WIP What qualities do you look for in a design portfolio when hiring new talent?

TJ We seek a selection of a few strong projects that demonstrate a variety of expressions and controlled use of techniques. We also look for a certain limitation in the number and type of outputs shown, reflecting an awareness of where a modern brands operates and express themselves today. This enhances the overall impression and shows the ability to curate the most important outputs and make good priorities. The outputs should demonstrate the highest potential of a job; too many identical outputs can be counterproductive. More is not more.

The portfolio must contain strong concepts and ideas, whether small or large, simple or complex. Not everything needs to be perfect. A new, great thought or concept can compensate for an output where the potential is not fully realised visually.

We never think that a portfolio can stand alone. A designer must be able to talk about their solutions, showing us the ability to recognise and understand the quality of their own work. A good concept becomes even more valuable when the designer makes us discover something new in the solutions when they present them. An incredibly important part of the job is conveying and convincing a client of an often unfinished idea, creating images in their minds or helping them see connections that may not yet be fully resolved visually.

In short, the designer and portfolio must reinforce and complement each other in some way. In many ways, it is a cliché, but we look for attitude in both the portfolio and the designer, thinking that skills can be learned.

WIP How important is it for designers to have a diverse skill set, and what specific skills do you see as essential in today’s competitive landscape?

TJ The most important thing is that designers desire to acquire new knowledge continually. Which skills matter changes all the time.

Designers should also stay informed about AI, branding debates, design rights, culture, or politics. No one can do it all, but we value unique strengths that add to the team, like writing, illustration, photography, sound, or typography.

Therefore, knowing other creative fields helps as it builds awareness of how identities work in practice and how they’re used. Understanding the client’s world improves the outcome.

We believe everyone should handle the basics, then together as a team, we meet a wide range of needs.

WIP What strategies do you use to foster creativity and innovation within your design team or studio environment?

TJ We focus on trust, openness, and a culture where it’s safe to take risks by implementing 3 initiatives:

Firstly, designers always work in pairs, not fixed teams, but it varies based on the project. It builds trust, ownership, and better ideas overtime.

Secondly, in our weekly meeting, we give positive feedback on work from other studios, training ourselves to highlight strengths, not flaws. We find that positivity encourages sharing and creativity.

And thirdly, we have a big board – “The Wall” – where designers share sketches for input. It helps surface strong ideas and challenges existing ones.

We also use a digital version of The Wall for questions, updates, and informal feedback. We organise yearly trips to visit studios, exhibitions, or inspiring companies, gathering input from outside design. Finally, twice a year we reflect, set goals, and realign as a team which helps us think big and stay future-focused.

WIP Try is a big communication house. How do the diverse skill sets inside all departments at TRY benefit your work in TRY Design?

TJ Ideas are often limited by what you think is possible to deliver. But at TRY, we work with specialists across disciplines, creative tech, text, motion, development, and more. That opens up possibilities.

We often say TRY is the house that believes the impossible is possible. This mindset lets us say yes, even when we don’t yet know how to solve something.

Many designers come from small studios where they did everything. At TRY, we focus on our specialties but collaborate deeply across fields improving quality and expanding how we work as a team combining our different skill sets.

WIP What makes the conceptual part of a project so important to you as a studio?

TJ At TRY, strong concepts are at the heart of everything we do. They create value, guide design choices, and help clients tell authentic stories. Since many clients go through this process only once, a clear narrative becomes a powerful tool: easier to relate to than design terminology and more memorable than just a font or colour. A strong concept lets us pull inspiration from unexpected places like architecture, music, or cultural traditions. This leads to unique, relevant design work that resonates beyond the design community. It’s how we avoid imitation and instead craft identities rooted in storytelling, not just style.

try.no
@trydesign