設計師。 您將有99個問題，展示它們不應該是一個。

讓我想要更多 (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.

我們要忘記，投資組合只是長期友誼的開始。 看到它之后，我不得不強迫您發送電子郵件，在Twitter上關注您或在LinkedIn上建立聯系。

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.

如果您向我介紹了足夠的信息讓您了解您，但留下了一些精心計劃的難題，那么我的好奇心將使您與您聯系。 我們都希望周圍有有趣的人，這是我們自然的一部分。

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.

“關于您”部分是設置這些提示的理想位置。 請不要浪費時間說您對設計充滿熱情，那會讓您像其他人一樣。 向我展示您充滿激情，提出您正在從事的項目，您支持的事業，您要解決的挑戰，并留下奧秘 。

Imagine how different Pulp Fiction would be if we actually get to see what is inside the suitcase?想象一下，如果我們真正看到行李箱里面的東西的話，紙漿小說將有何不同？

最后，您的作品集是一部關于您的電影 (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。 您可以通過看他的電影來了解Tarantino關心的是什么。 他是一個有才華的粉絲，癡迷于他的激情。 在您的作品集的最后，訪客需要得出與設計師相同的結論。

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.

創建自己的個人品牌，作為獲得奧斯卡金像獎大片的導演。 隨心所欲地告訴它，必要時打破“完美投資組合”的范式，并且永遠不要忘記使您與眾不同的微小差異。

翻譯自: https://uxdesign.cc/7-lessons-from-pulp-fiction-to-create-impactful-portfolios-cb589744a3ae

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