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Design Was the Skillset I Chose

Design is the skillset I have prioritised to leverage my creativity.

That single choice has shaped my entire career, but it could just as easily have gone another way. From the earliest descriptions of who I was, the word creative always appeared. By today’s definitions, some of the traits I carried might now be labelled differently, perhaps even as a disability, but at the time they were simply quirks that nudged me in this direction. It became the identity I took on. Whether that identity was imposed on me or the result of genuine talent is still up for debate, but I passed every test I ever took and won every art competition I ever entered.

The irony is that I am not competitive. I have never cared about competing with others, which is why I still do not value awards for their own sake. I only care how they could be leveraged to generate more business. But I was never considered a business person. Even when I turned talent into design skills, I never stood out for business acumen. I was recognised for creativity.

Still, I genuinely believe that had I pursued any other field, I would have thrived as long as I committed to it in the way I committed to design. I could have applied myself to almost anything. If you have not met me, you might be surprised to know the only thing I ever formally studied was personal training before I became a designer. If you have met me, you would probably understand.

The First Detour

I am not a bodybuilder. That is a whole other level of dedication. I have always been in good shape. That came from resisting the idea that I was useless at sport, even though I was never encouraged to play much. For the most part my family were overweight and did very little to stay in shape. My father, a pilot, was the exception, showing real athleticism through running, hiking, and keeping fit for his job. My brother and I looked different to the rest of the family, much slimmer, so at eighteen I started going to the gym to gain some muscle.

I got results quickly and learned that hard, consistent work pays off. I obsessed over training. I fantasised about bodybuilding, but I never had the discipline to build the frame required to compete. Still, I looked good enough to model and walk around with confidence. I still train with intent and consistency, and when I am not talking about design I am usually talking about fitness, nutrition, longevity and mental well being.

Early in my personal training career, I discovered I could make far more money in design with less time investment. I abandoned the idea of being a PT and committed to design. Despite once swearing I would never be a creative, and trying different paths, I found myself pulled into a career of creativity anyway.

Finding My Medium

At first, I thought I would be a graphic designer. I tried designing business cards, flyers, and letterheads. But I found web design early, and that changed everything. It was not only about visual design, I had to learn to code and build websites. That led into Flash, which opened the door to animation, illustration, sound, interaction, and experiences that were far richer than simple layouts.

I became obsessed with being an internationally recognised Flash designer. This distracted me from any other creative pursuits because I was fully committed. The more I built, the more attention I received, and the more ambitious my work became.

Over time, my skills broadened. Bigger clients demanded more than just Flash sites. I had to think about branding, campaigns, technology, and experiences. Year on year, I built range. But when the 2008 recession hit, working independently became unsustainable, and I started flirting with the idea of joining an agency.

In 2009, I entered advertising as a Creative Director.

From Designer to Leader

Being hired directly as a Creative Director meant leading from day one. I was responsible for digital and for integrating it with traditional teams, raising standards and pushing for brand building across channels. After a decade working for myself, the shift into leadership felt natural. I focused on outcomes and on helping people do the best work they could.

As a creative director my role was broad from the start. It covered brand, campaigns, digital integration and the wider picture of how creative work shapes perception and drives business. I thrived in that environment. Even without previous experience on set, without understanding why production was outsourced to directors or why DTP handled asset design, I figured it all out. I was just as comfortable concepting a TV advert as I was launching a website or planning a seasonal campaign. My personal taste and standards carried me through.

Leadership, however, was a skill I had to learn. At first, I thought I was doing fine, but in truth I was making mistakes. The difference was that I was open to guidance from great leaders, and I learned from them quickly. I applied their wisdom, caught up fast, and found success as a creative leader.

Beyond Agencies

When I left advertising, I intended to return my focus to design. But I never saw myself as only a designer. My career had taught me that my creativity had more range. I could deliver far beyond pixels. I expanded my scope into systems, product design, brand strategy, and content production at scale.

Even in my role as Chief Design Officer, where others sometimes saw the job as managing designers in Figma, I was reshaping brand perception, building a digital product function, and influencing business direction. I rebranded companies, introduced design thinking, built systems, took over social media, and spoke business with CEOs.

Creativity was always the lever I pulled. It gave me access to projects and responsibilities that others might have overlooked.

Beyond Design

Despite being boxed in at times, I have always seen myself as more than a designer. I can adapt to new tools and frameworks quickly, and I am not limited to a single discipline. Design has been my foundation, but I know I could have written, directed film, or worked in fashion with equal commitment.

Could I have been a successful businessman or CEO in any field? I believe so. But it takes only a few minutes with me to see where my instincts lie. I am creative. It is natural, it is obvious, and it has always been the constant.

Creativity as the Constant

The point is not that design was the only path open to me. It is that creativity is a transferable foundation. Once you commit to mastering a skill, the same mindset can be applied elsewhere. Design has been the skillset I prioritised to leverage my creativity, but the real story is that creativity itself is the asset.

