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?

Ultimately the interview process is very much like dating: we’re figuring out if we’re right for each other, slowly engendering trust, and showing interest—without overdoing it.

The interview process will vary for each company, but in general, it’ll be:

• An introductory screening call
• An interview with the hiring manager
• Interviews with other team members

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.)

The San Francisco graphic design scene back in the early- to mid-1990s was pretty close-knit. Most of the established practitioners in The City taught at the California College of Arts & Crafts (CCAC, but now shortened to California College of the Arts (CCA)), fertile ground for finding interns and junior designers. Regardless, all of us graduating seniors needed to have portfolios. Physical portfolios. Some books—another name for portfolio—were basic: a leather folio with plastic slip pages filled with mocked-up posters, booklets, or photos of projects. Or some designers would custom bind books with special hardware and print their work on fine paper, spending hundreds of dollars. But you had one book. So when applying for jobs, you had to leave your book with the design studio for a few days to a week! Which meant that job hunting was very slow going.

I have always liked writing. I don’t fancy myself a professional writer in any way. Still, I like having an outlet (or outlets) for my random musings as I work through understanding the world, be it design, technology, or whatever. While I have published various blogs in the past or written articles and essays on Medium, I want my content hosted on a platform I own and control. So, I’m consolidating everything here on my personal site, which may become a haphazard amalgam of subjects.

This is officially the first post on this site, but I will be bringing in posts from the various past platforms and backdating them to their original publication dates.

I will also use this site to post links to stories and articles I’m reading. It will inevitably be an assortment of design, tech, Apple, and politics.

This was originally published as an item in Issue 003 of the designspun email newsletter.

It is no secret that Twitter has enabled and emboldened Donald Trump by not restricting any of his tweets, even if they violated their terms of service. But earlier this week, they put misinformation warnings on two of his tweets about mail-in ballots. This angered the President but also got the ball rolling. Snapchat shortly followed by saying it will no longer promote Trump’s account. Against the backdrop of growing protests against the murder of George Floyd by police, some tech companies finally started to grow a conscience. But will Silicon Valley change? Mary-Hunter McDonnell, corporate activism researcher from the Wharton School of Business says, “Giving money to organizations that are out on the front lines is more helpful, but it’s also to some extent passing the buck. People are tired of that.”

As designers, we have some power over the projects we work on, and the products we create. Mike Monterio wrote in February, “At some point, you will have to explain to your children that you work, or once worked, at Facebook.”

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.

Yesterday Lunar/Theory (my partner David and I) launched version 2.0 of our iPad app DesignScene. Take a look at the trailer:

I’ll write more about it in the coming days. Meanwhile, read this post on our blog about it.

I’m really proud to announce that DesignScene for iPad has shipped today. From idea to release, it’s been about a year in the making. Here’s a little trailer I made in case you missed it:

I’ll be frank and say that this app was really made for me. Like many designers I spend a lot of my time going from website to website looking at stuff and reading up on trends. I eventually started using RSS feeds but even my feeds got unwieldy. I dreaded opening up Google Reader and seeing “1000+” unread items.

Customer and user experience is not always about the website, the phone call, or person-to-person interaction in a store. It can also come through the form of packaging.

I just bought a Mac mini recently (for a living room media server) and was blown away by the unboxing. Apple has always been really great about their packaging. Having worked at Apple, I’ve seen the extreme extent of explorations that go into creating the outside of the box (over 500 comps were created for the Power Mac G5 box). (Incidentally, I worked on the second generation iPod package that featured musical artists like Jimi Hendrix.)

What really impressed me about unboxing the Mac mini was not the outside (although nicely designed), but the inside. The package anticipated my every move. How? Let me illustrate.