Product Designer

Anna

I work out what's worth building.
Then I make it work for the people using it.

See my work

Eight
years.
End
to end.

My degree is in product design — the engineering school kind. Physical products, real constraints, how people actually interact with things in the world. I've been thinking about the gap between how something is designed and how it gets used for longer than I've been designing interfaces. Turns out most of the hard questions are the same.

I run the full process: from figuring out what the right problem actually is, through research and strategy, to delivery. The part I'm most useful for is usually the messy beginning — where the problem isn't well-defined yet, the brief needs questioning, and someone needs to think clearly before anyone opens Figma.

The tension between user needs and business goals is real sometimes. More often it's just misalignment — people pulling in different directions because no one's mapped where they actually agree. That's usually where I start.

Selected work

How I work

I start with people, not process. Before anything else I want to meet everyone — stakeholders, product owners, teammates — not as a formality but because how we work together matters as much as what we're working on. Misaligned expectations inside a team have a way of surfacing at the worst possible moment. I'd rather find them in week one.

From there I treat the brief as a hypothesis. Most problems look different once you've talked to users, looked at the market, and pressure-tested what's actually feasible. Reframing isn't a detour — it's usually the most valuable thing that happens on a project.

I ask a lot of questions early and stay curious throughout. What's already known? What does success actually look like to you — if this worked, what would be true? That last one is one of my favourite questions. The answer tells you everything about where a team really is.

The messy, undefined beginning is honestly the part I find most interesting. Once the problem is clear, the design tends to follow.

Research is always case-specific — the constraints, the client, the timeline all shape what's actually possible. What I do believe is that some is always better than none, and that talking to users, even briefly, changes how you see the problem in ways that secondary research rarely does.

I try to bring engineers in early. Not after the designs are done — early, when there's still room for their perspective to shape things. I've found that the designer-developer relationship either makes a project or quietly undermines it, and the difference is usually whether both sides feel like they're building something together. I make friends. It helps.

When I leave a project I try to leave more than screens. Design principles, job-to-be-done framing, the reasoning behind decisions. Someone is always going to inherit the work, and they'll face design decisions I won't be there to answer. A good set of principles means they don't have to guess.

A bit more Anna

Outside of work I shoot film photography — quietly, mostly for myself. Some of it lives here, and only here. I've chosen to share the experiments that didn't quite work. The successful ones I keep. In film photography roughly 95% of shots are, generously, trash. I find that ratio oddly comforting.

I cook the way I work — on instinct, without a fixed recipe, with whatever's in the pantry. I follow techniques, not instructions. I buy spices as souvenirs from wherever I've been, which means my spice shelf is basically a travel diary. The meditation of actually chopping things, the slow process of getting a dish right across multiple attempts — that's where I decompress.

My home office is shared with Michu and Grishu, two cats who have attended enough strategy sessions to have opinions. They communicate these through strategic keyboard interruptions.

Film photos
coming soon

Writing (a lot more Anna)

Opinions, parallels, lessons. What lives in my design head.