Let me tell you a story…

Imagine a smoky wood-paneled conference room. Five men in smart suits sit around a table with a slide projector in the middle. Atop the machine is a finned plastic container that looks like a donut or a bundt cake. A sixth man is standing and begins a pitch.

Technology is a glittering lure, but there’s the rare occasion when the public can be engaged on the level beyond flash, if they have a sentimental bond with the product.
My first job, I was in-house at a fur company with this old pro copywriter—Greek named Teddy. And Teddy told me the most important idea in advertising is “new.” Creates an itch. You simply put your product in there as a kind of calamine lotion.
But he also talked about a deeper bond with the product. Nostalgia. It’s delicate, but potent.

Designing since 1985

I’ve been a designer for as long as I can remember. I usually like to say that I started in the seventh grade, after being tenacious enough to badger my father into buying my first Macintosh computer and then spending hours noodling in MacPaint and MacDraw. Pixel by pixel, I painstakingly drew Christopher Columbus’s ship, the Santa Maria, for a book report cover. I observed the lines of the parabolic exterior of Saint Mary’s Cathedral, known colloquially in San Francisco as “the washing machine,” and replicated them in MacDraw. Of course, that’s not design, but that was the start of my use of the computer to make visuals that communicate. Needless to say, I didn’t know what brand strategy even was, or why it’s important, but we’ll get there.

This is the third article in a three-part series offering tips on how to get a job as a product or UX designer. Part 1 covers your resume and LinkedIn profile. Part 2 advises on your portfolio website.

Part 3: Interviewing

If you have stood out enough from the hundreds of resumes and portfolios a hiring manager has looked at, you’ll start the interview process.

From my point of view, as a design hiring manager, it’s all about mitigating risk. How do I know if you will do great work with us? How do I know that you’ll fit in with the team and positively change our dynamic? How do I know that your contributions will help get us to where we need to be?

This is the second article in a three-part series offering tips on how to get a job as a product or UX designer. Part 1 covers your resume and LinkedIn profile. Part 3 is about the interviewing process.

Part 2: Your Portfolio

As I mentioned in Part 1 of this series, portfolios used to be physical cases filled with your work, and you only had one of them. But now that portfolios are online, it’s much easier to get your work out there.

Much like resumes, many designers make the mistake of over-designing their portfolio website, trying to use it as a canvas to show their visual design or interaction chops. Don’t do it.

This is the first article in a three-part series offering tips on how to get a job as a product or UX designer. Part 2 advises on your portfolio website. Part 3 covers the interviewing process.

Part 1: Your Resume & LinkedIn Profile

(With apologies to Maxine Paetro, whose seminal 1979 book  How to Put Your Book Together and Get a Job in Advertising was highly influential in my early job search process in the mid-1990s.)

I graduated from design school in the spring of 1995. Yahoo! was incorporated just a couple of months before. AOL was still the dominant way everyone connected to the Internet. Tim Berners-Lee’s World Wide Web was still a baby, with just a tiny fraction of websites available. In other words, my design education was about graphic design—layout, typography, logos, print. Neither digital design nor UX design was taught or barely practiced yet. (The closest thing would be human-computer interaction, more computer science than design.)

We communicate in stories. Storytelling has been around as long as our species has existed. From paintings on cave walls in Lascaux, to hieroglyphics in ancient Egypt, to radio dramas like “War of the Worlds” that cause city-wide panic, to the fantastical Game of Thrones television series on HBO, stories impart culture, history, information, and ideas. Stories are primal so we are receptive to them, and we remember them.

Today when we think of storytelling, we think of our modern day’s Golden Age of Television or the Marvel Cinematic Universe (“MCU”) movies. Comic-Con in San Diego is the Mecca of pop culture storytelling, and this year brought an estimated 135,000 fans from over 80 countries. Attendees packed over 2,000 panels and screenings and lined up for more than 250 autograph events from their favorite actors, writers, and artists. Fans lined up for hours, often overnight, for a chance to get into the infamous 6,500-seat Hall H where they were able to get a glimpse of their favorite star talking about their latest film or TV project. Many came to the con dressed as their favorite characters, often constructing their own elaborate costumes. That is fandom, otherwise known as brand loyalty.

What lessons for design and branding can we learn from Comic-Con and its pilgrimage of rabid fans? Storytelling has power, and design is storytelling.

In this article we’ll take the primary elements of storytelling and apply them to design, namely branding, marketing, and product design:

Did you know that March 31 was World Backup Day? Yeah I didn’t either. But for shits and giggles, I decided to finish writing this post which I had started late last year. Hope you enjoy…

Anyone who works with any type of data files should have a comprehensive backup plan. Which pretty much means everyone who uses a computer. As a designer who’s been working professionally for over 20 years, having a good solution that works is incredibly important. Over the years I cobbled together something that works for me, but I wanted to codify it and share it, in case it might work for you.

The Crash

I’m a data packrat. Since my early days with my 512K Mac, I’ve tried to save everything that I’ve produced. Therefore there’s a big plastic bin filled with 400KB and 800KB floppies, DAT backup tapes, SyQuest cartridges, Zip disks, Jaz disks, CD-Rs, and SCSI hard drives, containing many years of work. Eventually, I’d like to extract all those files onto a modern medium, like say, the cloud, but that’ll have to wait until I have much more time on my hands.



Whenever I look at anything with words on it, I look at the typography. Bring me to a local corner lunch cafe with a menu typed out and printed from Microsoft Word and I will have a field day. I would judge even more harshly at a more expensive restaurant. I can’t help it as I—like most designers, I’m sure—just look at everything with a critical eye.

My biggest typographical pet peeve is the rendering of apostrophes, single and double quotes.