It has carried me through industries, helped me adapt, and allowed me to thrive. Design was my chosen medium, but creativity has always been the thread running through everything I do.

Does your CV tell me what you actually do?

I have worked with many people, and the thing I care least about are the metrics. I know others care, but I cannot trust them. Who actually has the time to find out how a product they designed performed? Unless you are at a dedicated tech firm iterating on every release, those metrics are either not shared or not allowed to be.

I know my experience is not everyone else’s, but I am a realist. Most of what goes into a CV is nonsense that I simply do not care about. The only thing I want to know is what you can actually do. Most of the time I can gauge this from where you have worked before. I know the better agencies and people in the industry and can figure out whether you might produce the type of output we need. So just tell me what you can do.

This might conflict with all the advice floating around, even advice I have had to take when applying for roles in this broken industry. So let me tell you what I actually look for.

It is not a skills list. I hate those. Save yourself the keystrokes. I care about those as little as I care about how you claim to have increased conversions by 4% last quarter. I would rather know that you built a design system that integrated with the framework engineers were comfortable with, such as Tailwind. That is practical to me. This is what happens outside FAANG. People use tools that help them ship.

Yes, I have worked at places that did not use these frameworks, but only because I fought hard to keep the code proprietary since we had the resources. So if you have done the same, mention it. Or tell me you created Figma designs for a mortgage calculator, leveraging the client’s CI to inform your work, and built a small UI kit within budget to prepare for the next iteration. That is useful detail.

Tell me if you used Midjourney to generate concepts before briefing the illustrator who developed campaign content. What was the campaign idea? Did you run it yourself or hand it off? That tells me you can collaborate, explore new technology, and manage handoff.

If you have concepted an app, even if it lives only in your Figma file, share it. It shows what excites you and how you think. If you prefer research and were part of the team that designed onboarding for a banking app, that is fine. I understand you had nothing to do with the dashboard that failed.

These are real experiences. They are far more valuable than polished descriptions stuffed with metrics that could have been pulled from Excel. I could not care less if you know Excel. I only care that you understand your role in design, have dealt with the constraints of small agencies working with early stage startups, or contributed to squads at a high street bank still trying to lead in digital twenty years too late. That says more than any metric ever could.

I cannot tie metrics to your actual contribution. But hearing you describe your real work experience is something I can understand, and it is why I would hire you. The people demanding metrics are delusional, selling lies they have convinced themselves of.

I have been in this industry longer than most. What you can actually do matters. I can spot the nonsense, and I am not afraid to call it out. I lead through brutal honesty and a very direct nature. I will push you to be your very best. Being straight with each other and we’ll do great work together.

Thanks to DDH for his inspiring video on this topic.

Recruiters should be talent agents

Recruitment works better when it feels more like representation. The most effective recruiters aren’t acting as middlemen but behave like agents. Such professionals know their talent, back them, build trust, create access, and understand how timing and fit actually work. This shift in mindset changes everything.

You’ve seen this before. A client sends over a job spec and the recruiter reposts it to LinkedIn. Hundreds of applications come flooding in. Within hours, the inbox is full and the system is overwhelmed. No one gets a good experience, not the client, candidates, or recruiter.

Recruiters often complain they do not have the time to respond to everyone or to sort through portfolios properly. But the chaos is a symptom of waiting for client requests and then call for candidates begins. Theres only going through CV’s and forwarding them on.

I propose a better approach. Start early, build a bench of talent before the demand appears, know who is doing good work, and understand what they are looking for. Stay in touch with the people in your network, even when they are not actively searching. That way, when a client calls, you already know who to call back.

Clients do not need help reposting jobs. If they have written the spec, they can post it themselves. What they expect from a recruiter is access. Such clients want a shortlist and perspective. People want to know who you rate, and why. That is what earns the fee and builds trust.

Talent agents work this way all the time. In film, in sport, in music: representation is proactive. Agents do not wait for the casting call before getting involved. Such professionals know their client and understand the brief before it arrives. Agents pitch, coach, and prepare while creating the opportunity, not just responding to it.

Recruiters could be doing the same in creative and tech. Many already have the network and just need to activate it differently.

Help your candidates refine their CVs, shape their portfolios, understand their ambitions, know when they are open to move, offer interview prep, and give feedback. Bring creative leaders into your process if you do not feel confident reviewing portfolios yourself. Turn quality into your edge.

Recruitment agencies should be attracting candidates by sponsoring industry events, regularly publishing trend reports and making sure candidates up upping their skillsets to respond to demand.

You don’t need to be a middleman pushing paperwork between two sides because that isn’t the role anymore.

The people you represent should trust you before the job goes live. Clients should feel the preparation in your process, not just see a name on a list.

The best recruitment is built on readiness rather than rush, where you represent people well, stay close to them, and earn the right to place them.

That is the job.

Interviews Should Be Conversations

The job interview shouldn’t feel like an interrogation. It should be a casual conversation over coffee, not across a boardroom table. A chance to show who you are, how you think, and whether you’d be a good fit, without being made to perform.

