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.

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 Apple announced its third-generation iPad, simply named “iPad.” Buried in MG Siegler’s excellent take on the press event is this statement:

What's more likely — 5 years from now, your primary home computing device is a PC? Or 5 years from now, your primary home computing device is a tablet? Just two years ago, this question would have been an absolute joke. Now it's a joke to think it will take a full five years.

In the post-PC world, tablets are becoming the new normal more and more. In just the two years since the iPad was first introduced, we’ve seen it pervasive on airplanes to entertain children, many executives in Silicon Valley walking around with them instead of lugging laptops, and even the President of the United States receiving his Presidential Daily Briefing via iPad instead of a sheet of paper.

This post was originally published on Bow & Arrow from PJA (my employer) on February 3, 2011.

The New York Times recently published an article about how apps and web services are enabling consumers to customize how they read their online content. From apps like Flipboard and Pulse to services like Readability and Instapaper, users are increasingly demanding to consume content whenever, wherever and however they want.

When Apple introduced the iPad a year ago, many print publishers saw it as a panacea for their dwindling readership. By creating digital editions, they hoped to recapture some of the eyeballs lost to aggregators and RSS feeds. One of the pioneering publication apps was the WIRED Magazine iPad app. Because of its novelty, its debut issue sold 73,000 digital copies in nine days, almost as much as on newsstands. There is a clear desire from users to read magazines on their tablets.

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.