July 27, 2020No Comments

How to land a design job at Instacart

The pandemic has, in many ways, accelerated the future we knew was coming soon enough. Those companies that were already positioned toward the future were among the few that thrived, despite economic shutdown. Instacart is one of them.

When most of the country was forced to stay in place, Instacart was uniquely positioned to help – and has continued to adapt and meet the needs of its customers in a changing environment. As the New York Times put it regarding shopping trends during the pandemic, "In grocery delivery, there is Instacart, and then everyone else."

Now Instacart is in high-growth mode, and they're looking for designers to help lead the way. We talked with Himani Amoli, design manager, and Ryan Scott Tandy (RST), design director at Instacart, about what they're looking for in designers for their team.

Hey Himani and RST, thanks for doing this with us. Let’s dive right in.

Instacart is growing fast, and I imagine you need designers for several areas of your product and/or marketing. What kind of design opportunities exist right now and where do we fit into the bigger picture of your team?

RST: Design at Instacart covers a wide range of experiences; from designing for the customer placing their first order, to the Instacart Shopper making a delivery, to brands managing their ad campaigns, or even grocery retailers building on our platform. Design plays an important role, taking something that is inherently quite complex and making it simple.

Partnering with product management and engineering teams, our product design and brand design teams are actively working on the next evolution of this essential service.

Himani: We are hiring across the board for brand and product design. Looking for product designers, researchers, and also design leaders to help grow and manage the teams! 

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us? Or should we just fill out the application form?

RST: We are a people-based business so tell us your story. What brought you to design? What inspires you? Where are you looking to take your design career next? 

I love hearing about how people personally use the product. What brings them delight or surprise. What role does food play in your life? Even potential areas of improvement.

It’s always great to highlight areas of expertise that clearly align with the work we’re doing (ecommerce, marketplaces, ad platforms, enterprise).

Himani: Something that highlights how the work you’ve done is relevant for the role that we’re trying to hire for. Better yet, tell us how Instacart’s mission fits into what you’re passionate or excited about. And link us to your work that you think we need to see. 

If you’ve worked with someone who works at Instacart, opt to come in through that route, especially if they can speak to your work or share how awesome of a teammate you are!

The majority of our applicants are sourced by our recruiting team. They work with the hiring managers to understand the skillset of the designer, so the most important thing you can do is make yourself discoverable online. Link your portfolio to your LinkedIn/Dribbble. If there isn’t any work under NDA, don’t hide your work behind a password

"Portfolios are the best way for you to tell the story of your career. In the absence of that, a story is unfortunately created for you, either by the recruiter or the hiring manager."

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at Instacart?

RST: It’s critical to have your portfolio up to date and polished. It’s your best opportunity to highlight your creative process, output and achievements across your career.

Portfolios that clearly demonstrate results through strategic design work are great, but ones that also showcase these projects in a beautiful way, even better! (A good mix of systems thinking and visual design).

Himani: Portfolios are the best way for you to tell the story of your career. In the absence of that, a story is unfortunately created for you, either by the recruiter or the hiring manager. Portfolios also help us understand how you tackle problems. 

Your portfolio doesn’t need to have all the work you’ve ever done but 1-2 case studies of work that you’re proud of, showing how you process problems. 

A portfolio also helps us visualize you in that role, and helps us figure out how to cater our recruiting process to you based on your skills, interests and background. 

"A prototype is worth a thousand mocks. Show me how the thing you build works and you stand out immediately!"

What do you wish you saw more in portfolios from Instacart job applicants? 

RST: More products in motion, less static states. Portfolios that show prototypes (or videos of their products in action) tell a much better story of how something works or how it’s used.

I love it when designers share insight behind small details. Why a particular interaction was chosen or breaking down the thinking behind an icon set. Anything that shows commitment to craft, polish or quality.

Show us how data and research informed the work. Answering, why was this the best solution?

Himani: When we’re reviewing candidates, we’re trying to get a quick overview of their work so we can decide where to schedule a portfolio walkthrough or not. When looking at their online portfolios, we’re spending a few minutes on each and making a call, so be methodical about what you have on your online portfolio – remember you won't be there to voice over the work, so it has to tell a story on its own.

  • Your portfolio should highlight your best work. You only have 1-2 in-depth case studies to stand out so make sure you pick your best work, the stuff you’re most proud of.
  • For the case studies, don’t bury the lede; show the final polished product first, then you can follow up with the problem statement and how you arrived at the solution. Every time I land on a case study that doesn’t do this, the first thing I do is scroll all the way down to see the finished designs. No need for a grand reveal in the end. Get me hooked from the beginning. 
  • For any additional work you want to share, it's OK to just show the final polished mocks. Hiring managers will likely make a call on bringing you in based on the 1-2 case studies we already talked about above.
  • A prototype is worth a thousand mocks. Show me how the thing you build works and you stand out immediately!
  • Finally, tighten up the visual design for your portfolio. We want to know that you have a high bar for craft and the UI of your portfolio will be a signal towards that, not just the work you shipped.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

RST: Like a lot of companies these days, we’re conducting our interviews fully remotely over Zoom, and the entire process lasts about half a day.

We start the day with a portfolio presentation where it’s the candidate’s opportunity to shine and tell their story. After that, the day is broken up into one-on-one sessions with members of the team and hiring manager.

We make sure to carve out time in each session for discussion and for any questions the candidate may have.

How the interview process at Instacart might look for you

  • Remote portfolio screening

    Here you'll meet with a senior designer or a hiring manager to share 1-2 projects that you’re most proud of.

  • A full “onsite” meeting

    In pandemic times, this means more remote interviews.

  • Another portfolio presentation

    This time, you'll present to a larger group of people including other designers, the hiring manager and some cross-functional partners like researchers, engineers or product managers.

  • One-on-one sessions

    Here you'll meet with a designer to do a deep dive on your work. You’ll also chat with the hiring manager, a product manager and a few more designers. One of those sessions will also be a design exercise.


PRO TIPS  For Instacart, your past work is the strongest indicator of your abilities as a designer. Spend time preparing your portfolio and perfecting your presentation. Instacart also wants to know that you're interested in them – ask questions about the company, the team or the culture.

Do you have a favorite story of an application that really stuck with you? Something that stood out and got passed around between your team?

Himani: We interviewed a candidate remotely after shelter in place, and she anticipated the animations in her Figma presentation might not work well during the portfolio presentation on Zoom. So she shared the Figma link of her presentation with everyone and asked us to follow along in Observation mode, which was awesome! It showed me her creative problem-solving skills because she anticipated a user problem and preemptively solved it. 

You’re in high-growth mode, which is no joke. On your blog, your head of design says he’s looking for designers who are open and resilient, with critical thinking skills. Any other qualities or skills that allow someone to thrive on your presumably fast-paced team?

Himani: I’ve seen people glamorize working at a growth-stage startup and not really understanding what it means for their day-to-day. But some things that aren’t everyone’s cup of tea:

  • You have to be able to handle a fast-paced environment with a lot of ambiguity. 
  • You have to be able to operate in a nimble way, be open to feedback on your work and able to switch gears quickly.
  • Processes break when teams continue to grow, so you have to be able to handle changes and operate in an environment that doesn’t have all the structure in place. 

But there are a lot of upsides as well:

  • There’s still a lot of company building left in this stage, so you’ll get to define processes and culture for the team.
  • And most importantly, you have the opportunity to take on large projects that make an impact.

Would you hire someone who’s a cultural add over someone who has more industry experience and hard skills?

RST: Given you’ll be working with someone on a daily basis, I believe soft skills to be critically important. We see “culture-builders” as a requirement as much as technical skills or domain expertise.

Himani: We believe you need both at Instacart. Great craft is essential, but we care about many other soft skills as well. When interviewing we look for a signal on visual design, interaction design and product thinking, along with how this person communicates and collaborates with others. 

Self-awareness is also very important, along with a growth mindset. Humility is also such an important trait to look out for. 

Portfolio tips for your Instacart interview

  • Share prototypes over static images.

    Showing how your final product works will count for a lot to the Instacart team. Instead of the standard device mockup, Use Figma or a similar tool to create a prototype they can interact with.

  • Show a love for detail.

    "I love it when designers share insight behind small details," says RST. "Why a particular interaction was chosen or breaking down the thinking behind an icon set." Use your case studies to show you sweat the small stuff, which ultimately means you care deeply about what you do.

  • Include only your best work.

    Instacart spends only a few minutes reviewing you portfolio before making a call. Prioritize your best projects (ideally launched projects), and be sure to highlight your attention to both user needs and business goals.

     

  • Evaluate and refresh your portfolio design.

    "We want to know that you have a high bar for craft and the UI of your portfolio will be a signal towards that, not just the work you shipped," Himani explains. If you haven't updated your portfolio design recently, now's the time to make sure it feels fresh and modern.

  • Show the research, data and thinking behind your decisions.

    In your case studies, show what informed your designs and why you approached your project the way you did. Give Instacart a glimpse of how your mind works.

  • Think through your portfolio presentation.

    You'll spend the majority of your interviews at Instacart reviewing your past work. Walk through your portfolio beforehand and perfect the timing of your presentation, so you're not ad libbing on the call.

     

 Your product design job description includes: “You are a generalist who can drive the design process end to end.” What secondary skills do you look for in a designer, besides common soft skills? For example: Do you prefer writing ability over coding skills? Photography skills over coding?

RST: An eye for good taste, prototyping, working with data, partnering with research, creating excellent documentation and presentation skills. 

Himani: Prototyping skills are a superpower that designers should use as often as possible. They can help bring ideas to life and also help get everyone on the same page.  

Strong writing skills can be such a valuable tool for designers. Both in their work and also when documenting design decisions.  

Strong storytelling and presentation skills can help designers convince others of their vision and rally people behind an idea. How you communicate about and present your work is an extremely important part of being a designer.

Finally, a high bar for craft quality.

As we all know well, the nature of work has changed drastically over the last few months. Are you open to remote hires for your team, or do we need to be on-site in SF?

As a company, we’re still figuring out how open or not we are to remote working. We’re continuing to hire in the Bay Area, as well as Toronto, but beyond that we’re considering US- or Canada-based remote candidates by exception only, and only at very senior levels.

Diversity and inclusion are more relevant than ever, and I see Instacart is part of that conversation online. How does this fit into your hiring process and current team?

RST: This is something we are taking very seriously. As a growth stage company, things move fast and we’re hiring quickly, but the design leadership team is taking a moment to stop and make sure we’re being deliberate about our hiring practices, especially when it comes to diversity. Everybody buys groceries, and it's our job to ensure that the people designing our brand and products reflect the communities we serve.

We know diversity is a critical ingredient of successful teams, especially a team that will design the next evolution of a product that’s universally needed.

We work hard to find candidates from a wide variety of backgrounds and handpick our interview panels to be as inclusive as possible.

Areas we, as an industry, need to invest more in: highschool and college education, internship programs, coaching and career development programs.

Himani: In 2020, we started using Textio, an AI writing platform that detects and flags unconscious bias in writing via job descriptions, job postings and email outreach – the design team is piloting the tool.

We are focused on building more diverse pipelines and a more inclusive hiring culture. We have 5 active ERGs that partner with us to celebrate cultural heritage months company-wide, with a full-month of programming dedicated to each. The design team is an active partner in developing, designing and helping to bring these cultural heritage months to life with multiple touchpoints across the employee experience.

How do you think Instacart is different when hiring new talent compared to other companies?

RST: At Instacart, you’ll have a very special opportunity to both work on an important product, and at a critical time of company growth.

Designers at Instacart will have a tremendous amount of ownership and the chance to help build a company.

Himani: I’m not sure if this is different compared to other companies but some of the things we care about:

  • An entrepreneurial spirit with a bias for shipping
  • People who are self-starters and don’t feel the need to wait for someone to tell them what to work on next.
  • Ownership over their work. This helps people have a high bar for quality and motivates them to get everyone else on the same page as them.
  • Comfort in dealing with ambiguous problems 

Any parting advice for us? Something we forgot to ask that a potential candidate should know?

RST: Always do your homework. Know who you’re presenting to, be sharp on the timing of your presentations, and come with a set of thoughtful questions that will spark conversation.

Himani: Don’t shy away from showing us who you are! Let your personality shine. Let us know who you are beyond your work. Also: 

  • Make yourself discoverable online. Let us find you! 
  • We believe good design comes at the intersection of user needs and business goals, so when choosing projects to present, prioritize projects that highlight that. 
  • During portfolio review, always opt for showing projects that launched. Seeing concept work is nice, but showing work that made an impact for the users and the business is best. 
  • I’ve seen designers come underprepared to portfolio presentations and just scroll through their website, and it never goes well. Overprepare for your portfolio presentations! Work on your timing and come prepared to walk us through your story.

Since I’ve seen this question answered from multiple members of the Instacart team, I have to ask you now: What’s always in your cart?

RST: Doughnuts, always doughnuts!

Himani: These days, bananas. I’m making and consuming too much banana bread thanks to shelter in place. 

June 17, 2019No Comments

How to get a job at Bobbi Brown

Bobbi Brown Cosmetics, as you might guess, creates beauty products for women. The company was founded almost 30 years ago and remains a popular, respected cosmetics brand today.

The Bobbi Brown design team operates here in New York as a part of Estée Lauder Companies. And as we learned in this interview with Tom, design director at Bobbi Brown, designing for a beauty brand can be quite different than other design work. Details like skin tone become more important. Photography skills come into play. As with any industry, the focus and the canvas changes.

So we asked Tom what it takes to get a job on his team, designing for the modern, polished brand that is Bobbi Brown.

Hey Tom, let’s get right to it. First, can you please tell us a little about yourself and what you do at Bobbi Brown?

Hi, Tobias! I’m a creative, originally from Belgium. I oversee a small team at Bobbi Brown that puts their focus on the digital output for the brand. This includes global and regional online campaigns and everything e-commerce related.

Tom, and sticky notes

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

I came onboard through a referral and I’d say the majority of our creative team did as well.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

Send it early in the morning! I come into work and the first thing I do is catch up on emails.

Keep it short and straightforward. We get tons of emails every day, so another one on top shouldn’t be too long. Introduce yourself in a couple of lines (in case you got my email address from someone and I don’t know you), state your intent and include a link to your work or a PDF.  A resume is nice to have as well so we know who you are without Googling you right away.

If we like what we see, we will probably reach out directly to you, or have HR reach out to set up an interview. If we don’t like what we see we try to get back to you as well, but unfortunately we can’t get back to everyone.

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Bobbi Brown?

I think some kind of online presence is a huge plus, especially if you want a job with a focus on digital.

However, I do understand that keeping a portfolio current can be very time consuming – time that a lot of us don’t have. So  I don’t mind if people send an email, or walk into an interview with a PDF that shows four or five good projects.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

I wish I saw credits! Very few projects are completed by just one person, and I notice a lot of people don’t give credit in their portfolio. This makes it harder to understand what exactly your role was for each project. Giving credit to the team you have worked with on each project you decide to show helps us understand who reported into you, who you reported to and how big the team was.

I don’t think I have ever seen something that I never want to see again in a portfolio.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example, being active bloggers or otherwise outspoken in their community?

As long as it doesn’t interfere with the job, sure. If you work for a company you indirectly become an ambassador or spokesperson for it. Whatever you say or do will reflect on your employer, so think about what you say and do in public, and what you might want to keep private.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

I don’t like giving design exercises. I do try to have you meet with as many people as possible so you get a good feel for the people who work here, and I can get feedback from these people to see if you’d be a good cultural add.

Timeframes can be from a week to a couple months, depending on your situation. For example: Do you need to give notice to your employer? That adds some time to the process/timeline. Do you need a visa? If so, the company would ideally work with attorneys to get that sorted, but that takes time as well. Do you need to relocate? Do you need to interview with people who were not available during your first interview?

So I guess it varies from one candidate to another and what their situation is.

"As long as you are willing to learn, I don’t mind what your background is. We are all learning new things every day and no one has the right answer all the time."

What are the secondary skills you look for in a designer, besides common soft skills? For example: Do you prefer writing ability over coding skills? Photography skills over coding?

Photography skills can come in handy – especially the technical side of it, how to set up light and such.

Knowing photographers and their styles is a nice plus as well so you can pull swipe quicker and easier during the concepting phase of a project. We shoot a lot and having a good basic knowledge of photographers, set designers, stylists, etc. is always good.

Coding/programming, not as much. Estée Lauder has a centralized dev / production team that handles that side of the business, but if you happen to know your way around certain programming languages it won’t hurt either as you’ll be able to prototype or figure out stuff quicker with developers.

Writing skills can always come in handy, especially for concepting and formulating your ideas in decks that will be presented to creative, marketing teams and senior leadership.

You had experience designing for fashion before joining Bobbi Brown. Is design experience in fashion/beauty or retail required for the job, or are you open to designers from any background?

For me personally, the switch from fashion to beauty was and still is quite hard. The focus shifts completely, the gradation in skin tones and shades of products become very important.

“Beauty” is defined differently from fashion. Your canvas becomes smaller as you need to close in on the face all the time. With fashion, you are pulled out more and literally have more space to work with.

But, as long as you are willing to learn, I don’t really mind what your background is. In the end, we are all learning new things every day and no one has the right answer all the time. Everyone on the creative team has a listening ear, is open for ideas, suggestions and collaboration.

Would you hire someone who is a cultural add over someone who has more industry experience and hard skills?

No.

"I think, as someone just coming out of school, go after a job you’ll enjoy doing and work your way up."

What are the biggest mistakes you see designers make when applying for a job at Bobbi Brown? Are there any specific things that keep bothering you? Please complain to us! (:

Not specifically to Bobbi Brown, but kids these days ask Silicon Valley salaries straight out of school, with zero work experience.

I have a hard time understanding it. I partially blame the schools who tell the kids it's OK to ask for it, and the companies in Silicon Valley that do actually pay those salaries. Maybe my mindset is biased because I came to New York on a mid five-figure salary. I don’t know.

When I came to New York I thought I was a good designer already, but I was wrong in so many ways. Not only did I not have any idea how a company works, but I didn’t have any idea how to work with other people and express my ideas and opinions to them.

I think, as someone just coming out of school, go after a job you’ll enjoy doing and work your way up. Don’t turn down jobs because they don’t pay enough right away. Work hard and you’ll get there.

Behind the scenes of a Bobbi Brown shoot

Do we need to live in New York to apply for a job, or do you hire remote employees as well?

We are fortunate enough to be able to relocate people. We are part of Estée Lauder Companies so depending on your level and location, Estée Lauder Companies & Bobbi Brown will try to get the right candidate to join.

How do you think Bobbi Brown is different when hiring new talent compared to other companies?

When I interviewed, I had six different conversations in one day with people from the creative, operations and online teams. I had never done six interviews in a day before. Everything was very casual and because the people were so open, I was able to get a good feel right away on how the dynamic between teams are.

It is then up to you to decide if you want to join that dynamic, to mold your position / role and push with everyone in the right direction.

Thanks so much, Tom! Any parting advice for us – something we forgot to ask that a potential candidate should know?

Thank you so much for taking the time to do this! Some last advice from me is to be confident and ask questions during interviews. Try to walk out of the interview with all the info you need to make up your mind. Have a nice overview of benefits, vacation days, whether remote work available? What is the pet policy in the office?

Thank you, Tom! Your tips here are valuable not only for those applying to Bobbi Brown, but for anyone (especially young designers) looking for a design job.

Readers, if you are interested in working on the Bobbi Brown design team, keep this advice in mind:

1. Try to make an inside connection

Most of Bobbi Brown's design hires came from a referral. Try to make a connection with someone online or find a friend of a friend to make an introduction for you. It will count for a lot.

2. Show a willingness to learn

In your portfolio and in your interviews. You don't need a specific design background to work at Bobbi Brown, but they want to see an eagerness to learn – without an ego.

3. Be prepared for several interviews

The interview process can last anywhere from a week to a couple months, and you will meet several people on the team during that process. If you have another job or are traveling from outside the city, it's something to keep in mind.

 

For more interviews with companies like Spotify, Pentagram, Airbnb, Microsoft and more, catch up on our How to Get a Job at X series right here. And if you want to see a specific company in the series, tag me and the company on Twitter to let us know (:

June 3, 2019No Comments

How to get a job at Microsoft

It's an exciting time to be a designer at Microsoft. This is not the same company it was ten years ago.

Most of us have some association with Microsoft: Our first family computer. The Xbox in our living room. Microsoft Paint and Clippy, the friendly Office assistant tragically ahead of its time.

Microsoft has been creating powerful products and systems for the world since 1975. Yet the company isn't waxing nostalgia or reflecting on its long and storied past. It's focused on the future – the products, values and innovations that help people and make the world better. And it starts with design.

Within the last few years, Microsoft has made a decided shift toward collaboration and openness among its design teams. The Windows, Office and Surface teams work closely together and share their work with an "internal open source" mindset. The Fluent Design System is integral to this effort, driving consistency across product designs through a shared visual language.

Talk to anyone on the design team at Microsoft and this fresh, invigorating energy is immediately clear. We had the pleasure of talking to five of them.

The design opportunities at Microsoft right now are many and diverse, but where does one even begin? What is Microsoft looking for in a designer? What kind of work would we be doing? We asked members across Microsoft's design team to find out.

Erin Woo
Product Designer
Role: Works on Outlook, designing features for  iOS/Android apps.Homebase: The Microsoft New York office

Tiffany Chen
UX Designer

Role: Works across design strategy, systems design, UX design, inclusive design, accessibility, persona spectrums and coherent notifications systems for Microsoft and Microsoft 365

Homebase: Microsoft HQ in Redmond, WA

Laura Cetina
Senior sourcing manager
Role: Leads the recruiting and sourcing efforts for design at MicrosoftHomebase: Microsoft HQ in Redmond, WA

Ismael “Izzy” Beltran
Visual & UX Designer
Role: Part of Microsoft's Mixed Reality at Work team, working across UX design and visual design for emerging tech products dealing with computer vision and IoTHomebase: Microsoft HQ in Redmond, WA

David Phillips
Product Designer
Role: Focused on the Messaging effort and running the Microsoft Design communityHomebase: The Microsoft campus in Bellevue, WA

First, tell us: How did you get your original job at Microsoft? Where did it all begin and what did the hiring process look like for you?

Tiffany: I was actually a UX design intern at Microsoft in 2017! My path to getting that internship was quite bizarre, though.

Up until joining Microsoft, I had virtually no experience in design. My previous two summers involved a business operations internship at a startup and an HCI research internship at Adobe’s Creative Technologies Lab, both of which had drastically different responsibilities and skillsets. I think I became interested in design by osmosis from sitting so close to the designers at Adobe.

Once I realized I might be interested in design, it was a lot of online reading, self-teaching, and pushing myself to create design projects in my free time. I used my development skills to pull together a portfolio of all the individual projects I’d done, and started shooting in the dark by applying to design internships at companies. Microsoft decided to take a chance on me.

From there, I did the three month UX design internship at Microsoft, loved it, and received an offer to return as a full-time designer after I graduated from Brown.

"The recruiter reached out and said the interview would occur in a week. Guess what I did: worked on my portfolio for that entire week!"

David: Technically, it began in grad school when I became good friends with Cindy Wong. We were frenemies 'cause we kept applying to the same internships. Cut to five years later, I was still working in New York as a design technologist when Cindy Wong from grad school sent me an email: “Hey, send me your resume and portfolio! There’s an opening at Bing!” I had a quick chat with her manager and I was flown out within two weeks for a full-day interview. I had been doing front-end development full time and I wanted to return to more design work, so I made sure my portfolio showed all my side projects and prototyping work. When I got the good news, I had to ask them to delay it for 2 months(!) so my wife and I could present our new graphic novel at New York ComicCon. I left NYC that Sunday and started at Microsoft 8 a.m. the next day. Cindy is the best frenemy ever.

Izzy: My first job at Microsoft was a really short contract for an incubation team for Windows Phone (that was a thing once). It was a great team and taught me a lot. I spent about 4.5 years jumping from contract to contract and doing some freelance in between. I worked for teams like Xbox, Microsoft Teams, accessibility tooling and Inclusive Design. I took the contracting path because I wanted to try out different projects and get a better scope of what type of work I wanted to do. It wasn’t until my last contract at Inclusive Design that I found my purpose. My managers at Microsoft taught me that my voice matters and my individuality is very valuable. This is really powerful when you are of color in the tech world.

I was at the tail end of my six-month break from my last contract when Sogol Malekzadeh from Microsoft messaged me to send her my resume and portfolio. A few days after I talked with my (now) design lead, Juliette Weiss. The project sounded amazing and after the call, I was told Microsoft's recruiter would get back to me. The recruiter reached out and said the interview would occur in a week. Guess what I did: worked on my portfolio for that entire week! The interview process started at 8:30 a.m. and went all the way through to about 4 p.m. Believe it or not, I don’t think I was speaking full sentences towards the end. I think I slept for about 15 hours when I got home that day. A few weeks later, I got an email that they were extending an offer and the rest is history.  

Looking at your current design team, how many of them came through internal referrals vs. headhunting vs. the traditional application process?

Tiffany: A surprising number of us went through Microsoft’s internship program.

Erin: The product design team has historically relied on referrals, but we’re working on evolving our recruiting practices to search a bit more broadly. For example, we’ve done active outreach via Twitter, Dribbble and by cold-emailing design talent, and are currently brainstorming ways we can host more events or talks within our local design communities (especially here in New York!). 

Laura:  Roughly ⅓  internal referrals, ⅓ headhunting (sourcing finding talent) and ⅓ traditional application process. When applying for a role, it is always best to leverage your network and have folks on the inside refer you to a role.  It helps get you noticed and it never hurts to have someone vouch for your skills and experience. The team that I manage spends all of their time on outreach efforts for passive talent. We look at the current needs of the organization and then proactively reach out to folks who we think might be a great fit. We focus on building long term relationships with great talent. While you might not be looking today, we might have a perfect role for you tomorrow.

Microsoft has made huge changes to its design philosophy and system in recent years, and I imagine this opens up more opportunities for designers and design hires. What kind of design opportunities exist right now and where do we fit into the bigger picture of your team?

Tiffany: There are SO MANY opportunities. We have UX designers, visual designers, motion designers, interaction designers, hardware / industrial designers, developer-designer hybrids, videographers and more. We’re all working in vastly different areas, whether those are horizontal, strategic efforts, vertical product teams, incubation teams, etc. I will say that the vast majority of opportunities sit within product teams as UX and/or interaction designers.

What you might be working on as a designer at Microsoft

  • Industrial design products and new form factors

  • Designing for emerging tech in mixed reality and gaming

  • Solving design ethics questions for next-gen AI products

  • Creating products and features for the modern workplace

  • Designing data visualization products for enterprise customers

  • Connecting and simplifying complex systems, platforms and experiences

David: One of the incredible things about Microsoft is the diversity of design teams tackling different problems in different ways. Some teams are very tactical, while others are exploring the future 3-5 years in the future with goals to never ship anything!

Izzy: I have seen a huge diversity shift within the last five years of me being here. I am part of a group called HOLA here at Microsoft. It's composed of Latinx individuals that work from Microsoft. Being able to speak in Spanish and connect with other professionals in the industry is a really good feeling. Also seeing leadership with similar backgrounds empowers me and pushes me to do more.   

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

Erin: Keep it simple, link to your work and don’t be afraid to be confident in sharing what makes you a great designer if you’re applying for an opening on our team.

Tiffany: I’m pretty cool with getting emails and LinkedIn messages. I’m normally better able to help someone when their intention is simply to learn more about Microsoft Design, the different teams, my personal experiences, etc. Unless it’s someone whose work I’m already familiar with in some capacity, I don’t tend to put in personal referrals. That said, I always reply!

Laura: When reaching out to me, please share your work and let me know how I can help you. Clear and concise communication is best.

David: If you reach out, please link to your work and link to the specific role you see on our Careers page. We tend to be extremely busy so if you make it easy to take action on, that helps a ton.

Izzy: Keep it short and sweet. If you are reaching out to a stranger, make sure you value their time and be prepared with what you are looking to get out of the conversation. If you don’t know, then be clear about it and say you are looking for advice in career path or something that aligns with their experience. I usually always reply and try to help out where I can since I remember being in their position.  

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at Microsoft?

Tiffany: As someone who didn’t have a portfolio at the beginning of their design recruiting process, I think it’s super important – if not absolutely necessary – to have a portfolio that showcases at least 3-4 of your projects. It doesn’t have to be a website if you’re not comfortable with a website; it can be a PDF, a slide deck, etc.

I personally have never seen someone interview at Microsoft without a portfolio. Part of the design interview process itself is a portfolio review, so I think it’d be pretty hard to articulate your thoughts and projects to your interviewers without some form of a portfolio.

Erin: We want to see examples of your work, so if your portfolio showcases beautiful and polished design solutions, that’s great! But if we ask you to join us for an interview, we want to hear more about how you got there. Can you articulate the problem or design brief clearly? How explorative were you early on in the project? What constraints or guidelines did you have to work with or against? And if you were collaborating with others, what was the working relationship like? These are the details that help us better understand how you’d fit or contribute in making our team better. And if you’re applying for a role on the mobile team, we definitely want to see mobile work.

Laura: A portfolio of your work is absolutely required if you are looking for a design role. Every part of your portfolio represents your work, so it is important to organize and talk about the projects in a very organized manner. In addition to showing great work, you also want to make sure that you talk about the process. We are looking for folks who are equally strong designers, communicators, strategists and problem solvers.  I also highly recommend working on projects that truly interest you. If you want to work in service design, find projects that align with that type of work.

Izzy: It is very important to have a portfolio! You would need to be pretty charming to pull it off without one.

Joking aside, a portfolio is a way to be able to talk about and show your process and guide someone through your way of thinking. If the design is not what you wanted, then talk about that. Talk about what you could have done differently or your learnings. People in the industry know about constraints and the reality of design.

