Interview with Elliot Cowan

Elliot Cowan is an animator, illustrator, artist and educator. He teaches 2D animation (ARTS215, Summer Session 2), Introduction to Digital Animation (ARTS193, Fall 2016), and Storyboarding for Animators (ARTS370, Fall 2016) at Queens College, CUNY. In this interview, he shares a little bit about his life, influences and projects.
Still from "Boxhead and Roundhead" © Elliot Cowan.

Still from “Boxhead and Roundhead” © Elliot Cowan.

KW: Tell us a little bit about your background?
EC: I’m from Melbourne, Australia. My parents are British Jews. Mum is from Manchester in the very north of England and my dad is Scottish. They moved to Australia in the late 60’s and have never been back.

As I kid, I was mostly genial and quiet. I loved cartoons and movies. I had, and still have, no interest in sport, which is kind of a strange thing in Australia. I spent a LOT of time drawing and making puppets, little sculptures, that kind of thing.

KW: Were your parents artists? Who encouraged your art making activities?
EC: My parents are not artists. I had a grandfather who was a musician who probably would have drawn if it had been nurtured or even discovered in him. My folks were very encouraging in a kind of hands-off way. They made sure I had plenty of paper and pencils and let me take some art classes when I asked to but for the most part they stood back and let me do my thing.

KW: When did you know that you wanted to become an animator?
EC: As a kid I was obsessed with animation and puppetry. I don’t know when that started exactly – probably watching Sesame Street, which has a lot of both – I just know that animation has been a part of my life for as long as I can remember.

My early influences were actually illustrators more than animators, I imagine because at the time I had more access to them. Murray Ball. Tove Jansson. Norman Lindsay, Gerald Scarfe. Quentin Blake. The Muppets. All had a massive effect on my work that I can still see to this day.

I think I was originally more interested in puppetry. In the mid 80’s in Australia the idea of going into animation was only slightly less insane than being a puppeteer so I chose that path.

KW: How did you discover these artists—books, comic strips, television, at home, at school, wandering into bookstores?
EC: I’ve never been entirely comfortable being part of a pack, and even as a young kid I was inclined to search outside the mainstream for creative stimulation.

I was born in 1974. Shortly after that Melbourne experienced a very large influx of migrants from all over the world. In an effort to accommodate all these new people a television channel was created to broadcast international programming—local news from Greece, soap operas from the China, and later on I remember seeing the Iranian version of The Nanny.

When I was eight or nine they would program a four-hour chunk of international animation on a Sunday afternoon and I was crazy for it. All short films, animated series and a crazy Czech version of the Muppet Show. It had a big influence on me.

My mum would also take me to the library every week and I’d always take a pile of books out. I discovered Gerald Scarfe at the library when I was 7 or 8 and I am still influenced by him.

KW: Why did you decide to attend Independent College of Art and Design and how did the experience shape you? Were you a good student?
EC: At the time University in Australia was basically free, but I chose to go to a private college because they responded to my work in such a positive way. I studied Graphic Design and Illustration.

The experience changed my life completely. My lecturers said to us “We are here to show you all the stuff you don’t know about, so put down your security blanket and come see this”, which I was more than happy to do. They really did introduce us to the idea of thinking and feeling and living like an artist. I formed friendships with my professors that have lasted to this day.

I had been a very average high school student but did extremely well at art school – it was one of the most productive times of my life.

KW: Did you go directly to graduate school (and why Victorian College of the Arts)? Why did you think advanced studies were important?
EC: I did go directly to graduate school. At the time there were limited places to study animation and one option was at The Victorian College of the Arts. My illustration professor had gone there many years previously and recommended it.

I don’t I think advanced studies are important in the arts at all. As an artist you’re better off spending all that money on an extended trip to Europe or backpacking through the Grand Canyon with attractive foreigners.

For myself, it was the only way I could go and do some animation and move forward in my career. These days you can learn a bit of animation on your iPhone but at the time there was only paper and big machines and film and Steinbecks and my time at VCA gave me access to all these things.