You’ve done the work, made the time, and are already under pressure to make a major life decision. The least you deserve is to be treated with warmth and respect.

You shouldn’t be forced through a formal process full of questions designed to catch you off guard. The goal should never be to test your nerves. The person speaking to you should already understand your work and career path, or they shouldn’t be interviewing you. You should be met by someone who knows what to look for, who wants to understand your experience, values, and whether you’d connect with the team.

When just starting out, it’s about excitement for the opportunity to practice your craft, a hunger to learn, and the energy you’ll bring. As a senior designer, you’re still coachable, have passion for the craft, and how you add your experience to the team. And as a leader, it’s about vibe, whether you bring energy that uplifts the team and if your values align with how we work and what we do.

This process should never feel like surviving a Ninja Warrior course. Meeting someone excited to do meaningful work  together is a privilege.

When referred by someone who’s actually worked with you, that recommendation should count. There’s a big difference between a mate doing a favour and a respected peer backing you because they know what you bring.

Applying through a public process due to reach or regulation doesn’t mean you deserve less. If there’s little to go on online, a good hiring lead should ask for more, not disregard your CV. It’s their job to look a little closer, ask the right questions, and find out who you are. By the time you meet, it’s just a final gut check. A relaxed, honest chat to confirm you’re excited, understand the offer, and are ready to join.

You deserve to know what you’re walking into, not just the version being pitched. You deserve the transparency of where things are working, where they’re not, and what’s still being figured out.

Maybe you’re still employed and are simply searching for something new, a place to grow and contribute in a way that feels meaningful. Either way, you’re being asked to leave something familiar behind and give up a third of your day to help build someone else’s business. That comes with expectations and you deserve to know this next step will move you forward, not hold you back.

When companies don’t take the time to have proper conversations, they have no business posting jobs. Recruitment agencies that neglect to maintain a live network of candidates shouldn’t be scrambling to fill roles on demand. A good recruiter builds relationships well before a client reaches out. Their role is not to forward CVs, but to help talent succeed. Too many act like middlemen, stepping in only when asked, instead of doing the work to find, support, and prepare people ahead of time.

The creative industry isn’t that big. It’s often the same pool of talent moving from company to company, all trying to find the right fit or a new challenge. Right now, something’s broken. Too many great people are out of work. Standards have become so unrealistic that almost no one can meet them. The market feels flooded, so companies keep raising the bar, assuming there’s always someone better, rather than recognising what’s right in front of them.

If you’ve been in this industry long enough, you know the most valuable thing you bring is experience. That can’t be replaced by a piece of paper. What matters is who you are, how you think, show up, and work with others. None of that fits neatly onto a CV.

Your portfolio might open the door, but that’s not the full story. If someone truly wants to hire you, they’ll check your LinkedIn, read your recommendations, and look at your site. Even if there’s not much to see, there should be something that gives them a sense of you. And if not, they can ask.

Your application should never be disregarded without a little effort, as you deserve a fair chance to be understood, not just assessed.

That starts with a conversation. Not an interrogation.

Beyond the Job Title

I don’t design so much as I give design or creative direction. I’m a leader, but I still give direction. I default to Creative Director, and given the level I’m at, I sometimes say Executive Creative Director. I’ve been a Chief, but that seems to scare some and confuse others.

But that’s not what this is about.

I’m talking about the role you play. Not your title, but the actual role. The way you show up. What you take responsibility for. What others rely on you for.

This isn’t about me and my experience, I’ll try to keep it about you.

What role do you play?

It’s usually a really tough question to answer, and if I told you to explain it in one sentence, I’d probably stress you out. While you think about that, and you’re welcome to add your answer in the comments, let me explain what I mean.

If I ask most people in advertising agencies what they do, I’ll get two common answers: “I’m a copywriter” or “I’m an art director.” Sometimes with “junior” or “senior” in front. But that tells me very little about the role they actually play or the work they actually do. Is it print, web, above the line, below the line, through the line? And what does that even mean to someone outside of the ad industry?

If I asked a designer in an in-house team at a fintech, most would say they’re a UI designer, UX designer, or maybe a product designer. If pressed, some might say “I do user research and user flows,” which is a bit more specific to their day-to-day practice. But few would say “I work on the user experience of banking products like how to freeze your credit card” or “I work on onboarding for the business banking app.” Not many people go that granular because they might be jumping across multiple features while working at the company.

Most are likely also distracted by chasing the junior, senior, lead titles. It’s understandable, we all want growth and to be recognised for our achievements.

Another thing that sometimes gets added by advertising folk is “award-winning,” and by designers, “user-centred.” There are lots of crafty ways to say these things.

Let me bring it back to me for a second.

I can remember trying to write a one-liner that explained what I did, something that captured the breadth of my experience. I would say Executive Creative Director, then add “from concept to execution.” Whether it worked or not, I don’t know. I don’t recall getting too many questions about it. But I felt it worked because it included the job title, which covered the seniority, the “creative” (since most things at the time were still lumped together), and the fact that I give direction. Then it explained that I work from the concept of a campaign all the way through to execution, meaning building out the full solution.