The portfolio I used was made in PowerPoint and I got a job. In the end, use what you feel best gives the message you want to say. Make it work for the audience you are targeting and if you are sending your portfolio ahead of time, make sure you don’t send the full presentation. Send a teaser of it and show the wow stuff during the interview. You don’t want to bore people with something they have already seen before.

Tell us one thing you never want to see again on a portfolio.

Erin: This is a major pet peeve of mine, but I have an aversion to bar graphs that are meant to illustrate your proficiency in certain tools or skill-sets. If I see that on your resumé or portfolio, I am immediately turned off.

Tiffany: Please no pictures of murals of colorful post-its on a board.

Laura:  Please leave your selfie off your portfolio.  

David: Low res images aren’t great and stock graphics aren’t great.  Pro tip: Have a local copy of your site ready to go if your internet connection becomes wonky. Prototypes or personal projects... really, anything that shows us your passion for solving problems is always good.

Izzy: Club photos, typos and what I call "the Behance effect." The latter means just having pretty photos with no blurb explaining the context. I want to know what was done and how you got to the execution of the idea. That is far more meaningful than a bunch of images I will just glaze over.

"We take the growth mindset seriously and I’ve seen coworkers up to CVPs call out their mistakes."

Microsoft has been around for ages and has a deep history, which brings benefits and challenges. One of the downsides being that some people might have an outdated perception of design at Microsoft, inaccurately assuming the design team operates more traditionally or hasn’t changed over the years.

What’s the reality vs. the perception about designing at Microsoft?

Erin: The most common misconception is that we’re required to use Windows machines. Surprise: a lot of designers in Microsoft use Macbooks! Not only do we need certain tools that are Mac-only (e.g. Sketch), but a lot of designers are focused on the Mac-versions of their product.  

We may have the perception of being a more antiquated tech company, but the reality is that it’s super exciting to be at Microsoft right now. The Verge recently wrote an article about our culture of open design – product teams are sharing and collaborating more and we’re simplifying processes as much as possible. Every design team within the company has the opportunity to define this shift. For example, we on the Outlook mobile team devote time every quarter to having week-long design sprints. It gives us a break from our normal feature work and lets us dream up innovative ideas and solutions for our apps. The best part: we get to invite designers from other teams join in on the fun.

Tiffany: My old expectations, which I assume might be shared by other people who don’t know much about Microsoft design: cubicles, homogenous people who work in silos, collared shirts every day, very 90s vibe, overly corporate and enterprise-driven.

My current reality at Microsoft: open office, diverse teams (with regards to identity, discipline and work style) which collaborate horizontally and vertically, people who dress how they want, a very modern vibe, and designers who interact with real customers and think about the consumer-space increasingly often.

Moreover, I’ve also been super impressed by Microsoft’s values; tech is increasingly under fire for selling data, designing and working unethically, and cultivating toxic cultures. It’s amazing to work at a company that has so many historical successes that are not predominantly built on the monetization of your digital identity.

David: A lot of folks are shocked to learn I work on a Mac and use modern tools. To be clear, every team is free to use the best tool for the job, whether that be Sketch, Figma, XD, Abstract, Principle, Framer, Flinto, ProtoPie, etc. Design’s seat at the table grows every year.

People who don’t follow every iota of Microsoft news think of the older eras and values, so I would echo Tiffany’s comments: we take the growth mindset seriously and I’ve seen coworkers up to CVPs call out their mistakes and openly discuss how to improve life both internally and for our customers.

I know Microsoft is very aware of its greater place in the world today, valuing open source, collaboration and empathy among other principles. How does this translate to your ideal hire? Do you value certain qualities in your designers and do you like the idea of designers being invested in other interests?

Tiffany: We’re making huge moves towards diversity and inclusion. I guess that means as a designer at Microsoft, it’s important to be self-aware and appreciative of the privileges you have in designing experiences at such a large level of scale and impact. It also means that we expect people to be receptive to feedback, respective of different attitudes, and to grow from those experiences. It’s a growth mindset.

David: We definitely have designers that are invested in other interests – everything from farming, theatre, punk music, hiking. Getting to work with people from all walks of life with a diversity of can only make Microsoft better.

In my experience, someone who people enjoy working with can go further than even the most talented designer. How much do personality and values (what some might call “culture add”) weigh compared to industry experience and hard skills when you consider a designer for your team?

Tiffany: I’d argue that personality, values, and being a cultural add are equally as important as industry experience and hard skills. When you’re spending more time with your teammates than you are with your family, it becomes pretty obvious that the people on your team can make or break your work experience on a day-to-day basis. Work can be challenging and stressful at times, but I’m a huge proponent of not having team culture be a reason to feel emotionally burdened.

David: We tend to look for good people over rockstar designers. We luck out more often and get good people that are also rockstar designers! Empathy, humility and openness to collaboration, people who are willing to jump into unknown territory and give it their best – that’s the person who you want to work with.

How the interview process at Microsoft might look for you

  • One phone screen with a recruiter

    This is the opportunity for you to highlight all of your skills/experience/preferences, etc.

  • Phone interview with a hiring manager

    If Microsoft is interested in your background, they will schedule a phone interview with a hiring manager. This is your opportunity to ask questions about the role and also highlight your skills and experience as it relates to that specific team or role.

  • On-site interview with designers & hiring manager

    This usually includes a portfolio review plus 1:1 interviews. This is your chance to not only showcase your skills and experience, but how you communicate, problem solve and approach design strategy. Each round gets progressively longer. Be patient, and know that if you've made it on site, Microsoft is interested.


PRO TIP:  Be prepared to take a few curve balls - the full-day interview is both fun and exhausting. "In my first interview, I was asked why I chose a specific color blue and had to qualify it for 15 minutes," said David. "Once I did a design exercise for an hour and a half. But every team is different. The main items we look for is how well do you take feedback and whether we think someone would be a great collaborator."

 

What secondary skills do you look for in a designer, besides common soft skills? For example: Do you prefer writing ability over coding skills? Photography skills over coding?

Erin: The Outlook mobile team tracks all our feature work with Github, where we post designs and get feedback from product managers and engineers. We really value designers who can synthesize their thought process via writing since it’s so core to our culture of collaboration. Having any other sort of creative passions definitely gets our attention since Microsoft strongly encourages we always find time for continued learning and education. The company provides a lot of resources to make sure we’re able to pursue the interests that aren’t a part of our normal day-to-day work.

Tiffany: I imagine it depends largely on what position you’re applying for and the needs of the team you’re interviewing with. For example, there are design-developer hybrid roles that assign huge value to someone who is interdisciplinary in both UX and CS. On the other hand, photography skills could be great on teams that do more branding work.

I personally get excited when I hear about designers who are also programmers since I find that that helps them better understand and communicate with developers at Microsoft. But that’s just a personal penchant and it’s completely unnecessary to be able to code as a designer. You just have to understand what tools you have in your own toolbox and work with what you’ve got!

David: Having a superpower always helps. If you’re great at telling a story, if you have a development or creative coding background, if you are great with data or data viz, if you work with After Effects or audio... really, anything that helps with conveying the user experience or clarifying the problem for the team. Many of my coworkers started in a totally different career and bring those skills over to the design world.

What are the biggest mistakes you see designers make when applying for a job at Microsoft? Are there any specific things that keep bothering you? Please complain to us! (:

 

Laura: I'll take this one for the team:

1. An application missing information or very pertinent content.

We often ask our applicants to submit a cover letter, their CV and a link to their portfolio, but the number of people that forget at least one of those items is staggering. Perhaps a stellar CV and portfolio can make up for a missing cover letter, but the broader point is an important one: by not paying attention to the details, you are not demonstrating real interest in the job.

2. A cover letter that doesn’t say anything of real value.

Talking about how you’re “hacking your dreams while dreaming up hacks” or something similar doesn’t tell me who you are and why you’re the right person for the job. Keep it simple.

3. Your resume is more than two pages long.

For many of our design roles, we are looking for folks who can take complex problems and simplify.  Your resume is the first step in showcasing your ability to present information into an easy-to-read format.

4. Your cover letter talks about yourself in the third person.

5. Your resume doesn’t say anything about what you did in each position.

Avoid the temptation to simply list a handful of the standard "I was a designer" tasks (“designed web pages, designed emails, designed marketing materials”). I want to know what you accomplished, what your greatest achievements were, what you are most proud of from your time with each company. And make it relevant! If you’re applying for a job with our office product group, play up the most relevant experience from your previous roles and background the parts that are not relevant.

 

How to prepare your portfolio for a Microsoft interview

  • Mention side projects.

    Mention why you decided to start the project, what you learned and what you would do differently. "This is especially great if it is a project in an area that you are truly passionate about," says Laura.

  • Think of your portfolio as an example of how you approach design.

    "If you have the time and inclination, a unique portfolio site can really stand out," Laura says. "Treat it like any other UX project and put your user (i.e. the recruiter) at the center. What do they need to be able to find information quickly and easily? How much information do they need to make an informed decision? Are you highlighting the skills and work most relevant to the work you want to do?"

  • Update your portfolio.

    Make sure your portfolio represents your best, most recent work. If you have pieces from a decade ago, they may appear dated.

     

  • For a product design position, include your prototypes.

    "Prototypes are a big plus for us," Erin says. "Not only can they help us understand any sort of complex flows you’ve designed, but they show us that you consider how transitions between screens can influence the experience."

  • Describe your work, your contribution, process and what you learned.

    For your case studies, have a business purpose in mind and to tie the work back to how it helped the business.

  • Focus on thoughtful, concise presentation.

    "It doesn’t have to be packed with a lot of fluff or buzzwords," says Erin. "The more concise, the better."

     

 

When I search for Microsoft design jobs, most are in Washington at Microsoft headquarters. Do we need to be in Washington if we want to design for Microsoft or do you hire remotely? What about international hires?

Erin: While we do have a lot of designers based in our WA headquarters, the Outlook design team is distributed across a few cities: San Francisco, Vancouver, New York and Bangalore in India. And we’re not the only team within Microsoft that's remote-friendly; it’s becoming increasingly obvious that by expanding our pool geographically, we can truly recruit diversely.

Tiffany: No! You don’t need to be in Washington! I think Redmond campus probably feels the liveliest given it’s the largest central campus in North America, but you can absolutely be a designer at Microsoft in non-Washington offices.

Izzy: I don’t think you need to be in the Northwest to get hired. I have met people who work for Microsoft and live in New York. I’m also connected to a few Latinx employees in Chicago.

Laura: While we have offices around the country, more than 85% of the design opportunities are based in our headquarters in Redmond. We hire folks from all over the country and many of them re-locate to the beautiful Pacific Northwest. It is home to a thriving economy but is also surrounded by nature (mountains, water, lakes wilderness, etc.), has quality education on all fronts and has a diversity of culture that is world class.  

David: We also have offices in Prague and London. So I think you’re good. I know we have a principal design manager in Boston and another in North Carolina. It’s not too surprising; we build Skype and Microsoft Teams that are geared toward remote working so they are the proof in the pudding, so to speak.

"I don’t know anyone who has the notion of vesting in three years and moving on. Everyone I know hopes to work at Microsoft for as long as they can."

How do you think Microsoft is different when hiring new talent compared to other companies?

Tiffany: It’s interesting comparing my experiences interviewing at Microsoft with my experiences interviewing at other large tech companies. While I didn’t realize it in the moment, many of my then-Microsoft-interviewers were partner-level and principal-level individuals in the design space. The fact that people higher-up the food chain took recruiting so seriously is something that I hadn’t experienced elsewhere. It really makes you feel like Microsoft cares a ton about who they’re hiring and bringing onto the team.

Izzy:  It’s very different but in a good way! In my personal experience, I had colleagues and principal-level designers giving recommendations to the hiring managers. During the portfolio review process of the interview, I had adjacent team leads sit in and take part. A month into my role, I ran into one of the leads and he not only called me out by name but remembered my presentation. This makes me feel good about the place I work and also keeps me coming back every day with a smile.

Laura: I lead the Pivotal Design Sourcing efforts and we partner with all the design teams across Microsoft to find the best possible talent. We are able to talk to candidates and find out their true passions and align them to roles where they will thrive. Microsoft has so many different products that we have a lot of options for candidates/employees to find roles that align with their passions and interests.

David: From my understanding, people tend to stay at Microsoft longer than other tech companies. I don’t know anyone who has the notion of vesting in three years and moving on. Everyone I know hopes to work at Microsoft for as long as they can. I think that has shifted our mindset to look for good people.

___

Microsoft team! Thank you so much for doing this interview with us. This is by far the most personal conversation we've had in the series, which says a lot about who you are and what kind of company Microsoft is.

Readers, if you're interested in joining the Microsoft team as a designer, here are a few key takeaways:

1. Be detailed and specific

When reaching out or working on your cover letter and resume, state clearly what you want, your experience (including what you did specifically in your position) and why you believe you're the right fit for the job. The same goes for your portfolio. Think about what Microsoft needs to know to consider you for their team. Be precise and concise.

2. Be patient and prepared

You will have several interviews and an interview might last a full day. During the interview, be prepared to answer questions about the design decisions you make, and show a willingness to receive feedback and collaborate.

3. Just go for it

The designers at Microsoft are some of the most open and friendly people I've talked with in this series. It's clear Microsoft sees potential, values individuality and seeks diversity. And plenty of opportunities exist on the design Microsoft team no matter what kind of work you do. Update your portfolio (re-read Microsoft's tips above first) and show Microsoft why you belong on their team.

 

November 9, 2018No Comments

How to Land a Job at COLLINS

COLLINS creates strategies, builds brands and launches campaigns for some of the most recognized brands of our time. You've likely seen their work for Coca-Cola, Airbnb, Spotify, Ogilvy and recently, Mailchimp.

What I love about the studio is that, despite its prestige and Brian Collins' personal legacy in the industry, COLLINS still feels "small" and accessible – even to young designers just entering the field. And that seems to be intentional. In this interview, Brian Collins and Karin Soukup talk about encouraging and enabling designers to do great work, what they look for in a new hire and how we might get a job working on their design team.

Hey Brian and Karin, thanks so much for taking the time to talk with us. Let's get right to it: Looking at your current creative team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Brian: None of our current employees were identified through headhunters. About 15% came through our traditional application process. The majority of the talent at COLLINS is sourced by creative leadership and our director of talent, Yocasta Lachapelle. Many are former graduate students from the class I teach at the School of Visual Arts MFA program.

COLLINS' brand reimagination and redesign for Mailchimp

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us? Or should we just fill out the job form?

Brian: No tricks. No gimmicks are necessary – unless you love tricks and gimmicks and are really good at them. Send us whatever is right for explaining what you think you might add, what new, unique value you might bring here.

Look, design is not about what we do. Design, for us, is about what we encourage and enable others to do. For us, it’s about building tools, environments and communications that help other people make meaningful things possible. Design should enable people to do whatever they need or want to do with their time. Time itself is the most valuable asset anyone has. Money, objects – you can get all of that back. Time is irreplaceable. So, we work to fill and inform the time people give us with clarity, understanding, support or joy.

The way I see it, it’s a moral transaction. Did that client get your very best in that transaction? Did their customers get the finest you can do? Did you give them the best you had? Or did you fizzle out, or give up when it got difficult?   

We go all in. Everyone here goes all in. We’re kind of...relentless.

On the other hand, we also just like playing around with words, building models, filming, coding, drawing or making images and stuff move around on the screen until we land on something we love and go – STOP, STOP! THAT’S IT!

Not to get too precious about it.

Spotify brand redesign and identity system

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Collins?

Karin: Even if you’re young and have a limited portfolio, the work within it should demonstrate great care and attention to detail in everything you do. This is table-stakes.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Karin: We don’t want work that simply copies everything else. Our clients come to us to help them meaningfully resonate and differentiate. That means that we need to be on the bleeding edge of what is relevant, inspiring and thought-provoking. So we look for designers who are experimenting with form, tools, aesthetic sensibilities, frameworks,  ideas, new ways of collaborating – and who are always asking “why” with a lens of optimism.

vitaminwater brand redesign and interaction system design by COLLINS

I heard that when someone sends their portfolio to Brian, he sends book recommendations in response. Besides being well-read, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Karin: COLLINS prides itself in solving unique brand challenges with appropriately unique answers. We don't want to be known for having a “style.” To keep ourselves fresh, we are constantly looking to history and the emerging fringes of culture to inspire what’s possible – and making sure that we can translate these ideas into stories that bring breadth and dimensionality and relevance to a brand. This includes hiring folks with a variety of interests that influence their work (and our work) in unique ways.

Part of COLLINS' exhibition design and advertising campaign for the 'Inflatables' exhibit at San Francisco's Exploratorium museum

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Brian:

Round 1: Informational meeting with the director of talent

Round 2: Meeting with creative directors

Round 3: Meeting with designers and strategy lead

Final Round: Meet with me. But if they’ve made it that far, it’s pretty much done. I trust my colleagues.

"We expect everyone to have a second secret 'superpower,' so to speak. Hybrids."

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer coding skills over photography skills? Writing skills over coding?

Brian: We don’t look for particular secondary skills, but we expect everyone to have a second secret “superpower,” so to speak. Hybrids. We love to hire great people who are also remarkable at something else—it could be coding or writing, but it could just as easily be cooking, science fiction, scuba diving, biking, singing, painting, Taekwondo...anything. I believe those collisions expand us.

We also search for an ineffable quality. People who have or seek a greater sense of purpose and understanding of how design can help them achieve something bigger than themselves. I’ve always liked this thought from Friedrich Nietzsche: “He who has a why to live can bear almost any how.”

I think everyone here has that.

The Dropbox brand redesign and marketing campaign, which I've personally seen around NYC

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

Brian: No. We look for people who make a new cultural contribution, not a “cultural fit.” What a pernicious, horrible question – “do you fit?”

It’s not about finding people who are exactly like us or share a certain narrow personality trait. It's more about finding those rare people who are great at what they do, who will contribute something brand new, something different to the creative spirit of our company. And that we’ll be able to accommodate their unique way of doing it. By that I mean we support introverts, ambiverts and extroverts, anyone to be themselves. We get stronger by adding difference.

E pluribus unum. Or as Mr. Spock would say “infinite diversity in infinite combinations.”

I’m insane for Star Trek. Sorry.

Architecture/interior design and exhibit for the Jim Henson Exhibition at Museum of the Moving Image in New York City

Collins has been described as “the dream agency for young designers.” What qualities do you look for in a young designer? How can we best prove our potential?

Karin: I’ve outlined a number of the characteristics that we look for in prospective employees, but if I boiled those items down it would include:

  • Craft excellence
  • Imagination & experimentation
  • Passion
  • Versatility
  • Confidence, balanced with doubt

Doubt is helpful to make sure the work is meaningful and thoughtful, by questioning its intentions and considering all possibilities. It signals an open-mindedness and recognizes that there is always room to grow. Yet confidence is a valuable and necessary tool for taking creative leaps of imagination and trusting the process of design. It goes a long way, too, in helping clients to trust us, take risks together and establish momentum along the way.

"The smart, ambitious ones read. And ask for more. We hire from the readers."

The COLLINS’ offices in San Francisco at South of Market

What are the biggest mistakes you see designers make when applying for a job at Collins? Are there any specific things that keep bothering you? 

Brian: That they assume we’re only interested in the work they’ve made or their resume. That’s part of it, for sure. But we want to know what they’re reading, the ideas they’re excited about. As you noted, I’ll always recommend books to young designers who want to work here. The few who actually read them come back and we talk about the concepts in that book rather than their resume alone. That's far more insightful and useful to us when it comes to making a hire. 90% of the people I ask to read never follow through. They vanish. So it separates the players from the talkers, fast.  

The smart, ambitious ones read. And ask for more. We hire from the readers. They’re curious and self-propelled. And they never act “big.”

We need confidence. But don’t “act big” here at COLLINS.

The library at COLLINS’ office in New York’s Greenwich Village

How do you think Collins is different when hiring new talent compared to other companies?

Karin: We’re an independent company that works for ambitious clients to help them make big changes. Each person on our team has skin in the game – there’s no room for mediocrity or “dialing in” the work. So we look for passionate folks who thrive on seeing their visions made manifest. People who work hard to develop both their voice as well as their ability to get buy-in for the work. Dedication, resilience, enthusiasm and hard work are all necessary for this. Brand systems design and communications, especially, often means working with complex organizational teams. It requires us to guide clients through foundational decisions that can often be both initially challenging, but ultimately uniquely rewarding.

___

Brian and Karin, thanks so much for your time and thoughts! We're honored to have you in the series and appreciate all the honest insights into getting a job at COLLINS.

For those interested in working with Brian, Karin and the talented COLLINS team, here are the tips to remember:

Nr. 1 - Show your versatility.

Brian and Karin both mentioned this. They want the hybrids. The people with multiple interests and skills, with a secret "superpower" that adds to their team. Show your diversity in your portfolio — and be sure to tell a cohesive story when doing so. You want to present yourself as confident and multi-dimensional, not scattered and confused in your career.

Nr. 2 - If Brian recommends a book, read it. 

I love that Brian does this with people who apply at COLLINS. Whether you read the book he recommends or not shows everything about your drive and enthusiasm, your follow-through and the way you think. Plus, it's a lot more fun than the standard application process. Take advantage of it!

Nr. 3 - "Go all in."

Be confident (but humble), give it your very best and show your passion for the work they do. COLLINS simply wants to work with talented people who love what they do and will give it their all.

For an inside look at the hiring process for companies like Spotify, Pentagram, Airbnb and more, catch up on our other How to Get a Job at X interviews.

P.S. I also interviewed Brian Collins personally on the NTMY Show podcast a while back. We talked about confusing mastery with fame, making the most of small opportunities and finding perspective as a designer. Check it out for even more helpful career advice and insights.

September 25, 2018No Comments

How to Get a Design Job at Red Antler

Red Antler is a branding studio based in New York that works exclusively with startups. They've helped launch and grow brands like Casper, Birchbox, Brandless and more.

I find Red Antler's type of work especially exciting, as they get to be there at the beginning with these nascent businesses, almost like a founding partner, and help introduce them to the world. We talked with Simon and Maureen about what they look for in a designer and how we might land a job working on the Red Antler design team.


Hey Simon and Maureen, let’s get right to it! First, can you please tell us a little about yourself and what you do at  Red Antler?

Simon: I’m one of the co-founders and CCO of Red Antler. I’ve been part of the creative industry for 28 years, first as a visual artist and then as a designer and design leader. I moved to New York City from New Zealand in 1999 to work on the design team at an agency, then started my own design shop called ProAm. About a decade later, I joined forces with my two co-founders, Emily Heyward and JB Osborne, to create and grow Red Antler. We’re focused on working with startups and their founders to build their businesses using strategy and design. Red Antler started with three people on a couch. Now we have a multidisciplinary team, 100-strong, in Brooklyn.

As CCO I work with our client partners to create, guide and provoke brand worlds that bring the founders’ vision to life, and then push it one step further. I lead design teams across disciplines (digital, industrial, product etc.) to make meaningful brands that people fall in love with. I also, of course, spend a great deal of my time meeting and interviewing potential candidates for design positions at Red Antler.

Maureen: And I’m Red Antler’s head of talent. I’m responsible for helping to grow and develop our incredibly talented team. I’ve always been interested in the relationship between people and work, especially in creative environments. I’ve spent most of my career working in talent development within global agency networks prior to Red Antler, and I’ve found it tremendously rewarding to be part of this team, helping foster a culture that encourages personal and professional growth while providing the opportunity to create really amazing work.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Maureen: We’re always on the lookout for interesting people and do quite a bit of proactive sourcing to find them – this accounts for about  ⅓ of our current team. The other ⅔ is a mix of those who applied directly through our job postings and referrals, both from our team and our broader network in the design industry.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

Simon: I prefer emails or messages that are concise and professional, not overly familiar or overconfident (we’ve never met!). It’s great to hear if you’re excited about Red Antler and more importantly why you’re excited, and why you might be well suited for a role. Ultimately, it comes down to your background, if we think your work is good and if you can positively impact our culture. An amazing email isn’t going to get you the job, but it is one data point for us that shows how well and appropriately you communicate.

Maureen: I agree. Introductory messages don’t need to be overly formal or paragraphs long. You can give us a good sense of who you are, what you’re interested in and why – using your own voice within a few lines.

"Red Antler is like a 6th founder to us." - Philip Krim, co-founder and CEO of Casper

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Red Antler?

Simon: It’s important that we see a breadth of work. We’re always looking for variety in a portfolio – how can you stretch from project to project? We’re looking for people who can bring ideas to life using the most relevant visual vocabulary.

Not having a portfolio is not an option. If you can’t back up your email intro or the conversation we have in an interview with compelling work, then we have no way to make an informed decision. I always start the interview by asking the candidate what they are most passionate about, where they want to head in their career, what are their strengths and where they want to challenge themselves. I ask what their thoughts are about branding, and how that factors in. Then we look at the work together. In an interview, I’m not looking to go through a ton of work, but instead I’ll drill into specific projects to hear about the thinking behind them and what you specifically contributed to the project.

"I cannot reiterate this enough — I like seeing variety."

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Simon: I have an aversion to designers doing their own logo for their portfolios. Better to spend your time focusing on showing your work, not how you can combine the letters of your name in a monogram. I find it distracting.

The other thing I’m wary of is people showing work that was obviously created by a large team without the appropriate credit given to the rest of the group. People passing work off as their own is counterproductive. I often see the same images from a project in multiple candidate portfolios. Better to pull out the work you actually affected and make clear what your role was.

Also — and I cannot reiterate this enough — I like seeing variety. Seeing your personal projects, work in progress or experiments demonstrates to me that you’re willing to explore new territory beyond making a polished case study. I love seeing your process, sketches and writing/notes that show me how you go about making the work.

Simon at work

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Maureen: It’s definitely something we look for. To me, one of the most special things about Red Antler is that we have so many different backgrounds and interests across our team. It really informs our work.

Simon: We really encourage all of our team to get involved in things that they’re passionate about outside of work. A design practice is a demanding pursuit, both physically and intellectually, so it’s important that people are getting refueled and refreshed, inspired by things outside of the studio. There’s currently too much of a reliance on looking at other designer’s work. That’s when things start looking the same. What about art, music, neuroscience, architecture, politics, urban design, literature, mythology? If we don’t innovate and push culture forward, we’re dead in the water. Ultimately these interests will influence our work and culture in a positive way.

"Branding the Non-Brand" - Some of Red Antler's work for Brandless

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Maureen: We start off with a phone interview with a member of my team where we get to know your story, how you got to where you are now and what you’re excited about. We share a bit more about our team, how we work and the particular role. It helps us start to get a sense of how you think and articulate your ideas. If we think there’s alignment, we’ll arrange to have you visit our studio in Dumbo to meet with Simon and/or a few members of our design team.

Simon: If the design leaders are collectively excited about the candidate, we’ll bring them back in to meet with more of the team. If we’re looking to bring you on full time, we’ll have you come back for another conversation. I’ll show you the work we’re doing and talk about how you’d fit into the team. This is less about the work and more about making sure we have a good rapport and seeing if the conversation flows.

Maureen: Throughout these conversations, we’re digging deeper into your work and approach, and ensuring that there’s a strong fit with our values and how we work.

I saw most of your open design positions require experience with branding or at least drawing and typography. Would you hire a skilled designer who has no previous experience in brand design? For example, say I work at a big tech company for a couple years, then decide to apply at Red Antler. Would you still consider me for the position?

Simon: I’m very focused on building a diverse team with talent that introduces new skills (both hard and soft) and interests to the team. We do look for people with solid typographic skills, though. It’s certainly a skill that can be taught, but we’d much rather spend that time addressing more complex challenges like bringing a strategy to life or doing next level execution across all of the touchpoints we’re responsible for. More important than having experience in branding is being a strategic critical thinker that can also execute creative ideas in a systematic way.

This is an appropriate pose that demonstrates strategic critical thinking.

Given the work you do, we assume you want a designer who can think strategically and critically in addition to having strong design skills. What are the other secondary skills you look for in a designer, besides common soft skills?

Maureen: I can’t overstate the importance of strategic thinking. We could see the most beautiful portfolio of design work, but if we connect with the person and they aren’t able to articulate the purpose behind their design decisions, it’s not going to be a fit for the type of work we’re doing. Likewise, we seek strategists who are passionate about and fluent in design, and client directors who understand how design and strategy come together to drive success for our clients.

Simon: Maureen’s right – a strategic approach is essential for what we do. There are no hard and fast preferences beyond the usual skill requirements. It’s all about the holistic team. Usually, we’re trying to add a skill that might amplify the work with the existing team so, it’s all contextual.

I love it when someone is curious about learning how to code, just to get their head around it. I’ve also seen great success with people who jot things down just to unpack what’s in their head and communicate with others about abstract ideas.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

Simon: In looking at our team now and who we’ve had in the past, I can categorically say that cultural fit is huge. No matter how skilled you are, if you can’t be a good human being and studio citizen, then it’s not going to work out. Our process is built around teams supporting each other and collaborating across every part of the company. No one person has more value than another. We’ve had a no asshole policy since we started 11 years ago and that’s not going to change.

What are the biggest mistakes you see designers make when applying for a job at Red Antler? Are there any specific things that keep bothering you? Please complain to us! (:

Maureen: Not asking us any questions is a huge red flag. Curiosity is critical to our process and is something we look for in candidates for every single role at Red Antler. The interview process is about you getting to know us just as much as us getting to know you.

Simon: Being passive or uninformed isn’t a good look. We’re not like other companies in the way we operate. We work with many new businesses and directly with their founders who have a specific expectation about money and time. They’re all gunning for launch on a limited budget. We’ve built our whole offering around this dynamic. We want designers who like that we work with startups, and who like building things from scratch. Things move quickly with purpose around here – it’s not for the faint-hearted.