KW: What were the first types of jobs you held (and then how did you end up directing and editing low budget television commercials in Tasmania for 11 years)?
EC: Like many art schools with a film department, VCA has an industry screening after each final semester. I started working the day after the industry screening for a small company called Oh’ Hell He Ran Productions – the guy who ran it was called Bernie O’Halloran.

We were doing animated pilots for MTV Asia. They’d send us a four-minute script and we’d put the thing together. I only remember one thing we worked on called The Supermuddles, a spoof about supermodels. Also did some great stuff on a pilot that Bernie was developing himself. I did a bunch of great animation on it and also did one of the lead voices alongside Australian actor and comedian Kim Gyngall.

Bernie worked out very quickly that I worked reasonably quickly and was happy working late so he’d skip out most of the time to have “meetings” which meant he was sleeping with pretty girls.

Eventually I became burnt out and a job came up at a multi-media company in Tasmania. I thought “Screw it, I’m taking it”, which is kind of like living in New York and deciding to move to a shack in the Appalachians. The company is still around so I don’t want to mention them but I worked for a guy who was part moron, part sociopath. I created several animated commercials and inhouse projects called “The Thungums” on which I did some of the best work I’ve ever done but remains lost to the world.

After a year or two a job came up at the local television station directing low budget commercials and I took it. I was there about 8 years before I was fired and went to work for their rival network down the street. It was all very, very hard work–lots of hours and little pay. Not a nice place to work.

During that time I continued to draw, exhibited twice and made several nice animated commercials.

I also developed Boxhead and Roundhead in Tasmania, which ultimately became several short films and an animated feature.

KW: Professionally, what were some of your favorite projects?
EC: Well let me say this first. There is very little about working commercially that I’d ever describe as being my “favorite” anything. Unless you’re in charge of a project you’re toiling for someone else and that’s not something that works well for me unless the circumstances are very particular. Generally speaking the best commercial projects I’ve worked on were for people who paid well, paid on time and were respectful of the role of artists.

This is not to say I’m any kind of prima donna, because I’m not. When you are working on a commercial project it’s important to remember that 1) The person in charge of it is really invested in it because it is their reputation and ego on display. 2) There is usually a large amount of money involved.

The other side of that is that 1) As a gun for hire it’s hard to be as invested in the project as the person in charge. 2) The person in charge is making a lot more money than you.

Still from "How The Mormon Stole Everything"

Still from “How The Mormon Stole Everything”




Having said that I’ve worked with a lot of nice people who knew how to be friendly and professional and creative. Here are some of the projects I most enjoyed working on in recent times: How The Mormon Stole Everything was an animated short I did for The Big Gay Sketch Show, a SNL style show that ran on Logo. I had a very short time to produce a lot of animation but they paid well and pretty much let me do whatever I wanted. Remains one of the most satisfying commercial projects I’ve ever done. It was very divisive but, as I kept reminding people who were critical, it was made for The Big Gay Sketch Show not The Highbrow Shakespeare Hour.

Still from "How The Mormon Stole Everything"

Still from “How The Mormon Stole Everything”

Bitter Batter was a segment I did for Sesame Workshop. I’ve done a lot of stuff with Sesame. They’re a great bunch to work for. They pay on time!

I’ve done a lot of work for Ace and Son Moving Picture Company. They’re good pals of mine and helped produce my animated feature. For Ace and Son I did a bunch of work on The Buddah for PBS and a nice extended segment for a documentary called The Texan Promise.

For Red Glass Pictures (Ken Burns and Women for Change) I did some nice 2.5D photo manipulations that were really classy.

Of course my own films and my feature were great projects to work on because they’re all mine.

Still from "Boxhead and Roundhead" © Elliot Cowan.

Still from “Boxhead and Roundhead” © Elliot Cowan.

Still from "Boxhead and Roundhead" © Elliot Cowan.

Still from “Boxhead and Roundhead” © Elliot Cowan.

