For those of you who don’t know, Portfolio is a creative staffing agency based in Columbus. They match employers with talent for either freelance or full-time assignments. They handle design, writing, interactive, and project management.

We caught up with Portfolio co-owner Kristen Harris to ask how things are going  and what they have in store moving forward.

Sam: Kristen, I know Portfolio expanded into Dayton about a couple years ago. How’s that going?

Kristen: Dayton is good, it’s a really creative and welcoming community. We’ve built nice client relationships in the area, and we’re are always meeting fantastic creative talent here.

It’s interesting to work on new and different projects or searches, and to see how the needs of our Dayton clients vary from what we see in Columbus. That learning process and building relationships is a lot fun for me and our team!

Sam: Has the expansion been worthwhile for your business?

Kristen: It has been worthwhile, in many ways. Of course working with new clients and talent is wonderful, but this move also allowed us to explore and learn about expanding into cities beyond Columbus. We plan on doing more of that, and Dayton was an excellent first venture out beyond our home base.

We’ve learned some really valuable things, like how to connect with the right people in a new city and weighing whether we really need a physical office (for us, that answer was not really).

Sam: Sounds like Portfolio has grown a lot the past few years. Why is that?

Kristen: Yes, we have grown. There are a lot of factors, but I think the biggest one is that we understand and truly care about our clients and talent.

Catherine [Portfolio co-owner] and I started this business because we needed help finding the right creative people to work with us when we were designers and art directors. I would have loved to utilize a company like ours, but it simply didn’t exist. Having that industry experience and ability to figure out what someone really needs (which may be different than what they ask for) has proven to be extremely important.

As is connecting with our creative talent to really understand what they need and are looking for in their career. When we add someone to our internal team, we’re always looking for industry experience—we can teach the recruiting and staffing piece, but we can’t teach a passion for working with creative people.

Sam: Why should freelancers think about working with Portfolio, rather than pursuing business directly with various companies? Wouldn't it be better to "cut out the middleman" and do it yourself?

Kristen: It really depends on what you do and what your goals are.

If you’re looking to build up a business, have solid experience and connections, have a steady stream of work well into the future, and are comfortable marketing yourself, you’re probably doing great on your own. These tend to be people who are established freelancers, have a solid client base, are well-known in the market, and truly want to work independently and run their own business.

If you’re missing any of those key pieces, a company like ours can be a good resource to fill that gap, whether it’s finding more work, building up experience, or making connections in the local creative community.

Sam: Who's the best fit for you guys? Experienced freelancers or newbies?

Kristen: Both. There are a lot of factors that go into making the perfect match with one of our clients—skill set and experience level matter, but so do soft skills, personality, availability (our clients generally need people onsite at their location), and whether the rate fits their budget.

Most clients are looking for some professional experience, but it really depends on the position they need to fill and what other support they already have on their team. We have clients who are looking for the whole range, from recent grads to experienced executive-level creatives, and everything in between.

Of course, what we’re looking for is always based on what our clients are looking for. So right now interactive design and/or development and writing specifically for marketing or advertising are really top on their lists. But recently we’ve placed graphic designers, creative project managers, account managers, writers, developers, visual merchandising specialists, photo retouchers, illustrators … it’s a wide variety. And we never know what a client will ask for next!

Sam: Dayton is a small community. If you had a full-time job but wanted to look around, could you turn to Portfolio? Is there a truly confidential way to work with you guys?

Kristen: We are a vault. Confidentiality is extremely important to us, as it is to our clients and talent. The nature of our business is that we know a lot of things about a lot of people and companies, and we keep it all to ourselves.

If you’re working somewhere and just want to explore around for other options, that’s a great time to talk to us. We may not have the perfect opportunity for you right now, but if we know who you are and what you’re looking for, we’ll know it when we see it. The best time to look for a job is when you already have a job.

Sam: Anything else a creative should know about Portfolio?

Kristen: The more we know about you and what you’re looking for, the better opportunity we have to make a good match with one of our clients.

We work with a lot of creative companies and departments both in Columbus and Dayton, and we know what they’re looking for. Not just what they say or put in their online job description, but what they’re really looking for.

When we work together, it’s a partnership with the end goal of finding the right fit for our client, and getting you into the right place for the next step in your career. I think we’re pretty fun and friendly. People should feel free to reach out to us any time through the site at portfolioiscreative.com or call us at 614.839.4897.

Sam: Thanks, Kristen!

Samantha Enslen runs Dragonfly Editorial.