Maureen: And if I could add one more: It’s super basic, but you’d be surprised how often it’s happened. When job seekers are reaching out to multiple studios, it’s easy to cut and paste an email message. I don’t recommend this approach, but if you do this, quadruple check to make sure you’re addressing the correct person or company!

Red Antler's work for Otherland, a candle company

Do you ever hire remote designers, or do we need to be located in New York to get a job at Red Antler?

Maureen: We often engage with candidates outside of New York, in fact, we have designers from all over the world, but you need to be willing to move to New York to work side by side with us.

Simon: There’s nothing like having people in the same space — being able to look at stuff together, sketch, critique, cut up and edit on the fly, pull in other skills — it’s a very organic and somewhat messy process. We’re constantly fine-tuning and evolving. Often we’re building something that hasn’t existed before which is really exciting but also really hard.

How do you think Red Antler is different when hiring new talent compared to other companies?

Maureen: What makes Red Antler special for me is that we have so many different types of thinkers under one roof. Throughout the course of a project, we may have a brand design team, an industrial designer, a digital product designer, a strategist and a writer all bringing their unique perspectives and skills to the table to help crack a particular client’s challenge or opportunity. Challenging each other and building off of one another’s work – that’s where the magic happens. We’re not just assessing the depth of your skillset and culture fit, but also whether or not you’re wired to collaborate with strategists and designers across multiple disciplines.

Maureen with the team

Simon: The designers here get to work on such meaningful projects. These are brands that are changing conversations around sustainability, fashion, farming, politics, self-care, personal finance. Not only do you get to have a hand in building that brand, but you then get to see it out in the world, challenging the status quo and resonating with so many people.

Thanks for your honest and practical advice, Simon and Maureen! For those looking to do brand design work with Red Antler, here are a few important takeaways:

1. Show your ability to think strategically 

This is a must for a design job at Red Antler. In your portfolio and in your interview, show why your work helps accomplish the client's goals. Share why you made the design decisions you did, and the impact those decisions had on the project. Demonstrate your ability to think ahead, and understand all aspects of a project and how they connect. Show that you're capable of creating more than a beautiful design, but one that has meaning and fulfills a purpose.

2. Ask questions

This should be a given for any interview, but it's easy to forget when you're nervous and focused on having all the right answers. Research Red Antler before you meet with them. Prepare a few questions beforehand, but don't be afraid of having a real, unrehearsed conversation. The more genuine curiosity you show, the better.

3. Display variety in your portfolio

Red Antler wants to see that you have a range of skills and experience. Show a breadth of work in your portfolio, including projects that relate to the specific position you want at Red Antler.

To learn how to get a job at companies like Airbnb, Electronic Arts, Fuzzco and Pentagram, catch up on our How to Get a Job at X series right here. Almost all companies are selected based on reader requests. If you want to see a specific company in the series, send me a Tweet about it.

September 20, 2018No Comments

How to Land a Design Job at Lyft

Since entering the transportation market in 2012, Lyft has only continued to grow. So much so, it's odd to think the startup launched just six years ago.

But Lyft remains focused on the future, with self-driving Lyft cars already on the road in some cities. It's an exciting time to be on Lyft's design team, and as we learned from this interview, it takes a lot of passion and hard work. Audrey Liu, director of product design at Lyft, answered all our questions about how to get a job working as a designer at Lyft.

Hey Audrey, let’s get right to it! First, can you please tell us a little about yourself and what you do at Lyft?

Let’s see, I’m originally from New York and have been in design for a while. I started off in consulting at SYPartners and am now a director of design at Lyft. I lead the work of several teams including our Driver Design teams, Growth, and Support and Safety — a team of about 25. In my role, I’m responsible for building the team (I do a lot of recruiting!) and providing strategic and creative direction for our products.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process (percentage-wise)?

More than 75% of our hires are actually made through referrals or were sourced by our team, but we get a ton of great candidates through our application process as well.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

First, I love a message that is short and sweet, but that shows a genuine interest in the problems we’re solving. Lyft’s mission is to improve people’s lives with the world’s best transportation, and we’re incredibly mission-driven as a company. Seeing an applicant’s passion stands out. Always include links to your work, and talk about what you’re interested in and where Lyft fits in with that.

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Lyft?

Portfolios help us understand the work that you’ve done, but even more importantly, they help give us a better sense for how you approach and solve problems. So portfolios are important, but they don’t need to be an exact replica of your resume. Just show a few projects that are important to you, that highlight the types of problems you like to solve and how you go about tackling them. It’s not so much about showing the right solution, so much as it is showing us your process, so that we can figure out which problems you might be best suited to tackle with us.

"A pet peeve of mine is when there really isn’t a good reason behind the work."

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

I always enjoy seeing a bit of storytelling in a presentation. It’s such an important skill for designers and is a tool for sharing work broadly across teams and functions. Telling the story of your work — how it all relates, why it’s important — matters. Additionally, it’s important for designers to show that they understand the goals of their work and that those goals touch on both user and business needs. A pet peeve of mine is when there really isn’t a good reason behind the work, or the designer doesn’t show an interest in or understanding of its impact on the business or user.

As for things I don’t ever want to see again: There was/is a trend of designers showing their screens on devices at an odd angle (e.g. floating above a surface at a slight 30-degree tilt). Don’t do that. It doesn’t show your work in a meaningful way.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Yes! Other interests or other manifestations of your passion for design are key to helping us understand who you are as a person (not just a designer), what you prioritize and where you choose to invest your time.

Product work is part of each designer’s role at Lyft, but there is much more outside of product that goes toward helping to build a strong culture inside Lyft and in the broader design community. When I learn more about a designer’s outside interests or their design-related work outside of their job, it helps me see how they can contribute to the team in other valuable ways.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

You will meet with about 4-5 members of the team. They could be a mix of designers, user researchers, producers and cross-functional partners. You’ll start with a presentation where you’ll be asked to share a couple of projects. Then you’ll meet with each person 1:1 to dig into different topics, and you get to use the time with each person to ask questions of your own, too. (It’s important that you get to know us as well!) One of those meetings will be a design exercise. We try to keep it fun and light, and to use our time for us to get to know one another.

Of course product design skills are essential for the work you do. What are the secondary skills you look for in a designer, besides common soft skills?

Our product experience includes both online (our apps) and offline (everything outside of the app) experiences, so we’re always looking for designers who consider problems and experiences holistically — at a service and hospitality level.

Similarly, designers who are considerate of all of the aspects of an experience, including the writing, the illustrations and animations are also really great. Beyond that, strong facilitation skills and narrative storytelling. The ability to prototype is also key, but coding isn’t necessary. All of these aren’t necessary, but demonstrate that you think about the end-to-end experience and are able to bring it to life in different ways.

Lyft has a pretty unique vibe that’s offbeat yet accessible, which we assume carries over into your office culture. Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

We look for the total package. To be a valuable member of the team, you have to meet the mark on both soft skills and hard skills. One without the other is pointless.

"Lyft is a high-growth startup and, as most of us know, that’s no joke."

What are the biggest mistakes you see designers make when applying for a job at Lyft? Are there any specific things that keep bothering you? Please complain to us! (:

Every designer at Lyft is passionate about the problems that we’re trying to solve. Within a super diverse team, our belief in wanting to impact transportation systems at large, create access to mobility for more people, and set entirely new expectations for how we live as communities, is the throughline that unites us all. It is a passion that exists outside of pixels and it’s one that I look for, because that level of interest is also what will help us uncover new opportunities and solve problems in big ways, not just iteratively.

I sometimes see designers applying for a job at Lyft because they think it’s a cool company (which it is, don’t get me wrong), without really considering the level of drive you need to have to thrive in this team and to tackle the challenges we’re rallying around. Lyft is a high-growth startup and, as most of us know, that’s no joke. There are tons of ups and downs, so if you aren’t deeply committed to creating huge impact in the world, you simply will not survive. Come here for the right reasons. In fact, go anywhere for the right reasons.

Do you have a favorite story of an application that really stuck with you? Something that stood out and got passed around between your team?

For me, it’s not about the uniqueness of the application, it’s about the quality of the work and the thinking behind the work. Does this person care about the details and their craft? Do they demonstrate empathy and understanding for the people they’re designing for? Are they passionate about solving big problems? Those are the things we notice — especially when they’re missing.

How do you think Lyft is different when hiring new talent compared to other companies?

Other companies share this characteristic, I’m sure, but we are extremely mission-driven. Designers, product managers, engineers, marketers… everyone comes to work at Lyft because they firmly believe in our mission to change the state of transportation. They want to see a world that invests in more parks and less parking lots. So in hiring, we don’t oversell on perks, because we’re focused on finding the people we can count on to be as invested in our mission as we are. The people who will make us all better.

Any parting advice for us? Something we forgot to ask that a potential candidate should know?

Be yourself and try not to be nervous. Our goal is to find designers who will help push the team forward. That means that we like contrarian thinkers and we like diverse points of view. Don’t just tell us what you think we want to hear, tell us what you really believe.

Thanks so much, Audrey! Really appreciate your honesty and practical advice. For those interested in applying for a design job at Lyft, here are your main takeaways:

1. Show your passion for what Lyft does.

Lyft wants to know that you care about and feel invested in their mission to change transportation. Show your passion for what they do, and how your skills and the work you've done fits into that.

2. Share the reasoning and thinking behind your work.

You could have beautiful, relevant work in your portfolio, but if you're not explaining that work and the thought that went into it, it doesn't mean much. Write great case studies that show how you approached your work and why you made the decisions you did. The same goes for your interview. Before you meet with the Lyft team, review your projects and refresh yourself about the story behind them so you can speak confidently about it.

3. Do your best to make an inside connection.

More than 75% of Lyft's hires are made through referrals or were sourced by their team. If you don't have an inside connection, do everything you can to get noticed by their team.

We've interviewed companies like Disney, BMW, Fuzzco, Spotify and more. Catch up on the How to Get a Job at X series right here.

September 4, 2018No Comments

How to Get a Design Job at Ueno

Ueno is a full-service agency with offices in San Francisco, New York, LA and Reykjavík. Yes – Iceland. You've probably seen some of their digital work for clients like Slack, ESPN and Uber.

Ueno's work is excellent, but what I most love is their personality as an agency. Read their blog or check out their interview page and you can tell they have a sense of humor. For me, that's an important factor in choosing where to work. It's not just about the "culture," which every agency claims to have, but more about the way they view work and life. Read our interview with Haraldur, Ueno's founder, and you'll see what I mean. Here he gives us his honest advice for getting a design job at Ueno.

Tell us a little about yourself and what you do at Ueno.

Hey! My friends call me Halli but you can call me Haraldur Thorleifsson. I’m the founder of Ueno.

I’m also the CEO so that means I am responsible for a lot of different things. But luckily we have really amazing people, so I don’t do much anymore. Mostly I just take credit for everything.

The Ueno team at their company retreat

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Of the top of my head with no numbers to back this up, I’d say exactly 49% came from referrals and 51% came from traditional applications.

We get dozens of applications a week for our design positions so a lot of great leads come from there. And then we have people internally that know a lot of smart and kind people that we will try to snag.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us? Or should we just fill out the careers form?

Cold emails are not a great way to apply. They might get missed. The very best way to apply is through our site. You can see all open roles on www.ueno.careers

If you apply through the site, the application will be seen by all the right people and it will go through a process.

One of the four lovely Ueno offices

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Ueno?

For a design role, you will most likely need some sort of portfolio or a very strong recommendation from someone we trust for us to have an initial interview. We are still a small company so we unfortunately can’t interview most of the people who apply, and we need to have some kind of indication that you would be a good addition to our teams.

Your portfolio can be in whatever form works for you, though. It doesn’t need to be a super fancy website. It can be a PDF or a Google doc or whatever you have that shows us some of the work you’ve done in the past.

An illustration from Ueno's slack.com redesign

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

I wish more portfolios had personality. I think it’s perfectly OK to start with a joke, or something that tells me that this person has a unique perspective.

On a good/bad day I look at maybe 20-30 portfolios. Most of the time for maybe five seconds before I decide if it’s worth exploring further. So my first recommendation would be to make sure you grab the audience straight away. Show me something great and/or unexpected. Ideally both.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

We have a word in Icelandic. It’s fagidjót. It basically means that someone has super deep knowledge of one thing but knows nothing about anything else.

Design is about solving problems and to be good at solving problems, you need to know a bit about a lot of different types of things.

I don’t care if people are bloggers or outspoken in their community. I do care that they are curious about the world around them. They may have chosen design as a way to express that curiosity, but it should just be one of the ways they are curious.

Say I make the first pass and get invited to an interview. Can you describe the interview process (the phases, design exercises, etc.) as briefly as possible? Most importantly – will it be as fun as your brilliant interview page? Should we dress as a hot dog?

We don’t do design exercises. I don’t think they tell you much and they are extremely uncomfortable for both the designer and the people running the interview.

We also don’t look for culture fits; we’d rather find people that can add something to our culture. People that can teach us something new about the world.

We have strong culture values that we try and gauge for, though. They are deliberately fairly open and should encourage our teams to hire different types of people — while still making sure we have a common foundation built on caring about other people, never being satisfied with good enough, etc.

Typically applicants will meet with 3-6 of our people and each one of those interviews will be based around a specific culture value. I’m most often the last person in the interview process.

However, the best way to really see if people are good to work with is to actually work with them. So when possible, we have people come in to work with us for 2-8 weeks, depending on what works for them. We obviously pay them for that time; we put them on real projects and we treat them as full members of our teams.

After that, we have a really good understanding of that person and they also understand us. And if everyone falls in love, then we get married.

So far, nobody has shown up in a hot dog suit. I’m still waiting for that to happen. I don’t want to promise anything but I absolutely promise that would lead to a guaranteed job offer.

Ueno branded the 2017 edition of ESPN’s Body Issue and designed its mobile-first online version.

What are the secondary skills you look for in a designer, besides common soft skills? For example: Do you prefer coding ability over photography skills? Writing skills over coding?

I personally don’t have a preference. The main thing is, like I mentioned above, that you are curious about many different things, and that you are willing and able to keep growing and experimenting. It’s up to you to choose in what order you want to keep adding those skills.

Ueno has a distinct personality and it’s clear culture is important to you as a company. Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

When I started Ueno, I was only interested in the hard skills. I only wanted to hire really amazing designers and I didn’t really think that much about their personalities.

But as the company grew, I quickly realized that the culture is what will make us succeed or fail.

That does not mean that we will hire a nice person if they aren’t good designers, but we will absolutely pass on an amazing designer if they are not good to work with.

Ueno's work from an app redesign for Reuters, one of the world’s largest news organizations.

What are the biggest mistakes you see designers make when applying for a job at Ueno? Are there any specific things that keep bothering you? Please complain to us! (:

I like punks that show up on time. Meaning, I like people who have a different way of looking at the world but you can rely on where it matters.

I don’t think that answers your question, but I just wanted to say that.

Do you have a favorite story of an application that really stuck with you? Something that stood out and got passed around between your team?

If people are being guarded, I will often try to nudge them a little bit to see how they respond during interviews. So the stories that get passed around about our interviews are about me saying or doing something weird.

I don’t remember them but I’m sure they are hilarious because I can be very funny and great.

I imagine having locations in San Francisco, LA, New York and Reykjavík opens you up to a ton of design talent. Do we have to live in / move to one of those cities to get a job at Ueno, or do you hire remote designers as well? And do you ever sponsor visas for international hires?

We only hire people who are willing to work full time on location at one of our offices. Our work revolves around very close collaboration with our clients and our teams, so being on site is very important.

We have multiple people on visas that we have sponsored, but right now we are trying to limit those a bit. Partly because it is extremely expensive and complicated to manage, but more importantly because it’s an unpredictable process, and putting people through that long emotional journey with no guaranteed outcome is very hard. You can read a bit more about that here if you are interested.

 

How do you think Ueno is different when hiring new talent compared to other agencies or design studios?

We’ve tried to not hire a lot of agency people. I don’t want to recreate a typical agency. We of course have some strong people with agency backgrounds, but we don’t want that to be a requirement.

We’ve made some very adventurous hires, taken chances on people that on paper maybe didn’t make a lot of sense to hire. Some of them have turned out to be our most valuable people.

We saw Ueno is hiring a Design Lead and Senior Designer for your NYC and SF offices right now, and a Creative Director and Design Lead in Reykjavík. Any parting advice for someone who’s reading this and ready to apply? Lay it on us!

I remember agonizing about whether I was good enough to apply for places I admired when I was younger. I wanted everything to be perfect, which it never is.

Don’t wait, just do it. Worst case scenario is that nothing will happen.

___

Thank so much, Haraldur! This is one of the more insightful and entertaining interviews in the series so far. Readers, if you're interested in applying for a design job at Ueno, here are some key takeaways:

1. Show some personality in your portfolio. Do something unexpected. 

Haraldur confirmed something we've voiced in about every piece of portfolio advice we've given: you have about five seconds to make an impression before he moves on to a different portfolio. That's shorter than the classic "elevator pitch." He suggests leading with a joke or writing something that grabs his attention immediately. Make those first few seconds count.

2. Expand your interests and skills. Be curious.

Ueno isn't interested in hiring a designer with knowledge in only one area. They want designers with diverse interests and a sense of curiosity about the world, who want to experiment and grow. Show Ueno that you have dimension and range. You can do this through your portfolio and in your interview.

3. Don't overthink it. Just go for it.

Ueno's not looking for the typical "agency person." They're willing to take chances on the people who, in Haraldur's words, "show up on time." If you think that might be you, apply and see what happens.

Catch up on our How to Get a Job at X series for more inside advice from top companies like Disney, Unsplash, Spotify, Pentagram and more. And if you want to hear from a specific company, let me know on Twitter.

August 24, 2018No Comments

How to Land a Design Job at BMW

BMW needs no introduction. The company is known and respected the world over, a brand synonymous with luxury and pride.

Working on any aspect of BMW's design is a dream job, so of course we had to invite the company to this series. Daniel Myer kindly gave us all the inside advice about how to land a coveted spot on BMW's visual design team. 

Hey, Daniel! First, can you tell us a little about yourself and what you do at BMW?

I'm one of the senior UI and visual designers here at BMW. I’m part of the core U.S. design team located in Chicago. Together with our colleagues in Munich, Germany, we design the Connected Drive app for BMW and MINI.

It’s important for us to maintain the overall BMW brand language (as implemented within the vehicles “ID” onboard display), but within a unique mobile design experience. Our team is also tasked with developing, maintaining and implementing the style guide for both apps as well as giving art direction to other key markets.

I’m involved in strategy, art direction, brand and motion design. Primarily I focus my efforts on two key areas: the first is “LBS” (Location Based Services), which is anything to do with trip management or vehicle mapping. The second is vision casting concepts, and explorations around future design states of the app and experience.

Would you say the majority of designers you hire have been pre-selected and headhunted by your team, or do you get a lot of cold applications as well?

Headhunting is the most common onramp to employment here at BMW. The company is proactive in the pursuit of talented and articulate designers. Almost every designer starts as a contractor. It’s quite a long tenure before being offered an internal role. I’d encourage a designer to be patient, keep improving their craft and update their portfolio often, as well as business network sites like LinkedIn.

Say we decide to send a cold email. What kind of message gets a reply, any secrets for us? Or should we just fill out the job form?

Someone being bold, putting themselves forward and expressing an interest to work with our team is a good thing. Being proactive in general goes a long way here. Additionally, you could reach out with a message over LinkedIn. Be clear about what you want and what you are good at.

"It helps to show work that relates to BMW or another luxury vehicle brand, even if it’s purely conceptual. It will get passed around quite a bit and discussed."

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at BMW?

BMW is a global leader in the area of design. We have some amazing designers who are passionate about engineering great experiences. We tirelessly re-work every detail of the design to improve it. As part of our process, we are involved in weekly review meetings where we need to present the designs for review and overall buy-in. Thus, a designer wanting a place here needs to have strong design chops and be able to articulate the ideas behind the design clearly.

We care very much about design, the process of design and how it will work. A big part of what we do is service-design oriented. Therefore, the projects in your portfolio or book should be compelling and strategic. This is a great place to communicate how you’ve used a specific design approach to solve a problem, and make the product or service more usable and engaging.

I used previous apps and working prototypes when presenting my portfolio in an interview with BMW. It helps to show work that relates to BMW or another luxury vehicle brand, even if it’s purely conceptual. It will get passed around quite a bit and discussed. It can set you apart and help position you for an initial meeting.

Tell us one thing you never want to see again on a portfolio. 

For me, I’d say a lack of creative range. Yes, it’s useful to have a well-honed skill that is laser focused in a particular area. However, it can be rather tedious to see all the same things.

Anything you wish you saw more?

There is definite value in a portfolio that’s diverse and showcases a wider range of design thinking and skill. Showing your ability to think outside a given set of lines and emerge with something new and innovative helps further set you apart. Show your most creative stuff (the projects where you had more freedom to have fun with it) and your most challenging stuff, (the projects with the most restrictive guidelines). Both have a story to tell.

Besides having a portfolio, do you like the idea of designers being invested in other interests, for example blogging or being otherwise active in their community? How much do you value side hustles?

Being on the team is about design. However, being part of the team is about culture and comradery. BMW has a very diverse U.S. team and everyone feels welcome here. There are lots of sports and activities that further drive the team culture. It’s about designing well together as a really cool team.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

The process can vary based on the role. For me, I was contacted by a recruiting agency that worked directly with BMW to source senior creatives. That’s where most of the conversations happened initially between me and BMW.

The recruiter set up the interview. It took about a week. I went in and met the three design leads and several product owners as well as various development team leads. I presented my portfolio to each group. All total, the interview process lasted about 4-5 hours. I was given an offer the following week. 

What are the biggest mistakes you see designers make when applying for a job at BMW? Are there any specific things that keep bothering you? 

I’ve not seen this very often here with my BMW colleagues. They’re an especially top-notch design group. However, in other settings I’ve observed designers be too tense or nervous, and it drowns out their personality and creativity. You’ve made it this far, so you’ve done a whole lot of things right! Breathe, smile and share your previous design work with confidence. The key elements at this point are the creative conversation, as well as presenting yourself and why you would bring value to the company. We want a chance to get to know you. It’s important to get a sense of how you would fit with the rest of the team and what value you will contribute to the design effort.

Do you remember a specific application or interview that impressed you?

Not recently. However, I do recall a few of the most memorable designers I’ve worked with. One was Jon. Although he didn’t take himself too seriously, he did take his design craft seriously. He could create great visual designs and communicate the idea behind them quite well. His easy going, ebullient approach was refreshing and made buy-in easy for him. He was such a joy to work with. Although he is no longer with BMW, I think about him and his ability to bring people together often.

Another designer who left a real mark was Nicole. She was a truly gifted UX designer. Her ability to clearly communicate design ideas with a relaxed ease was also a real inspiration. In both cases, their clear and light-hearted, personable approach made it  easy to communicate and share ideas. They helped elevate the team around them in so many ways.

I couldn’t agree more. Being an enjoyable person who people like to work with can be just as important as your skill.

Do you expect candidates to be big BMW fans as well? Say you found the perfect candidate skill-wise, but they don't express a huge passion for BMW cars. Is that a problem?

No, I don’t think it’s any sort of prerequisite to working here. One of my favorite cars besides BMW is a Volvo. As employees we do get to drive the fleet of amazing BMW “test” cars (the new 8 series being my favorite) so that we may better understand the vehicle and the thinking behind the CID “central information display” design. It doesn’t take long to become a fan. Come on, it’s BMW!

Would BMW hire someone who is a culture fit over someone who has more industry experience and hard skills?

BMW Group has five core valuesResponsibility, Appreciation, Transparency, Trust and Openness. BMW from the top down is focused on an individual being a cultural fit and a team player. Obviously, you need to have a certain level of design skill and understanding.

That aside, there are many opportunities that encourage growth in your skill level. We have workshops and demos which are really fun and bring people together. Additionally, the luxury and quality of the brand, the collaborative nature and the engaging attitude of the team around you foster motivation and help elevate a designer’s skill level.

Do you take design interns? If yes, how do I get in and where do I apply?

Yes! BMW does hire design interns and usually has a lot of them on the team. UX designers, UI designers, researchers...they’re always really, really cool. I’ve enjoyed sharing with them and I’ve learned a lot from them. You can find intern postings and apply right here.

How do you think BMW is different when hiring new talent compared to other companies?

I would say it can take quite a bit longer than normal to get an internal role you want, since most everyone starts out in a contract role. It takes a lot of mental toughness to keep producing your best work at a high level while being patient in the process. Don’t misunderstand, it’s a great company to work for. I feel excited to get to do what I do.

____

Thank you, Dan! It's not often we get such honest, practical advice – especially from a large company like BMW. It's much appreciated and we learned a lot. Readers, if you want to apply for a design job at BMW, here are your main takeaways:

1. Be patient and willing to do your time.

Many designers start out as contractors with BMW. If you're willing to start there to get your foot in the door and prove your value, it could lead to a full-time job later.

2. Knowing how to present yourself and your work is key.

Daniel says a big part of the job is presenting work internally to get buy-in. BMW will expect you to present your work and yourself confidently. The designers who were most successful at BMW knew how to make that seem effortless.

3. If you don't have related work to show in your portfolio, conceptual work could help.

Obviously it's ideal to show work that relates to the job you want. But if you don't have experience working on apps or for a luxury car brand, that doesn't rule you out. BMW could still see your skills through conceptual work.

For more inside advice on getting jobs at places like Nike, BBDO, Electronic Arts, Shopify and more, catch up on our other How to Get a Job at X interviews right here. Almost all companies were specifically requested by readers. If you're looking for a design job at a company not featured here yet, let me know on Twitter.

August 16, 2018No Comments

How to Get a Job at Disney

In this series we talk to people at some of the most admirable companies and studios out there, simply asking: How do we get a job on your design team? Finally, we're featuring Disney.

We've had Disney on our wish list for a long time now. I mean, we were all probably wishing on stars as children hoping we might someday work for Disney. Turns out, working on the Disney design team is an actual, real-life job you can have.

Case in point: Steven Boone. Steven leads a product design team at Disney and gave us practical, helpful advice for getting a dream design job on his team at Disney Parks and Resorts.

Hey, Steven! First, tell us a little about yourself and what you do at Disney.

I am a manager of product design for Disney Parks, Experiences & Consumer Products. Our design department is responsible for all aspects of the digital guest experience as it relates to the parks and resorts. This includes websites used for booking and managing reservations, mobile apps used at the parks and resorts, and all sorts of fun emerging digital experiences that add more magic to our guests’ Disney experience.

As a manager of product design, I oversee all aspects of design for Disney brand digital experiences, with my current focus being the Disney Cruise Line. I am also responsible for helping designers on our team develop their talents, grow in their role and accomplish their career goals.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

We use a variety of methods to source candidates, including general external recruiting, our internal recruiters who monitor our careers portal and candidates moving across different departments of the organization. Referrals from other cast members certainly have a positive impact on a candidate getting noticed.

This is a big company, so we don’t use any single process to bring in talent. That said, my opinion is that strong networking and trying to connect with or get advice from current cast members is one of the best paths for serious applicants. Get some 1:1 advice and maybe even start to build a relationship, all of which can go a long way in getting you a job at Disney.

Where’s the best place to start, assuming we don’t have an inside connection yet?

For Parks and Resorts Digital and most tech jobs, the place to start is our careers website, where you can link your LinkedIn profile, portfolio, and provide additional details about yourself and your career experience.

Our in-house recruiters use this profile information to start their search, so the next best step is to make sure all of your linked collateral is what you would consider ready for Disney’s review. That means your LinkedIn profile, cover letter, resume and of course, your portfolio. This is just where I would suggest starting, as every open position, department and hiring manager is different and there is no guaranteed formula for success. Disney gets an incredible number of applications, so being consistent in delivering a great impression across all your channels can make a big difference.

Mickey (left) and Steven (right), in case you couldn't tell

 

We’ve heard internships or student summer programs are a good way to get our foot in the door with Disney. Is that true if we want to work on the design team? How often does that turn into a full-time job?

Our internship programs are wonderful. For starters, our interns get a peek behind the curtain and can participate in the Disney creative culture. I have personally witnessed interns use their energy and determination to pitch fantastic guest experience ideas to our digital product and design VPs. While this may be a rare quality in an intern, it demonstrates Disney’s culture that we all aspire to deliver the best possible experience to our guests, and the best idea truly does win. To quote Ratatouille, “anyone can cook.” Interns who capitalize on this opportunity may have a great chance at a full-time career at Disney.

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at Disney?

Having an updated portfolio is key, but even more important to my team is your design process demonstrated through your portfolio. When it comes to candidates’ portfolios, we are more eager to see actual content and thought processes — the storytelling that comes out through your design — than the finessing and perfecting of that content. The idea is to get the conversation going and demonstrate your capabilities. Disney is known for its masterful art, storytelling and attention to detail, so we’d love to see your skills in these areas and beyond!

"If your current job isn’t giving you opportunities for great work, create your own opportunities."

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

I wish all applicants would update their portfolios at least once a year. Nothing stands still in our industry, so if you are looking for a new position you must be able to demonstrate that you are current in your design thinking and skills. You only need to show 3-5 great examples, even if you have dozens that seem worthy. Variety is wonderful, but let yourself cut that circa 2009 non-responsive website or skeuomorphic mobile app. Only show the best of the best! It is far better to show a few and tell a great story than show a lot and leave us wondering about your contribution or strengths. If your current job isn’t giving you opportunities for great work, create your own opportunities.