This felt important to me. In advertising, most creatives only really did conceptual work. They were paid to come up with mood boards, storyboards, ideas and campaigns, but they handed it off. The work was then done by DTP teams, directors, campaign managers, art buyers, producers, etc. Rarely did they do the final work themselves. That was outsourced. They would give final approval and still get most of the credit, as agencies were mostly in the business of big ideas.

But as a digital creative director, we often had to come up with the big idea, create all the assets, build it, and run the campaigns. Hence “from concept to execution.”

In in-house teams, there’s broadly speaking a UX phase and a UI phase. Maybe a discovery phase and a delivery phase. Research and conceptualisation, then development of visual assets. But it’s usually handed over from design to dev, and the output is often not what you originally intended. Many designers are left feeling disappointed.

But given how long these things take in corporate, “shipping is shipping” and apparently we’ll iterate next time. Or so it’s sold.

So my earlier soundbite after Executive Creative Director made sense at the time. No one challenged it. It worked. But now I find it more challenging.

Again, this isn’t about me. What about you?

I read titles and headline descriptions all the time. Very few actually say more than the job title. The ones that do try to describe what they do often end up making a really confusing statement. And I often see the same generic “user-focused” blah blah I’ve probably used myself.

Occasionally, I read something with a bit more clarity. It might explain that someone works within a specific industry or business unit, or on a specific product or feature. That certainly helps.

But what do you actually do? That’s the elusive nugget we should all be searching for.

Some of these headlines include a flex, like “award-winning.” In tech, it’s usually “ex-Google” or “ex-Facebook.” That’s just a flex, like saying “Oscar-winning director” or “three-time best-selling author.” You have every right to flex. It adds credibility.

So what do you do? What if you had to pick one statement? Maybe two. I understand how diverse your skill set has to be to get any job these days. There’s no judgement from me. I’m simply trying to work this out in my own mind. Trying to figure out if what we say makes any sense to anyone else besides ourselves.

I usually try to explain that I lead teams, building experiences people love. It says what I do. It says what we deliver, not just with my input, but together, as a team. And who it’s for. Oh, and that they actually love it.

I also have a cheekier line I use now and then. I say I’m the creative leaders’ leader. Because I am. I lead creative directors and other senior leaders. I use “creative” because “design” feels too narrow. I say “leader” instead of “director” because not all leaders direct. There are leads, heads, managers, and so on. But I’m their leader. I represent their function within the organisation.

I’m always trying to find the most elegant way to say this and to make sure it lands, which I have to admit has gotten tougher over the years. I’m asked all the time what I do, and I fumble. I throw things out to see what lands.

And if I struggle to explain it to someone in person, writing it in a way that makes sense to anyone else is even more challenging.

Do you feel the same way too?

I’d love to know how you describe yourself, in person or in your headline, outside of your job title.

In Good Company

There are a few companies I wouldn’t mind working for. Some because they’re innovative, some out of curiosity, and others because I use them regularly and know I could help make them better. I admire the craft, the clarity, and the culture some have built. They’re real places where I believe I could add real value. My career has taught me that the best opportunities often come from unexpected places. Every role sharpens your instincts, strengthens your systems thinking and makes you a better designer.

Lego

Anyone who knows me knows I build Lego. I don’t want to be a set designer or a master builder, that’s my hobby. What I’d love to do is help elevate their digital experience. From the website to in-store journeys, there’s room to build more cohesion and consistency. With the right structure and creative leadership, their experience could feel as satisfying and smart as the product itself.

Grab

When I lived in Thailand, Grab became my go-to for everything. Rides, food, groceries, cleaning, you name it. It’s probably the most-used app I’ve ever had. The core product is powerful, but the experience can feel disjointed. I’d focus on bringing unity across services, sharpening the flow, and simplifying support. It’s a product I respect and use, and one I know I could make even better.

Amazon

Most of my experiences with Amazon have been difficult. I still can’t access my account, and the interface is hard to navigate. I use it often in design audits as an example of how inconsistency adds up over time. That’s exactly why I’d love to work there. I’d bring leadership, structure and clarity to a platform that millions rely on. This one is all about the challenge.

Apple

I use the ecosystem every day and it works the way I work. It supports, syncs and connects without friction. I also admire their willingness to take risks and stay the course. Their design team is one of the few that still moves with purpose. I’d love to be part of that environment and contribute to the next wave of experiences inside a system that values both restraint and innovation.

Porsche

I’ve grown to really appreciate Porsche. Not just for the product, but the precision of the brand. From language to visuals to touchpoints, everything feels thought through. That kind of consistency doesn’t happen by accident. I’d be proud to help maintain and extend that strength across digital products and future-facing platforms.

Red Bull

I don’t drink energy drinks, but I love what Red Bull has built. The strategy, the brand worlds, the culture around it, it’s an incredible ecosystem. The content, placement and community are on a different level. I’d love to build experiences that bring those stories to life digitally, with the same energy and originality they bring to everything else.