~ By Rebecca Bernard, DCS PR Coordinator

Dayton Creative Syndicate is proud to participate in Activated Spaces, a program started by the Downtown Dayton Partnership, Generation Dayton, and updayton as a way to bring life to downtown Dayton’s empty spaces. This installation, commandeered by Public Service Coordinator Artie Toth, is part of the first phase of Activated Spaces, where empty downtown storefronts are beautified by artwork made right here in Dayton. Each installation is meant to feature a unique part of the city and is refreshed bi-annually in conjunction with Urban Nights.

Using graphic design, set and interior design, landscape painting and screen-printing, DCS brings the Historic South Park neighborhood to life in the Biltmore Towers’ empty storefronts on the corner of Main and First streets. This mixed media message is an appropriate project to reflect South Park’s national "Neighborhood of the Year" recognition for the physical rejuvenation of the area. Like the residents who came together to restore their district, DCS’ creative members joined forces to showcase South Park’s community improvements, narratives and entertainment.

The Dayton Creative Syndicate chose the South Park neighborhood because the spirit of the neighborhood—creativity, culture, entertainment, community and betterment—reflects what DCS looks for in our own members. It is hoped the displays will encourage viewers, whether new to the area or long-time residents, to go take a look at South Park and see it with new eyes. Involvement with Activated Spaces is key to DCS, as we care for the welfare of our downtown area, and as our organization’s profile in the community grows, so does visibility for new member involvement and exciting new opportunities.

As time goes on, Activated Spaces will progress to its projected second stage, where temporary retail events will "pop up" in vacant spaces. The final phase of the project is soliciting businesses looking to open in downtown Dayton, giving new life to our city center.

DCS would like to thank Digital Fringe for their contribution of vinyl printing, without which the project would not have been possible. We would also like to thank Agust Roestamadji for the paintings features in the display. If you would like to help DCS with future Activated Spaces displays, please contact Artie Toth at artie.toth@creativesyndicate.org

Please vote for our Activated Spaces installation for the People's Choice Award! Voting ends this Friday, September 30.

As spring is happily arriving in our community, so too is an enlivened spirit of optimism and regrowth. Recently, a collective of young creative professionals from updayton and Generation Dayton has begun taking part in a unique revitalization project for downtown, part of the Greater Downtown Dayton Plan. The project is called “Activated Spaces.”

The goal of Activated Spaces is to give new life to vacant storefronts downtown by using creative displays and encouraging new entrepreneurial opportunities. Rather than simply complaining about a lack of vibrancy downtown, these motivated professionals are taking matters into their own hands and contributing directly to Dayton’s revitalization.

The first phase of the Activated Spaces project, to beautify vacant storefronts with artwork and visual displays, is already underway. In February, an open call went out asking artists in the community to submit proposals describing their creative vision for an empty street-level space.

Our own Dayton Creative Syndicate’s public service committee, headed up by Artie Toth, submitted a concept that was accepted and will attractively fill one of the vacancies, and promote Fleurs et Vin, a wine and gourmet food festival coming up May 22 at Carillon Park. This concept, among others, will be finished in time for the upcoming Urban Nights event on May 13. DCS’s prints were donated courtesy of Insignia Signs and the photography was donated by Jim Crotty. You can see the DCS Activated Space at The Biltmore Retail Shops, 13 East First Street.

My hope is that Activated Spaces not only encourages you to seek out these revived storefronts during Urban Nights and other downtown events, but also inspires you to get your own hands dirty. Being a creative professional doesn’t end with your own career advancement, accolades, and achievements. In my opinion, being a true creative professional also involves harnessing your creative spirit in a way that empowers and enriches the world around you.

Living in Dayton, we are often confronted with negative perceptions about our community. We can sulk about these negative perceptions, or we can turn them around. And isn’t that ultimately the role of the artist in a community? I challenge you to prove to yourself and others that Dayton is in fact a town with a whole lot of heart.

If you are interested in more information about this project, volunteers are currently developing detailed short- and long-term goals and estimated project budgets. Those interested in getting involved should e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

By This e-mail address is being protected from spambots. You need JavaScript enabled to view it , Dayton photographer and hip creative

Check out 17 local artists’ displays “Celebrating Dayton” in windows throughout downtown. Vote for your favorite by scanning QR codes or filling out a ballot you can pick up at Courthouse Square. The Urban Nights People’s Choice winner will receive gallery space at Cannery Art and Design Center.