One thing I always want to see more of is how designers can use their skills to provide value in ways that extend beyond the medium. Especially product designers or experience designers. For example, can you highlight key insights that you helped discover, whether it be through design-thinking, visual problem-solving in collaboration with product or tech departments, or by leading a group through a customer-centered immersion? A great designer first learns how to master their medium, but then learns how being a designer makes them a leader and influencer in ways that go beyond that medium.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Absolutely. Your ability to be seen as a leader within your organization or design community shows your passion for the craft while giving the world a glimpse into your point of view on design.

That said, blogging is not required, and my personal advice is to be sure that you are really passionate about your writing if you are going to write. If not, it could reflect negatively. If you don’t want to write, you can show passion and engagement by simply sharing great ideas on social media and participating with your local design meetups, for example.

"Remember, Disney is known for attention to detail, so you could be asked about any small detail from your work."

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

The interview process varies based on the role that you are applying for, the hiring manager and other factors. That said, I’ll give some general ideas based on my experience with Disney.

The first step is typically vetting with our in-house recruiters. This is usually a light review of your portfolio and past experience (and yes, we do hire designers straight out of school if the role they are applying for is fitting). After that, applicants will have multiple conversations with design team members at all levels to share their experience and approach to design, and get added clarity and perspective on the role. They will also walk through their portfolio/case studies/work samples to demonstrate their capabilities, soft skills and approach.

Remember, Disney is known for attention to detail, so you could be asked about any small detail from your work. I would suggest that designers take a look through their portfolio and put some fresh thought into the design choices they made in their portfolio projects. This could help you be prepared with good answers if any one detail becomes the subject of conversation. One last recommendation: As you do this, be honest. You don’t need to have a brilliant answer for everything. Sometimes you made a choice because you had to follow standards. Answers like this are perfectly acceptable and much better than not knowing or making something up.

If you continue to move forward in the process, you will most likely visit the on-site location where you applied, to meet the team in-person and virtual conference with other offices.

What are the biggest mistakes you see designers make when applying for a job at Disney? Are there any specific things that keep bothering you? Please complain to us!

A common misstep I’ve seen in interviews is when candidates show decent design work, but without great answers about detail or a good story to tell. We want to hear your story: about your work, challenges, design decisions, partnerships, learnings, etc.

Do you remember a specific application that impressed you? Something crazy?

In my career, I have seen some creative and fun tactics from applicants. Whether it be a creative technologist’s amazingly customized GitHub page or an art director’s handmade origami with a personal message inside, crazy tactics can definitely get you noticed. That said, my personal advice is to remember that this is icing on the cake. Things like this can certainly help you be remembered, but if your portfolio and the story you tell about your work falls flat, the crazy-cool application may not be enough to move you forward in your career.

Would Disney hire someone who is a culture fit over someone who has more industry experience and hard skills?

My team and I prefer the term "culture add" over "culture fit" as our culture is not stagnant. We look for people who will grow our culture by adding something we don’t have. People who will challenge us and play a role in constantly evolving and adapting our culture to be the best it can be. We tend to hire agile, optimistic learners who have a desire to create meaningful work, with the quality and character expected of Disney, and an ability to add value in a cross-functional and team-based culture.

Disney is all about relationships, so adding great people to our culture is very important. You don’t have to resemble or fit us in any specific way, but you do have to add something distinct that grows our culture and abilities as a team.

"We need designers who can stay cool, agile, open to ideas and iteratively produce great work."

You work on a range of Disney design projects, from web to product experiences. Aside from common soft skills, what are the secondary skills you’re looking for in a designer for your team?

As a hiring manager, I personally look for an ability to stick with a design project through multiple iterations, not get stuck or frustrated, and come out on the other side with a design that has evolved into something new and wonderful.

All of our product and experience designs will go through multiple rounds of input from leadership, user tests and other channels. Designers who think their first idea is perfect and should not be changed can get easily frustrated or struggle to get the best results. This includes cross-functional collaboration, involving product and technology partners early in the process, facilitating the process and driving results together. We need designers who can stay cool, agile, open to ideas and iteratively produce great work.

Finally, storytelling can take you anywhere – designers who have a viewpoint, present their thoughts clearly, creatively and concisely stand out at Disney.

We can imagine it only helps our case if we’re “Disney people." Should we be prepared to share our favorite Disney character and/or Disney classic in our interview? (:

Of course! Disney employees tend to truly love the brand, take being a steward of this brand seriously, and maybe let ourselves get a little dorky about Disney culture once in a while. I’m not saying we wear Mickey pants to work every day, but even the coolest cucumbers here have some story about how they connect with Disney. It could be your favorite character, movie, vacation memory or even seeing your nephew rock out to Let It Go. Whatever it is, bring it!

How do you think Disney is different when hiring new talent compared to other companies?

We certainly aren’t the only brand out there that expects greatness from ourselves and from those who want join our company. I think every company that is truly committed to great experiences does so in their own unique way. That said, I think Disney is special because we are in the business of bringing happiness and magic to our guests, and that does make us look at how we grow our team in a different way. Magic isn’t easy. It takes a lot of work, patience and collaboration.

We are also an incredibly special brand in that we touch so many different industries. There are a lot of jobs out there in entertainment, theme parks, resorts, cruise lines, food and beverage, media, digital experiences, etc., but only Disney really does all of these things. This is why we work so hard to find that special mix of culture, attention to detail and talent that has that potential for magic.

______

Steven! Thanks so much for giving us a peek behind the magic curtain at Disney. There's so much to learn here. For those of you dreaming about a design job at Disney, these are your main takeaways:

Nr. 1 - Storytelling is everything. This is Disney, after all.

Show how you’re capable of making some magic through storytelling. This doesn't mean you should write and rehearse some grand speech before your interview. It does mean you should be ready to have a meaningful conversation beyond the standard interview script. You should also write engaging portfolio case studies that tell a story and give depth to your work. Here are some tips for doing just that.

Nr. 2 - Demonstrate how you will add to Disney's culture.

Disney values relationships and diversity that leads to broader ideas and understanding of their guests. Showing that you can add to and build on their culture goes a long way.

Nr. 3 - Curate your portfolio and know the details.

Steven and team want to see content and ideas, more so than finesse and a perfect product. They care that your work is relevant and shows an understanding of modern design, with detail-oriented thinking in your design choices. Review your portfolio projects before your interview so you're ready to share the process and decisions behind your designs. These tips for updating and refreshing your portfolio will help as well.

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That's all for now! If you enjoyed the interview or found it helpful for an interview, please do send me a tweet to @vanschneider and let me know. And if you're just now jumping into our How to Get a Job at X series, be sure to catch up on interviews with Electronic Arts, Spotify, Nike and more.

June 12, 2018No Comments

How to Get a Job at KISKA

KISKA is a design studio quite unlike any company we’ve featured in this series so far. Working across the physical and digital space, the studio designs everything from motorcycles to sporting goods to prosthetics.

As you can imagine, they need all kinds of designers with diverse skills on their team.  I'm thankful Mel and George, two of the talented people on that team, answered all my questions about how we might get a job working with them at KISKA.

First, tell us a little about yourselves and what you do at KISKA.

MEL: As connected products and services manager, I bridge the digital and physical worlds. I help clients understand and build a strategic, connected future for their products and brands. I also coordinate the digital and design teams.

When I’m not at KISKA, you’ll find me outside. Salzburg has an epic sports scene. I’m snowboarding in winter, mountain biking and hiking in spring and summer.

GEORGE: I bring interactive concepts and products to life as a creative technologist. It’s a challenging blend of product design, electronics, cloud-based services and infrastructure that I try to prototype at all levels. Sometimes quick cardboard mock-ups. Other times, prototypes that are indistinguishable from the real thing. I also work with Mel to champion digital internally at KISKA. Right now, I’m running some Arduino tinkering workshops. I spend any spare time climbing and hiking the mountains surrounding KISKA.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

MEL: We’re lucky because of our network and KISKA’s renown drive applications. Talented people apply to KISKA because they know who we are, and our team reflects that. Having said that, we definitely value internal referrals and headhunt for select positions.

Say we decide to send a cold email. What kind of message gets a reply, any secrets for us? Or should we just fill out the job form?

MEL: Personally, I love to receive an email that surprises or delights with something new, innovative or memorable. Something that I can’t help but reply to. I think anyone who is actively recruiting at KISKA appreciates an email that is targeted. Take the time to communicate that you know what KISKA wants. And make sure we know what you want.

GEORGE: You can do that through email or an application on the website. There is a Quick Apply function where you can submit your CV, portfolio and a short message to KISKA. I used it when I applied to KISKA. There was no open position, but the 100 words I wrote demonstrated everything Mel mentioned.

MEL: Get in touch and be yourself – by website or email. We value directness and individuality.

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at KISKA?

GEORGE: The best way to show us what you can do is by showing what you’ve done.

MEL: So, yes you need a showcase of your work. Whether it is a “traditional” portfolio, a website, showreel or client list. Whatever it is, we want to see a diversity of work across products and services. We want to see your creative thinking and how you’ve applied what you know to achieve innovative results that make an impact.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

MEL: Dull representations of process are challenging for me. Usually this is pages of descriptive text accompanied by flow charts. This could be the most fascinating work, but I don’t have the time to get into it. If you’re going to show me process, be brief and then we can talk about it in the interview. A four-page portfolio with a relevant overview is MUCH better than a 20-page portfolio filled with images of post-its and process diagrams.

GEORGE: It is frustrating when I see a group project that doesn’t indicate an individual’s contribution. It doesn’t matter if you didn’t do the most exciting part. Use your slice of the project as a jumping off point to share what you learned – and how you made a difference to the final product.

Looking at your current job postings I see openings for UI and digital design positions, which seem a little more accessible than the Motorcycle Design job, for example. How much product design experience do we need to work at KISKA and how far can natural design talent and on-the-job training take us?

MEL: You’d think that UI and digital design positions would be more accessible than a motorcycle design job, but that’s not the case. KISKA works where barriers between products and services are breaking down – and reconnecting in new ways. We get loads of applicants who have a portfolio full of beautiful apps and cool web-based services, but our work is physically anchored. It’s a different approach to design, an embedded system with physical touch-points other than a keyboard and mouse.

Designers who understand this space are challenging to recruit. They are hybrids, often product or transportation designers who see the creative opportunities in either interaction or service design. In fact, most of our current team comes from some sort of physical design background.

GEORGE: You never see a UI portfolio that includes icons designed for a 10-pixel high screen that refreshes every half a second. We work with tight technical constraints: reduced color palettes, low pixel counts and refresh rates. It isn’t glamorous, but it’s our reality. If you are up to the challenge and nail it, you’ll make more of an impact than you would finessing transitions for an iPhone app.

Besides having a portfolio, do you like the idea of designers being invested in other interests, for example blogging or being otherwise active in their community? I did notice you have a lot of athletes and active people on your team.

MEL: Yes, but we’re hiring you to be on our team. Not for your pro boarding skills.

It’s true that there are a lot of athletes and outdoor enthusiasts at KISKA, but we have a lot of passions. In the end, we really just like cool people who are interesting to work and hang out with.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

GEORGE: In my case, it took me eight weeks to be hired by KISKA, but it can take up to 12. That’s everything from application to contract negotiation. Pretty impressive considering how personalized the process is. HR took care of everything.

MEL: If we like what we see, HR gets in touch for a first interview. You’ll speak with a team lead like me, or a senior like George. I like to start with a relaxed conversation and flow from there.

The second interview is at KISKA. You’ll spend up to half a day here touring the studio, meeting the team, and maybe meeting with the partners. If there is a task, it is set after the first or second interview. It depends on the position, the number of applicants and how you’ve demonstrated your skills and experience during interviews.

What are the biggest mistakes you see designers make when applying for a job at KISKA? Are there any specific things that keep bothering you? Please complain to us!

GEORGE: Lack of attention to detail, like when your cover letter is copy and pasted, addressing another studio. Once, we got a CV with no name and incorrect contact details. We loved the portfolio, but couldn’t reach the applicant!

MEL: For Skype interviews, time zone confusion can happen. Better be safe than sorry. Double check yours before making a final appointment!

Do you remember a specific application that impressed you? Something crazy?

GEORGE: Not off the top of my head, but there’s no question that knowing your audience impresses. Target your message and material to us. It’s quite easy to find Mel or I on LinkedIn and learn more about us. What we’ve done, what we’re into and what we do at KISKA. Take advantage of social media.

Would KISKA hire someone who is a culture fit over someone who has more industry experience and hard skills?

MEL: Not exclusively. Cultural fit is essential, but of course it’s balanced with skill and experience. On the other hand, an open mind and interest in pushing boundaries are just as valuable as hard skills. These can always be driven to new and cool places while you’re working. There’s always room for growth.

GEORGE: I think a KISKA culture fit is anyone who is adaptable with a good attitude.

You specifically mention visa expertise on your Careers page, which is awesome. Do you often make international hires? What kind of positions do you hire remotely, if any?

GEORGE: Mel and I are British. Our direct teammates are from India, Portugal, Iceland, Netherlands, Italy, Czech Republic and Germany. So yes, we hire internationally at KISKA.

How do you think KISKA is different when hiring new talent compared to other companies?

GEORGE: It can be very easy! I sent my portfolio through the website. I did a Skype interview. KISKA arranged the flight for the studio interview and tour. Then I got hired.

If you’ve got the skill and you fit in with the culture, the team will champion you. They won’t put you off by following a rigid process.

MEL: I think there is a human touch to recruitment at KISKA, which isn’t typical at other studios. After the online submission, everything is personalized. We put a lot of effort into recruiting, so we’re mindful of the effort you’ve put in. This isn’t an automated experience.

In fact, I always give feedback to someone who is not hired if they ask for it. It’s important to us that people develop and learn. Life at KISKA is always about pushing forward. So, why not transform every moment into a valuable experience?

__

George and Mel, thank you so much for doing this interview with us. It's fascinating to learn about the work you do, and your creative team seems truly unique.

Readers, if you admire KISKA's work and team as much as I do, you will be happy to hear they're hiring for some design positions at the moment. Check them out right here. And if you do apply for a job at KISKA, remember these key takeaways:

1. KISKA is looking for hybrid, adaptable designers.

The work at KISKA is highly technical, and most people who work on the design team have diverse skills as well as some kind of product / physical design experience. If that describes you, make it apparent on your portfolio and in the conversations you have with their team. Show your versatility and demonstrate your experience with curated, relevant portfolio projects.

2. The details matter.

Considering the kind of work KISKA does, it makes sense they're expecting strong attention to detail. Pay attention to the small stuff – you don't want to miss your shot because of some trivial mistake, like confusing time zones or copy and pasting irrelevant details in your application.

3. Research and target your message.

Taking time to research and make a personal, direct connection counts for a lot with the KIKSA team. Craft your message — whether that's via email or social media correspondence, your application or your portfolio — and make it clear you understand who they are and what they do. As we've learned in our other interviews, it's not necessarily about pitching yourself, but more about being thoughtful and genuine in your approach.

If you haven't already, make sure to browse KISKA's recent projects to see all the cool work they're doing. And if you're looking for a design job right now, check out our other interviews in the How to Get a Job at X series as well. More are coming soon!

May 10, 2018No Comments

How to get a job with Mother

I've always admired and respected Mother – the agency I mean, but also my own mother. As a brand Mother just has this refreshing personal vibe, not to mention their impressive work for clients like Nike, Nasty Gal, Sundance and more.

So I talked to Maitê Albuquerque, creative director at Mother LA, about how we can land a job working on her design team. Unsurprisingly, she was as warm and friendly as I imagine the whole Mother "family" to be, giving us lots of helpful tips and insider advice.

Hey, Maitê! First, can you please tell us a little about yourself and what you do at Mother?

I’m a just girl who had the luck to become an art director 11 years ago in the competitive Brazilian market. Since then, I was able to work in Lisbon, Chicago, New York, and LA at great companies like Ogilvy and 72andSunny. I always loved design, so I jumped between production companies and advertising agencies trying to figure out what was the best fit for me. I realized that maybe I had to start my shop, but that’s when I got lucky again. Mother was about to open an office in LA and asked me to join the startup team as a creative director.

The Mother LA office

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

I would say that 100% of our senior designers came through referrals. In a startup, the team has to be very tight, so we try to bring people that we already know.

But when it comes to junior teams, I usually try to find them on design blogs. One of my current designers I found on Dribbble. I think if you expose your work online while you're still a young professional with a raw style, it not only shows your talent, but also your tenacity and courage.

Mother Design's work for AIGA

"Most of the time, the way you see the world and articulate your ideas is more important than a good portfolio."

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

I love when people share their personal stories. To be honest, hyper-professional emails get lost in the sea of other emails and portfolios we receive. Most of the time, the way you see the world and articulate your ideas is more important than a good portfolio.

All the mothers.

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Mother?

I think the quality of the work is way more important than the amount of work. If you have a rotten potato around 100 of other good ones, they will all smell bad. It’s the same with work. I would rather see less work, if it’s good, than more pieces just there to fill a page.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Here a list of design cliches that turn me off right away:

  • Clean, fashion-y websites
  • Hipster logos with crossed arrows
  • Swiss design templates. It’s crazy how people are copying what is meant just to inspire.
  • Anything in Millennium Pink! Please, there are an infinite amount of other possible colors!

I want to see more personal projects, some experiments you did in design. People need to show more about how they think and see the world. Our job will always change, so we need to know that you have the capacity to adapt and find elegant solutions to the most diverse problems.

Part of Mother's "TargetStyle, In Vogue" campaign

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Having activities outside of work is vital. We always look for people who bring knowledge that we don’t have in the building. If you only work on things that are inside our walls, it’s tough to grow creatively.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Well, here at Mother, it feels like when you visit your significant other’s family for the first time. You will meet everyone! We are a family here, so we try to get a perspective from all the departments about the candidate personality. Work has already been judged and liked if you are inside this building. Now we just want to hear how you talk about your work and most importantly, about your life and ambitions.

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills? Video skills over coding?

I think there is space for any skill. We have designers with great editorial skills, others that are great at motion graphics and 3D. I would love to find a designer who is great at coding as much as a designer who is great with music. I think creativity comes from mixing skills.

"Experience is always great, but the ability to learn speaks volumes."

Would Mother hire someone who is a cultural fit over someone who has more industry experience and hard skills?

I would hire someone who sounds more like a learner than someone who is a know-it-all. Experience is always great, but the ability to learn speaks volumes.

Part of the Nasty Gal brand by Mother

What are the biggest mistakes you see designers make when applying for a job at Mother? Are there any specific things that keep bothering you? Please complain to us!

I’ve seen many people, especially juniors, selling their work way too hard. Trying to make me see how good the job they did is right. I believe that the work speaks way more than any justification. Let your work talk. If you need to make someone see something they can’t without your help, maybe it’s because the work is wrong or not 100% right.

I imagine having divisions in New York, London and LA opens you up to a ton of design talent. Do we have to live in one of those cities to get a job at Mother, or do you have remote designers on your team as well?

We do have talent that works remotely but usually, we do that with people who already work with us. Once you’ve worked here, we trust you and we understand the way you work, you are free as a bird.

I know Mother has accepted interns in the past. Is that a good way to get our foot in the door?

We are launching an internship program starting this summer. So send us your books 🙂

"We are not the agency that only hires the 'cool' trendy people."

How do you think Mother is different when hiring new talent compared to other agencies or design studios?

We are not the agency that only hires the “cool” trendy people. We want to be the place where people that were misunderstood or don’t fit anywhere else can find a place to be themselves. Creativity doesn’t come from being cool, but from being comfortable with your true self. That’s what we believe. We want to be the home of the creative community.

____

Maitê! Thanks so much for taking the time out of your busy schedule to talk with us. For those interested in getting a design job at Mother, here are your key takeaways:

Nr. 1 -  Don't try too hard.

Mother expects your work to speak for itself. Don't sell yourself too hard, and don't do the "trendy" thing.  Just speak to your experience, be honest and be yourself.

Nr. 2 - Make it personal.

Mother wants to understand how you think and see the world. If you're sending a cold email, skip the professional "To Whom it May Concern" talk and make it personal. On your portfolio, add side projects and personal experiments that reveal more about who you are as a designer.

Nr. 3 - Curate your portfolio and put your work out there.

Many companies in our series have said this: They don't care how many projects you share in your portfolio, they just care that they're good. Don't add projects just to fill the page – add only your best work. And especially if you're a junior designer, make sure you're present on design platforms like Dribbble. If you don't have a personal connection to someone at Mother, your work needs to be good enough to get noticed.

To learn how to get a job at other awesome companies like Shopify, Fuzzco and Unsplash, read our other How to Get a Job at X interviews.

April 16, 2018No Comments

How to Get a Job at Virgin Atlantic

I've been a big fan of Virgin Atlantic for a long time now.  If you've ever flown with Virgin, I'm sure you understand why.

Virgin Atlantic creates an experience for their passengers, from their excellent customer service to the mood lighting on their flights. The Virgin brand just feels cool, and I know a lot of loyal Virgin fliers agree. So naturally, I wanted to know what it's like working on the awesome Virgin brand as a designer — and how we might get a design job on his team. I reached out to Michael Stephens, the head of creative & brand at Virgin Atlantic, and he was kind enough to answer all my questions.

First, please tell us a little about yourself and what you do at Virgin Atlantic.

I joined Virgin Atlantic in January 2018 to head up the talented internal creative and design team, which sits within the wider marketing function. As a brand guardian I’ll work alongside our numerous creative agencies to develop and future proof the brand’s visual identity and tone of voice across multiple channels. I collaborate with all areas of the business on both external and internal comms, ensuring that whatever we do it feels Virgin.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

I’d say it’s a mix really. We’re always keen as a business to retain talent and promote within where possible but we also understand that in order to acquire new multidisciplinary skills and develop the department’s capabilities, we might need to look externally.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

We’re always on the lookout for new blood. We welcome applications from talented people who are passionate about what they do and massively encourage proactive behavior. My advice? Go on, be brave and just do it.

How important is a complete portfolio? Can we get away with not having a portfolio when interviewing at Virgin?

A well structured and thought-out portfolio is hugely important. It’s the first thing I look at! We’re a company that cares a lot about design and aesthetics, so fundamentally the work has to speak for itself.

"A portfolio isn’t just a documentation of all the work you’ve produced to date; it should be adapted with time."

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

A portfolio isn’t just a documentation of all the work you’ve produced to date; it should be adapted with time. It needs curating bespoke to the prospective client to ensure relevancy both in terms of content and aesthetic, to demonstrate your understanding of the business. It should be annotated to provide clarity where necessary but not take hours to read through — keep it visual, please.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Totally! I want my team to have a personal opinion as well as to feel connected to and influenced by what’s going on around them in the world. Virgin has a global reputation for being a rule breaker and a rebel. As creatives I think we all need to channel a bit of that in our lives.

 

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

We’ll normally first invite you to our head office for an informal chat. It’s a chance for you to talk through your portfolio in person, see our work environment and get a feel for whether or not we are the right cultural fit. Depending on the level of seniority we may then do behavioral assessments, design tasks or ask you to meet other team members. As a member of the creative team you’ll engage with stakeholders of all levels across the entire business. At Virgin we like to keep interviews casual though, so don’t wear a tie!

"A good portfolio should merely support a great designer in an interview. We like to engage so please don’t look and talk into your iPad."

What are the biggest mistakes you see designers make when applying for a job at Virgin? Are there any specific things that keep bothering you? Please complain to us!

Don’t rely on me to do the work; you should be in control. A good portfolio should merely support a great designer in an interview. We like to engage so please don’t look and talk into your iPad.

Do you remember a specific application that impressed you?

It’s a cliché but sometimes when I set a design task it’s not just about giving me what I want, but perhaps what I don’t want. At Virgin we like to push the boundaries so be creative — surprise and delight! Whether that’s going the extra mile with your design task and producing something physical / digital or it’s doing some more in-depth research and demonstrating in the interview your understanding of the business / industry.

Does that mean we should do something crazy to get your attention? Prototype our own Virgin app or uniform design, maybe?

I’m not sure crazy is quite what we’re looking for, but certainly outside of the ordinary and full of personality. We are essentially an internal creative agency so pitching to stakeholders is often part of the process. It’s sometimes worth showing work on a gradient of safe to radical. That way you can put the client at ease initially and then hopefully sell in your more progressive ideas.

We imagine as a designer at Virgin, you’re working on everything from marketing and digital design to the physical customer experience. What are the secondary skills Virgin looks for in a designer, besides common soft skills? What range of skills do you want to see?

You need to understand our point of difference. What makes us unique and amazing as a business? Spotting those opportunities to stand out and make us famous is a skill we can never have enough of. The creatives in my team all need to do three key things: 1. Have great ideas. 2. Produce beautiful work and 3. Tell a coherent brand story.

Would Virgin hire someone who is a cultural fit over someone who has more industry experience and hard skills?

A cultural fit is a must, and your skills certainly need to fully equip you for the job at hand. Experience however is something that could set you apart as we really like having teams from different industry backgrounds, whether it’s a magazine, a website, a store, a fashion label or an airline. I personally came from a fashion background having never worked in aviation previously. Before, I worked at i-D, Vice, Liberty and Ted Baker. There were clear brand personality links to Virgin — all the brands were British, bold, colorful, glam, eccentric, rebellious and a little bit cheeky.

One of your new job postings is design manager. Is an internship a good way to get our foot in the door with Virgin? How often do internships turn into full-time jobs?

This is the first time we’ve introduced an internship opportunity within the creative team and it’s really exciting. I know how hard it was to get that first job after university (countless applications and interviews) so I was keen to create a role that specifically targeted recent graduates. It’s only a 12 month contract but this gives the designer a great foundation to understand the business, make connections and present themselves as potentially the perfect candidate should a permanent role become available.

Virgin is headquartered in the UK and all current creative job postings are located there. Do you ever hire remote designers for your team? What about international hires?

Although we do have other offices internationally, the creative team is currently based in the UK. We do however work with several freelance artists and photographers on a global scale.

How do you think Virgin is different when hiring new talent compared to other airlines?

We’re not looking for ordinary – after all, we’re no ordinary airline.

_______

Thanks so much, Michael! We appreciate you taking the time and giving us these insights. Here are a few key takeaways:

Nr. 1 - Be bold and make an impression.

Virgin is all about creating a culture and experience. That goes for the design team too. Don't be afraid to show your personality – in fact, make it a point to do so. Whether you're trying to make a connection via email or you've scored an-person interview, be confident and show you understand the Virgin brand. Your personality might be the most important factor in getting the job.

Nr. 2 - Curate and update your portfolio.

Not only does Virgin want to see a portfolio of your work, but they expect it to be curated for their aesthetic and the position. Michael came from a fashion background so you don't necessarily need airline brand experience, but showing experience with a relevant brand or style makes a difference.

Nr. 3 - Virgin is hiring for their creative design team!

Check out these open positions Michael shared with us, including a brand new internship role:

Creative Design Manager

Senior Digital Designer

Design Intern

Content Producer

If do get a job on the Virgin design team, please let me know. I would be very happy for you and jealous of you (:

That's all for now! If you're looking for a design job, be sure to read our other How to Get a Job at X interviews with admirable companies like Nike, Spotify, Pentagram and lots more. And tweet me at @vanschneider if you have a dream design job and want to see a specific company in the series!

March 14, 2018No Comments

How to Get a Job at InVision

If you're a designer, you probably use InVision. If you don't, you probably should. The platform allows you to share your work visually, communicate and collaborate more efficiently and better manage your workflow. It basically simplifies your entire project.

As you can imagine, the team behind InVision is pretty unique in itself too. InVision is a fully distributed team, meaning everyone works remotely from all over the world. I was curious to hear how that plays into the hiring process and was lucky enough to talk with three members of the marketing design team about how we might get the chance to work with them. Meet Aaron, Luisa and Jared.

First, please tell us a little about yourself and what you do at InVision.

AARON: My name is Aaron. I’m the VP, creative director at InVision living in Escondido, CA. I’ve been at InVision for just over four years now. I was hired as the first designer to focus on brand and marketing design. Today we have seven designers on the marketing design team. My responsibilities are to lead the marketing design team in all of our branding and communication design from our core products to content identities and campaigns.

LUISA: My name is Luisa. I’m a Mexican American designer living in Oakland and working for InVision. My title is technically brand designer but I do web design for the marketing team.

JARED: Hey there, I’m Jared! I’m a senior brand designer living in Pensacola, Florida. I’ve been with InVision for about two and a half years now. I started here as a multidisciplinary designer and recently started leading the branding initiatives as a senior brand designer. I’m involved in anything from strategy, designing, art direction to helping the brand team scale as we need.

Some of the InVision team IRL at an event in San Francisco

Okay, first question we always ask: Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

AARON: All the designers we've hired came through referral or me simply searching for talented designers and reaching out to them individually. I will search places like Behance or Dribbble, or ask friends in the design community for recommendations. I find this to be the most effective way to find and hire talented designers.

A peek at InVision V7, coming soon

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

JARED: A cold email without an open position might not land you position on the team right away. However, we’re always looking for humble and talented designers. Sometimes we don’t know how quickly we will need to scale, so it’s great to make connections early on.

LUISA: I guess it really depends on who you reach out to and with what intention. A few friends of friends have reached out to me who are curious about what it’s like to work remotely. I’ll usually talk with them. I’ve also had a few people looking for career advice and I’ll try and talk with them as well. If people reach out with specific questions I’m generally happy to answer — I usually give them my phone number and ask them to give me a call. Typing out long answers requires more effort than a phone conversation and I also like that it shows effort on their part. It’s easy to email a stranger with a bunch of questions. It’s not so easy to pick up the phone and call a stranger.

Luisa working from an painter friend's studio

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at InVision?

AARON: A portfolio is a must have. I won't consider a candidate for an interview without one. When I say “portfolio” it doesn’t have to be a fancy website either. Actually, I recommend using places like Dribbble or Behance to build your portfolio. It’s much easier for us to find you. Fill it with a variety of work, work you want to be hired to do. Showing your thinking process is important too. If you can show how you went from challenge to solution, that is a big plus to me.