Liquid Death

It’s just water, but the way they’ve branded and built around it is clever. The tone, the packaging and the attitude all cut through. It’s not my typical style, but I respect how clear and bold they are. I’d like to help them grow without losing that edge.

Revolut, Wise, Monzo

These fintech platforms are part of my daily life. I use Wise the most, Monzo is polished and easy to use, but Revolut stands out in terms of potential. Their growth is impressive and their features are genuinely useful, but the experience could be sharper. I’d bring clarity, consistency and structure to help any of them move faster and more confidently. It’s a space I know well, and where I could contribute from day one.

Teenage Engineering

Their products make you feel something. The aesthetic is strong, the thinking is clear, and the connection between form and function is rare. They remind me of what Dieter Rams might be building today. I’d love to contribute to shaping the next digital layer of their ecosystem. Products like these deserve experiences that feel as considered as the design itself.

Formula 1

I’ve always liked the racing, but it’s the data, overlays and live interaction that I find fascinating. The way they present complex information clearly, and bring it into the broadcast experience, is world class. As F1 evolves into more than a sport, I see massive opportunity to contribute to the lifestyle, media and technology experiences around it.

A24

Everything they release feels crafted. The films are distinctive, bold and filled with creative details. I’d love to build immersive digital experiences around their sci-fi and genre pieces. Interfaces that fit the world, not just the film. There’s huge opportunity to create something original and meaningful in this space.

LV

Luxury is expanding its audience. Brands like Louis Vuitton are showing up in culture, sport and tech, not just fashion. The physical side is refined, but the digital side still has room to grow. I’d love to help elevate that. Something that feels like Moleskins Timepage, useful, elegant, clear. That level of product design is where I’d add value.

Tesla and SpaceX

I’d work on any of Elon’s companies, including X. The challenges are clear and I have ideas. I’ve already prototyped voice interfaces for Tesla, and know someone working on the rocket UI for SpaceX. These are spaces where traditional interface thinking doesn’t apply. That excites me. I’d give everything to help shape these experiences, because they’re not about browsers or phones, they’re about future interaction.

Gymshark

I train every day, and I respect how Gymshark built their brand from the ground up. I don’t wear their gear, but I know their story, and I admire their approach. The connection with athletes like CBUM is strong, and their community is massive. I’d love to help shape the digital tools and platforms that connect it all.

Dyson

Whether people love or challenge their products, I admire how design-led the company is. Dyson solves real-world problems across hardware, health and home, and does it with ambition. I’d move to Singapore if I had to, but the UK base also appeals to me. I’d bring creative leadership, system thinking and experience design to a company that experiments with purpose.

There are a few agencies I’d be happy to work with too, but that’s a conversation for another time. I’m not trying to build my own thing. I want to lead a creative team inside a company. That’s where I do my best work.

Which company would you want to work for?

How to Get Hired After Graduating

This week I came across some tough statistics about how few graduates are finding work. I’m not even sure if they were specific to designers or if they applied more broadly, but either way, it’s not looking great for those just starting out. That said, there are always things you can do to improve your chances. In fact, most of the advice in this article is about what you can do before you’re even out of school. The earlier you start, the better. But if you haven’t done anything yet, then starting now is a perfectly good place to begin.

Whether you’re a graphic designer, industrial designer, videographer, illustrator, writer, art director, or anything in between, the creative industry is built on people who make things. What you need most in the early stages is momentum. This is practical advice to help you build that momentum, stand out, and give yourself the best possible shot at getting hired.

1. Get real experience

Working experience matters more than you think, and graduating gets you a certificate, not a career. Paid internships exist, but they’re competitive and limited. Don’t wait around for one. Reach out to studios, agencies, and startups doing the kind of work you want to do, and ask if they offer internships. If they don’t, ask if you can still come in. Even if you’re fetching coffee or sitting quietly in meetings, you’re learning. You’re absorbing how teams work, how projects run, and how decisions get made.

This is how you learn what you actually enjoy. Once you’re in, you’re in. People notice good attitudes and initiative. Most interns who’ve worked with me ended up being hired full-time, not because they were the most skilled, but because they showed up, cared, and tried.

Employers: if you don’t have an internship programme, start one. It is one of the best ways to grow talent.

2. Never stop learning

Graduation is not the finish line, and getting hired in design takes more than talent. Take a course, read a book, watch a tutorial, and stay curious. If you’ve got downtime between jobs or while studying, use it. Keep building your skillset. It doesn’t even need to be strictly design. Understanding other disciplines can deepen your perspective and sharpen your creativity.

I still study almost every day. Lifelong learning is the secret to a long career.

3. Keep making

Design is a muscle, and you need to keep your design muscle strong by making things constantly. Use it or lose it. Copy great design to understand how it works, not to steal, but to build your instincts. Your muscle memory. Study typography, layout, grids, colour, composition, and motion. If you only focused on interfaces at school, go learn the foundations of graphic design.

