What would happen if you decided to stop working in advertising or design and attempted to start a business of your own? How would it feel to sit on the other side of the table and ask for help selling your product? Would you know how to talk about what you need when everything is on the line and the wrong decisions could mean the loss of your life savings?
Working in coffee houses can fatten you up like a holiday turkey. It’s not like they serve wheatgrass. Your choices are scones (fat), croissants (fatter) and granola (fattest). Good thing there’s “coworking”—a healthy alternative for the freelance professional.
The 1960s design scene in Portland had elements that may seem familiar to designers today: passionate creatives, a small community, and a collaborative work ethic. Out of this creative pool emerged Byron Ferris, Bennet Norrbo, and Charles Politz, three men whose careers overlapped, who influenced each other and yet left their mark in distinctly different ways.
It takes a ton of time and energy for employers to find great applicants, review resumes, screen candidates, set up interviews and pick the right person. One bad decision can cost employers years of revenue and growth.
Last August, we shocked the world by flipping vanity the bird and showing everyone our bad side. You all looked atrocious, abhorrent, BAD—but we couldn’t look away.
Its name is CONTENT. New issues will arrive quarterly, and feature articles from The Creative Party, a new comic called Tales from the Water Bowl, and a letter from Steve Potestio himself.
Thom Hines is an assistant professor at Portland State University’s School of Arts + Design, where he’s working to expand their interaction design course offerings. One of the obstacles he’s had to circumvent is the fact that the general public is almost entirely unaware of the discipline.
Forget trying to stand out. Try staying in someone’s memory. Being successful as a creative isn’t just a battle to help your clients get noticed in a crowded marketplace, it’s a battle to be remembered at all. What we’re ultimately clamoring for as creatives is the spark that sends you, or your client, to the top of the customer’s mind.
One year after the inaugural Great Resume Debate, combatants Andy Shearer of adidas and Rick Watson of Citizen returned, this year joined by fellow creative recruiter Moira Losch of Swift, united in their dedication to rid the world of crappy resumes, and help get you the job you’ve always wanted.
Mathys+Potestio, a pioneer in creative staffing, continues growth by opening Los Angeles office.
It’s true, you should learn to code. These days, programming is as fundamental as reading, writing and arithmetic. Wrap your head around syntax and a whole new world opens up to you.
A few weeks ago, I came across a post on Twitter from this dear community’s wrangler, Nick Mendez. As usual, he spoke softly and carried a big GIF.
We’ve all been there–you toil away for hours on a campaign, dreams dashed and Frappuccinos® downed, when you finally present the job only to have some lavender-haired art director inform you that she spent her summer at a local zine and would have no problem just “slapping in some copy” herself. Or a copywriter, earnestly pushing up his Warby Parkers, informs you that he’s “pretty proficient at InDesign” and could just whip something up real quick.
Without doubt, this is the most exciting time in the history of advertising. The digital age has greatly increased the potential for creative innovation, but the digital revolution has also brought a new complexity to what we do.