JARED: When I joined, I had a portfolio that showcased the work I felt strongly about. I don’t think having a formal portfolio put together is necessary as long as you have a great representation of your work. However, a complete portfolio — one with information about your role and the challenges / goals / approach you took — can give you an upper hand in the hiring process. It’s essentially your first impression. How you communicate about and present your work is an extremely important part of being a designer. Portfolios tend to get passed around from person to person when hiring, which makes it easier on the people involved in decision making. The more you can do to make hiring you a no brainer, the better.

Both images from DesignBetter.co, an InVision project

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

AARON: I mentioned it above but show your process. What I want to see more of is how you arrived at that design solution. Sketches, wireframes, unused design concepts, etc. That is the work. The final design is just the end of that entire design process. Getting to see that thinking and decision making is a big differentiating factor when deciding on who to hire.

LUISA: For me it’s more about how people talk about their work. If they don’t show much process but can speak in an articulate fashion about it, that’s great. If it’s all spec work and nothing that’s ever shipped, that can be worrisome. I like it when people show some of their personality in their portfolios but it’s a balancing act — too much and someone comes off as self-centered, not enough and a portfolio can feel dry.

JARED: It really bothers me when I see a designer who doesn’t explain what their role was in a project that wasn’t executed by just themselves. Giving appropriate credit to what you did is not only the ethical thing to do, but shows a selfless demeanor — which is a must-have trait in a remote team environment.

InVision V7 – coming soon.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

JARED: For me, that’s not a make or break quality for us when hiring, although the drive to learn and push yourself is. The more our team is apt to learn (whether its inside or outside the design industry) the more our team will benefit. Everyone on our design team is encouraged to have their own voice and opinions. I believe that trait makes us a stronger team and produces a better end-product.

Jared about to get a strike at a recent Epicurrence event

Let's say I make the first pass and get invited to an interview (lucky me). Can you describe the interview process as briefly as possible? 

JARED: Our interview process generally involves a few conversations with different people from the design team who are involved with the role you’re applying for. So for example, if you were invited to interview for a brand design position, you’d more than likely talk to me, Aaron (our creative director), and another executive from our marketing team. Depending on everyone’s schedule, the number of applicants and the urgency to add another member to our team, the interview process could last anywhere between a few weeks to a month and a half.

We would start with a pretty casual conversation over a video call. We’d love to hear about your work, who you are, your goals and any questions you might have for us. Getting to know you during this time is very important to us — a cultural fit is a must since we’re a remote company. Usually during this call, we will give you a design challenge for you to complete in a reasonable timeframe (we get that people are busy with work, families and other obligations). We’ll have another conversation where you will present your work. We will have follow up call for you to present your findings. If we like what we hear and see, you’ll move forward to have at least one more conversation with an executive to make sure culturally we all feel you’ll be the right fit for us.

"You have check the ego at the door — life is too short to work with an asshole."

The real Clark from InVision!

Would InVision hire someone who is a cultural fit over someone who has more industry experience and hard skills?

AARON: The answer you are not looking for is we want both, but if I had to choose I would lean on being a culture fit. Our team is full of talented designers; we are learning from each other, pushing each other and growing constantly. So the hard skills are constantly being sharpened here. The culture fit is crucial coming into InVision. We respect each other and have a very collaborative environment. We make design decisions together here. You have to be able to check the ego at the door — life is too short to work with an asshole.

LUISA:  Part of what makes a remote company work is that people must work very well together and independently, which translates into strong hard skills and strong interpersonal skills.

Luisa hard at work in her home office

What are the biggest mistakes you see designers make when applying for a job at InVision? Are there any specific things that keep bothering you? Please complain to us!

AARON: What I see a lot is that nerves or whatever keeps people from showing their real personality. Just be genuine, be yourself. I am reviewing you just as much as your work and design thinking. It’s important to relax and present yourself as genuinely as you can.

I like to keep interviews really casual and conversational. I am looking to see if you would fit culturally into our team. As I've mentioned, it's crucial for us to get a real sense of your personality. Remember it’s just a conversation with another human being. Be confident in your work and abilities, and be confident in who you are as a person. Take a deep breath, smile and have an awesome conversation. It will go a long way.

On a current InVision design job description, it says SaaS experience is a big plus. What are the secondary skills InVision looks for in a designer, besides common soft skills?

LUISA: People who think about the design beyond just the design team — how it can tie in with business goals, how to design in a way that can scale (design systems). Probably all the same things every company is looking for beyond being good and nice.

JARED: While it might be considered a common skill, designers who can explain the decisions behind their work — written and verbally — and take egoless feedback is a big plus for us. Being remote requires a lot of communication. While over-communication is better than no communication, effective communication tops it all.

Lead product designer Scott Savarie unveiling InVision Studio

I’ve read the design team at InVision is pretty small. How often do new design positions open up?

AARON: Yes we have a smaller design team on the marketing side. Just seven of us right now. We plan to add to our team in 2018 but probably only by a couple. Having a smaller team allows us to work on lots of different things. The product design team here at InVision is much larger and has more openings more often, if you are looking for a product design job.

"There are talented designers living all over the world. We have the unique opportunity to scout talent from anywhere."

How do you think InVision is different when hiring new talent compared to other tech companies or design studios?

AARON: Our hiring is a lot different than most tech companies since we are 100% remote. We don't have to rely on designers that just live in SF or NYC. There are talented designers living all over the world. We have the unique opportunity to scout talent from anywhere. It's great for us because the talent pool is much larger and great for the designer because they don't have to move to the Bay Area to get a great design job. It’s really a win/win situation.

LUISA: Given the independent nature of remote work, it’s probably not the best place for someone very junior. It probably skews a little older and a little more experienced than your typical tech company. It’s also very laid-back and the company as a whole really cares about the quality of people’s lives – not in a gimmicky way, but in a way that really permeates the culture. People take sick days when they need to without the pressure of having to show up to an office.

Working remotely also gives people a looooot of freedom, so people are free to do their work and live their lives in a way that is unparalleled in a traditional office setting. With that freedom comes responsibility —self-discipline and self-motivation are very necessary. But basically, nice people who are good at what they do is really the winning combo.

__________

Aaron, Luisa & Jared - Thanks so much for these insider tips! So many great takeaways here, many of which are unique to getting a job at InVision. Let's take a look:

Nr. 1 - Nothing like any other company.

The InVision team is completely remote, so they put a lot of weight on how well you communicate and how good you are at being a remote worker. Basically your first role is being a remote worker, and your second is being a designer. That may sound stupid but it's crucial for being a good designer and a good team player. Knowing if you are good at (and happy) working remotely is therefore one of the most important things you want to clarify for yourself. We even wrote an article about this here.

Nr. 2 - Being a culture fit is extremely important.

Be yourself and don't let nerves get in the way during your interview. If you're not a right fit there's no use forcing it, so let yourself relax and show your personality. It matters a great deal to the InVision team that you get along well with the team and add positively to their culture.

Nr. 3 - Share your process.

InVision doesn't want to just see your work. They want to understand what led you to the decisions you made. When presenting your projects (in your portfolio and in person), explain your thought process and how you went from challenge to solution.

That's all for now! Please do send me and the InVision team a Tweet if you enjoyed the interview, and be sure to catch up on the other interviews in this series here.

January 24, 2018No Comments

How to Get a Job at Flywheel

Flywheel is a WordPress hosting and development platform built to help creatives do their best work.

I proudly host this blog on Flywheel and would recommend it to anyone. Not only is Flywheel fully focused on WordPress websites (which means they're good at it), but they're also the friendliest and most personal company in the business. I talked with Andrea, Flywheel's art director, about how we might land a dream job working on her design team.

First, please tell us a little about yourself and what you do at Flywheel.

Hey, hi, hello! I’m Andrea Trew, the art director at Flywheel. My responsibilities include overseeing all aspects of our in-house design efforts, from the tiniest piece of swag to the most complex creative campaigns. Over the past two years I’ve had the privilege of elevating the Flywheel brand through the creation of a cohesive brand and style guide — influencing everything our company does internally and externally facing. Outside the office, you can typically find me trolling vintage shops, making questionable puns or snuggling with my pug, Leela.

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Entering our fifth year as a company, Flywheel has a dedicated design presence within our marketing and product departments. Aside from me, we recently added an additional graphic designer to the marketing team – Bryan North, who was hired internally from our support department. As we’ve grown and continue to scale, we make deliberate efforts to nurture internal referrals, as well as maintaining a presence at career fairs and conferences. Many of our job openings can be found here.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

As a rule of thumb, I love to help other creatives to achieve their goals, even if it means just setting aside some time to chat and give them pointers on their portfolio. Asking for advice and an opportunity to meet in person (even just 30 minutes for coffee!) is always welcome.

Flywheel HQ in Omaha, Nebraska

How important is a complete portfolio? Can I get away with not having a portfolio when interviewing at Flywheel? And is it enough to show graphic design skills, or do you want to see that I’ve worked on technology and software before?

It’s VERY important to have a complete portfolio. To give some insight, I recently had an interview with a potential design hire who came to our meeting without a portfolio in hand. Because the key focus of being a designer is visual problem-solving, it’s necessary to bring those visuals to the interview. This lack of design representation really impacted my thoughts about using them as a design resource someday.

It’s a good idea to have designs in your portfolio that reflect the type of work the company needs. Think about their industry. Think about their target demographic. Think about what work they would have you do. If you’re applying at a tech company and don’t have examples of work in that industry, then include designs that reflect high-level critical thinking, to bridging the gap between your previous work and the work you could do for that company in the future.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Magazine cover designs. I see this often with emerging creatives, as it was likely one of the pieces they worked on for a design course. They don’t really relate to the needs most companies are trying to fulfill, and often the designs look cluttered and poorly laid out. More than anything, it’s great to see design work that takes place outside of university/college walls, such as freelance or internship work. Even conceptual work that never saw the light of day has its allure even if it’s simply the result of creative play. This shows that the potential hire can think for themselves and already has experience with creating real world work.

The Flywheel support team at work

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Absolutely! Having other interests allows for a mental break here and there, and prevents creative blocks. As much as I love designing for Flywheel, I couldn’t possibly do my best work if that’s all I did for 24 hours a day. In my free time, I get some mental rejuvenation by restoring vintage trinkets and creating brass jewelry. Both still fall under some form of creativity, but allows for a shift in the way my mind thinks about the process.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

There is usually a short initial phone interview, a secondary cultural interview (usually a 30-minute lunch) and a final interview with 2-3 internal stakeholders (with a design interview, it would be with myself, our head of marketing and our CEO). The last interview would be about two hours or so. We wouldn’t necessarily ask someone to do any kind of design exercise or test; we should be able to see those examples from your portfolio.

Black Flyday

What are the biggest mistakes you see designers make when applying for a job at Flywheel? Are there any specific things that keep bothering you? Please complain to us!

Egos. It doesn't matter if you're a greenhorn college grad or a creative director with decades of experience, it's incredibly important to be open to advice and suggestions on your work.  

"I’ve reviewed quite a few portfolios in my time, and the ones that stand out show a start-to-finish process behind their projects."

Do you remember a specific application that impressed you?

I’ve reviewed quite a few portfolios in my time, and the ones that stand out show a start-to-finish process behind their projects. One designer  I recently reviewed had a complete brand guide and explained the thought process behind it all with the forethought, craft and accuracy that I would love to have in a potential design hire at Flywheel.

Would Flywheel hire someone who is a cultural fit over someone who has more industry experience and hard skills?

Across the board, one of the driving forces behind the success of Flywheel is our relentless dedication to preserving our company culture and hiring talented, passionate people that share our values. It’s incredibly important for us to establish and hold tightly to the top traits we look for in a new member of the Flywheel family. We look for curiosity, empathy, optimism, passion and impressiveness. We would absolutely hire a slightly less experienced individual with those five traits over a more experienced one who seemed negative, indifferent and apathetic.

What are the secondary skills Flywheel looks for in a designer, besides common soft skills? Should we know how to code as well as design, for example?

Being a designer for a tech company doesn’t always mean you need to know how to code. Although, understanding the capabilities of code and its constraints has its benefits. Having a solid knowledge base that applies to other parts of the creative process that don’t involve design (like code, copywriting, photography, etc.) allows a designer to better serve their team and create designs that complement needs of their coworkers.

How is Flywheel different than other tech companies when hiring new talent?

We keep our hiring process as open-ended as possible, and want individuals to be able to freely write about their qualifications and feel heard throughout the entire experience. We don’t use a standard application form, we don’t ask people to re-submit all the information that’s on their resume, and we often don’t even have education requirements. We truly seek to find the best talent from whatever background they might come from.

––––

Andrea, thanks for giving us an inside look into the hiring process at Flywheel! And thanks to Kimberly Bailey for the gorgeous photos of the Flywheel space and team. Let's have a look at the key takeaways from Andrea about getting a job at Flywheel.

Nr. 1 - Your portfolio can make or break you.

Not only does Flywheel want to see a complete portfolio with work that relates to the job, they want you to explain the process behind every project. Many companies in the series have said this: Don't just share pretty pictures of your finished work. Create case studies to show how you approached the project from beginning to end. Read this article for more portfolio tips.

Nr. 2 - No ego.

Another piece of advice we've heard from many companies. Nobody wants to work with someone who has a bad attitude or isn't receptive to feedback and growth. This one's not too hard; just be a nice person (and be useful) and people will want to hire you 🙂

Nr. 3 - Ask to chat or get coffee.

Andrea is willing to go out of her way to talk with you, hear what you're looking for and give advice. Don't waste her time (get some tips for your email here) but if you're serious about getting a job at Flywheel, reach out and make the connection.

And that's a wrap! Send me and the Flywheel team a tweet if you enjoyed the interview, and find more advice here for getting a design job at top companies like Pentagram, Shopify, Spotify and more.

July 4, 2017No Comments

How to Land a Job at Shopify

Shopify, as I'm sure you know, is an ecommerce platform. It gives you the tools you need to set up and run an online shop, and essentially helps you sell your products. I mean, you could even say Shopify helps power the entire business of ecommerce. It's a massive product, yet it feels friendly and approachable.

Their team is friendly and approachable too. Originally run by five people out of a coffeeshop in Ottawa, Canada, Shopify has grown to a team of more than 2,000 people.

Elyse and Kevin are two of them, and in this interview they're telling us how we can be part of it all.

Hey friends, let’s get right to it. Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

The majority of our hires come from reach-outs made either by our talent acquisition team or someone on the UX team itself. The results have been pretty successful, which is why we continue to devote a lot of time and effort to it. Oh, and you’ll never see one of those terrible copy-paste reach-outs from recruiters at Shopify. We personally write all of the emails we send to potential candidates.

Referrals are the second biggest source of hires for us. For example, some of our designers who graduated from design programs in Montreal help scout talents through mentorship or attend design grad shows. We also attend local meetups and conferences regularly, which is a great way for us to make connections with people in the community. (That’s how I, Elyse, was hired!)

The traditional application process doesn’t account for as many hires as the other two, but still remains an important part of our recruiting efforts. We go through every single one of the applications and review everyone’s portfolios manually. That helps ensure we never miss out on good candidates, no matter how they entered in the process.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

We actually do try to reply to everyone that emails us for positions, but here are a few things that give you bonus points:

  • Personality: Who are you? What are you passionate about?
  • Brevity: Can you get your point across in just a few paragraphs?
  • Purpose: Do you want any job or do you want a job at Shopify? I know you’re probably applying to many companies, but can you tell us why you’d like to work here?
  • Motivation and curiosity: Do you have your own online store? Do you use our product? Did you take a stab at building a theme with Slate? What is your opinion on Polaris or the latest articles our UX team published?

"Your portfolio is your voice when you’re not around to explain your projects."

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Shopify?

A formal portfolio isn’t absolutely required, but it certainly helps. Your portfolio is your voice when you’re not around to explain your projects. Imagine you and I were looking at one of your projects: What story would you tell me? What problem are you solving and what about it was challenging? Which options did you explore and how did you end up with that solution? What constraints did you face? What strategies did you use throughout the project? Who was involved? While a picture is worth a thousand words, the final result sometimes doesn’t fully reflect the depth of your work.

Having that portfolio not only helps us get familiar with your work before the interview, but also helps you get better at talking about your work. That being said, how you showcase your work is totally up to you. Tools like Semplice make it super easy for you to create your own website without any coding skills, but tools like Medium and Dribbble can also do the trick if you use them correctly. If you’d like some tips for how to build a great portfolio, this article on the Shopify blog is a great place to get started.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Unsolicited redesigns. While this type of exercise certainly has its value, it’s not something I would encourage designers to put in their portfolio. Unsolicited redesigns lack real-world constraints, which doesn't allow us to assess your product design skills. That’s not to say all unsolicited redesigns are bad, so if you really want to include one in your portfolio, make sure it’s clearly labeled as such, and that you go beyond the visuals and explain the thinking behind your decisions.

If you’re just starting out as a designer, a good alternative to unsolicited redesigns are personal projects. These self-initiated projects are a great way to build up your design and product skills, while also putting something out into the world for people to use. You’ll learn a ton from the experience of launching something and the feedback you’ll get from your users will definitely make you a better designer.

"Magic happens when you cross-pollinate ideas from opposite fields."

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Of course! Writing and publishing requires you to be thoughtful and disciplined. I appreciate designers who voice clear opinions that build their communication skills and feed into their design practice.

Being outspoken in the community is a great way of sharing your knowledge and giving back. There are tons of ways to get involved: mentor someone just coming out of school, teach someone something you just learned, volunteer at a local meetup, etc.

Advocacy and teaching is one way to level up your design craft, but you can also channel your curiosity anywhere to broaden your thinking (no need to stick to design). Magic happens when you cross-pollinate ideas from opposite fields (science and typography, data and art). As designers, it can be easy to get tunnel vision when working on the same project for a while. Find different sources of inspiration; ideas and methodologies act as new lenses for problem solving.

What are the biggest mistakes you see designers make when applying for a job at Shopify? Are there any specific things that keep bothering you? Please complain to us! (:

Applying for the wrong position because they didn't read the job posting. Believe it or not, we’ve had a few fashion designers applying for our design positions, simply because it mentions the word “retail." It’s surprising how little research some people do when applying for jobs these days.

Do you have a favorite story of an application that really stuck with you?

Someone bought Facebook ads directly targeted at Shopify employees. It was very clever and definitely caught our attention.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Our interview process is tailored to the role you’re interviewing for, but it’s comprised of multiple interviews that aim to assess every aspect of a candidate. During that interview process, you’ll talk to a lot of people on the team. We do this for two reasons:

  1. It’s one of the ways we try to avoid bias in the decision-making process. By having a lot of people involved the interview process, we’re able to get a more accurate picture of who you are as a person and where you could have the biggest impact. From the candidate’s viewpoint, it also provides them with different perspectives on what it’s like to work on the team.
  2. We all want to work with inspiring people that challenge our thinking, teach us new things and have strong opinions that are weakly held. We want to make sure your future team members are excited about the idea of you joining, so we make sure that they’re part of the decision.

We have four different design-specific interview types that a candidate can go through:

  • Design Deep Dive: We ask the candidate to pick a topic that they’re passionate about and that they know really well. That can be anything: typography, design systems, perceived performance, using research in design, etc. It’s a very casual interview and resembles conversations you’d have with a friend at work.
  • Design Duet: This one is a design exercise — but don’t worry, it’s not as terrifying as it sounds. You’ll be paired with a designer from Shopify and you’re given a problem to solve on a whiteboard together. We don’t have a specific solution in mind and the other person is there to help you think through the problem. We use this exercise to get a better feel for how you work, think and communicate.
  • Design Life Story: We go through your experience chronologically (jobs you’ve had, tools you’ve used, people you’ve learned from, etc.) It allows us to get a better idea of your past experiences and see how you’ve grown over the years.
  • Portfolio Review: This is where you show some of your best work. I say some, because the goal isn’t to blaze through as many projects as you can in 60 minutes. We tend to focus on the two or three projects that have had the most impact and talk in depth about them. We want to hear about the problem you had to solve, what your process was like, the challenges you faced, what you learned from this project and what you’d do differently if you could do this project again today.

"Instead of trying to guard our culture, we embrace the fact that it is constantly evolving and getting better with each person we hire."

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

While experience is important, what we look for is someone who has a high potential for growth. No matter what skills a designer might have, there are qualities and attitudes that are hard to fake, like curiosity, self-awareness, a strong desire to learn and openness to feedback. The people who thrive at Shopify are able to synthesize feedback from their peers, apply findings from a project to another, and seek help from other disciplines to discover and bridge the gaps.

That being said, I’m not a huge fan of the term "culture fit." It implies that culture is a thing that should be protected and that there’s a specific mold you have to fit into, which simply isn’t true. So instead, we’ve been calling it "culture addition." It’s a subtle but important distinction. A cultural addition is someone that brings something new to the team. A new kind of experience or a different perspective that challenges your thinking. What “culture addition” is not however, is a specific personality type, a specific background or a particular set of interests. So instead of trying to guard our culture, we embrace the fact that it is constantly evolving and getting better with each person we hire.

Do we need to have ecommerce experience to get a design job at Shopify, or are you willing to teach us?

While having ecommerce experience is certainly a plus, it’s not required. In fact, neither Elyse nor I had an ecommerce background before joining Shopify. As a company, we’re not fond of the status quo, so we value people that can bring a fresh perspective. We have UX folks from very different backgrounds like architecture, literature and anthropology. The common thread is that they’re highly motivated by complex problems. That’s why we put a lot of effort into sourcing candidates from fields you wouldn’t necessarily expect, and invest time into teaching them what they need to know to be successful.

We also have a dedicated UX programs team that helps onboard new team members, creates workshops and even puts together our very own internal design conference every year. When we say we want to build for the long term, we really mean it. And that starts with giving people access to the best resources to take their career to the next level right here at Shopify.

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills? Video skills over coding?

What’s great is that Shopify is at a size where all of these secondary skills can be useful. We have a lot of product design projects, but we also have a studio team that produces video content. We have people who design hardware like our new card reader and even people who work on interactive installations for pop-up stores. So I don’t think it’d be right for us to point out a certain skill as more important than the others. I’d encourage people to find what they’re really passionate about and dive into that. We can never have enough smart, talented, passionate people who can teach us new things.

"We want to make every year at Shopify worth 10 years of experience elsewhere."

How do you think Shopify is different when hiring new talent compared to other tech companies or design studios?

Our hiring process is much more human than what I’ve experienced in other companies in the past. We spend a lot of time and effort truly getting to know people, and then trying to understand where and how they can make an impact here. We also make sure that people who join our team are set up for success and are placed in the best environment to grow. We want to make every year at Shopify worth 10 years of experience elsewhere. We hire smart people and we treat them as such. People are empowered to do their best work here, and you can feel that sense of ownership and care when using our products.

__________

Elyse and Kevin, thank you so much for your time and insight into the inner workings of Shopify! There's so much wisdom here. Let's unpack it.

Nr. 1 - Make a connection with someone on the Shopify team.

Referrals are the second-biggest source of hires for Shopify. So do your research and attend meetups or conferences where you might meet someone from the team. Introduce yourself and make a connection.

Nr. 2 - Avoid unsolicited redesigns in your portfolio.

Elyse and Kevin make an excellent point here. Without constraints, they can't see how you'd think through a real project or problem on the job. Instead, focus on adding side projects to your portfolio that show your skill and how you see the world. We even have this piece of advice and much more in one of our recent blog articles here. 

Nr. 3 - Be creative and stand out.

Targeting Shopify employees with Facebook ads is pretty brilliant. Think of something equally clever that shows your interest and gets their attention. Of course this is optional, but it certainly increases your chances, and it's fun!

That's all for now! If you're just jumping into the How to Get a Job at X series through this interview, catch up here. You'll find other awesome people with helpful advice about getting jobs at places like Nike, Airbnb and Unsplash.

Thanks for reading, and good luck at the interview!

Tobias

 

June 7, 2017No Comments

How to land a job at BBDO

I first met Bart, creative director at BBDO, in Amsterdam when we were both on the  jury team for the Art Directors Club. We immediately got along and have since stayed in touch. So when I started the How to Get a Job at X series, I just had to ask Bart and BBDO to be part of it. 

BBDO's perspective is a new one in this series, as we haven’t talked to a massive creative advertising agency yet. And besides being one of the largest, BBDO is also one of the oldest agencies in the world, founded in 1891.

I’m honored Bart and BBDO's head of design, Simon, took time out of their day to answer all our questions about landing a job at BBDO. Let’s do it!

 

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

SIMON: I would say that around 70% came through referrals and headhunting. We have an amazing director of talent, Amy Starkman, here at BBDO who is a real asset in finding great people and talent.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

SIMON: If the email is short and to the point it will be read and replied to quickly.

BART: I’ve seen many people, especially juniors, approach me in elaborate ways, from personalized goodie bags to hand-drawn record sleeves. To me this is the equivalent to a well-practiced pick-up line: meaningless the moment you look one step further. Just show me the real person I should hire as concisely and convincing as possible, no bells needed.    

SIMON: Some things are better to save for an interview rather than putting your whole life story in the introduction email. Let your work speak for itself so you can speak about yourself in person. I heard it said once at IBM design, “Your talent will get you the interview. Your culture will get you the job.” I think that makes perfect sense. You need to be nice AND talented.

“You can be versatile while maintaining a clear identity; it’s what makes you stand out.”

The BBDO Labs office.

How important is a complete portfolio for you? Can I get away with not having a portfolio when interviewing at BBDO?

SIMON: In most cases design is visual. Even if it’s about experience design, design process and design thinking. The portfolio doesn’t need to be complete but there needs to be something that sparks a discussion. Your work should reflect your thinking and that’s what I want to know more about in the end.

Then you can decide to focus more or less on the portfolio during the interview. I usually view the portfolio thoroughly before the interview so we can spend the time talking about your ambitions and the work you really want to do in the future, preferably as a member of our team.

BART: As far as how “complete” a portfolio should be, I tend to prefer books that show a strong vision rather than a weak mix of things for the sake of making it complete. You can be versatile while maintaining a clear identity; it’s what makes you stand out.

The BBDO office designed by HLW via Architizer

“I would like to see more personal projects in portfolios. The work that you did in the best of conditions and with full artistic freedom.”

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

SIMON: I don’t want to see every piece of work that you have ever done. Pick your favorite pieces. It doesn’t need to be for the most famous or biggest clients as long as you are proud of it and want to talk about it.

I would like to see more personal projects in portfolios. The work that you did in the best of conditions and with full artistic freedom.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

SIMON: Yes, absolutely. I would be a bit suspicious of someone who doesn’t have any interests or hobbies outside work. It doesn’t need to be highly artistic or creative stuff, but it tells a lot about who you are as a person.

BART: Wherever you work, you’ll always have to stay within certain constraints. And one of the most dangerous traps is to stop thinking outside of those constraints. The best work is inspired by culture, not by a marketing bubble. And having your own interests — out there in the real world — is a great way to avoid getting trapped.

What are the biggest mistakes you see designers make when applying for a job at BBDO? Are there any specific things that keep bothering you? Please complain to us! (:

SIMON: Not asking enough questions. Ask, ask, ask. There are really no stupid questions and I will only be more interested in you if you show genuine interested in us.

The MSSNG Project by BBDO

Do you have a favorite story of an application that really stuck with you?

SIMON: The weird ones seems to stick the most. In one of my first application interviews I had as an junior AD, I met a copywriter who put all her work on notes hung on strings inside an umbrella and asked me to step inside where she whispered the notes to me. It was cozy and freaky.

BART: Another one might be my very first application. Still in school, I interviewed for an intern position. A day before the interview I lost the folder with all my hand-drawn work, my complete portfolio. All I had left was a CD-ROM with animation work. In the interview I handed it over, only to find out they were all .exe files which didn’t work on their mac computer. I had pretty much given up hope, but miraculously I started the next day because they were so slammed. I stayed there for many years after.

The BBDO office designed by HLW via Architizer

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

SIMON: If your work is good enough for you to get an interview I would say you are halfway there. I don’t believe in having you do a bunch of interviews with a bunch of different people. You will most likely meet a small group of people from our team for 30-60 minutes and then have a short talk with our talent director. It will mostly be focused on cultural fit at this point.

“For junior people we need to trust our instincts more and be able to see the potential; for senior people the work should speak for itself.”

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

SIMON: Yes. But I’m looking for someone who has both.

BART: Yes, the cultural fit is a must. The experience and hard skills depend on the level we’re hiring. For junior people we need to trust our instincts more and be able to see the potential; for senior people the work should speak for itself.

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills? Video skills over coding?

SIMON: I love working with people who have hybrid talents. I would say everyone in our team now is doing multiple types of work: code, design, UX, 3D, editing, creative tech. And if you are currently not doing it there will be a lot of opportunities to learn and develop it here at BBDO.

BART: Many secondary skills are very obvious, but I love it when someone has a secondary skill that you would never put on a job form. For instance, we once hired a designer who turned out to have an in-depth understanding of musical theory, which largely defined the design of a music visualization project we did. It’s great when you run into surprises like that.

The BBDO office designed by HLW via Architizer

How do you think BBDO is different when hiring new talent compared to other tech companies or design studios?

SIMON: I love working at big agencies. Every day is different and there is so much variation and diversity. I believe we can offer a large palette of opportunities and chances to grow your skills and talents. We have a somewhat unique creative freedom and mandate, and we move fast despite our size. If you want to work at a modern agency with a plethora of projects and clients, I think BBDO is one of a handful of agencies that truly delivers.

Thanks so much, Bart and Simon! I loved getting a glimpse into how your agency works, and appreciate all the insightful takeaways.

For those looking to get a job at BBDO, keep these tips in mind:

Nr. 1 - Let your work speak for itself.