KW: What are the skills necessary to be an animator? Looking forward, what are your predictions for the field in the next decade?
EC: Let’s assume there are two kinds of animation.
1) Character animation, which is all Bugs Bunny and Flinstone and whatever. Actual characters that think and move and feel. This could be traditional (drawn) or 3D (Pixar etc).
2) Motion graphics, which is a fancy way of saying graphic design that moves.

Character animation is all about timing and character and acting and drawing (or poses if you’re working in 3D). Motion graphics is about design and software.

For the future, the more of both of these things you have an understanding of the more employable you’re going to be. This is all assuming you intend to put these applications to commercial use. You can learn all these things to advance your skills as an artist who wants to make things — films, installations, art pieces — and have something to say.

KW: Why do you think animation skills are important for graphic designers?
EC: Several reasons… When you are a working artist you should always be the one who knows the most stuff — even if you aren’t the best at everything, you should still know the most. You should be the person who knows how to design and then how to make that design move.

The various medias are tightly integrated these days too. If you’re working for a studio and the client wants to take the design and make a commercial then you can put up your hand and say “I can do that” which makes you a more valuable player.

Nobody is saying you need to be the next Glen Keane or Eric Goldberg but an understanding of basic animation principals and the software required to producer animation gives you an edge.

Also — animators are the worst graphic designers ever. The industry needs you.

KW: What were the best animations you’ve seen in the past year?
EC: Student films are just about the only films I look forward to seeing. I’ve been let down too many times to get excited about much other stuff.

I’m always excited about my pal Eric Goldberg does, and anything from my pals at Cartoon Saloon is something to be happy about. Actually, anything by anyone I know, so I have some kind of connection to it.

KW: What types of projects are you working on now?
EC: I do some story work with Oscar nominated Irish animation Studio Cartoon Saloon (Secret of Kells, Song of the Sea). I recently contributed concept design and story ideas to their new film, WolfWalkers.

I’ve worked a lot with Ace and Son Moving Picture Company. They helped produced my feature so they’re good friends. I worked with them on a documentary about the Texan education system, the Buddah for PBS and just wrapped up some segments for Tesla, also for PBS and Ace and Son.

KW: What’s the best advice you ever received?
EC: Advice, huh?
I have a lot, but essentially it all boils down to thinking and living like an artist everything else stems from there. Spend time with motivated and interesting people who are making things and show an interest in your work. You can’t help but absorb the energy. Keep an open mind and stay curious about the world. Keep making art.

KW: Kathryn Weinstein


Student Interview: Sila Chanrujipat

Below is a conversation between 2016 QC graduate Sila Chanrujipat and Assistant Professor Ryan Hartley Smith about Sila’s work and plans for after graduation.
Sila Chanrujipat

Sila Chanrujipat

Professor Smith: Hi Sila, Thanks for talking! Where can we see your portfolio?
Sila Chanrujipat: My portfolio can be seen on my behance page and my website.
Tell me about the project you are most proud of…
I am actually proud of all my works. The project that I am most proud of is my series of book covers that I created in my Typography II class. I designed a series of book covers for Alice in Wonderland.  Each book cover had to have its own theme. Therefore, I designed book covers in different concepts; dark, dreamy and vintage concept. With each book cover, I tried to use different tools and techniques to make such as using a paper craft, gradient, and shadow. It actually was my first time to do a paper craft by hands. I spent a lot of time to revise my works and tried to make them look like a 3d in photoshop combining different elements.
Alice in Wonderland Cover

One of Sila’s Alice in Wonderland Covers

What’s the most important thing you want the world to know about your design work?
Every design tells its own story. I like combining handmade and digital methods to create my work, because I think it gives a sense of mystery.
Crystals in the Desert, using 3D modeling

