People Of Play

Can you guess which is the lie?

My first job in the PR agency world, I was the lead account exec for the licensing agent for The Teenage Mutant Ninja Turtles. It was so busy and so much fun.

Now expired license, but at one time was a certified personal trainer

I've met several famous people almost by accident. I planted David Letterman's pachysandra when I worked for a landscaper one summer.

One summer my college job was Bruce Springsteen's driver. Can you imagine? Best summer ever!

Guess again

You guessed right!

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I Scout Toys All Year, And These Are My Favorite Outdoor Playhouses

Make your backyard more fun with a little land of make believe for toddlers, preschoolers, or big kids.

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https://www.goodhousekeeping.com/childrens-products/g70805896/best-kids-playhouses/

Lava Crossing Gameplay In Lava Crossing, Bunny and Lamb need to escape the lava flowing from an active volcano and get back to their village. From where they are at the base of the volcano, they need to cross four lava pits—and you can help them by building rock bridges across them! To begin, player 1 rolls the die: if you roll a 1, 2 or a 3, you have that many tries to land the blue ball (A.K.A the cooling water) into the appropriate pit by carefully opening and closing the blue rods (A.K.A. the water pipes). If you land the ball into the correct pit, you earn a rock to add to your rock bridge—and your animal is one step closer to home. However, if you roll a +1, the very first rock you placed (rock #1) is taken from your bridge—the lava is starting to catch up to you! The next time you roll a +1, you lose rock #2, and so on. If the lava catches up to you, you must start over at the base of the volcano! If you roll a -1, you’re in luck. You can lay down the next rock in your rock bridge—no strings attached! There are four different pits to cross, and they get smaller as you get further from the volcano, which means they can be harder to drop the ball into. The first person to get their animal back to their village wins a star badge. Three star badges earns you a trophy, which gives you an advantage for the next time you play: you can place a rock at any number position at the start of the game. History Hape was first established in Germany in 1986 by Peter Handstein. They’re a very sustainability-focused company—many of their toys are made out of bamboo and sugarcane-based plastic, and their packaging is made of recycled cardboard, organic inks, and water-based colors. Lava Crossing was designed and created by their creative team.

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Julia DeKorte

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TLC for Kids - Digital Content & Marketing Coordinator