If you can freelance, take on a few projects. If you can’t, work on self-initiated projects or collaborate with others. You must to develop your craft, through repetition. The key is to make things, and to keep making them.

4. Share your work

Make your work public, because if people don’t know about you, do you even exist. Whether it’s on Behance, your own site, or a free portfolio builder, what matters is that people can see what you’re doing beyond your school projects. It shows initiative, bravery, and the ability to explain your thinking. Those are real design skills. Craft is just part of the job. Storytelling is the other half. You need to be able to communicate what you made, why it matters, and how you got there.

You also need to amplify your work on social platforms. Start with one, but try them all, and see which one brings the most engagement, not just likes, but conversations, connections, and people responding to what you share. Build your network by showing your voice, your intention, and your work.

That’s how you get noticed.

5. Find a mentor

You don’t need to do this alone, and you definitely don’t need to figure it all out by yourself. Find someone who has already walked the path, someone you can be honest with, learn from, and grow alongside. Reach out, ask for feedback, and ask for advice. Show up with humility and consistency.

Follow people doing the kind of work you want to do, and learn from their journey. You might outgrow some mentors, and that’s okay. Keep seeking the ones who challenge and support you.

6. Be professional

You don’t need experience to act like a pro, and the way you show up matters more than you think. Be on time, be respectful, be reliable, and show enthusiasm. Be someone people want to work with. There are countless resources online to learn the basics of work etiquette, communication, and presentation. Use them.

Leave every room better than you found it.

7. Build taste and curiosity

Design isn’t just about what you make. It’s about how you think, and the best way to be interesting is to be interested. Consume culture. Watch films, visit galleries, read novels, study photography, explore music, and understand trends. Learn how things are made, who makes them, and why. Great designers have a deep well of references and a sharp eye for quality.

I’ve hired people based on taste alone. You can sense when someone has it or is developing it, and that often matters more than polish.

Getting into the industry is never just one big break. It is a lot of small steps. These seven things will help you take those steps and build your confidence. What comes next is consistency. Keep going. Keep trying. Do just one more thing each day than you did yesterday. One email, one sketch, one post, one message, or one conversation. All of it builds over time. Eventually, someone will see what you’re doing. You will get your shot.

What you do with that opportunity is what really counts.

The Death of the UX Title

There’s outrage over the UX title dying. Shopify dropped the UX and Content Design titles. If you design, you’re a designer. If you write, you’re a writer.

Carl Rivera, VP of Product at Shopify, said it outright:

“We just dropped UX as a title at @Shopify. Same for Content Design. If you design, you’re a Designer. If you write, you’re now a Writer.”

Tom Scott backed it up:

“The ‘UX Designer’ job title is dying out. I can’t remember the last time I worked on a role with UX in the title.”

Andy Budd added:

“We will see more and more of this… saying everyone is a designer with only internal levels as a differentiator.”

There’s plenty of resistance to this shift. But I’ve been saying it for years. Most people with the UX title aren’t really designers. Or they are, but they’re not very good. They found something teachable, something systematic, and turned it into a career. It was never built on taste or instinct. The title gave them cover. That cover is disappearing.

Creative designers have always applied UX principles without needing to call it that. They were the ones pushed into UI roles because they could actually make something look good. Meanwhile, try giving a visual brief to most UX people and watch the panic set in. That’s the part nobody wants to say out loud.

Product Designer was a smarter title for generalists working on products. It reflected range. Not just wireframes and flows, but actual decision-making, visual polish, business awareness, and the ability to tie it all together. Some of that can be learned. Anyone willing to put in the time can understand it. But merging UX and business with creativity is something else entirely. You either have it or you don’t. The first sign I noticed was that the one-trick ponies still struggled with the creative part.

Most of the best hires I made came from agency backgrounds. People who had no choice but to adapt. They went from building websites and apps to social content, pitch decks, banner ads, and campaign visuals. They used Photoshop and Illustrator before they ever touched Figma. They didn’t follow component libraries. They built things from scratch. They had style, timing, and ideas. That’s what made them dangerous.

No, you’re not a designer if you use Canva. I respect what it enables. People publish. But publishing isn’t design. It just borrows from it. You’re copying someone else’s creativity, with no real context. And AI will only make this worse. The tools will spit out assets, but none of them will be original. They’ll be stitched together from what came before. Creativity has context. AI doesn’t.

Once this hype cycle ends, the same people will still be at the table. Most of them are closer to polymaths, able to adapt to anything creative. They mature by studying things outside their own craft. They develop taste. They sweat the small stuff. These are the black t-shirt wearing creatives who never stopped pushing. They’re not chasing the next job title. They’re looking for sharper ways to apply their thinking. They’re not rebranding themselves as AI consultants or whatever the next wave demands. They’re still doing the work.

There are people who write. There are people who design. A few genuinely do both. But if you’re not really a designer, you had no business taking jobs from people who are. The ones who can learn fast, adapt constantly, and still produce work that’s worth what they’re being paid.

And if that stings, maybe you’re not doing the right thing. Because if you were, you’d be too busy designing a new logo for your wife’s sourdough micro-bakery and having a proper laugh while doing it.