Crystals in the Desert, using 3D modeling

You just were awarded a $2,000 prize for winning CUNY Human Rights poster contest. First, congratulations!! Second, tell us about your poster design- how did you come up with the idea, and how did you make the final design? 
Thank you very much! Honestly, I did not expect that at all. For my poster design, I started to make 3-4 sketches with a pencil then I asked my best friends to give me feedback, and colored the final draft in Photoshop. The idea of my poster is to raise awareness of Europe’s migration crisis that has been a chronic issue since last year. I combined different symbols. For instance, the big tear drop presents the emotional wounds of refugee. The barbed wire represents the acute migration crisis and division while the hands illustrate that they need help from us as fellow men.
No Human is Illegal

No Human is Illegal Poster

You just graduated, now what are your goals for the summer?
There are two main goals for this summer. Firstly, I want to spend time with my family as much as I can because I haven’t seen them for 2 years. This time, they came to visit me for 3 months. We plan to travel in New York after the Commencement ceremony. My second goal is to get a job in U.S. I have just only four months to find before my visa will be expired.
What’s your dream job/next step professionally?
My dream job is to work in advertising company or fashion company. I know they are very competitive, but I want to give it a try!
What was your favorite Design course at Queens College and why?
There are many favorite design courses in this school. One of my favorite classes is advertising design. I had to come up with an idea for a campaign project in Time Square. I chose to do a healthy food event that provides healthy food to New Yorkers.  The idea of the poster series is to mock fast food and sweet with healthy food. I really enjoyed doing research in the real place and create pattern design for merchandises.
Healthy Eating Campaign

Healthy Eating Campaign

Healthy Eating Campaign

Healthy Eating Campaign

Healthy Eating Campaign

Healthy Eating Campaign

What advice do you have for students who are considering being a Design major?
If you have creative ideas or like using computer programs. Then yes! You are on the right track! Anyhow, you have to understand all the basic rules. Then you would know how to break them and create your unique design style.
If you had to go through the Design program again, what would you do differently?
I would take more animation classes. Last semester I only took a 3D modeling class and I found it is very interesting. I want to make my illustration become more vivid and alive! I also believe that 3D Modeling and animation will play a huge role in the design fields.


Art Assistant, New York Magazine

The New York Magazine Art Department is seeking an Art Assistant. The job entails supporting the print magazine’s design team in all capacities and serving as general assistant to the Design Director. Responsibilities include filing invoices and expenses, maintaining a flash sheet, collecting and distributing manuscripts, commissioning illustrations, maintaining archives, mailing issues, scheduling meetings, ordering meals, researching visual ideas for upcoming stories, maintaining the mini board of the issue, fulfilling various administrative tasks, and running the occasional errand. Experience with InDesign, Photoshop, and Illustrator is a plus, as there will be design and production work. The ideal candidate will be highly organized, self-directed, team player, and capable of juggling day-to-day administrative tasks with work on current and future issues. A great first job for an aspiring editorial designer at an award-winning magazine.

Please send a resume, cover letter, and samples (or link to website) to

New & Recent Grads: HBO Digital & Social Media Fellowship


The HBO Digital & Social media Fellowship Program is a 12-month, early-career incubator designed to identify today’s creative, entry-level professionals and turn them into tomorrow’s cutting-edge digital marketers. Fellows rotate through four HBO Digital & Social Teams during the year-long program, gaining exposure to marketing television—from campaign and content strategy through to content creation, production, and promotion—across the network’s variety of digital platforms.

Major League Baseball Design Intern

Job description


    • Assist and produce graphic design elements in conjunction with appropriate MLB Fan Cave initiatives and consistent with their marketing plans including:
      • Communication and collateral materials
      • Exhibit environmental design
      • Event signage
      • Small space advertising
      • Newsletters, invitations and online graphics
      • Creation of creative communication presentation materials (i.e. slides, overheads, concept boards, product comps and presentation decks)
    • Assist in the development of design solutions including:
      • Evaluation of creative executions
      • Assist in concept development for new marketing plans
      • Creation and production of graphic standards
      • Assist in time line management
    • Performs related duties as required


  • Recent college graduate or current junior/senior with preferably 4-5 days available to work
  • Understanding of graphic design, post production and printing
  • Extensive knowledge of graphic production and computers
  • Experience in desktop publishing, including proficiency in Adobe Illustrator, InDesign and Adobe PhotoShop
  • Excellent communication skills
  • Strong attention to detail with the ability to meet strict deadlines



Possible is looking for a creative, talented, and entrepreneurial Graphic Design Intern who will champion our belief that great design creates dignity.