About the job TLC for Kids Essendon Fields, Melbourne VIC Full time, Office based Help tell the stories that help sick children when they need it most. TLC for Kids is one of Australia’s most respected children’s charities, providing immediate practical support to children and families facing serious illness and medical trauma. For more than 27 years, our programs have helped families navigate some of the most challenging moments of their lives, providing relief, comfort and support when it matters most. Our services are used in hundreds of hospitals, medical clinics and ambulances across Australia, helping reduce fear, stress and anxiety for children during medical procedures and other difficult moments. We are looking for a Digital Content & Marketing Coordinator who can help bring these moments to life through powerful digital storytelling. This is an exciting opportunity for someone who enjoys creating engaging content, capturing real stories, and using digital platforms to build awareness, community support and fundraising outcomes. About the Role The Digital Content & Marketing Coordinator is responsible for capturing and sharing the stories of TLC for Kids programs across digital channels. This is a hands-on, content-driven role. We are looking for someone who can capture real moments and turn them into engaging digital content that connects with people. You don’t need to be perfect, but you do need to be comfortable filming, editing and thinking about what makes people stop, watch and engage. This role combines content creation, social media management, email communications and digital campaign support, helping ensure the impact of TLC for Kids programs is communicated clearly, professionally and consistently. You will work closely with the Program Director, Partnerships Manager and Programs team to showcase the real impact of our services. Each story you help capture and share contributes to growing awareness and support for TLC for Kids, enabling more children and families to receive help when they need it most. Key Responsibilities Campaign Content Creation • Capture photos, video and stories from TLC for Kids programs, events and partner activities • Produce authentic and engaging content including short form video, reels, behind the scenes updates and live coverage of key moments • Write captions and stories that communicate the real impact of TLC for Kids services • Create digital content assets to support fundraising campaigns, partnerships and program promotion Social Media • Manage and grow TLC for Kids social media channels • Plan and schedule content using a content calendar • Create engaging content for Instagram, LinkedIn, TikTok and other platforms • Edit short form video and visual storytelling content • Monitor engagement and respond to comments and messages appropriately • Track reach, engagement and audience growth metrics Content Performance and Growth • Identify what content performs well and build on it • Test different formats and approaches to improve engagement • Contribute ideas to grow reach, awareness and supporter engagement Email Marketing (EDM) • Creation and scheduling of email campaigns to supporters, donors and partners • Prepare visual and written content for EDM communications including fundraising appeals, event promotions and program updates • Support the growth and engagement of TLC for Kids supporter database through digital communications • Track email campaign performance including open rates, click rates and conversions Digital Tools & Platforms • Use project management systems such as Monday.com to track content production and campaigns • Work confidently on Mac computers and creative software • Maintain organised digital archives for photos and video content • Manage publishing and engagement through platforms such as Meta Business Suite • Use analytics platforms such as Google Analytics to review website traffic and campaign performance • Update website content and digital assets using WordPress Skills and Experience • Experience managing social media accounts for an organisation or brand • Strong photography and video content creation skills • Experience editing short form video content for social media • Graphic design capability for digital assets • Strong writing skills and attention to detail • Experience with EDM platforms such as Mailchimp or similar • Excellent organisational skills and ability to manage multiple projects • Comfortable working with digital platforms and content management systems • Experience with paid digital advertising is advantageous • Full driver licence Personal Attributes • Compassion and sensitivity when working with families and hospitals • Strong attention to detail • Ability to work in a fast moving small team environment • A genuine commitment to the mission of TLC for Kids • Comfortable working respectfully in sensitive environments including hospitals and family settings Employment Details Location: Essendon Fields, Melbourne VIC Position: Full time, office based Salary: $60,000 to $73,000 depending on experience, plus superannuation Additional benefits: Salary packaging available Why Work With TLC for Kids Working at TLC for Kids means your work directly contributes to helping children and families through some of the most difficult moments they face. Your storytelling and digital content will help inspire community support and enable more children to receive the help they need. You will be part of a passionate and collaborative team committed to delivering meaningful impact. What Will Make You Stand Out Applicants who include the following will be prioritised: • Links to social media accounts, campaigns or digital content you have created or managed • Examples of short form video or visual storytelling content • A short note outlining one content idea you would try to increase engagement or awareness for TLC for Kids How to Apply Please include: • Your resume • A short cover letter • Links to social media accounts, campaigns or digital content you have created • Any examples of video or visual storytelling work Applications without examples of previous work may not be considered. We are particularly interested in candidates who enjoy capturing real moments and transforming them into engaging digital stories that connect with audiences. … more Requirements added by the job poster • 1+ years of work experience with Social Media • 1+ years of work experience with Graphic Design • Valid driver’s license • Authorized to work in Australia • 1+ years of work experience with Email Marketing

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Harper Collins - Creative Director (remote US)