This shift isn’t an attack. It’s a reset. The industry is raising its standards and dropping the padding. Titles don’t protect you anymore. The work does.

So make something worth sharing. And put your name on it, not your title.

Your Next Creative Shift

Exploring New Directions for Designers Feeling Stuck

Many designers today find themselves trapped in monotony. Whether it’s restrictive in-house roles or the “good enough” approach of many startups, the design industry can sometimes feel stagnant, leaving talented creatives wondering what’s next.

The good news? Your creative skillset is highly transferable, and the demand for innovative design skills is booming across emerging industries and technologies.

Why Designers are Feeling Restless
The design community has increasingly expressed frustration over repetitive workflows, particularly within digital products and services. Limited creative freedom and rigid design systems have left many UX/UI professionals uninspired.

This dissatisfaction isn’t surprising. Many digital products are now mature, shifting from innovation towards optimisation. However, this can feel uninspiring, especially for designers who thrive on creativity and fresh challenges.

Emerging Creative Opportunities
Fortunately, numerous industries are eager to leverage designers’ creative expertise:

Gaming IndustryGaming companies actively seek creatives who can design immersive and engaging user interfaces and experiences. This sector offers designers the chance to stretch their skills, focusing heavily on engagement and delight rather than strict usability.

You could use your design system expertise in gaming companies, turning gaming assets into organised systems, or creating repositories for branding assets. This approach helps maintain consistency and efficiency across teams, much like traditional design systems.

Advertising and Marketing
Traditional advertising agencies and marketing campaigns increasingly embrace digital and interactive experiences. Designers who can blend branding with interactive design can create engaging online experiences for campaigns. Think interactive storytelling, digital campaigns, and microsites that offer richer interactions than standard websites or apps.

New Interfaces and DevicesThe rise of IoT, smart devices, and wearables means design is no longer confined to screens. Voice-activated devices, gesture-controlled interfaces, and smart home products require designers to rethink traditional interaction models. Designers proficient in these areas become highly valuable as technology evolves.

AR and VR ExperiencesAugmented reality (AR) and virtual reality (VR) offer a fresh canvas for designers today. Designers who can blend virtual worlds with intuitive interactions stand at the forefront of innovation, creating experiences ranging from training simulations to deeply immersive entertainment.

Skills and Tools to Explore
To thrive in these emerging fields, designers need to diversify their toolkit:

Rive: Ideal for interactive animations and micro-interactions. Rive enables designers to create complex interactions without extensive coding skills.

Spline: Perfect for 3D design and interactive experiences in web and app development, making it easier to transition from 2D interfaces to more immersive 3D environments.

AI Tools: Leveraging AI platforms can enhance workflows significantly. AI automates repetitive tasks, generates creative concepts, and assists in detailed prototyping, allowing designers to focus on higher-level creative decisions.

Shifting Successfully
The key to transitioning effectively is understanding how your existing skills align with new opportunities:

Storytelling: Crucial in gaming, advertising, AR/VR, and interactive design. Your ability to craft narratives and guide user emotions enhances your value significantly.

User Psychology: Familiarity with behavioural design principles remains essential. Understanding user interaction ensures your designs are intuitive, engaging, and successful.

Adaptability: Embrace continuous learning. Industries like AR, VR, and gaming evolve rapidly. Regularly updating your skills and experimenting with new tools ensures long-term career resilience.

Reignite Your Creative Spark
Feeling stuck doesn’t mean your creative journey has peaked. It simply signals it’s time for change. Expanding your skill set and exploring new industries can open exciting paths filled with creative fulfilment and career growth.

Now might be the perfect moment to take that leap and see where your creativity can truly thrive.

What They Won’t Teach You at Design School

The design industry is going through a lot of change. AI is taking over tasks that used to be done by juniors. The mockups, basic layouts, and repetitive production work are increasingly automated. Agencies are consolidating, budgets are shrinking, and even experienced designers are being pushed into freelancing because full-time roles are disappearing.

Tools are more advanced and focused than ever, but that emphasis on efficiency means less room for creativity and more pressure to produce work quickly. The first few years of your career are about gaining varied experience, building a solid foundation, and positioning yourself to handle the inevitable shifts in the industry.

Get Experience in Different Environments
Your first few years are not about finding your dream job. They are about exploring different work environments to understand where you thrive and what suits your strengths.

Agencies move fast. You will juggle multiple projects, deal with demanding clients, and deliver under constant pressure. The work can feel like production more than design, but it teaches you how to deliver quickly, handle feedback professionally, and build resilience.

Startups and product studios are unpredictable. Teams are small, resources are limited, and you will be expected to handle various roles. One day you are wireframing a product, and the next, you are creating marketing assets. This chaos forces you to adapt quickly, solve problems on the fly, and work without a safety net.

In-house roles are slower but more strategic. The focus shifts to aligning design with business goals. You will refine assets, maintain consistency, and deal with stakeholders who might not understand why a three-pixel change matters. It is not flashy, but it teaches you how to work systematically and see the bigger picture.