Don’t try to impress with gimmicks or long-winded emails during the application process. BBDO just wants a clear look at who you are and what you can do. Be genuine, be concise and focus on making your work shine. Keep in mind you're one of hundreds, so your first email has to make an impression.

Nr. 2 - Ask your burning questions.

Your work will get your foot in the door during the application process, but the interview process is your time to talk. BBDO wants you to be engaged and ask questions in your interview. Do your research and be prepared with smart questions that will show your interest in the agency. Don't just answer BBDO's questions, prepare your own.

Nr. 3 - Focus on quality over quantity in your portfolio.

BBDO doesn’t want to see everything you’ve ever worked on, so don’t fill your portfolio for the sake of filling it. Add a diverse mix of work that makes you proud. We published an article with some more portfolio advice right here.

Nr. 4 - Add personal projects to your portfolio.

This is great advice for everyone, but especially junior designers. Personal projects show how you work without constraints, and they’re a smart way to build your portfolio when you have less client work to show.

Thank you for reading,
Tobias

 

May 13, 2017No Comments

How to Land a Design Job at Fuzzco

I originally met Helen and Josh three years ago somewhere deep in America. If I remember correctly, we were at a conference in Omaha, Nebraska. Helen and I got invited to give a talk there, so we hung out and talked a bit about our work.

I wasn’t too familiar with Fuzzco before I met Helen and Josh but I had certainly seen some of their work, and you might have too. Within the last couple years I’ve fallen in love with everything Fuzzco does. All of their work is beautiful, full of personality and carefully considered.

Fuzzco, based in Charleston and Portland, is easily one of the American design studios I most admire. So naturally, I had to invite them to be part of this interview series.

Helen and Josh, let’s do it!

Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Right now it’s about 50/50. When we’re looking to fill a role, we start by thinking about folks in our personal network, but finding the right person often comes down to timing and availability. We’ve courted some people for years. Some we’ve hired after just a few interviews.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

We don’t reply to most cold job/internship emails just because we get so many. For us to reply the email has to have a combination of two things: an outstanding portfolio and a well-written letter, but it’s really more about the letter. The best cold job emails convey that the person is smart and humble, that they have a sense of humor, excitement about Fuzzco and an understanding that we work hard. They should talk about something interesting the person is doing that helps us get to know them and shows they are passionate, curious people.

How important is a complete portfolio for you? Can we get away with not having a portfolio when interviewing at Fuzzco?

A portfolio is critical and step one in the process. We won’t take the candidate seriously without one.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

We don’t like seeing portfolios that are full of ads. We don’t do a lot of ads and getting a portfolio full of them makes it seem like the person doesn’t really know what we do.

We want to see work that is consistently good. The best portfolios take a well-rounded and curated approach to showing work. Ideally, we’d see a handful of solid logos, examples of web design, examples of illustration and some editorial work.

They should briefly describe the work and the particular role they played. We get a little nervous when someone’s portfolio includes a lot of team projects. We want to clearly understand someone’s strengths and weaknesses before we hire them.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

We prefer hiring well-rounded people who bring knowledge and experience from a variety of sources to their work. Community involvement is awesome, as is spearheading dialogues about issues they might be passionate about. We also love the introverted designer who is obsessed with cats. We just want to work with people who are excited about stuff, and motivated to experience and learn new things.

"We also love the introverted designer who is obsessed with cats."

What are the biggest mistakes you see designers make when applying for a job at Fuzzco? Are there any specific things that keep bothering you? Please complain to us! (:

Haha! The biggest turnoff is when you can tell an application has been sent around to a bunch of places. Maybe they leave some other company’s name at the top or they talk about some project we didn’t do. Or if it’s just really generic. It’s also annoying when people say a bunch of silly stuff and expect us to take them seriously. Finally, so many people promise to make us baked goods if we hire them. Why?? We just want people to be themselves.

Haha, this is the first time I've heard something like this. I have to admit, you both are so nice to talk to, I would also bake you whatever you want. Has anyone's application really stuck out to you in a good way? Any favorite stories to share?

Oh man, we’ve had some good ones! One that stood out was this fellow who put together a video where he had a dance off with sliced bread. IT WAS AMAZING. It was playful, funny, he obviously worked really hard on it and it felt sincere. We didn’t have a role for him at the time but it’s people like that who stick with you.

Baked goods, sliced bread — I think there is a pattern here. Say our muffin-themed application makes the first pass and we get invited to an interview. Can you describe the interview process as briefly as possible?

Depending on the person, role and urgency, the interview process can happen quickly or it can take a while. We do most of our interviews via Google Hangout. We show up with a list of questions that we bat around. The interview process is pretty informal. The first one is just to get a feel for someone’s personality. There are a lot of little things we look for: How quickly do they write us back to confirm the interview? Are they good writers? Are they playful and curious? Are they comfortable in their own skin?  Do they seem technically proficient? Are they good communicators? It’s really important that we get a good feeling about these first interactions. They should be punctual, not have trouble getting Google Hangouts set up, they should have questions for us and just be positive, collected and excited about the call.

Then we’ll have a second call or have them chat with other folks on the team to get more perspectives. Sometimes we meet with people in person — the vibe can be night and day from video to real life. In-person meetings really help!

We don’t do any design challenges.

Would you hire someone who is a personality/culture fit over someone who has more industry experience and hard skills?

It really just depends on the person and the role. We have a range of personalities on the team and everyone gets along great despite their different interests and backgrounds. The more diverse our team is, the better everyone seems to get along.

Kindness is so important. Working with people who have bad attitudes, big egos or are just generally condescending is the worst. Those qualities are not welcome at Fuzzco no matter how talented someone is.

Feeling like people have each other's backs on the team is maybe the most important thing. We want to work with people who care about each other, the company and our work as a whole, not just their part in it.

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over photography skills? Video skills over photography?

Designers must communicate well. We work on a lot of projects and are very hands-on in the design process. We want to have a dialogue about the work along the way; we want our designers to want to engage about the work. Otherwise we like our designers to be comfortable across a variety of areas — web, illustration, identity, animation, editorial. We give our designers a lot of responsibility and opportunities to try new things because we want them to grow and expand their capabilities.

As far as other skill sets, animation is awesome, a significant knowledge of the web is great. Someone can just have great ideas, like ways to bring brands to life via social media, ideas for product offerings or brand interactions, and even how a business might change to become more dynamic. We’re always looking for ways brands can express themselves and it’s often not through traditional formats.

Last question: How do you think Fuzzco is different when hiring new talent compared to other tech companies or design studios?

I don’t know, maybe we tend to hire the weirdos (I mean it in the best way!)? We are definitely drawn to the most talented people in the room, but they are also good people who have good hearts and have our backs.

This is the best closing answer I can imagine. Thank you so much for all these insights, Helen and Josh. There is so much to learn from everything you mentioned. Let’s look at some highlights we should remember when trying to  land a job at Fuzzco (or anywhere, really).

Nr. 1 - Be clear about your skills, especially if you're including team projects in your portfolio.

I fully agree with Fuzzco here. It's difficult to understand what you can do when all your work mentions a team of 10 other people. If you include team projects, make it very clear how you contributed so Fuzzco can understand where you might fit in their team.

Nr. 2 - Prepare your own questions for the interview.

Fuzzco wants to get to know you in the first interview. It's not just about answering their questions, but about you engaging with them. Ask thoughtful questions and make it a personal conversation.

Nr. 3 - You have to be good at communicating.

We’ve heard this in a couple recent interviews from this series. A designer is essentially a communicator. This affects your work and how you work with your team, so Fuzzco will be watching to see how you communicate – from your initial emails to your portfolio to the interview process. Writing well is a crucial part of it. Here is an article we wrote recently that will help you get started. You could also read about why I write and how for me, it isn't so much about writing, but about communicating your own ideas to yourself.

P.S. Don't forget to check out Fuzzco's work. You'll soon be as big of a fan as I am.

Thank you for reading,
Tobias

May 1, 2017No Comments

How to Get a Job at Unsplash

Unsplash started as a stupid little side project. Originally, it was a simple Tumblr blog that shared ten free photographs a day for anyone to download and use however they liked. Soon enough, Unsplash grew so big that it became its own company with a team of 18 people.

Now, millions of photographs are viewed and downloaded on Unsplash every day. I got to hang with most of the Unsplash team in Montreal and I can tell you, they are some of the nicest people I’ve ever had the opportunity to meet.

Three of those nice people are Stephanie, Luke and Mikael. They are so nice, in fact, that they agreed to answer all my questions about getting a job at Unsplash.

Hey friends, let’s start here: Looking at your current design team, how many of them came through internal referrals or headhunting, and how many came through the traditional application process?

Our team is small, 18 people total. We consider our design team as our two designers and three front-end developers who have thoughtful opinions on product and design. Two came through internal referral, two came through our application process and one wrote to us directly.

I've seen many offices, but the Unsplash one is hands down the best.

Say we decide to reach out with a cold email. What kind of message gets a reply? What puts us in the “no” folder immediately?

First, we have to say we’re grateful for anyone who takes the time to write to us about working on Unsplash. By writing to us, it means you’re interested in dedicating time in your life to working with us versus doing a million other things. And that means so much.

Like many people though, we get overwhelmed with email so we’re often forced to process information quickly. Unfortunately, we can’t read and respond to every email we get so the messages that get replies are the ones that make us feel something.

We can’t speak for all companies, but emails that make us feel something are ones that sound like they were written to a friend. Words that sound like they were written by a human, not a machine. Everyone making anything today is in the business of creating connection. An impersonal subject line or words like “Dear Hiring Manager” signal not only laziness but a lack of understanding for what connects.

How you write your email gives us a look into how you think about design. If you’re able to create a connection with an email, we feel confident you understand how to do that no matter the medium.

How you write your email subject line and your email is what gets initial attention. But showing something you made is what moves us from attention to action. Even better if you can show something you made along with an explanation of:

  • What work you specifically did on your projects
  • What did success look like for the project and did you achieve it?
  • How did you approach the problems the project was meant to solve? Why did you choose certain solutions?

If your portfolio shows interesting work and includes thoughtful context around each project, we guarantee you’ll get a response. There’s a lot of noise today in design. Everyone says they're a designer. Before Unsplash, I was CEO/Founder of Crew, a community for designers, so I’ve seen it firsthand, having reviewed thousands of design profiles. Everyone has pretty-looking static design shots. Those don’t cut through. What cuts through is not only the work but the thinking behind the work.

Write like a human. Share your work. Share your thinking behind your work.

“PDF resumes are artifacts from an economic time that aimed to turn people into replaceable cogs in a system.”

You’ve said you don’t want to see resumes. What do you want to see from someone applying for a job at Unsplash? Is it all about the portfolio?

Yeah, we think the traditional attached cover letter/resume with bullet points are an outdated, inhuman form of applying for a job. PDF resumes that we were taught to make in high school are artifacts from an economic time that aimed to turn people into replaceable cogs in a system. They reduce you to comparison. They strip you of your personality and what makes you unique, which is precisely what we are looking for in a hire.

We want to see what you do when you’re not told what to do. Because that's what it's like at Unsplash. This is why we don’t have a hiring form on our Hiring page. Instead, we ask you to just send us an email. We leave it up to you to decide what to put in it.

If you’re applying as a designer, of course a portfolio of work is important. But overall, what we want to see is someone who understands how to connect with us and a body of work that shows you know how to connect with people through design.

Yes, this is an office. But the Unsplash team also turned part of their office into a coffeeshop for makers. (you see it on the left)

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Generic writing and visuals. C’mon, this is your portfolio, the most important thing in your arsenal as a designer. If a portfolio looks and feels just like every other one, it’s hard for me to think that you’ll create a great product no matter how much you say you “handcraft websites.”

You don’t need to blindly follow the portfolio advice from Creative Bloq or Hongkiat or a well-known designer. Show your work and discuss it in a way that you find interesting. Share things outside your design work like your writing or personal projects or photography.

Apart from my Unsplash teammates, some of my favorite portfolios include: Tobias (he didn’t pay me to say this), Jonnie Hallman, Meg Lewis, and Jessica Hische. I know there are many many more great examples out there but these designers came first to mind because they not only have exceptional design work but they also share other parts of themselves.

We wish we would see more designers who write. Writing is great because it helps people understand your thinking. And your thinking is what ultimately shapes your work.

Seeing a portfolio of great work is awesome but understanding the person behind the work is even better.

 

The Unsplash team in action. Writing beautiful code.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers, photographers or otherwise outspoken in their community?

Hell yes. Having interests outside product design is super important. Other interests like photography, travel, luge racing or whatever help you see different perspectives and create new connections. Creativity comes from what we consume and if we all consume the same shit, our outputs will all the look the same. Creative solutions won’t exist.

By having other interests, you can draw new connections. We practice this ourselves as a company. Apart from building Unsplash, we encourage everyone on our team to take time to observe the world. This is why we don’t track vacation days. In fact, we require a minimum of three weeks vacation. Our bodies were not meant to work hours on end. We’re not machines meant to do one thing only forever. We need new inputs to improve. Otherwise, we stagnate. And if we stagnate, our products and company will too.

What are the biggest mistakes you see designers make when applying for a job at Unsplash? Are there any specific things that keep bothering you? Please complain to us! (:

A couple things. First, not enough of a focus on measurable product results. So many portfolios come in that focus entirely on visuals and the designer's opinion of UX. That doesn't tell us anything about the actual impact of the work. What were the problems before and how were those affecting the metrics? How did the metrics that matter to the company improve after the changes? And if you don't know those and aren't presenting those, then why are you presenting it as a success?

Second, there’s too much of a focus on presenting a large quantity of projects in a portfolio. I'd rather see one project explained really well than 10 explained quickly. Showing the process of a project that had unexpected learnings and deep thoughts behind it makes me feel confident that you'll be able to bring the same level of thoughtfulness to projects at Unsplash.

A view on the Crew/Unsplash coffeeshop. Photograph by www.dezjeff.com

Do you have a favorite story of an application that really stuck with you?

Our co-founder Luke’s application is one that stands out. We know this is going to embarrass the crap out of him but we have it here (our company was called ‘ooomf’ back then).

The thing we liked most about Luke’s email was that it felt like he was writing like he talked. Even though his email was a bit long by “email optimization standards,” we read it all the way through because we felt he cared. At the time, he didn’t have much experience in product design but he was flat out honest about it. He shared what he did know and that he was willing to do anything, including making coffee runs if needed.

Back then, we were a small team of four founders so we were looking for people who could jump in on a lot of different things. And if they didn’t know something, they'd be open to learning it. We could tell from Luke’s message he was eager to apply what he knew, learn what he didn’t and do anything to help move the company forward. He also went another step further by linking to an awesome introduction page he made just for us.

Luke’s message also sticks with me because it’s lead to one of the greatest relationships of my life. Luke and the two of us (Mikael & Steph) have worked together for five years now, which is practically our whole careers.

The Unsplash team in action

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Our process starts with a meeting or phone interview. That interview is informal. We don’t drill you with questions like, “If you needed to escape from a room and all you had was a stick of gum, a match and a Teletubbie, what would you do?” No. We ask you about you and your work. And we invite you to ask questions about us. Like we were getting to know each other on a first date.

If that first interview vibes well, we invite you to have a chat with each member of our design team. If we feel good after those calls, we make an offer. This whole process typically takes two weeks.

We also don't ask designers to solve our problems in the interviews. Interview questions that ask what you would do differently with our product are bullshit, because if you can come up with ideas that are better than ours on the spot over a phone interview, well then we're clearly not doing our jobs.

Design is all about context and you simply can't get enough context about a product from the outside. You need months and years of working on a product before you can really say you know anything about it with confidence.

We don’t follow the “churn and burn” model at all. We hire people with the intent of working together for the long-term. This is why we focus so much on conversations. You’ve already shown you can do good work. Now, it’s about both of us getting to know each other. To learn more about the work and the environment, so we have a clearer sense that this will be a great fit for everyone long-term.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills? And what does cultural fit mean at Unsplash?

When we think of someone as a good “culture fit’” we think about it more as, “Would this person be able to improve our culture?” Not necessarily someone that will keep it the same way. In fact, we're actively trying to hire people who make us feel a little uncomfortable because they bring a different approach.

To build great things, it’s important to bring new/different viewpoints versus hiring people who all think and act the same. That said, there are some core underlying things we won’t compromise on like:

  • Being human.
  • Having a work environment where it’s not about the number of hours you work but what you do in those hours that counts.
  • We’ll never mail anything in.

So someone who resonates with these values and brings a new, healthy perspective to the team but has less industry experience and hard skills would be hired over someone who has more industry experience and hard skills, but didn’t resonate with those values.

"A designer who can write? Ooh wee."

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer writing skills over coding skills? Photography skills over writing?

If we had to pick one secondary skill for designers it would be writing. Knowing how to code is a close second, but a designer who can write? Ooh wee. In design, the message comes first. Good writing can save bad design but not the other way around. You can make your designs sing if you know how to write well.

A great designer should be strong with many forms of communication because in the end, design is communication, whether it’s visual, written, or spoken.

How do you think Unsplash is different when hiring new talent compared to other tech companies or design studios? Please blow us away! (:

We don’t focus on resumes. We don’t focus on glitzy Dribbble shots. Instead, we focus on understanding you and your work.

This is why every person we hire meets either me or one of my co-founders during the hiring experience. This might sound like an impossible thing to do as Unsplash grows but we don’t dream of hiring thousands of people. We enjoy having relationships with our teammates. We could be bigger but we prefer to keep things small. It’s more human that way.

We also aim to give everyone, from the newest teammate to the CEO, the same level of information needed to make decisions. We believe in giving everyone on our team the power to make the call on their own without much approval. To do that, it requires context. You need to know the history behind why something was done. Why did we design the homepage that way? What were the trade-offs? What were the conversations that lead to the decision? Almost everything we’ve built has a conversation documentation trail. We open this up to everyone on our team. Everyone on our team should have the power to make decisions as if they owned the company. With context, great people create great things.

We don’t focus on spec work. We don’t have project managers. Our whole company is set up to get as much of the stuff that’s not the creative work out of your way, so you can do you what you do best.

Our aim is to create an environment for making great things and feeling fulfilled creatively. Ask anyone who started a company or joined one early on. Most people will say things were the best at the beginning when they were less people. You ship big stuff. You have a strong sense of autonomy, ownership and purpose. These conditions are what leads to great work.

__

Steph, Mikael & Luke, thank you so much for your time. I can easily say this interview is one of my all-time favorites from this whole job series.

And because I think this was all packed with so much wisdom, I want to summarize a few of my favorite takeaways, in case you, the reader, is interested in working with Unsplash:

Nr. 1- A resume is so 1999.

As Unsplash clearly pointed out, they don’t look at your resume the way other companies might do. We’ve heard this in a couple more interviews in the job series so far and I find this one of the most important things to highlight. Focus your attention on your portfolio or other things, but not your resume.

Nr. 2 - Talk about the impact and intentions of your work.

Instead of just showing off your work by sharing some screen designs, animations or prototypes, explain the thinking behind your work. Unsplash wants to hear the WHY and understand how your work made an impact. How did your work change something? How did it measure up to its goals? If it failed, why?

Nr. 3 - Write, even if you are not a writer.

Writing is thinking. I’ve shared my thoughts on that subject here. As a designer you are first and foremost a communicator. While color, shape and typography are essentials in your design toolbox, words are as much part of it. You don’t have to become a professional writer, but Unsplash cares a lot about the impact words have as part of your design solution.

I hope you enjoyed these insights into how Unsplash works and hires. Make sure to check out if they're hiring right here. I have to say, this is one of my personal favorites so far. If you're interested in working with Unsplash make sure to reach out to them with all the new things you've just learned, and if you're interested in reading about other companies in the job series, you can do this right here.

Keep creating,
Tobias

 

April 20, 2017No Comments

How to Get a Job at MailChimp

Everybody uses MailChimp. It’s one of the most trusted email platforms out there, and it’s earned its reputation through excellent design and a thoughtful user experience.

The company culture, as you’ll learn in a moment, is equally purposeful. Todd Dominey has a hand in all of that. As director of design at MailChimp, Todd guides the vision for the product and brand — and would be the guy hiring  you to help make it all happen.

 

 

Hey, Todd. Let’s do this. Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

In the early years, many of MailChimp’s employees were internal referrals. We’re a much bigger company now, and having a diverse team of people with different backgrounds and experiences is super important to us. We hire through a lot of different recruiting, sourcing and networking channels. We also hire people who applied through our website.

Would you say the majority of designers you hire have been pre-selected and head hunted by your team, or do you get a lot of cold applications as well?

Our recruiting team does a bit of both, but because of the high volume of applicants we receive, much of their time is spent filtering people who approach us. Sometimes people are hired for specific job openings, other times we’ve come across people so perfect for MailChimp we’ve created roles for them. The challenge is finding the right people for the company. Did I mention we’re hiring? 🙂

Say I decide to reach out with a cold email. What kind of message gets a reply, any secrets for us? Should I just fill out the job posting form?

We’ve seen people do clever things to get our attention, which is fun. That said, applying through our site’s jobs form really does work. Everyone who applies is considered, and our recruiting team really goes out of their way to make that interaction personal and positive. Most applicants have genuine love and appreciation for MailChimp, and they are more often than not users of the product. Applicants deserve to have a good experience when interacting with us, even if we aren’t able to extend an offer.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at MailChimp?

Every designer who interviews at MailChimp should be prepared to share work. How prepared or polished their presentation is doesn’t really matter — the work itself is enough to land an interview and get a conversation moving. From that point on in the process, the work usually takes a back seat, and more time is spent getting to know the person and whether they’d be a good fit at MailChimp.

I typically look for things like how a designer describes their involvement in a project, the process they went through to arrive at a solution and whether their project was considered a success. Humility, thoughtfulness, empathy and a willingness to share examples of challenges they’ve faced, whether creative or personal, are other factors. Getting a sense of someone’s character and their ability to collaborate with others is super important at MailChimp.

Besides having a portfolio, do you like the idea of designers being very invested in other things? For example being active bloggers, or otherwise outspoken in their community?

You know, it’s funny. Many years ago when I was fresh out of college, I interviewed at a small software company and was turned down for an entry-level job. I asked why, because I was under the impression our interview went well, and the recruiter told me I had too many outside interests. I guess I had rambled on too much about photography, music or whatever in our interview, and apparently that was a big red flag. People like me had a habit of quitting, they said.

Well, good thing I wasn’t hired! MailChimp is the polar opposite. We get excited by people who’ve had a variety of experiences in life, or have quirky hobbies or passions that make them unique. Our culture is rich because of our people. Diversity of background, life experience and opinion helps us build more well-rounded products that hopefully appeal to more types of users. We actually have an informal “Night School” meet-up at MailChimp where employees volunteer to teach others about whatever they’re into, whether that’s improv comedy or learning to roll sushi. It’s all part of what makes the culture of MailChimp unique.

What are the top mistakes you see designers make when applying for a job at MailChimp? Are there any specific things that keep bothering you? Please complain to us! (:

I’m not sure if this qualifies as a “mistake” per se, but I’ve seen designers pitch portfolio work like they’re trying to land a client or win approval. It’s understandable since that’s what designers are typically accustomed to doing, but neither is necessary in a job interview.

A more effective use of time would be explaining how a project solved a client’s problem, how designs were changed based on client feedback, and anything they wished they could have done but couldn’t, for whatever reason. Those stories are far more useful and interesting than someone trying to sell their talent. From a product design perspective, I also prefer seeing work that is technically feasible, as it demonstrates awareness and respect for the engineering side of the equation.

“I also prefer seeing work that is technically feasible, as it demonstrates awareness and respect for the engineering side of the equation.”

Do you have a favorite story of an application that really stuck with you?

The ones I remember most are the designers who came through the door and talked about something other than aesthetics. Designers who talked about user research, experience maps, and even business or product strategy. This is especially true for product designers who have to juggle so many factors in what they build. I’ve also seen brand and marketing designers spend more time in an interview sharing crazy stuff they made purely for their own enjoyment or to help out a friend. I love that! It shows a true love of craft. Design isn’t merely a job, but something they wake up thinking about. It’s part of their daily life.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

The process usually goes through a few rounds. We start with a phone interview to get the ball rolling. One of our recruiters typically handles that to learn more about the candidate, why they chose MailChimp, etc. If that conversation goes well, and one of our design leaders likes their work, we’ll schedule a face-to-face interview. This part is important -- it gives us a sense of someone’s personality and how well they’d mesh with MailChimp. Once we get past that, we’ll often get together again to discuss the type of role we see for them, what their responsibilities will be and address any questions or requirements they have. If everything seems good by this point, we make an offer. It’s pretty rare we make it all the way to the offer stage without someone accepting.

I know MailChimp is very much about the culture. Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

MailChimp has a funny way of attracting misfits, perhaps because that’s how the business was founded. We’re not in Silicon Valley or part of the startup scene, so we’ve always done things our way. We just try to be ourselves and real, which hopefully inspires others who use our product to do the same when marketing their businesses.

When hiring, MailChimp doesn't necessarily focus on people who fit the bill in the traditional sense for a job, but people who will bring a variety of experiences, backgrounds and perspective into the fold. We’d much rather hire people who are humble, independent, empathetic and curious than people who lack those qualities and have a ton of industry experience.

“MailChimp has a funny way of attracting misfits.”

What secondary skills do you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills?

The design department at MailChimp has a variety of designers, including web and mobile product designers, brand designers and product marketing designers. If I had to pick a single thread between them all, customer and brand experience is huge. Doesn’t matter what type of design you’re responsible for, your contribution is part of a singular experience from the perspective of our more than 15 million users. Designers have to understand how their work contributes to that experience and collaborate with other designers to ensure their designs are consistent and on-brand.

Do you require designers to have “tech” experience to work at MailChimp, or can they come from any creative background? Would five years of tech experience get me further than five years in the advertising industry?

We have a few designers on the team with little-to-no technical experience. They’re artists, really, who love to make beautiful, original things that enrich our brand and company culture. Some of their work is only seen internally, but the rest has a habit of finding its way into our advertising, product marketing and other places. I’m not sure how many other companies would do the same but for MailChimp, it’s one of the things that makes us stand out.

We're all artists to some degree, I can't agree more with that. Would you hire people from anywhere in the world and help someone get through the visa struggles if it’s worth it, or do you prefer to hire people on location first?

We have people from all over, but most of our applicants come from somewhere within the United States. Being in Atlanta, we tend to attract people from the region, or people who are looking for a different pace of life and more affordable cost of living than a city like San Francisco, New York, etc.

How did you get your job, if we may ask? 😉

Every day I ask myself the same question! I guess I’ve been fortunate in that I’ve been committed to design as a profession since graduating from college a little over twenty years ago. I’m old enough to have worked in print before the web became a thing, made the leap to digital in the late ’90s, and kept at it long enough to get here. I’ve been everything from an intern to an individual contributor, a startup founder and now a design director for a respected brand and product used by millions.

Sometimes younger designers ask what it’s like being a designer who “no longer designs.” Meaning, someone who pushes pixels and writes code. For me, I feel I’m still designing, but in a different way. My focus today is on brand experiences, evangelizing quality design and user experiences and figuring out how to optimize our team’s process for creative excellence and operational efficiency.

Sometimes I really miss putting on a pair of headphones and spending hours on end tweaking a layout, but those days are behind me now. I’m here to help others on my team be their very best and use design to keep MailChimp weird, solve user problems and grow the business.

__

Thanks so much for your time and honesty, Todd! Lots of helpful insights here, but these stand out the most:

Nr. 1 - Bring your personal passions to the table. MailChimp encourages you to have hobbies and diverse interests. Show them, don't hide it. Culture is a big part of their company, so your own passions can play a big part in that. Share your side projects and talk about the things you do at night or on the weekends. What other companies may see as a red flag, MailChimp may see as a valueable asset.

Nr. 2 - “Designers who do customer support” This is interesting because I very much care about this as well. I love designers or developers who also do customer support. It brings you closer to the people who actually use your product. Show a passion that you're interested in doing whatever it takes to design a beautiful & useful product. Customer support often gets a bad rap, but only because it's poorly done by most companies. Show that you're interested in doing things that might be not your traditional job titles responsibilities.

Nr. 3 - Don’t pitch your work. Explain it. MailChimp doesn’t want you to treat them like a client you need to win over. They simply want to understand who you are and how you work. Be genuine and focus on having a real conversation about who you are.

That’s all for now! More exciting companies coming to this series soon. You can find more interviews with companies like Spotify, Nike, Edenspiekermann, Airbnb and Electronic Arts on the "How to Get a Job" Series page.

And if you have a request, just shoot me a note on Twitter @vanschneider.

Stay awesome & keep creating,
Tobias

April 17, 2017No Comments

How to Get a Job at Edenspiekermann

Edenspiekermann provides branding, digital products and service experiences for top companies around the country. Think Red Bull, Hello Giggles, Mozilla.

The agency has offices in Amsterdam, Berlin, Los Angeles, San Francisco and Singapore — so chances are, they have a job opening somewhere you’d like to live.

I love the spunky vibe of Edenspiekermann. Browse their site and you’ll get a feel for their attitude and confidence, which I’d imagine makes clients enjoy working with them and designers enjoy working for them. Robert and Sebastian would know better. Robert is a partner at Edenspiekermann and Sebastian is the people & talent director. Both were kind enough to answer my questions about getting a job where they work.

 

Hey Robert and  Sebastian, let’s get right into it. Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

It’s hard to say, as we don’t specifically track this — and one doesn't exclude the other. Sometimes people tell their friends to apply, but we only learn about this referral after the hiring decision has been made. Both have their advantages: referrals are a safer and easier hire, but strangers can bring things to the table that we didn’t even know we were looking for.

Would you say many of your hires are headhunted/pre-selected then, or do you get a lot of cold applications as well?

