What do studios look for in junior designers? We asked Justified Studio, Only and The District

Every summer thousands of design graduates are launched into the daunting space of the ‘real world,’ with many finding themselves in the painstaking process of crafting the perfect portfolio to accompany their application. To provide some ease and inside understanding of the situation, we invited leaders from UK-based studios Justified Studio, Only and The District to share some insights into what they look for in emerging creatives from their side of the recruitment process. 

After a challenging two years of zoom-laden lectures and industry shift to remote working, the impact of the pandemic on design degrees should not be swept aside. Graduates who have seen their university experience impacted by COVID-19 should remind themselves that their achievements are incredibly important and admirable. “Firstly, I think it’s important to acknowledge that it must have been extremely difficult for graduates and junior designers over the last few years,” Manchester-based studio Only’s Creative Director Matthew Tweddle tells us. “And generally, I’m always amazed by the standard of graduate portfolios we receive,” he adds. Whilst there’s been a dip in junior positions during this time, the Creative Director is hopeful that this is being reversed. 

We don’t expect you to have all the answers.

We asked the creative leaders what stands out to them when recruiting for entry-level positions, alongside what mistakes candidates can make in the application process. Across the three studios, we found that enthusiasm, curiosity and openness go a long way. Cambridge-based design practice The District look for “honesty, engagement and interest in everything and anything,” Creative Partner Matt Bagnall reveals. Eagerness is key, as ideal recruits need to showcase “up for it, active, energetic personalities with passion in what they believe in,” which pairs with a “tight as hell” understanding of design fundamentals, “type, grids, balance and touch.”

For Justified Studio, on the other hand, whilst traditional design skills are important, originality and a positive attitude come first. Rather than a polished piece of design, the London-based studio are “often drawn more to something we haven’t seen before,” states founder Joshua Ogden. “At such an early stage in a creative career,” he continues, “we don’t expect you to have all the answers – we think having ambition to create change and impact through creative expression is most important from a successful candidate.” 

Only’s approach is similar, valuing concepts over craft. “Simple, powerful ideas are the key to brilliant work that has longevity,” reveals Tweddle, noting that they feel it’s easier to teach craft than it is to teach someone to think creatively. “I’d much rather see a great idea executed poorly than something polished that’s without a strong concept.” A designer’s role is to solve problems for clients, Tweddle points out, so being able to work across a variety of styles for different briefs and audiences “is crucial.” Alongside adaptability, the studio looks for smart, motivated individuals who enjoy broad interests outside of design. Above all, he tells us, “passion and initiative are the most important attributes to us.”

Simple, powerful ideas are the key to brilliant work that has longevity.

The process of presenting a portfolio has changed dramatically due to the evolution of technology and software that allows us to create slick, interactive PDFs or even use a platform like Behance or Instagram as a portfolio. Furthermore, COVID has seen a noticeable reduction of ‘tangible’ portfolios, and the ability to show off physical work in a face-to-face scenario, putting greater emphasis on a polished digital output. Still, when showing off work, a key rule remains unchanged: “know every angle of the design you’ve created,” Bagnall tells us. “Answer ANY question on it,” he continues, “Be open – want to learn, want to share, want to laugh, want to experiment.” Mirroring Tweddle’s sentiments on creative flexibility, he adds, “don't be too fixed or focused on a specialism that it becomes a bit anal.” As his final words of wisdom, Bagnall strongly emphasises that applicants should cut to the chase, and send an easy-to-access portfolio. “And finally,” he concludes, “never email me saying ‘would you like to see my portfolio?’ Just fucking send me it AND don’t send me a terabyte pdf and expect me to download it on my 10-year-old MacBook.”

Continuing the notion of ‘know your portfolio,’ Tweddle has found that the strongest candidates are those who can clearly articulate their work; carefully considering what makes a project successful, and knowing how best to communicate this. His advice? “I would recommend writing this down, reading it and then asking yourself – can I say the same thing in fewer words? Repeat this process until it’s as clear and as concise as you can make it.” Whilst cutting down on words can be difficult, it ensures that every piece of information can be rationalised. This in turn aids those who are reviewing your portfolio, as they are often time-poor. Being able to communicate concisely is an invaluable skill, Tweddle explains, “whether you’re writing it into your first PDF portfolio, talking it through in an interview or doing a brand presentation in ten years’ time.”

Be humble, be honest, be willing to learn.

With preparation in mind, he goes on to suggest spending time researching the company and to come prepared with good questions – the interview is an opportunity to see if they are a good fit for you, too. “It’s a two-way conversation, so be clear about what you’re looking to get out of the role as well as finding out what expectations are of you.” This ensures that both parties will be happy in the long-run, and saves any unfortunate misunderstandings. 

Going into the job hunt prepared, with a well-articulated portfolio that you can recall inside out, will guarantee smoother sailing when reaching the interview stage. Still, it goes without saying, this can be a very stressful time with what feels like high levels of competition. From his experience in the design industry, Ogden reveals that the biggest mistake candidates make is “thinking they need to be able to do it all already.” These are still the very early days of your career, don’t put too much pressure on yourself to master the entire Adobe Suite, learn to code from scratch, or perfect the art of kerning.  “Be humble, be honest, be willing to learn,” and most importantly, Ogden concludes “be excited about the industry you are venturing into.”