About the job The Creative Director will be responsible for leading the day-to-day operations of the Direct-to-Consumer creative team, including managing and both internal and external resources. They will also be responsible for executing all creative for HarperCollins US DTC marketing channels. This role will work closely and collaboratively with Brand, Platform and Publishing teams to create visual communications to support and grow our DTC businesses. The Creative Director will lead the creative development process, providing direction and constructive feedback to internal and external design resources to deliver consistent, high-performing creative for the business. Responsibilities Leads creative function for Direct-to-Consumer brands and channels, working as both an individual contributor, as well as a manager of internal and external resources. Ensures a high standard and quality of work, delivering on consistency in brand look, feel, and experience, regardless of assigned resource; provide creative quality control over concepts and execution. Assigns requested work to the appropriate resource based on project needs, and inspires excellence in outcome by providing direction and constructive feedback, while meeting the needs of the requesting partners Lead the creation, execution, and continual evolution of brand guidelines. Identify opportunities to improve creative output and process, and provide recommendations to develop the creative team to meet future demands. Helps the team balance creative vision with business objectives and priorities. Works closely with the Brand and Platform teams to develop and interpret a clear creative vision. Attends meetings, handle cross-team interaction, pitch concepts in a compelling manner; communicate and monitor project progress. Stays up to date with new innovations and industry trends. Trains and support team members in developing and deepening their technical skills. Contributes to organizational learnings and process improvement. Leads with passion, guide & coach the team on career direction, development, growth and performance. Qualifications Portfolio demonstrating performance-driven digital and e-commerce creative required 8+ years experience in graphic design and/or interactive design with at least 3 years of experience working with a focus on an e-commerce and/or performance marketing design. 3+ years experience managing both internal and external resources to hit quality, budget and timeline requirements. Expertise with Adobe and Canva’s full suite of creative tools (or similar) Expertise with (and enthusiasm for) leveraging AI creative tools (e.g. Sora, Nano Banana) for concepting and refining designs. Proven ability to influence stakeholders and align creative strategy with business goals Portfolio demonstrating performance-driven digital and e-commerce creative Understanding best practices for performance-focused digital marketing creative Staying up on industry trends around best UI and UX practices and what drives design performance (e.g., CTR, CVR, ROAS) in a direct-to-consumer environment Empathy for our end consumer, always thinking about design as a visual medium for communication. Ability to both create and evaluate design and copy Solutions-oriented and collaborative approach HarperCollins Publishers is a company full of people who are passionate about books. When you apply for a position, we want to know why you want to work here, and why you are interested in the job. That’s why cover letters are strongly preferred. The salary range for this position is $90,000-$125,000. We recognize that attracting the best talent is key to our strategy and success as a company. As a result, we aim for flexibility in structuring competitive compensation offers to ensure we are able to attract the best candidates. The quoted salary range represents our good faith estimate as to what our ideal candidates are likely to expect, and we tailor our offers within the range based on the selected candidate's experience, industry knowledge, technical and communication skills, and other factors that may prove relevant during the interview process. In addition to cash compensation, the company provides a comprehensive and highly competitive benefits package, with a variety of physical health, retirement and savings, caregiving, emotional wellbeing, transportation, and other benefits, including "elective" benefits employees may select to best fit the needs and personal situations of our diverse workforce. HarperCollins Publishers is an equal opportunity employer. HarperCollins Publishers is committed to providing reasonable accommodation for qualified individuals with disabilities, in our job application and/or interview process. If you need assistance or accommodation in completing your application, due to a disability, email us at TalentManagement@harpercollins.com . Note: we will only respond to accommodation requests.

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Alex Hochstrasser Talks Bilibo at 25: The Long Game of Play