The Graphic Design Intern should see himself/herself as a brand ambassador ready to support the organization’s design-oriented work by working closely as part of our creative team. You are enthusiastic about designing Possible’s visual communications for print, web, and social media, while taking the initiative to learn time-saving shortcuts and become a master of formatting and styles in InDesign. You take direction well and execute with excellent attention to detail, without the need for constant supervision. You are eager to own your projects and you’re reliable.

You should have a strong visual portfolio displaying a variety of design work. You multitask and organize your work to manage your time efficiently. You welcome constructive criticism, learn from your mistakes, and use them to produce beautiful work. You’re entrepreneurial and thrive in fast-growth environments with significant freedom and responsibility.

Must-Have Characteristics:

1. Strong Design & Production Skills: We need someone with the ability to follow our style guide and with knowledge of typography, layout, and color. these skills are necessary for an intern to work both independently and to provide general support to both the Creative and Marketing Directors.

2. Photoshop, InDesign, & Illustrator Skills: It’s crucial to the role to be well-versed in the design programs we use to create social media graphics, infographics, and reports.

3. Excellent Attention to Detail in a Deadline-Driven Environment: We produce a lot of work, and fast. You must be able to be briefed on a project and quickly present multiple options with little error in a timely fashion.

4. Great Communicator: A large part of this role will not only be designing for social media, but also working with multiple departments around the globe. You must be professional and comfortable communicating communicating across our team and externally.

5. Ambition: We need you to be self-motivated, able to prioritize and manage your workflow well, and meet critical project deadlines. The right person will have enthusiasm and interest in our work.

Big 3 Responsibilities:
Provide general support to both the Creative and Marketing Directors.
Assist in design and production of the organization’s visual communications.
Monitor and execute cross-team design requests.

Intern can expect to learn

The Graphic Design Intern will work closely with our Creative Director and be chiefly responsible for the following work:

1. Visual Communications
• Assist with the design and layout of marketing materials, web and social media graphics, quarterly impact reports, slide decks, and infographics.
• Photoshopping and formatting images for digital and print projects.

2. Project Management
• Learn and utilize a simple and efficient project management tool, Asana.
• Adhere to the Dropbox storage system when organizing design content, so our fast-paced environment runs smoothly.

3. Collaborate & Iterate
• Collaborate with the marketing department and support campaigns with design solutions.
• Engage with cross-department teams to create internal graphic design projects and initiatives.
• Support and contribute to the evolution of Possible’s visual identity.

Application Details

Applications are being accepted on an immediate, rolling basis. The position will begin in late May/early June and continue through the summer, with the possibility of extension into the fall.

Show, don’t tell. Include a portfolio of your work in addition to your CV or LinkedIn profile (preferred). We are being purposefully vague in our explanation here. Please send us whatever format (or combination of formats) best exemplifies your work that can be reviewed in less than 10 minutes.

Email if you have any questions.

What happens after submission?
If we are interested, your submission will be responded to within 10 days. Please note that due to a large volume of applications, your application may not be responded to. If your application is advanced, we will ask immediately to set up an initial 20-minute phone interview to initiate the interview process.

 APPLY ONLINE with cover letter, resume & link to on-line portfolio


Design Summer Intern — Editorial Products
at Vox Media

As a Design Summer Intern on the Editorial Products team, you will be collaborating closely with editorial and design staff to work on a variety of projects, both large and small. You’ll use your design background to produce custom design, typography and illustration for our web, social and mobile presence as needed.

Additionally, you’ll collaborate with other engineering, design and editorial interns to produce and present a stand-alone portfolio piece at the end of the summer. Vox Media also provides intern-specific programming and development opportunities and networking functions.