Freelancing adds another layer of experience. If you did not freelance while studying, you missed an opportunity to build real-world skills and make money doing it. Freelancing forces you to manage clients, scope projects, and handle difficult conversations. Even after landing a full-time role, keep freelancing. It keeps your skills sharp, maintains a safety net, and lets you explore work that may be more interesting than what you are doing in your day job.

Build Your Network
Keep relationships strong with the people you studied with, your teachers, and anyone you meet along the way. These people will move around, gain influence, and may one day open doors for you. Your network is not just about finding a job. It is about having people who will vouch for you, recommend you, and pass opportunities your way.

Master the Fundamentals
Software changes constantly, but the basics of design do not. Typography, colour, and layout are the foundations of good design. If you cannot structure a layout, balance colours, or handle typography effectively, your work will always look amateurish, no matter how polished the interface appears.

If your typography is weak, it does not matter how slick the visuals are. If your colour choices are random, the design will feel amateurish. If your layouts lack structure, the work will be confusing. These are not things that can be fixed with a plugin or a design system.

You won’t learn these fundamentals on the job. Employers expect you to know them already. If your education didn’t cover them deeply, teach yourself. Study strong design work. Recreate it pixel for pixel, paying attention to every decision. It is not about building portfolio pieces. It is about training your eye, refining your taste, and developing muscle memory.

Keep Your Portfolio Alive
Your portfolio is not a one-off project. It is a living asset that should evolve alongside your work. The projects you did a year ago might not reflect your current abilities. Waiting until you need a job to update it is a mistake.

Every project is an opportunity to add new work. Internal projects, freelance gigs, and hypothetical projects can all be valuable if they show how you think through design problems.

A strong portfolio does not just showcase polished visuals. It shows how you approach problems, navigate constraints, and solve challenges. If you are aiming for product design roles, highlight interface work. If branding is your focus, lead with identity systems and visual campaigns. Align your portfolio with the work you want to do next, not just the work you have done in the past.

Develop Craft Before Chasing Titles
Early in your career, focus on refining your craft rather than collecting titles. A senior title means nothing if you do not have the skill to back it up.

Agencies keep you in junior roles longer because the work demands speed, precision, and resilience. It is not glamorous, but it builds the kind of muscle memory that will sustain you later.

In-house roles may promote you faster, but the work can feel repetitive. You are aligning assets with brand guidelines, refining templates, and maintaining consistency across touchpoints.

Startups will give you more responsibility than you are ready for. Fast promotions can feel good in the moment, but without the skill to back it up, you are setting yourself up for failure and burnout.

Build Systems, Not Just Projects
Every project is an opportunity to build reusable assets. Design systems are not just collections of components. They are frameworks that save time and maintain consistency across projects.

If your company already has a design system, study it. Understand why components were created, how they function, and how they are meant to be implemented.

Dan Mall’s Design System University is a strong resource for learning how to build and maintain effective design systems. It breaks down the principles behind creating scalable systems that work across multiple projects and teams.

Build Strong Relationships with Engineers
Your work is a product that engineers will implement. If your files are disorganised, unclear, or poorly documented, you are making their job harder. Engineers remember the designers who make their life easier.

Ask how they implement components, what they need to make the process smoother, and what frustrates them about design handoffs. You do not need to learn how to code, but you need to understand how your work impacts theirs.

Learn to Facilitate Workshops
Workshops are a fast track to becoming the person people go to when they are stuck. You do not need to be a manager to run a session. Learn how to run sprints, facilitate feedback sessions, and guide teams through creative processes.

Facilitation skills make you more valuable. You can align people around a problem, extract useful insights, and keep projects moving forward. Jake Knapp’s Design Sprint book and AJ&Smart’s course are excellent resources for learning the structure and execution of effective workshops.

Be a Designer Other Designers Want to Work With
Do not be a dick. Talent does not matter if people hate working with you. The industry is small, and your reputation will follow you from one job to the next.

Be kind. Give credit to others, even when you did most of the work. You will build a better reputation by being someone who makes others look good rather than someone who hogs the spotlight.

Own your mistakes. If you mess up, admit it, fix it, and move forward. Screaming in the car on the way home is fine. Losing it in a meeting is not.

Stay approachable. If people are afraid to give you feedback because you are defensive or dismissive, you will end up isolated and missing out on valuable lessons.

Find a Mentor Early
A good mentor is someone who has been where you want to go. They can give you perspective, help you navigate difficult situations, and provide honest feedback. Seek them out early.

Reach out to people whose work you admire. Ask for feedback, a coffee, or a quick call. You do not need to ask them to be your mentor outright. The relationship will form naturally if they see potential in you and you show a willingness to learn.

The Work Is Just Beginning
Graduating from design school is not the end. It is the start of everything. Every project, every critique, and every difficult client is a chance to learn.

You are not here to produce pretty work. You are here to solve problems, handle pressure, and stay relevant as the industry evolves. The work starts now, and it does not end.