Hey Alex, thank you for taking the time to speak with us. So Bilibo turns 25 this year. What surprised you most about its longevity? Alex: Probably that it still feels current. When I designed it, I wasn't trying to future-proof it. I was trying to strip away anything with an expiration date – no characters, no built-in story, no trend references. Just a shape that taps into something children have always done: pick up an interesting object and figure it out. It never quite fit in. That turned out to be an advantage. Never fit in how? Alex: When I was looking for a manufacturer after graduating, I quickly realized that a product without a clear category makes people uncomfortable. It's not a vehicle, not a figure, not a construction toy. Nobody quite knew which shelf to put it on. At the TOTY Awards in 2010, I overheard a woman wondering loudly why there was a salad bowl among the nominees for Preschool Toy of the Year. Bilibo won. I still think about that woman. She wasn't wrong about what it looks like. She just missed what it does. How did a design thesis turn into a company? Alex: By necessity, not by plan. When no manufacturer would take it on without changes I wasn't willing to make, it became clear that producing it myself was the only way to pursue the idea without compromising it. Starting a company wasn’t a romantic decision. It was the price of doing it properly. That mindset is still there. Independence is what allows us to stay consistent – even when consistency isn't the easiest path. Your work is often described as simple. What does that mean in practice? Alex: Simple is usually the result of a lot of editing. With something like Bilibo, every detail carries weight. The two eyes that give it personality and direction. The way two identical shells join to form a smiling sphere. The flexibility of the material. Even the sound it makes when it hits the floor. You're not adding features – you're removing everything that doesn't belong. Good design should feel obvious in the end, but it rarely starts that way. Bilibo and the first iPod launched the same month. Both won a Design Distinction Award in I.D. Magazine's 2002 review. What do you make of that company? Alex: It's a good piece of trivia – and maybe slightly more than that. Two very different objects, but a similar instinct underneath: reduce things to an intuitive core, trust the user, resist the urge to explain. Apple's pitch was a thousand songs in your pocket. Radical simplicity that expanded possibilities rather than limiting them. That's not a bad description of what we were trying to do with a piece of plastic. Apple has always been a reference point for me. The confident minimalism, the patience to let the design speak quietly rather than shout. The iPod is long gone. Bilibo is still here. I'm not drawing too grand a conclusion from that – but longevity usually comes from getting the fundamentals right, not from adding more. "Open-ended play" is everywhere now. What does it actually mean in your work? Alex: For us it's the foundation, not a label. We try to design objects that don't dictate a single use. The moment a toy tells you exactly what it is, it also tells you what it isn't. That's where things close down. With Bilibo, the physical interaction is immediate – sit, spin, balance, wobble. But the symbolic meaning stays open. It can be a shell, a helmet, a mountain, a bowl, a pond. That openness allows the same object to mean something different as the child grows. A two-year-old uses it differently than a five-year-old, who uses it differently than a ten-year-old. The challenge in design terms is calibration. Too abstract and the object feels cold, uninviting. Too specific and you've done the child's thinking for them. You want just enough character to draw them in, and enough room for them to take over. MOLUK has stayed deliberately small. Is that a choice or just what happened? Alex: Very much a choice – and one we've had to make actively, more than once. We've always been self-funded. No external investors, no venture capital, no sudden injection of cash to buy visibility. In the early years that was occasionally uncomfortable. In hindsight it was probably the best thing that could have happened. It forced us to be resourceful, to grow organically, to rely on word of mouth rather than marketing budgets. To earn each market slowly rather than buy our way into it. You see the alternative play out regularly in this industry – a well-funded launch, a big splash, and then silence two years later. The money runs out, the buzz fades, and there's nothing underneath to sustain it. We never had that problem, because we never had that option. I sometimes compare it to independent cinema versus studio productions. Both have their place, but they follow completely different logics. We're not trying to make blockbusters. We're trying to make things that last. Bilibo has been selling steadily for 25 years. That's a very different model from chasing the next big hit – and a very different kind of satisfaction. Alex and his sister Doris, the two-person team behind MOLUK. MOLUK is very much a family affair. Each year, their mother bakes MOLUK cookies for the booth at Spielwarenmesse in Nuremberg — a small tradition that has become something of a legend. How do you deal with trends? Alex: We mostly ignore them. If you follow trends, you're always late. By the time something is visible enough to follow, it's already on its way out. We try to focus on more fundamental patterns – how children explore, balance, collect, invent stories. Those don't change much. The context changes. The underlying behavior is remarkably stable. Bilibo Midi Why introduce Bilibo Midi and Bilibo Dots now, after 25 years? Alex: The original Bilibo was developed with kindergarten-age children in mind. It works across a wide range of ages, but for a two-year-old it can feel slightly oversized – especially once they decide to use it as a container for everything they own. Bilibo Midi is a better fit at that stage. Lighter, easier to handle, more portable. It gives younger children a real sense of control. When we tested the first prototypes, it felt immediately right – not like a new product, but like something that had always been missing. Bilibo Dots came from watching how naturally children create systems of value in play: collecting, sorting, counting, trading. The curved shape gives them a distinct physical and acoustic quality – they roll, spin, and interact in ways that are genuinely satisfying to handle. What matters to me is that every new object feels inevitable. As if it was already part of the family, just waiting to be made. We're not interested in expanding the range for its own sake – we're interested in completing it. Bilibo Dots What has Bilibo taught you over 25 years? Alex: That children don't need more instructions. They need better tools. If you give them something open enough and engaging enough, they will take it much further than you imagined. We once heard from a teenager who had kept his Bilibo since he was a toddler – still in his room, still in use. That kind of story tells you more about whether you got something right than any award does. The challenge was never to impress them. It was to trust them. What advice would you give to designers entering the toy industry today? Alex: Pay attention to how children play with things that were never designed as toys. There's a kind of honesty in that. If you can understand why a cardboard box outperforms a very sophisticated toy, you're probably asking the right questions. Alex Hochstrasser is the founder of MOLUK and the inventor of Bilibo. MOLUK is based in Zürich, Switzerland. www.moluk.com

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