H1   The Biltmore 13 E. First St. - Dayton Creative Syndicate.
H2   Main Street Garage - Amanda Allen, Carol Stoops.
H3   124 N. Jefferson - Jason Eckley, Jacqui Theobald.
H4   100 E. Third St. - Charles Stough, Suki Kwon, Dayton Regional STEM School.
H5   113 E. Third St. - Cindi & Bob Remm.
H6   146 E. Third St. - Focus Photo Club.
H7   110 W. Fifth St. - Lea Richards.
H8   Talbot Tower - Robin Dakin, Warren Buckler and project judges’ art.
H9   St. Clair Lofts - Shulamit Adler, Terrianne Swift, K12 Gallery.
H10 401 E. Fifth St. - Tracy Kraft.

This past month, DCS hosted the judging for the District 5 Addy Awards. DCS volunteers were responsible all facets of the competition: receiving and organizing the work, setting up the judging area, and recruiting judges and hosting the judges.

Entries for the competition came from Ad Clubs throughout Ohio, Kentucky, and West Virginia, and local winners included pieces from SAA, FORGE, Real Art, and Showdown Visual. These entries will move on to the AAF National Addy competition, coming up in San Diego on June 4.

The judges who came to Dayton for the competition represented some of the leading creative directors in the region: Amy Baker of Fusion Alliance, Penny Dullaghan of Penelope Illustration, Darren Halbig of Publicis Indianapolis, and Gordon Robertson of Brunner.

DCS’s Samantha Enslen talked with the judges after the competition to get their two cents on the show and the value of serving as an Addy judge.

Sam:              So, what did you think about the show? Did you notice any trends?

Darren: I thought there was a lot of good work, but there were 40 to 50 pieces that really stood out. Those entries were thoughtful, well designed, and presented well.

Gordon: Although I’ve judged several local Addy shows, as well as some other creative competitions, this was my first opportunity to serve as a district Addy judge.  Since I’ve judged Columbus twice and Cleveland just last year, I had a good idea of the caliber of work to expect.

I have to say overall, I was underwhelmed by the body of work.  With a few notable exceptions, I didn’t see many breakthrough ideas.  And those really fresh ideas sometimes were not produced as well as possible.

Penny: There was quite a bit of work to go through for this show, and while some pieces could have been pushed further, I thought that others were really stunning. You could definitely see which pieces were backed by the trust of the client paired with the push of the agency. Good relationships shone through in the best work.

Sam:              Spot any trends?

Darren: I really didn't see any trends, and to be honest, at the regional level I was a little disappointed there weren't more entries that pushed the limits of traditional advertising. There seemed to be a lot of the same old things. Also, I was surprised by the number of pieces that had gotten to this level with really bad typography.

Gordon: One trend that I noticed was more attempts at integrated user experience.  Maybe it’s not a coincidence, but that trend seemed to run strongest with campaigns on behalf of universities—Kentucky, Kent, Cleveland State.

Sam:              What stood out or surprised you?

Penny: I was surprised by just how solid the best in show piece was [the Western & Southern Financial Strength and Stability" TV campaign, produced by Cincinnati agency Northlich]. I mean, of course it’s good, but it was so complete, from the idea to the execution. And it was in a category that’s tough to do good work in.

It just proved it really can be done, and it seemed to spring from one of my favorite assumptions: That people are smart, and they appreciate ideas that aren't watered (or dumbed) down.

Gordon: A few entries that have stuck with me a week after judging:  the Black Flag projection (still think that was brilliant) [by Marcus Thomas in Cleveland], and the station domination of Maker’s Mark [by Doe Anderson of Louisville].  Also, the Mark Bradford exhibit interactive site [by Resource Interactive in Columbus].

Sam:              What's the value in being an Addy judge? Why should others consider it?

Penny: I think it's inspiring to reward the work you like seeing in the world. To stand up and formally, officially say, "Yes! More of this, please!" I tried to give high merit to work that had smart ideas backed by good execution, and poorer marks to things that seemed to lack that passion.

Darren: I think being an Addy judge exposes you to new work and new markets, and it can help you identify trends and techniques early. I do it to give back, to learn what else is out there, and to make connections that I would probably never make otherwise.

Gordon: I agree with Darren—the element of connectivity is critical.  As a creative and agency manager, it’s important to expose myself to the challenges and victories of regional agencies.

Sam:              Any other thoughts you’d like to share with Dayton creatives?

Penny: I really think it's important to do work that puts some good into the world, and doesn't just solve the problem or fulfill the assignment.

We all get this chance, on a regular basis, to give someone a new idea to think about, a new initiative to get behind, or even just a funny joke to laugh about. It's important to make the most of that opportunity.

Hokey as it sounds, it's really about what you're doing for other people. The human benefit is what counts.

Samantha Enslen runs Dragonfly Editorial and often wishes she had one designing bone in her body.