This position will be based in New York City. This is a paid, part-time position without benefits. Interns will work up to 20 hours a week and be paid $20 an hour.

What you’ll do:
Use your skills in tools like Photoshop, Illustrator and Sketch to produce design work for mobile, desktop and platform use
Collaborate on editorial feature stories and tools
Work on a cross-functional intern team to produce a stand-alone project at the end of the summer

What you’ll bring:
A desire to collaborate with our design staff to produce quality work
The ability to come up with creative solutions quickly
The ability to work independently, ask questions, and think on your feet

Bonus points for:
Front-end web development experience (HTML, CSS, JavaScript)
Previous media experience
Specific passion for Vox Media’s brands

About working at Vox Media: This is a paid, part-time position without benefits. Interns will work up to twenty hours a week and be paid $20 an hour. We encourage candidates of all experience levels to apply. If the above doesn’t describe you perfectly, please get in touch anyway and tell us why you want to work with us. Vox Media is committed to building an inclusive environment for people of all backgrounds and everyone is encouraged to apply. Vox Media is an Equal Opportunity Employer and does not discriminate on the basis of race, color, gender, sexual orientation, gender identity or expression, religion, disability, national origin, protected veteran status, age, or any other status protected by applicable national, federal, state, or local law.

Intern can expect to learn

— Cross-functional collaborative skills
— Networking skills
— Professional design process on tight deadlines

APPLY ON-LINE (need cover letter, resume, link to on-line portfolio)


Visual Design Intern – New York Studio / June – August (3 months)

frog design is looking for an exceptional intern to join our creative teams. Interns are treated like full time employees in the studio and work on active programs with project teams.

The Contribution:
frog Visual Designers create compelling, original designs for interactive platforms ranging from websites to software applications to consumer electronics to packaging. They are skilled craftspeople, utilizing a breadth of design tools in multiple mediums. Visual Designers translate user needs, business requirements, and technical capabilities into designs that are visually exciting, easy to use, and emotionally engaging.

You Are:
Someone who wants to influence your own development. You’re looking for a company where you have the opportunity to pursue your interests across functions and geographies, and where a job title is not considered the final definition of who you are, but the starting point. You bring to the organization the following competencies;
+ Currently enrolled in, or graduate of a relevant design program (either graduate or undergraduate)
+ Experience with design research a plus
+ Passion for user-centered interface design particularly as applied to web-based applications and consumer electronics
+ Comfortable with design software for wireframing and prototyping (InDesign, Illustrator, Axure, Keynote, etc)
+ Strong communication and time management skills
+ Detail oriented
+ Must be able to work both on a team and independently
+ Must be able to share work samples – online portfolio preferred

Intern can expect to learn

We free you to do the best work of your life.

What is it like to work at frog? The diversity of people and projects varies tremendously. We are both thinkers and doers. Collaboration is ingrained in our culture as well as our method. We come from a multitude of backgrounds and our expertise bridges disciplines and spans industries, including automotive, medical, consumer, retail, software, technology, finance, and many others. Our extraordinary collection of talent—analytical and artistic, conservative and unconventional, technical and whimsical—makes working at frog a truly unique experience. With such diversity in our ranks, we are able to orchestrate and customize each client engagement to ensure a positive balance between emotional experiences for consumers and economic benefits for clients.

APPLY ONLINE with cover letter, resume & link to on-line portfolio.


Graphic Design Intern – Summer 2016

The Mount Sinai Health System’s commitment to excellence extends beyond delivering world-class health care. Our collaborative approach to patient care defines us as an organization. Mount Sinai team members work side-by-side with global leaders in health care to create a patient focused network of services that support healing in our local communities and around the globe.

Are you looking to utilize your graphic design skills in a more strategic role? Do you want to make a large impact in a very visible way? Does the idea of working on innovative projects inspire you? If so, then Mount Sinai Health System’s newly enhanced Talent Acquisition and Retention group has an exciting opportunity for you!

