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.
Crystal Beasley was a product designer at Mozilla when she decided to take a sabbatical in Cambodia. Her exposure to the lives of the country’s garment workers got her thinking about smarter apparel–not only how to manufacture clothes more ethically, but how to improve the frustrating process of finding something that fits.
Since its earliest days, the internet has been a safe haven for jerks. Anonymous, hate-spouting and troll-faced jerks. Nevermind that it’s completely revolutionized commerce, global communication and self expression—you can’t hear any of that over the jerks’ incessant shouting.
Read more at Mathys-Potestio.com
Austin is a place with a good rep. Sitcom characters have started moving here regularly. Companies are building offices in Austin so they can attend music festivals and call them “work outings.” The world-famous Alamo Drafthouse cinema is here. The Austin City Limits music festival is here. A new identity is here, for both people and the city itself.
n March 18th, we gathered at Downstream in Portland to learn more about the evolving career path of an interactive designer. With a billion new smartphones shipping every year, and the demand for app and web experiences growing exponentially, the field has never been more demanding.