How Portfolio School Alternatives Are Teaching Aspiring Advertising Creatives For Free
Interview by Trey Alston / Working Not Working Member
One School graduate Bárbara Polanco explains how the program helped her leverage her creative endeavors into a new career pathway.
Portfolio schools charge tens of thousands of dollars to teach aspiring creatives the skills it takes to succeed in the world of advertising. Not everyone has the pockets, or time, to do so. But thanks to shorter, free alternatives like the One Club for Creativity’s One School and D&AD’s Shift With Google, people who haven’t attended portfolio school are getting the chance to learn about the profession enough for the same agencies to take interest in them. But how do these schools stack up to expensive portfolio schools? What are students learning from them?
To answer this question, I spoke to Bárbara Polanco, a graduate of the inaugural One School class back in February. She studied International Relations and International Business in college and, in addition to modeling, has worked in the creative fields of video production where she’s handled creative concepts. Her recently released “Earth Angel” tribute to black women is a stirring celebration of their bodies, done in a tasteful, compelling way that showcases what she brings to the world of advertising: a unique, much-needed perspective that spotlights her background.
At the One School, Polanco spent 16 weeks on a crash course learning the ins and outs of being a creative. Here, she explains how her creative background and education at the One School have prepared her to be a creative within the advertising industry.
Can you tell me about yourself and your creative background?
I’ve always had a relationship with art; I used to dance when I was younger, I got into painting when I was in middle school, and by the time I made it to high school, I picked up several instruments. This led me into modeling because I felt it would be cool to merge all these things that I love and am good at. I quickly realized it wasn’t fulfilling enough, so I started to pay attention to production details on set. I finally got the guts to execute a mood board I had for a shoot that celebrated the great Celia Cruz for The Girl Mob in 2018, and at that point, I realized how good I was at directing and producing. From there, I got into conceptual shoots.
What led you to express yourself as a creative and come up with concepts?
Nothing about my life path has been linear. I'm a Black Dominican woman who is first-generation and from a single-parent home in the Bronx. I've experienced having to learn a new language, understanding American cultural customs, and my mother placing me in a private school in Harlem to make sure I would succeed. When I moved to Australia at 18, I studied International Relations and International Business. This would be a personal and professional turning point where I realized I needed to create for a living and I needed to tell all stories from this unique perspective as creatively as I can. I believe that through different mediums you can honor, educate, and touch people. It’s important for me to relate to people because it brings us closer to the human experience. This is always at the forefront of my work.
What have been some of the highlights of the work that you’ve done?
Working with artists to execute my vision but in a way that aligns with their music and artistry. Also, my latest, and greatest, “Earth Angel,” video, which is a visual love letter to the black woman.
“As a New Yorker, I am a recovering ‘being busy’ addict, so One School was a lot of learning about advertising, but also learning about my creative self and seeing how far I can push and pull myself. It was also so cool to go through the whole experience with people that look like me.”
How would you describe your approach to your work?
It’s centered around two main things. One, I really feel like a vessel. When I focus on that, I come up with my best ideas and those are the moments I tap into human collective experiences — whether they’re mine, people I know, or stories I’ve seen. I try to think how I can express this in colors, or moving/still images. The second thing would be the good ol’ pinpointing the problem because there always is one. Finding that awesome insight is like putting together a really great outfit. It’s all about the details.
What drove you to seek out the One School portfolio program?
I was working on music videos and shoots and the One School announcement was shared with me. When I saw the brief we needed to answer, I did some research and ended up with an idea that I loved. I knew the One School would develop my skills and make me a stronger, more strategic, and well-rounded creative.
“I didn’t realize until One School how important bravery is from a creative aspect. I’m braver doing things that I’ve never done before now.”
What was the experience like?
The experience was incredible. As a New Yorker, I am a recovering “being busy” addict, so One School was a lot of learning about advertising, but also learning about my creative self and seeing how far I can push and pull myself. It was also so cool to go through the whole experience with people that look like me. I loved seeing how everyone’s unique mind answered briefs. There wasn’t a single dull moment from the day we got the acceptance email from the instructor, founder, and tension master Oriel Davis-Lyons.
How do you think you’ve grown as a creative since completing?
I didn’t realize how much of a strategist I am innately. For me to come up with an idea, I have to be solving a problem and tapping into something that is important to know. Also, I didn’t realize until One School how important bravery is from a creative aspect. I’m braver doing things that I've never done before now. My goal in life is to always get better at whatever I am doing. I also have access to a really great network of people, from my fellow classmates to my mentor to our lectures. I'm filled with so much gratitude for the program and it has changed my life.