The Art of Crafting a Portfolio: Ognjen Gligorijevic’s Editorial Masterpiece
In an era where digital portfolios dominate the creative industry, there’s something incredibly nostalgic and grounding about a well-crafted printed portfolio. One such standout example comes from Ognjen Gligorijevic, a designer whose Behance post recently captured attention for its stunning, tactile presentation of his work from 2019-2020.
Though the project is technically a printed portfolio, Gligorijevic’s work transcends the boundaries of a simple showcase. It’s a brilliant example of editorial design that not only displays the designer’s talents but also demonstrates a deep understanding of how to present work in a visually compelling, thoughtful manner.
Beyond a Portfolio: A Lesson in Editorial Design
While many of us may have once dreaded the necessity of a printed portfolio, Gligorijevic’s project redefines what a portfolio can be. Rather than merely a collection of work, it’s an experience in itself. Every detail, from the choice of materials to the layout of the pages, feels intentional. It isn’t just about showing the work—it’s about showing the process of the designer’s evolution over two years.
The printed portfolio is a dying art in many design circles, often replaced by the convenience and speed of digital formats. However, seeing Gligorijevic’s printed version highlights something that digital portfolios can lack—tangibility. There’s an immediate and visceral connection between the viewer and the object. The tactile nature of turning pages, feeling the weight of the paper, and observing how the layout flows in physical space gives a sense of permanence that digital media often misses.
Nostalgia Meets Modernity
As viewers of Gligorijevic’s work, there’s an undeniable sense of nostalgia that can’t be ignored. The project evokes memories of a time when designers had to painstakingly assemble physical portfolios, perfecting every detail in hopes of impressing a potential client or employer. There was something inherently vulnerable about handing over a portfolio for review. The work wasn’t just displayed; it was part of the designer’s identity, a reflection of their capabilities, their taste, and their creative journey.
For many, this brings back memories of those early days in their careers, where each project was an attempt to prove oneself, to showcase personal style, and, above all, to build confidence. It’s easy to recall the uneasy feeling of having to present a printed portfolio to others, especially knowing that the finished product was often far from perfect. Gligorijevic’s work serves as a sharp reminder of how far we’ve come—and perhaps also of the mistakes we’ve made along the way.
In that sense, his portfolio is more than just a record of his work—it’s a reflection of growth. For those in the design field, it’s impossible not to be reminded of the lessons learned over the years. The mistakes we made when first starting out, the projects that didn’t quite land, and, of course, the constant striving for improvement.
The Importance of Presentation
What makes Gligorijevic’s portfolio stand out isn’t just the quality of the work, but the way it’s presented. In editorial design, presentation is everything. The ability to weave together typography, layout, color, and imagery to create a cohesive narrative is a skill that many designers strive to perfect. And in this printed portfolio, Gligorijevic demonstrates a mastery of those elements.
Each page is carefully composed, ensuring that the viewer’s attention is directed where it should be. The balance of text and images feels deliberate, with each piece presented in a way that highlights its best attributes. The use of negative space is particularly noteworthy—there’s a quiet elegance in how the design allows each project to breathe, without overwhelming the viewer.
The portfolio is more than just a functional tool; it’s an extension of Gligorijevic’s design philosophy. It’s clear that he understands how presentation shapes perception. By taking the time to craft a beautifully printed portfolio, he not only showcases his work but also makes a statement about his commitment to the craft.
Lessons for Emerging Designers
For those just starting out in the design world, Gligorijevic’s portfolio offers a valuable lesson in how to approach the presentation of your work. It’s not enough to simply have a collection of your best designs; the way you present them can elevate your work from good to great.
This is particularly important in the context of printed portfolios, where every element—from the paper stock to the printing techniques—contributes to the overall impression. In a world saturated with digital portfolios, a well-designed printed portfolio can make you stand out from the crowd.
However, it’s not just about the materials you use. The layout and flow of the portfolio are crucial in guiding the viewer’s experience. Think about how the viewer will interact with the portfolio. What order should the work appear in? What story does it tell? How can the design enhance, rather than distract from, the work itself?
These are the questions that Gligorijevic’s portfolio answers so effectively. It’s a reminder that design is about more than aesthetics—it’s about creating a narrative, evoking emotions, and sparking connections.
A Final Reflection
Looking at Ognjen Gligorijevic’s printed portfolio, it’s hard not to feel a sense of pride for the work that’s been accomplished, as well as a bit of envy at the polished presentation. But more than anything, it’s a reminder of the journey all designers take, from humble beginnings to polished professionals.
For those who remember the struggles of putting together a portfolio early in their careers, it’s hard not to feel a sense of accomplishment when seeing the kind of work that Gligorijevic has created. It’s a testament to the value of growth, and a reminder that the road to mastery is long—and absolutely worth it.
In the end, a printed portfolio isn’t just a collection of work; it’s a window into a designer’s soul, a reflection of their journey, and an invitation to engage with their vision in a way that no screen can quite replicate. Gligorijevic’s portfolio is a beautiful example of how editorial design can elevate not just the work itself, but the entire creative process.
