Content and Strategy in the Entry-Level Advertising Portfolio

Creative Opportunities in Media Promotion: Entry-Level Hiring by Television and Radio Promotion Departments

“…It indicated that a successful portfolio would contain a majority of print ads (79%), with the rest of the portfolio split between radio and television scripts and storyboards (Robbs, 1996). These findings were supported by Slayden, Broyles and Kendrick (1998) in a survey of creative directors' attitudes toward portfolios submitted by entry-level job candidates. The consensus of the report was that the best mix of materials included print ads in both rough and finished form, with somewhat less interest in television storyboards and radio scripts.…”

Pedagogic Challenges: The Teaching of Creative Strategy in Advertising Courses

“…This gap leaves copywriting students ill prepared to address the dramatically different landscape of today's crefound direct and digital marketing communications were not well represented in the curricula. Previous research found that agency creative directors want to see only print and broadcast work in portfolios (Robbs, 1996;Slayden & Broyles, 1998), but these studies were conducted before digital and interactive advertising had become the force it is today.…”

Employment Preferences of Students in the 2001 AAF National Student Advertising Competition

“…Lloyd, Slater and Robbs (2000) found that agency media planners want students to have both theoretical and computational skills. A survey of creative directors at the largest U.S. agencies by Kendrick, Slayden and Broyles (1998) revealed that the ability to "think" and strategize was highly valued in new copywriters and art directors, as was "real world" experience. Other surveys have highlighted the importance of "real world" assignments, especially for creatives (Robbs, 1996;Robbs & Wells, 1999).…”