A lot of the people who apply have been in touch with us before, be it at conferences and meet-ups or through knowing someone who works or worked with us. We sometimes hire former interns after they graduate, too, but cold applications always have the power to surprise.

Say we decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us? Should we just fill out the job posting form?

Any message gets a reply. But if you send out an impersonal email to a list, don’t expect a 2-pager in response. I of course prefer the job posting form, but that’s just because it means all applications are in one place and I know where to find you across Twitter, LinkedIn, Slack, Email, Facebook, WhatsApp or even phone.

How important is a visual and complete portfolio for you? Do I get away with not having a portfolio when interviewing at Edenspiekermann?

A portfolio (or, for developers, a Github repo) is the best way to show what you can do and what you love to do. You can read more about how we hire in this little article, but spoiler alert: we need a portfolio.

Besides having a portfolio, do you like the idea of designers being invested in other things? For example being active bloggers, or otherwise outspoken in their community?

No. We want the boring, quiet, uninspired hermit type of designer, with the most narrow horizons imaginable (or not, as the case may be).

Tell us one thing you never want to see again on a portfolio website. Anything you wish you saw more?

We want to see all the things you worked on and are, or were, passionate about — don’t hide anything just because it might seem outdated now. It’s still part of who you are, and we only judge your work in regards to its fit for our current and future projects, we promise.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

We try to keep it short and simple: that means no design exercises. There will be one interview, and it will be with HR and, ideally, two of your peers. Sometimes we might add a developer or account manager, and sometimes we might go for a second interview if the first didn’t answer all of our questions. I wouldn’t exactly call it a process — that sounds very impersonal, and a bit intimidating. It’s more like a conversation. With snacks.

What are the biggest mistakes you see designers make when applying for a job at Edenspiekermann? Are there any specific things that keep bothering you? Please complain to us! (:

Don’t waste creativity on your resumes; only the HR person reads it, and they just want the cold, hard facts. There are great templates out there to download. Instead, focus the time and energy on your portfolio: tell us what you did on each project and why — and if your portfolio isn’t finished yet, hold out on the application.

Any favorite story of an application that really stuck with you?

The one person who wrote an email to every single person in the company with a ginormous zip file attached. We did not hire them.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

If we have to decide between two candidates, one who’s more skilled and another who’s a better cultural fit, we’ll always lean toward cultural fit. Skills can be learned, but attitude can’t.

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills?

Don’t make me choose! Business skills come in handy because our work doesn’t just touch the surface of our clients’ businesses; it goes deeper into content, meaning, and purpose, and this impacts the core business case. Coding skills always help because our designers and developers work so closely together. And our developers have a thing for design, too

Last question: How do I get your job one day? 😉

You don’t. 😉

__

Thanks so much, Robert and Sebastian! I enjoyed how much of your company’s personality shined through in this interview.

If Edenspiekermann feels like your type of place, take note of this advice from Robert and Sebastian:

Nr. 1  -  Don’t waste your creativity on resumes. Robert and Sebastian even suggested using a template for your resume, since HR are the only ones seeing it. Save the time and effort for your portfolio, which brings me to my next point.

Nr. 2 - Don’t apply without a portfolio. This is true for almost every company we’ve interviewed in this series. You must have a portfolio, and it should make an impression.

If you need some help getting started, read about "The most important page on your portfolio" and some tips on things you should definitely avoid when it comes to your portfolio.

Nr. 3 - Include everything in your portfolio. This is opposite advice from several other interviews in this series, but it’s what Edenspiekermann wants. They want to see it all, from your best projects to the old and outdated ones, to the weird ones. Give them a complete picture of your work and skills.

My tip here would be: Focus on your best work first, but make sure you have an archive of your older work available to show to specifically to Edenspiekermann.

That’s all for now! More exciting companies coming to this series soon. And if you have a request, just shoot me a note on Twitter @vanschneider.

Stay awesome & keep creating,
Tobias

April 6, 2017No Comments

How to Get a Job at Spotify

Spotify! I've been looking forward to this interview and I’m happy to finally share it with you.

As some of you may already know, I worked at Spotify for almost three years. So I couldn’t resist reaching out to my friends and asking  for their wisdom about landing a design job at Spotify.

 

Of course, I’m skipping the intro on purpose because I hope Spotify needs no intro. But one thing I will say is that Spotify’s design team sits in Stockholm, New York, San Francisco and London. So if you’re looking for a design or development job, you’re most likely moving or living in one of those cities.

Hey Dan and Stanley, let’s get right to it. Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

Dan: Referrals helped us a lot in the beginning. As our company grew quickly, we had plenty of new people coming in who wanted to tell us about the great people in their network. Today, we try to find a balance. We want to make sure we’re getting a steady flow of candidates from different backgrounds so we’re trying not to rely on any one source.

Would you say the majority of designers you hire have been pre-selected and head hunted by your team, or do you get a lot of cold applications as well?

Dan: It’s a mix but there’s actually a lot of overlap between the two. For example, a conversation might start with an informal “hello” from us at an event. At that point, it might not make sense to move forward into a formal interview process. A few years later, situations change, roles become available, and that person could end up applying through our Jobs page. It’s rarely ever so simple –– especially when trying to recruit at such a high caliber.

I remember one situation where we were talking with someone and for a number of reasons, they just weren’t the right fit for the role. They wrote back to us later on and said, “Hey, I understand I might not be the right fit but you should really talk to my former manager.” We ended up reaching out to that candidate’s referral, loved them, and now they’re at Spotify.

Thank you for mentioning this Dan. Just a quick example from myself here: My first contact with Spotify was more than a year prior to me actually joining. It was just small conversations until it eventually happened.

But let's say we decide to reach out with a cold message. What kind of message gets a reply? Any secrets for us? Or should I just fill out the job posting form?

Dan: Filling out a job post should always be the first step. Beyond that, be creative. It’s really about showing why you’re the best person for a specific role in the quickest possible way.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Spotify?

Stanley: A portfolio is the design equivalent of a switchblade: If applied right, it can open up all kinds of doors. This creates a lot of opportunity for a lot people. As an employer, it helps us quickly understand what a candidate can do and how they think about their work.

For example, yesterday a designer told me they hated how their last project turned out. Hearing why they hated it, and understanding what they’d do differently, was super insightful. And helped progress our conversation beyond the superficial.

Portfolios reveal a lot.

“A portfolio is the design equivalent of a switchblade: If applied right, it can open up all kinds of doors.”

Besides having a portfolio, do you like the idea of designers being invested in other things? For example being active bloggers or otherwise outspoken in their community?

Stanley: With so many people applying for the same job, it can be hard to attract attention with only your portfolio. Demonstrating who you are outside of your day-to-day job is a helpful way for us to get to know you better and for you to stand out. It’s not that we value a cultivated online presence or persona, but we like seeing people who are passionate about the discipline of design and who actively give back or get involved with the larger community.

Another way is writing. For example, when I review a portfolio I always begin with the About section. I want to know how well the designer can communicate their thinking— if it’s clear, simple and succinct.

Dan: It’s a huge advantage that we get to work on something that so many people are already passionate about. Given that, I always appreciate when a candidate has a strong interest in music. Now that doesn’t mean that you have to have be a musician, or even know who the latest hot band is. It’s really about being passionate about the role music plays in people’s lives and being excited about our larger mission to revolutionize the music space.

What are the top mistakes you see designers make when applying for a job at Spotify? Are there any specific things that keep bothering you? Please complain to us! (:

Stanley: Good to know: Large companies have a recruitment team who filter the candidates the hiring managers review. They do this based on listening to the feedback the managers give them each week in a hiring meeting. Keen not to waste their time, the recruiters preface why they are excited by the candidate we’re about to review.

Things that work for me:

  • Be someone. We review a lot of portfolios, so show us who you really are even if that may not be what you think “most companies” are looking for in a designer. Package your content in a manner that reflects you, and don’t play it safe by sticking to what’s fashionable. We want to hear your point of view; don’t get lost trying to be someone you think you should be. You won’t be happy for long, and the company that hired you will be disappointed when they see you struggling to be who they thought you were. You’re always your best self when you’re busy being you.
  • Say something. Imagine us sitting in our weekly meeting room at 5 p.m., the last meeting before home time. We open up your portfolio and see several screenshots of mobile interfaces under a project name. The work seems relevant but there’s no description of what we’re looking at. We don’t know what you did, what the goal was or how you feel about it. We’re left with questions and move on to the next portfolio. Never forget your user.
  • Don’t say too much. The reverse is equally bad because nobody has time to read and scroll through everything you’ve ever designed. Choose the work that tells your story best—be deliberate about what you share.

“Choose the work that tells your story best—be deliberate about what you share.”

Dan: My biggest piece of advice is to make sure that you craft your application for the role you’re applying for. While it’s easier to just attach a standard resume or portfolio, it’s important to really study the position you’re trying to get. How would you add value to the role? How do you uniquely meet the requirements? What’s the tone the company uses? All of this will help make your application more relevant to the person reading it.

Also, it’s good to know more about where our team is now and where we’re headed. We’ve been growing a lot in the past couple of years and are continuously looking to further establish design and increase its impact in the company. If you know this, you can talk about other fast-growth environments you’ve been in and how you played an instrumental role in establishing and growing design.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?


Dan: I wish more portfolios would tell a more complete and honest story about the person they’re representing. I think there’s a natural tendency to edit down a portfolio to the most attractive highlights. This logically makes sense in most contexts but not for an interview. During our interview process, we want to see both successes and failures. I want to see learnings. I want to see growth.

It’s really the failures that have the most interesting takeaways. It’s inevitable that you will have times in your career when things don’t go the way you expected them to, so we want to see how you dealt with them — what did you take away and what did you do to avoid making the same mistakes again in the future?

Similarly, I’m always looking to understand how self-aware a candidate is. In our team, feedback is important. If you’re self-aware and truly honest about your strengths and weaknesses, then I know we’ll have a good relationship because we can have candid conversations about whether things are working or not working.

Stanley: I’d love people to share more of themselves: What made an impression on you recently? What objects do you own that you love or hate? What are you reading? 

Say we make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

Stanley: It begins with the screening stage, where our recruiters find the most relevant candidates. After that there's a portfolio review, and if that goes well, we'll bring the candidate on-site for an interview. The on-site has three parts:

  1. Meeting product managers, researchers, designers, and so on, to check soft and hard skills, as well as cultural fit.
  1. You collaborate on a design exercise.
  1. Finally, lunch with the team and a tour of the office.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

Stanley: There is a comment that I love from Brian Collins (from the Collins agency) about looking for a "culture add," not a "culture fit.” We want people who help grow and push the culture forward, not ones that simply fit.

As for industry experience, I think it can be a blessing and a curse, so I try to consider each:

  • if I meet someone who has little experience but loads of talent, then I’m assessing whether they have the grit to pursue it.
  • If I meet someone who has lots of experience, then I’m assessing how adaptable they are — can they adjust to different environments and situations?

“We want people who help grow and push the culture forward, not ones that simply fit.”

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills?

Dan: Designers here typically operate within small teams on a day-to-day basis. These teams need to be self-sufficient if they’re going to make an impact and move quickly. I look for skills that would help complement the team they’d be joining. For every Simon, I want to find that Garfunkel.

Stanley: One of the specific skills I look for are writing skills. It helps ensure that your thinking is clear.

Last question: How do I get your jobs one day? 😉

Stanley: You could start by filling out an application at spotify.com/jobs and see where that takes you : )

If that feels too soon, learn how to talk about design and how to give creative direction. Being able to articulate design will help you bridge other functions, while providing creative direction will help you scale your design thinking across a team of designers.

Dan: In addition to the above, I’ll add just keep challenging yourself. The more you can evolve your own thinking and skill-set, the more unique you’ll be. The more unique you are, the more in-demand you’ll be.

___

 

Yo, Dan and Stanley! You are awesome. Beyond helping us get a job at Spotify, this is all great life advice in general. Thanks for the thought, time and effort.

If you want to work with these guys someday, along with many other wonderful people who create a product we all know and love, here are the main takeaways:

Nr. 1 - Confidently be and show who you are. Don’t try to fit a certain mold. Spotify wants to see who you really are and understand your unique point of view. Stand out and be remembered with a portfolio that represents you as a designer — your personality, your successes and your failures.

Nr. 2 - Provide context in your portfolio. Almost everyone in this interview series has expressed this, so you know it’s important. Briefly explain your process, your specific contribution if you worked on a team, the result and your feelings about the result. Don’t write a novel, just make it easy for Spotify to quickly understand what they’re looking at and how you approach your work.

Nr. 3 - Writing well is important. Spotify will be looking to see how you communicate and present yourself. Put thought and care into the words on your portfolio, emails and application.

Again, this is something I’ve heard several times in this interview series. If you’re not a great writer, it’d benefit you as a designer to take a class or practice to get better. Read my thoughts on writing as a designer in this article.

Nr. 4 - Show that you’ve studied and understand the position. Research the position you’re applying for and make your application reflect it. Shape your resume and cover letter to match Spotify’s tone. Share how you meet or can add value to the role. Make it clear that you care and you’ve done your homework.

Nr. 5 - Get involved in the design community. Spotify likes to see that you’re invested in the community, whether you write or contribute to cool projects or just have a passion for music.

I could talk to Dan and Stanley all day but I’ll let you go for now. Check back soon for more interviews in this series — and if you’re just jumping in, catch up on advice from Nike, MetaLab, Pentagram and more here.

Stay awesome & keep creating,
Tobias

 

April 3, 2017No Comments

How to Get a Job at MetaLab

In this series I talk to people at some of the most admirable companies and studios out there, simply asking: How do I get a job at your company?

Next up is MetaLab.

MetaLab creates products and interfaces that are attractive, thoughtful and a joy to use. They work with the world's top companies — just look at Slack, Uber, Amazon, TED, Apple, and Google, to name a few.

Oliver and Ryan, creative directors at MetaLab, have grown the design team from two people to 30. They play a big role not only in hiring, but also leading the design team and overall quality of MetaLab’s projects. So it worked out perfectly that both Oliver and Ryan were up for answering my questions about getting a job at MetaLab.

Hey Ryan and Oliver, let’s get right to it. Looking at your current design team, how many of them came through internal referrals and headhunting, and how many came through the traditional application process?

Honestly, it’s a huge mix. We’ve only had a more formal talent team within the last 14 months. Before that, it was a mix of a few people (Oliver, Ryan, Tim, Elexa, Andrew) scouring the internet from time to time. Basically it was whoever had time. Now at the size we’re at, we’re lucky to have Georgia, who heads up the design hunt. She does a bulk of the communication once we identify someone (? Blessed! Additional thanks to Elexa and Erica!). Recruiters sometimes get a bit of a bad rep, but they’re incredibly helpful for a team. The logistics for grooming through new candidates alone is a nightmare.

Candidates who’ve been referred or headhunted tend to make it the furthest in our screening process, but the bulk (90%+) still come to us through the traditional application process via our careers page or a third party site. In terms of searching for people, we find a pretty big chunk of talent via Dribbble. Being such an active design community, it’s a great tool for reaching out.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at MetaLab?

Although “portfolio” can mean different things to different people, it’s super important that we have an easy way to view a collection of your best work. Going the extra mile and making sure it’s easy to consume, well-presented, and filled with helpful context about your projects tells us a lot about your communication skills. Ideally a portfolio should be more than just a collection of pretty thumbnails and mockups — it should speak to your problem solving skills.

For more senior talent (who will be primarily off the tools), a different type of portfolio is OK, but still fundamentally necessary. It’s hard to fully understand and appreciate the scope of one’s accomplishments without anything to help tell your story when you’re not there.

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Seeing more work presented in case study format would be so helpful. Major bonus points for an animated prototype/flow. There are more than enough tools out there to add motion to your work (Principle, Framer, Flinto, etc.). Also, positioning yourself properly in terms of skill and experience. Trying to come off incredibly senior when you’re actually quite junior could end up hurting you. Be honest about the work you’ve done, what you’ve learned, and the things you’re interested in learning more about.

"Seeing more work presented in case study format would be so helpful."

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

Obviously we love well-rounded people and if you have passions outside of design that’s great. If design is your one true love, that’s OK too! We’re not looking for anything specific — whether in terms of interests or engagement with online communities. What’s most important is that you have a healthy, sustainable approach to your work. It’s important to spend quality time outside of your tools, the office and work projects so that when you need to bring your A-game, you’ve got the energy, focus and creativity to do so. So to answer your question, yes, we do value when someone is invested in other interests or hobbies. It’s pretty cool when they’re able to bring those learnings back to their team and projects.

What are the biggest mistakes you see designers make when applying for a job at MetaLab? Are there any specific things that keep bothering you? Please complain to us! (:

Presentations! Both in terms of form and content. Our application process involves a test project and it’s surprising how often people deliver it in a format that makes it hard for us to consume (different combinations of folders, documents, and file types). If you’ve taken the time to put together all that work, don’t skimp on the presentation — make it easy for us to look at and understand what you did. In that sense the presentation itself is an additional way for us to assess your communication skills.

And remember: You should be showing and explaining your process and work thoroughly. The exercise isn’t just about the final product, it’s about how you got there. We want to understand how you think, solve problems and how you deliver that information back to an audience.

Do you have a favorite story of an application that really stuck with you?

One of our more memorable hires was for one of our current designers. She was still wrapping up her schooling when we interviewed her and ended up offering her the job. She participated in a lot of company events for months before she was even technically employed. We definitely didn’t expect her to participate, but when she did it was all sorts of awesome.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

The first step after we review your application and portfolio is an introductory call with our people ops team; they’ll want to hear about your background and why you’re interested in MetaLab. Next up is the test project that we’ve mentioned above — you’ll be given one week to complete it. If the test project looks promising you’ll get an opportunity to meet our creative directors for a more in-depth interview. Since we hire remote designers, any of these interviews could be on a video call or in-person, depending on where you’re located. 

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

We’re huge on culture fit (i.e. no ego and you’re not an asshole) but pretty solid design chops are necessary for us to move ahead with a hire. Whether you’re straight out of school or a seasoned designer, you’re bringing something special to the design team. 

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills?

Great question. I think at the core, we’re looking for people who are passionate about product design. It might sound silly, but you can really tell who sees this as more than just a paycheck. Those who go the extra mile in their applications really stand out. There hasn’t been a formula developed for a perfect hire. We just look for genuinely nice, passionate and talented people.

How do you think MetaLab is different when hiring new talent compared to other tech companies or design studios?

We look for all our hires to be well-rounded product designers, not specialists. It’s core to our process for designers to be able to participate in projects from concept to completion. We don’t hire designers who just do UX or just do visual design. You should be interested in growing and practicing a broad set of skills.

"We look for all our hires to be well-rounded product designers, not specialists."

And finally, do you hire people from outside the U.S., either on a remote basis or by helping them get a visa? I’m sure many of us are wondering about that.

A third of our design team works remotely outside of Victoria and Vancouver, where our offices are located. We’re also open to helping people make the move to Canada if that’s their preference, once they’ve worked remotely with us for at least six months.

__

Ryan and Oliver - thank you! You’ve provided some of the most unique answers in this series, (I’ve found it fascinating to compare these interviews to see how each company is different) and I know they’ll be a helpful to anyone hoping to work on your team at MetaLab. 

If that’s you, dear reader, here are some takeaways to remember:

Nr. 1 - MetaLab hires through Dribbble. 

Unlike many companies featured in this series who have said otherwise, MetaLab notices outstanding work on Dribbble. Put your stuff out there and keep it updated.

Nr. 2 - Animation in your portfolio will get you major bonus points.

“Major bonus points” being Ryan and Oliver’s words exactly. If you want to make an impression, add motion to your portfolio work to explain how and why things work the way they do. Think of motion as a tool to give the viewer context, rather than just adding motion for the sake of adding motion.

Nr. 3 - Polish your presentation.

MetaLab takes note about how you deliver your work. That means the presentation matters as much as the work itself. Spend time refining the presentation and make sure your message comes through.

Nr. 4 - MetaLab hires remote designers.

This may be nice news for you!

Nr. 5 - MetaLab is looking for designers with diverse skillsets — not specialists. 

This is interesting because the sentiment “jack of all trades, master of none” is often thrown around in the design world, as if being good at several things is negative. Not the case at MetaLab. They are looking for product designers with broad skills who can see a project through every phase.

That’s all for now, friends. Stay tuned for more interviews with fantastic companies you might work for someday. 

Keep making & creating,
Tobias

March 27, 2017No Comments

How to Get a Design Job at Pentagram

In this series I talk to people at some of the most admirable companies and studios out there, simply asking: How do I get a job at your company?

Our fifth feature is Pentagram.

I'm pretty sure many of you are familiar with Pentagram, especially if you're interested in traditional graphic design or branding. Regardless, you've most certainly seen their work. Pentagram is the studio behind some of the world's famous visual identities, including MasterCard, Windows, The MoMA, Verizon and so many more. Here I talk with the Michael Bierut, partner at Pentagram's New York office.

So, Michael. Before we begin, let’s put it all on the table: Getting a job at Pentagram isn’t easy. Your team is small and your reputation is huge. Is there any hope for us?

The first thing to know about Pentagram is that it isn’t one design team, but multiple design teams. There are eight partners in our New York office, and each runs a creative operation that is more or less autonomous. I am responsible for hiring and managing only the designers on my own team. They work only for me. So all of my answers have to be taken with a grain of salt. You might get a different one out of Paula Scher or Emily Oberman or Abbott Miller or Eddie Opara or Natasha Jen or Michael Gericke or Luke Hayman. This, along with the slow turnover and scarcity of openings, is the most frustrating thing about seeking a job at Pentagram.

Pentagram New York photographed by Ike Edeani

So what's our best chance of getting in? Does Pentagram pre-select and head hunt most designers on its team, or do you consider cold applications as well?

Like most of the design teams at Pentagram, we offer paid internships. Most of my full-time employees began as interns. Our interns are often people who have written emails with no other introduction; in other cases they are students in a class that I or one of my designers teach; in still other cases they’re recommended by other designers I respect. Every once in a while we seek someone out with more experience. These applicants are usually known to one or another designer on my team.

Pentagram New York photographed by Ike Edeani

Say we do decide to reach out with a cold email. What kind of message gets a reply? Any secrets for us?

I reply to every message I get, even the ones with misspellings.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Pentagram?

A good portfolio is a given. I hire so rarely for my team that I never have to compromise about that. That said, while the work is important, I am just as interested by how curious and articulate the applicant is.

Tell us one thing you never want to see again on a portfolio website. Anything you wish you saw more?

I like to see people who present their work with care and intelligence. The best portfolios are ones that are comprehensive enough that you get a sense what’s going on, but sufficiently open-ended so you are intrigued by what you see.

Pentagram New York photographed by Ike Edeani

Besides having a portfolio, do you like the idea of designers being invested in other things? For example being active bloggers, or otherwise outspoken in their community?

I like designers who have a point of view, but they don’t have to have big social media profiles or anything like that.

What are the top mistakes you see designers make when applying for a job at Pentagram? Are there any specific things that keep bothering you? Please complain to us! (:

Most of the mistakes I see have to do with spelling or grammar. I know it’s not the most important thing in the world, but it drives me crazy.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible? 

If you’re interviewing to be an intern, you may be interviewed in person or on the phone by a few of my designers. If you’re coming in as a full-time person, you’d probably talk to me and, again, some of the designers. We don’t do design exercises or really have any formal interviewing process.

Pentagram New York photographed by Ike Edeani

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

I think everyone has the capacity to acquire craft skills, but curiosity and brains are difficult to pick up on the job. As a graphic designer, I work with words a lot, so I appreciate people who love to read and write.

Besides being a good writer and communicator, what secondary skills do you look for in a designer? For example, do you prefer business skills over coding skills?

Most designers on my team eventually manage their own projects and may serve as the main point of contact with clients and other collaborators. So I look for people who can talk about their work, who can listen when other people are talking, and who like to take as much responsibility as possible.

Pentagram New York photographed by Ike Edeani

Obviously you’re a branding studio, but would you hire someone who has no previous experience with branding? Say I work at a big tech company for a couple years, then decide to go to Pentagram. Could I?

Every team at Pentagram, including mine, does a really diverse range of work. So specific experience is less meaningful than someone’s ability to learn and capacity for growth.

__

Michael! Thanks for keeping it real, and keeping it short. For those looking to join the Pentagram team, these insights are worth noting:

Nr. 1 - Communication is key.

Michael made it clear that writing and general communication skills are important – in your initial intro email, in your portfolio, in your everyday work. Be brief, use proper grammar and spelling, articulate yourself well.

Nr. 2 - You will have to reach out; there are no job postings at Pentagram.

Good news is, Michael says he reads and replies to every email he receives. Make his time worth it with a well-written email (see Nr. 1 above – here are a few tips on writing a good email, btw). And don't forget to have an outstanding portfolio. If Michael says he answers every email, don't waste the chance by coming unprepared.

Nr. 3 - You will likely start as an intern.

An internship is the best way to get your foot in the door at Pentagram, so prepare to start there and work your way up. This is pretty great news, as it means Pentagram isn’t necessarily looking for someone with a lot of experience but someone who's willing to do good work and learn along the way. They’re looking for potential, and they’re willing to help you grow.

Until next time, friends! I’ll be sharing more “How to Get a Job at X” interviews soon, many featuring companies you specifically requested. If you haven’t read the others in the series, start with Airbnb, Nike, Electronic Arts and Refinery29. Or, if Pentagram is your dream job: Take some writing lessons, get your portfolio in shape and get the damn job! I wish you luck.

Also, thanks to Ike Edeani for providing your beautiful photographs of the Pentagram office.

Keep making & creating,
Tobias

March 16, 2017No Comments

How to get a Design job at Refinery29

In this series I talk to people at some of the most admirable companies and studios out there, simply asking: How do I get a job at your company?

Our fourth feature: Refinery29 aka R29

Even if you think you’ve never heard of Refinery29, you’ve probably read or seen something they’ve created. The digital publication shares all kinds of content every day for more than 331 million readers, much of it related to lifestyle, fashion, beauty and entertainment. Its vibe is smart, inclusive and celebratory, just like the team who works there. James Cabrera is on that team. He’s the senior product designer at Refinery29, and he was kind enough to answer all my questions about getting a job at this kick-ass company.

Hey James, let’s get right into it. Assume my dream job is joining the Refinery29 design team, but I don’t know where to start. So here are some questions – some are so basic, it might surprise you. But we’d love to hear your answer.

Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

We have a relatively small product design team. It’s a pretty even split between referrals, transitions from other departments, and traditional hires. Our most recent hires have come through the traditional process. We keep a constant pulse on who’s applying and will bring in anyone for an interview who we may find interesting.

Would you say the majority of designers you hire have been pre-selected and head hunted by your team, or do you get a lot of cold applications as well?

We get applications from every avenue possible, but they all funnel through our recruiting team. For the most part we get candidates from three main areas:

  1. Through applications submitted on our careers page
  2. Through personal contact where someone on our team is personally given a resume/portfolio
  3. Head-hunted by our recruiting team, or even one of us on the team who may have stumbled upon your work

Regardless of how we find you, we still point you to directly applying through our careers page. If we know you then we’ll also send a note to the recruiting team.

I’ve been handed tons of resumes. I try to submit everything through our applications system just so we have everyone on file. I will personally send a note to the person hiring if a portfolio or resume catches my eye.

Besides a photo studio, R29 also has everything you need to get ready.

If we do decide to reach out to you directly, what kind of message gets a reply? Any secrets for us? Or should we just fill out the job posting form?

Keep it short and sincere. We like to find people who are truly passionate about our mission, already know a lot of the little details about our brand, have genuine curiosity for our business, and are always full of positive energy. Keep it conversational, yet pointed.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Refinery29?

It’s usually the portfolio that will spark our interest and get your foot in the door. The only way I can see a visual and complete portfolio not being necessary is if your past experience is overwhelmingly impressive and aligns with the industry. Even then, if we bring you in to meet in person we would expect – at the least – to talk through past work with visual examples.

Personally, when looking at candidates, having practical examples of your work is a very important factor. It doesn’t need to be flashy, but it needs to be thoughtful and give an idea as to the challenges you’ve faced and how the actual finished products you’ve made turned out.

Checkout some of the work the R29 creative team works on at http://www.creative.r29.com

Tell us one thing you never want to see again on a portfolio website. Anything you wish you saw more?

We’re product designers so don’t get too flashy with your portfolio website. The focus should be on the work you’ve done in its purest form, not the packaging around it. I’ve gotten links to some pretty “unique” websites where I couldn’t for the life of me figure out how to view the individual projects. If I don’t know where to find your resume and clear examples of your work in that initial few seconds of landing on your site then I’m probably bouncing. I am impressed with websites that can clearly mix style with utility.

I wish more portfolio websites included little descriptions of what the designer’s role was in a specific project, or even pointed out some specific problems or personal thoughts about aspects of their designs. Too many portfolios now are just vanity shots and client name-dropping without actually communicating what was done. To me, the way you communicate what you’ve done is just as important as the work itself.

Besides having a portfolio, do you like the idea of designers being invested in other interests? For example being active bloggers or otherwise outspoken in their community?

We like to see that designers are passionate about the work that they do. That’s not limited to the work they may be doing for us. It’s also the work they enjoy doing for themselves. Blogging and participating in their community are just common ways designers might express that passion. Of course there are other ways to show you’re passionate about your work, so if you’re bad at writing it doesn’t mean you’re at any disadvantage.

What are the biggest mistakes you see designers make when applying for a job at Refinery29? Are there any specific things that keep bothering you? Please complain to us! (:

It’s a natural for designers to only show us their best work where everything went perfectly as they expected and the final product ended up just as they envisioned. 99% of projects are not like that. I want to see the ugliest thing (in the designer’s mind) that they shipped with their name on it, and hear why that project ended up the way it did. No one should ever feel shame about that type of work. The discussions that come up from those projects will impress us more than the most beautiful thing you felt you created.