Mount Sinai Health System is looking for a Graphic Design Intern to join its Talent Acquisition team. The Graphic Design intern will assist with the development, implementation and management of strategies and projects designed to increase ongoing talent acquisition and retention through the use of Graphic Design.

What You’ll Do:

  • Partner closely with key stake holders to identify design needs
  • Create visual concepts by combining art and technology to communicate ideas
  • Collaborate closely with key departments such as marketing, and our advertising agency to ensure that branding guidelines are met and that our strategy & messaging is consistent through our different media.
  • Develop content to increase the perception of organizational attractiveness to candidates
  • Transform facts and figures into visually attractive infographics and diagrams, which can make complex ideas more accessible
  • Utilize research, and current knowledge to build out our social media strategy


BBC – StoryWorks – Intern (unpaid)


The Internship Program is designed to provide students with practical work experience while gaining invaluable knowledge in their field of study, area of interest or a part of the business or operations offering exposure to a new area to explore and experience. Interns are given the opportunity to do project-driven work or handle day to day tasks that will enhance both their educational and professional development. In addition to their individual tasks, they have the following activities and opportunities to meet with fellow interns, and learn from senior members, as well as the President of BBC Worldwide:

  • Intern Orientation – Conducted at the onset of the Internship. This provides each Intern with the opportunity to network with other BBC Worldwide interns while learning about BBC Worldwide.
  • Breakfast/Lunch with the President – An opportunity to meet our President and get to hear firsthand perspective on our business and leadership experiences.
  • Lunch and Learns – Information sessions with a senior member of BBC Worldwide to learn about different areas of the business.


BBC StoryWorks is looking for a star intern to join our team. Intern will have an opportunity will work with the team to design, ideate and translate advertising partners’ marketing and branding needs into custom solutions (content, creative, events and more) across BBC’s digital channels. BBC StoryWorks works with a broad range of advertising partners spanning tech, travel, auto, consumer products and more. This is an opportunity to gain experience with BBC’s commercial content, and to collaborate across editorial, content, and design teams to develop exciting digital solutions. We’re looking for a someone with a passion for brands, design, and innovative ideas in the digital space, who will thrive in fast-paced, team environments.


  • Design BBC sales decks and proposals that will be pitched out to prospective digital advertising partners across multiple industries.
  • Create graphics and mocks for presentations in PowerPoint, snagit or other basic design program
  • Design guide sheets and documentation around various campaign elements based on company policy (events, product placements, social media amplification, etc.)
  • Participate in ideation for custom commercial content solutions across properties (BBC World News, BBC Travel, BBC Culture, BBC Earth, BBC Capital, BBC Future, Top Gear, Good Food)
  • Engage with counterparts in our various global sales offices (London, Singapore, Sydney, Toronto, Chicago, Los Angeles, etc.) to learn about BBC editorial properties and commercial policies
  • Track and update editorial content calendars for our properties
  • Track competitor campaigns and industry insights to learn about other branded content being created in the digital space
  • Research upcoming industry events, current and up-and-coming digital influencers in multiple fields, and track other industry-related news


  • Must be rising senior or junior (previous internship experience preferred)
  • Major in Graphic Design, Marketing, Advertising, Digital Media or related focus.
  • Excellent verbal and written communication skills, with extensive knowledge of digital and social media.
  • PowerPoint, Word and Excel experience is a must.
  • Design skills (photoshop, snagit or other program) or eye for design and presentation



Send a copy of your cover letter and resume with link to portfolio  to, subject line “BBC Summer 2016 Internship, (Name of Internship Position).” In your cover letter, please specify which department(s) you are applying for, verify if you are eligible for college/academic credit and advise the days you are available to work.

PLEASE NOTE: Students must be able to receive academic credit for the unpaid internships. For Summer internships, we request a full weekday of availability.

BBC Worldwide Americas offers NYC students a monthly TransitChek card of $116.50 to assist with travel costs.