R29 even has it's own photo studios

Do you have a favorite story of an application that really impressed you?

This wasn’t on a formal application but I was once forwarded a Medium article by someone who explained their whole process for how they would design a content app for us. It was really cool to see someone make an attempt to dissect our business on their own without being in it, and see what types of questions they were asking themselves. Some people around the office were even muttering “Are they looking for a job?” so I guess it was just as good as submitting an application.

Say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

For the Product Design team this is how a typical process might look:

  1. First get screened by someone from our recruiting team by email/phone
  2. Come in for an in-person interview with one of the directors of the team you’re applying for (about 1 hour)
  3. Depending on how impressed they are by your portfolio and explanations of your past work, we may or may not ask for a design exercise (1-3 hours of a designer’s personal time)
  4. Come back in for a second interview to meet with a couple members of the team who could potentially be peers (1-2 hours)

The R29 offices feel more like one big living room. You might need to sit on this couch for your interview there.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

There isn’t a clear-cut answer to this but I can say that both are very important to us. While proper experience and hard skills will spark our initial interest, what we ultimately look at most is your ability to learn. We like to see how you handle situations and problems that you may not have seen or encountered before. You should also have the ability to communicate your ideas, keep an open mind, and handle feedback well.

What are the secondary skills you look for in a designer besides common soft skills?  For example, do you prefer business skills over coding skills? Illustration skills over coding skills?

In a product design role it would be advantageous to have some knowledge of code, since you will need to be communicating with engineers on a daily basis to turn your designs into an actual working product. It’s not required but closing that gap between designer and developer will make things go a lot more smoothly.

After that I would say having knowledge of the business/industry comes next. Especially in media and publishing, you will face some counter-intuitive requests that you need to navigate around to find a solution that pleases both advertisers and users. Understanding the nature of the business will help you find solutions to the problems you’ll face much easier.

I know that Refinery29 is a bit different than your usual tech company. You have designers working on the actual website, but also designers who work on content such as illustrations, look books and Snapchat stories. Would you say everything you mentioned above applies more or less to all of these roles, or are there significant differences?

It’s funny because what we actually call “The Design Team” is our group of 15+ kick-ass illustrators, graphic artists, motion artists and art directors. They produce all of the custom artwork and graphics for our stories and feature pieces. We also have dedicated photo and video teams that produce custom photography and video content.

We have a separate team that I’m on called “Product Experience” which is a group of product designers, product marketers, and user researchers that work together to improve the design, structure, and user patterns for our .com site, custom CMS, and other distribution platforms. Distribution platforms include but are not limited to Facebook Instant Articles, Google AMP, Apple News and Snapchat templates. We’re constantly designing features for all of the aforementioned. But wait, there’s more! Our Product Experience team also experiments in future technologies and how our content might live on platforms such as VR, AR, and AI.

We constantly collaborate to see how art, photo, video, and technologically-driven experiences can come together to tell the best story.

Do you take interns? If yes, when and where can we apply?

We do. You’ll see various intern spots open up on our careers page. More of them tend to open up just before summer.

Last question: Does dressing with style give me extra points when interviewing at Refinery29? I’ve visited your office a couple times, and boy do I feel underdressed.

We want you to dress in whatever you’re comfortable and most confident in. You do you. You’ll see me on most days in joggers and t-shirts, but I’m also known to sport some metallics and colorful animal prints when I’m feeling in the mood.

So you’re saying I should wear a cheetah print jumpsuit to my interview. Got it (:

__

Hey, thanks for your time, James! For those looking to get a design job at Refinery29, James provided several gems we thought are worth noting:

Nr. 1 - Show your process and provide details.

James said he doesn’t want to just see your best work in your portfolio. He wants to see the failed projects too, and your process for working through them. It’s more important to have practical examples of your work than a flashy website with only client logos.

Nr. 2 - Research and show your passion for the industry.

Refinery29 wants to know you understand their business and feel excited about the kind of work they do. Read and watch the stuff they create to get a real feel for who they are, and show that you’ve done your research. (P.S. My friend Piera Gelardi, one of the Refinery29 founders & Creative Director, embodies the company’s spirit. We actually had an interview with her here on this blog a while ago.)

Nr. 3 - Learn code and broaden your skills.

Refinery29 produces many forms of content. The  more you can do, the more likely you can collaborate with different teams and contribute to the awesome things they create. That makes you interesting and valuable as a potential hire.

I hope this interview has been helpful to you! Now go get a job at Refinery29 and start making cool shit with James and his team.

Keep making & creating,
Tobias

 

March 14, 2017No Comments

How to get a Design Job at Electronic Arts

In this series I talk to people at some of the most admirable companies and studios out there, simply asking: How do I get a job at your company?

Our third conversation in this series is with EA, aka Electronic Arts

EA is one of the oldest video game companies in existence, founded in the early 80s. I’ve been a fan of EA for a while – I mean, how can you not be?

EA is responsible for wonderful games such as the FIFA series, Battlefield, Need for Speed, The Sims and of course the classic Command & Conquer, as well as newer franchises such as Crysis or Titanfall. The list is endless.

One of EA/DICE recent game releases, Battlefield 1. I played it & loved it.

And as I recently played through the new Battlefield 1, admiring not only the interface and gameplay, I couldn’t resist reaching out to EA to include them in this series. Here we talk to Erik Ortman, one of the Lead UI / UX designers on the BF1 team, which is part of the DICE team, a subsidiary of EA since 2006.

Hey Erik, let’s get right to it. Assume my dream job is joining the Electronic Arts design team, but I don’t know where to begin. These are the questions that come to mind – some are so basic, they might surprise you, but we’d love to hear your answer.

Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

It’s a fairly even split between internal referrals, active recruiting and traditional applications.

A lot of traditional applications also come through people at the studio sharing open positions on different social channels and reaching out to friends within the industry.

Would you say the majority of designers you hire are pre-selected and head hunted by your team, or do you get a lot of cold applications as well?

A healthy mix of both. Also worth mentioning is that the talent acquisition team at DICE is really active with reaching out to potentially interesting candidates on many different channels. Being present at student work conferences, gaming conventions all over the country and other type of events have played a big part in finding and hiring great designers.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at EA?

It depends a lot on the type of design job you are applying for. Portfolios can be an important way to your foot in the door, especially if you are working in visual design. It’s a quick way for employers to get a feel of your skills, and as a junior designer it is the best way of showing off your potential when you do not yet have a lot of industry experience.

If you’ve been working on large teams and projects, it’s hard to judge where you have made an individual impact, given that there is likely a team of talented artists and developers working together with you on your designs. If that’s the case, it is even more important to have portfolio material so you can show off your own individual passion and potential.

Some of the game UI Erik & team worked on for Battlefield 1

Now we know it's important, tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

Don’t make me think. Convoluted portfolio designs that try to be edgy by challenging the way you interact and navigate with them can be a fun design exercise – but when your users are people who want to find out as much about your skills in as little time as possible, it misses the mark. Clear and readable wins the day.

Something I would like to see more of is visualization of the entire design process, not just the result.

I like that. Don't make your portfolio a piece of art. But besides having a portfolio, do you like the idea of designers being very invested in other things? For example being active bloggers, or otherwise outspoken in their community?

One of the great things about working in games is the amazingly creative and outspoken communities that come with it. If you are interested in getting into game design, one really meaningful thing you can do is get involved with those communities, and share your work and ideas.

At DICE we have hired several people who showed their design skills through the community, either by creating great video content or simply by engaging in great design discussions online.

Having said that, we will always value doers over talkers. Building your skills and expertise is more important than being active on Twitter.

What are the top mistakes you see designers make when applying for a job at EA? Are there any specific things that keep bothering you? Please complain to us! (:

Showing a bunch of great designs without being able to talk about the process of getting there. Or maybe even worse, showing your design process as a bunch of bubbles or rectangles in a diagram. Actual, tangible examples is what matters at that stage. Show the ugly napkin sketches. Show the discarded wireframes.

Also, simply trash-talking any game will not get you far. If you feel something is bad, be ready to back it up with solid arguments and insights.

If you are a junior designer, it is important to show why you are interesting to us even if you do not yet have a lot of industry experience or a large portfolio. Some people miss the important step of writing a good cover letter that tells us about why they are passionate about design and games, and why they would be a valuable hire.

OK, let's say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible? How many interviews are there and how long would the average interview process last?

The interview process at DICE is actually quite straight forward compared to many other large companies. Of course it varies depending on level of seniority and many other factors, but here is the general look of it:

It generally starts with a phone interview, together with talent acquisition and possibly someone from the team. If that goes well, you will be invited for an on-site interview to meet different members of the team and talk about your role, and games in general. Depending on the position, and whether you are a local applicant or flown in from another country, that might take anywhere from a few hours to an entire day.

The next step is usually some kind of practical design test, which varies a lot depending on what we are looking for. Once that is complete we review the results and invite you back in to talk about your process and the results.

If all goes well, welcome to the DICE family! 🙂

You may or may not have to come here in person for your interview.

You must receive a ton of messages from people wanting to show you their work. What kind of message gets a reply? Any secrets for us?

Let your work do the talking. It is at the end of the day an extremely competitive marketplace for designers wanting to work in games, and there is really nothing that can beat high-quality work. If you can manage to convey a true passion for design and games through both your work and your words, that is the secret sauce.

Someone has to test the games, right?

Do you have a favorite story or example of "Let your work do the talking" that really stuck with you?

One that has always stood out to me is another great example of how involving yourself with the community can lead to great things. Luke Mathews (aka Floppy_Ragdoll) had just finished university and was hoping to work in trailer design. He started creating these fantastic trailers for our games, which turned out kind of amazing given the fact that he only had the released games themselves to work with, and other gamers as “actors.”

It got him noticed by the community and eventually also the dev team. Luke recently moved across the globe from New Zealand and joined DICE in Stockholm as a Media & Video Editor working on our trailers.

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills?

Both are absolutely essential, but skill and experience weighs heavy. DICE is built around highly experienced and passionate individuals who love what they do. If you come to us with that, the cultural fit tends to happen quite naturally. We are all burning for the same stuff.

Pure passion is what drives most game designer & developers

What are the secondary skills you look for in a designer, besides common soft skills? For example, do you prefer business skills over coding skills?

Most designers working with games probably end up dipping their toes in the actual game engines at some point, so being comfortable with that aspect is a really valuable skill. That does not necessarily mean that you have to be proficient in coding, but being able to go in and adjust values or move things around in a level can help you in the later stages of projects when quick iteration times are key. As an example, most of the designers working with UI on my team spend time setting visual elements or tweaking animations in the game engine to get designs visible as quickly as possible.

Obviously you’re developing games, but would you hire someone who has no previous experience in the gaming industry? And if yes, what could get me hired even though I have no gaming experience?

Depending on the role we are looking for and the level of seniority, I would go as far as to say we sometimes actively seek people from outside the gaming industry.

First of all, I believe a great designer is great at what they do regardless of whether they’ve been working on car dashboards or video games. Experience working with design in larger teams and having a solid approach to how you solve design problems has significant value. Having said that, of course there is strength in having lots of experience with the medium you are going to work with as well, especially if you are looking to get into more senior role.

Some of the best designers on my team had never worked with games before DICE, and the journey of seeing them fall in love with the medium is a real treat.

How much does playing games yourself play a role in getting hired at EA?

It plays a role for sure, as we look for passionate people who feel deeply about games. Gaming as an industry is changing rapidly; new ideas and technologies are brought to light constantly, so staying on top of what the current trends are and how others are solving problems in that space is really important. Besides, we have a lot of fun playing games in play tests and during lunch gaming-sessions, so if you enjoy doing that it is a big plus!

And my last question: Do you take on interns? If yes, when and where can I apply?

Sure do! A good place to start is here. Many EA studios also keep job listings on their sites. At DICE you can find all our job openings, usually including several internships, here.

Heads up: You need to be able to beat me in Quake 3 one-on-one. Otherwise you’re out! 😉

You rock, Erik! Thanks for taking the time to provide such helpful advice! Lots of gold here for those looking to work at EA, and your answers make me want to work there myself (:

A few main takeaways:

Nr. 1 -  EA is looking for you. They are actively reaching out to people all over – even YouTube, where they found the guy who was creating video game trailers. Which brings me to my next point.

Nr. 2 - Get involved in the community. It’s clear EA seeks people who are passionate about design and the gaming community. Get out there, get your game on, and get your work in front of people. Being part of the gaming community is as important as having the design skills to work in it.

Nr. 3 - EA values doers over talkers. Overall, EA is not playing around when it comes to hiring designers. They don’t want fluffy graphics in your portfolio. They want concrete examples of your process. EA appreciates you being outspoken in the community, but they value skills and experience even more.

Nr. 4 - If you are a junior designer, include a cover letter. If you don’t have a lot of industry experience or portfolio work yet, write a cover letter that shows how you are interesting. Make an effort to stand out even if you don't have the work yet to back it up.

___

I hope this article gave you some good insight into the inner workings of one of the leading game development studios out there. If you'd like to be part of one of their future big games, following Erik's advice is a great place to start.

Questions? Ask me @vanschneider or Erik @freeortman on Twitter! ??

Keep creating & keep gaming,
Tobias

March 12, 2017No Comments

How to get a design job at Nike

In this series I talk to people at some of the most admirable companies and studios out there, simply asking: How do I get a job there? Our second interview in this series is with Nike.

The best thing about writing an intro for Nike is that Nike needs no intro. It's one of the reasons why Nike is so damn good at what they’re doing. You already know what Nike is, and more importantly, what Nike stands for.

I’ve been a fan of Nike for a long time now — not only for their products, which I love using, but for their brand storytelling.

So as part of this series, I reached out to Shine. Shine sits at the source as she's on the team responsible for finding and hiring the best creatives for Nike (some might call it Global Recruiting for Nike Brand Creative). I asked Shine a few simple questions, the main idea being: What's are the secrets to getting a job at the one of the most recognized brands in the world?

Hey Shine, let’s get right into it. Let’s assume my dream job is joining the Nike design team (any design team, can be digital or even becoming a shoe designer), but I don’t know where to start. So here are some questions — some are so basic, it might even surprise you, but I’d love to hear your answer.

Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

At Nike, Design is everything. We have some of the best designers in the world and when we hire new designers, they need to be as good or better! We usually know who you are. If we don’t know you, we make it a point to get to know you.

We do this by proactive sourcing / headhunting and through networking – from employee referrals, external networks and relationships.

My recruiting philosophy is that 1) The best people are happily employed and designing great things, not actively looking for work and 2) Good people know good people. Referrals are golden!

Traditional channels (posting a job, advertising and waiting for candidates to apply) accounts for a very small percentage of our hires. We don’t sit back and wait for the talent to find us, we find the talent.

Nike World Headquarters in the Greater Portland, Oregon area.

Do you get a lot of cold applications from people? I’m trying to get a sense for the best way to get into the Nike family, if I haven’t already been noticed.

We do get cold emails from people generally reaching out. We’re open to connecting with talented designers and how that initial introduction happens can vary.

To get into the Nike digital or brand design family, find me on LinkedIn 🙂

Say we do reach out with a cold email or note on LinkedIn. What kind of message gets a reply? Any secrets for us?

We are all open to direct emails from top designers. Add your portfolio and resume, and let us know what you are interested in doing. You can email a recruiter or a creative. We work closely together.

I am always open to people staying engaged with me, but there are a lot of emails and people to respond to all the time. Sometimes, it’s hard to respond to everyone at the speed you desire (sorry to anyone I was slow responding to!). But keep emailing until you get a response.

If there is not a match right now, we will let you know.

Concept art & early sketches of the innovative, auto-lacing HyperAdapt 1.0.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Nike?

A visual portfolio is critical and a non-negotiable.

As a recruiter, I can have a conversation with a candidate without a portfolio. Based on where you work, the products of your brand and your experience, I will usually know if it’s a match.

However, when you get to a hiring manager or an in-person team interview, you need to have a well-curated portfolio. Creative leads always start their assessment of a candidate with a portfolio. Your portfolio is your story and worth keeping updated.

You may have to come here eventually for an in person interview

Besides having a portfolio, do you like the idea of designers being invested in other things? For example being active bloggers/writers, or otherwise outspoken in their community? How much do you value side hustles?

We love designers who are active in creative pursuits outside of their day-to-day design. Our design work is definitely challenging and inspiring but sometimes, you have to look outside your everyday world to feel inspired.

We have many designers who pursue creative interests outside of Nike Design –  music, art, photography, sculpture. This is all valued and encouraged.

However, we are a brand and a company so designers need to balance creative pursuits with the corporate guidelines of Nike. Obviously you have to be reasonable and not do things in direct competition with our brand – that’s obvious!

What are the top mistakes you see designers make when applying for a job at Nike? Are there any specific things that keep bothering you? Please complain to us! (:

  • Not having a curated portfolio. Your portfolio should be your best work only and not everything you have ever designed!
  • Not knowing what you want to do. For example, emails from designers asking, “Does Nike have any job openings?”
  • Lack of preparation. You have to be proactive; have your portfolio ready and a brief pitch of your skills and experiences.

Tell us one thing you never want to see again on a portfolio website. Anything you wish you saw more?

Things that make it hard to see your work, like: “Website coming soon,” passwords for everything, really old content, links you cannot open…

Simple, curated books with one or two of your greatest projects are the best. If you are posting your work, it should be at a quality level you are proud of.

Behind the design of the Air Max 1, created by world renowned Designer, Tinker Hatfield

Do you have a favorite story of an application that really stuck with you? Someone who prototyped their own Nike shoe, maybe? Or redesigned an app without you asking?

Yes, for sure. People have sent shoes, brought shoes to presentations, etc.

I am open to anything creative but ultimately, it’s much more simple. You don’t actually need to do anything crazy to get our attention – you just need to show your excellent design work. It’s all about the work. Luckily, in the field of design, your work is not represented by only a resume.

For legal reasons, we do not recommend you redesign a Nike product. What you have already designed should speak for your skills.

The Nike team in action

Let’s say I make the first pass and get invited to an interview. Can you describe the interview process as briefly as possible?

  1. Recruiter high level interview - we want to get to know you, your design skills and experiences, and where there could be a fit at Nike.
  1. Portfolio review
  1. Creative lead interview
  1. In-person interview  - An immersive experience into Nike Design. We want to get to know you better, but we also want you to get to know us and our culture. This is the most important phase, so I’ll share more details:

– You get a chance to meet the team and present your portfolio and work. Our creatives love seeing good work and the interviews are more fun than stressful (for us anyway!).

– I have to say, our creatives are awesome human beings. Talented, no ego, super nice and genuinely want to know who you are. The team element is so important for us.

– We keep it casual, evaluating your design skills and how you would align to the skills we feel you need to be successful.

– You also get a full campus tour, and lunch or coffee with someone.

We hope, if you interview with Nike, that you walk away feeling like you had a real connection with the people. We want you to have a great experience and feel inspired by the brand.

Welcome to the Nike World Headquarters in the beautiful Pacific Northwest

Would you hire someone who is a cultural fit over someone who has more industry experience and hard skills? If you had to make the choice, which would you value more (assuming both are important, of course)?

Tough question. You really need to have the right design experience and aesthetic and also, align to our key competencies. We would not settle for one or the other. This is what makes recruiting top talent so difficult.

What are the secondary skills you look for in a designer, besides common soft skills? Do you prefer business skills over coding skills, for example?

Communication skills are very important: how you communicate in your team and with your partners, and how you communicate your ideas. The concept of storytelling runs through everything.

Collaboration is also important. No one person designs something on their own – it’s about teamwork.

We also look for people who can problem-solve and “dream” about the future. Ideas are so important to amazing design and products.

Do you take design interns? If yes, how do I get in, and where do I apply?

We start hiring in December and the annual deadline is mid February. We hire rising juniors, seniors and masters students. If you are interested in interning, look for job postings on our career site (jobs.nike.com) in January of each year. We hire design interns in digital,brand, retail, footwear, apparel, color and materials.

Do you have to be a “shoe dog” to get in? Say you found the perfect candidate skill-wise, but he/she isn’t really into anything athletic, not breathing the full spirit. Is that a problem?

If you have a body you are an athlete. That is our mantra.

An athlete is not just a super marathon runner or someone who is going to the Olympics. We do have a lot of those athletes for sure! Our campus has gyms, soccer fields, running trails and so many opportunities to be active. Our culture encourages everyone to be active.

However, breathing the spirit of Nike also means being passionate about the brand and the spirit of the brand; being someone who tries their best every day, sets goals, pushes boundaries and never gives up! Being an athlete means you embrace the power of team and you connect to how inspiring the story of sport can be. You have to connect to that because that is what you are designing around.

I promise, that is an easy connection. I cannot think of many more inspiring brands on the planet. Can you imagine the combination of sport and design, and all the depth and richness of design that can create? It’s a dream company!

Thank you so much for your answers, Shine! Is there anything else you would like to add that I forgot to ask? Something crucial a potential candidate needs to know?

We love to connect with talented designers! Right now, Nike Digital Design is growing and looking for talented product designers. If you are interested in joining our design teams, connect with me on LinkedIn. I would love to connect with you!

All right, so there are a few key learnings from Shine's interview I found worth noting and summarizing.

Nr.1 - Nike might find you before you find Nike.

I loved this particular advice from Shine. Nike is extremely active in searching for top talent which means they will make an effort to find you. If you already stand out, Nike might find you before you even reach out to them.

Nr.2 - Your portfolio is crucial.

It couldn’t be more clear than that. You need a portfolio, there is no way around that. This more or less speaks to Nr.1 as well. Being visible, showing your work and curating a strong portfolio can get you noticed by Nike before you even know they're looking.

You might appreciate this article when creating your portfolio.

Nr.3 - Take your time.

Nike is hiring the best of the best. They will put a lot of effort into getting to know you well. The interview process is fairly involved and requires an in-person interview, most likely in Portland or New York. So if you’re not from the USA, make sure you plan accordingly.

And with that, I will leave you to update your portfolio 🙂 I hope you enjoyed Shine's interview as much as I did. Until the next one!

Stay awesome,
Tobias

 

March 3, 2017No Comments

How to Get a Design Job at Airbnb

In this article series I talk to people at some of the most admirable companies and studios out there, simply asking, how do I get a job there?

First up is one most of us know well: Airbnb.

Airbnb has changed the way people travel, allowing us to stay in someone’s home and live life like a local. Their appreciation of design and unique brand vibe draws the best of creatives from all over. Katie Dill is director of experience design at Airbnb and happens to be a friend of mine (lucky me). Katie kindly answered all my nosy questions about getting a job at Airbnb, and I think you’ll find her advice to be helpful for getting a job anywhere.

Katie Dill is Director of Experience Design at Airbnb

Hey Katie, let’s get right into it. Let's assume my dream job is joining the Airbnb design team, but I’m not sure where to start. I’m curious how those who work at Airbnb right now got their position, and if there are any secrets to applying for a job at Airbnb.

Looking at your current design team, how many of them came through internal referrals and how many came through the traditional application process?

Referrals are useful, but we  try not to rely on this because it’s a sure way of only getting more of the same type/backgrounds. Instead, the majority of our people come from those that reached out directly or we proactively sourced, which is when our recruiters search high and low for interesting people from a wide variety of places.

How important is a visual and complete portfolio for you? Can I get away with not having a portfolio when interviewing at Airbnb?

Super important! It gives us a quick and pretty clear signal about someone’s abilities and experiences. We require a portfolio review before we invite someone on site for a day of interviews. It helps us better understand their potential fit—making sure there is a role that would work well for them—before wasting their time (or ours) in a full day of interviews.

Besides having a portfolio, do you like the idea of designers being very invested in other things? For example being active bloggers, or otherwise outspoken in their respective community?

Absolutely! We look for folks with an entrepreneurial spirit, a passion for craft and a bias for making. We see this in their hobbies as well as their day jobs. It’s not required that someone has a side gig, but it absolutely interests us and generally points to strong characteristics.

"We look for folks with an entrepreneurial spirit, a passion for craft and a bias for making."

Would you say the majority of designers you hire have been pre-selected and head hunted by your team, or do you get a lot of cold applications as well?

We are fortunate to have lots of folks reaching out about joining our team. It’s great when people reach out directly and express their interest. It shows hustle and passion, and that goes a long way.

In addition, we do a ton of proactive sourcing to find folks who might have particular skills. Those we find ourselves we learn about through external and internal referrals, job sites like LinkedIn and media like Medium or FastCo. We rarely identify new potential candidates on sites like Dribbble, but these sites are good for understanding people’s skills and potential fit once we know about them.

The Airbnb design team loves their PostIT's

Knowing that we’d be one of many people reaching out directly, how should we go about it? What kind of message gets a reply?

The ones that really stick out are the ones from folks that have put a little effort into it and show a POV. For example, I am always impressed by those that took it upon themselves to redesign an aspect of Airbnb to show us their skills, ideas and interests. We’ve seen a lot of great work this way and we’re always happy to talk to someone with that kind of passion and hustle.

What are the top mistakes you see designers make when applying for a job at Airbnb? Are there specific things that keep bothering you? Please complain to us! (:

Folks love to talk about how they do “design strategy” and want to work on “new big things.” They’ll tell us that they can do the details, but they’re better with strategy and developing new concepts and their time is better spent elsewhere. What they’re forgetting is that almost everyone wants to work on new and exciting things, that’s a given. We are most interested in finding people who have an understanding of how big and little improvements drive a business forward, and know how to balance these things to create big impact. We want the folks who can come up with big ideas AND know how to get them done. We want people who are passionate about solving problems, and not just the sexy ones.

The Airbnb office in San Francisco

Any favorite story of an application that really stuck with you?

Two years ago, Jihad Kawas (a high schooler from Lebanon) sent us a project he called Airbnb Moments. He put together a whole site showing his thinking and ideas for a product. It was awesome. It was rapidly sent around the product team. Folks were impressed with the thoroughness, care and creativity. We brought him into the office, had him present to the team and meet the CEO. He was pumped and so were we. At the time we didn’t have a role for him but we’ve been keeping in touch ever since 🙂

Jihad Kawas with the Airbnb Design Team - Friends forver 😉

Tell us one thing you never want to see again on a portfolio. Anything you wish you saw more?

I have seen way too many design process diagrams. They’re all the same. I want to understand your process, so I can be sure you’re thinking about users and giving yourself room to develop creative ideas. But four bubbles, a few arrows and a bunch of words is just fluff. I’d prefer to see that process through the work. Show me how you’ve gone from insight, to concept, to solution, to impact with a real project example. That will help me understand how you work and think, and assure us you can do it again.

"Show me how you’ve gone from insight, to concept, to solution, to impact with a real project example."

Say I make the first pass and get invited to an interview. Can you briefly describe the interview process from there? How many interviews are there and how long would the average interview process last? What are the phases?

While we’re often evolving it, this is what it is today…

  1. You chat with the recruiter on the phone
  2. You submit your online portfolio, we review it
  3. You chat with a designer from the team on the phone
  4. Recruiter tells you about the Design Challenge
  5. You submit the Design Challenge, we review it
  6. You come in for a day…
  • Portfolio + Design Challenge presentation (45 mins)
  • Three interviews with designers (3x 30 mins)
  • One interview with a project manager (1x 30 mins)
  • Two interviews with cross functional / core value folks (2x 30 mins)
  • Lunch with a designer

You may have to do your in person interview here, not too bad isn't it?

Would you hire someone who is a culture fit over someone who has more industry experience and hard skills?

You need both to work at Airbnb. Great craft is essential, but it means nothing to us if you can’t collaborate and put our users first. We look for people who are self-aware and value the contributions of others. Whether they’re a leader or follower, an introvert or an extrovert, we seek people who know that problem-solving is a team sport, and that our community has diverse needs.

What are the secondary skills you look for in a designer? For example, do you prefer business skills over coding skills?

It’s important that all designers can communicate their ideas and rationale, collaborate with others, and navigate ambiguity proactively. Beyond that, it really depends on the role. We hire prototypers that can code, yet lack facilitation and presentation skills. And we also hire folks that are awesome at facilitation and presentations, but can’t code for the life of them.

Leaders are expected to work laterally with other teams and cross-disciplinary partners. Business acumen as well as technical understanding is very useful for these folks as it can make them a better collaborator.

How do I get your job one day? (;

Hard work 🙂

____________

Thanks to Katie for taking the time to provide these thoughtful answers. Of course every company looks for something different in a hire, and I found several of Katie’s points worth noting if you’re interested in applying at Airbnb. Here are my main takeaways:

Airbnb isn't specifically hiring off of Dribbble.

They don’t rely only on referrals and actually source talent from places like LinkedIn or Medium. That means the more present you are online, the more likely they will find you before you can even apply.

Do something that surprises.

Katie remembered the kid who submitted the Airbnb Moments design. She passed his name around and even linked to his work here. Airbnb gets hundreds of applications a week. Now the question is, which one surprises and stands out?

A portfolio seems to be crucial. 

Portfolios are one of the first things Airbnb checks to decide who moves on to the next step. You better have one.

Set aside some time for the interview process.

It seems like Airbnb’s interview process is fairly involved and requires you to be there in-person for at least parts of it. Plan accordingly if you’re traveling for interviews.

Bullshit will not get you far.

Airbnb wants to see your process in action, not a pretty infographic about it. Provide examples that show how you think from the strategy phase all the way through the details and dirty work. Go all out.

If you're now as pumped as I am, you can apply to Airbnb right here. (if your position isn't listed, try reaching out to a design recruiter on LinkedIn instead)

What did you find most helpful from Katie’s interview? Or do you have any questions that you feel didn't get answered? Tweet at me and let me know - I'm happy to help!

Have a fantastic week,
Tobias