Illustrator & Motion Designer

The rare seat that holds both poles of brand craft: Clay-style illustration that gives Intempt a world, and Linear-grade motion that makes the product feel inevitable.

Design. Remote. Full-time. 5+ years. Hiring now.

Team: Design. Design is its own department, owned by Aurobind Venu: the brand and every surface's visual system, product design across the console and apps, and the motion and illustration that make the product feel inevitable.

About the role

There are two kinds of design hire that great software brands make, and most companies pick one.

Linear hires a motion designer: a systems mind who makes the product feel fast and inevitable. Precise easing, UI transitions, a motion language that is minimal, technical, and never loud. The craft is timing and restraint on a tight design system.

Clay hires an illustrator and animator, Hudson Christie, in-house: an artist with a voice who makes the brand a world you recognize on sight. Their claymation is the brand. The craft is a hand, a character, and the animation that brings it to life.

These are usually two different people. On a 14-person company we hire the rare one who is both. Intempt's world is the deep sea, a pop-art Pacific of submarines and lighthouses, a clam with a pearl, and Blu, and it has to feel as alive as Clay's and move as cleanly as Linear's. You are the seat that holds both ends.

The two crafts you cover

Illustration and the brand world (the Clay end). You draw Intempt's deep-sea world in a hand people recognize, art-direct the look across the site, ads, decks, and social, and extend the system instead of freelancing a new look off it. This is the differentiator, and it is the half most companies cannot hire for.
Motion and product craft (the Linear end). You make motion that is systematic and precise: the four-dot signature, Blu's verb-states, and UI and product motion with easing and timing that feel inevitable, in After Effects, Blender, and code (Rive, Lottie, GSAP, Three.js). The art never looks loose or slapped on; it moves like the product is engineered.

The spine is illustration, because the world is the thing competitors cannot copy. The system discipline is what keeps that world looking engineered rather than decorative.

What you'll own

The deep-sea illustration world. The pop-art universe, the Blu mascot family, product and recipe illustration, and editorial art for Field Notes and social. You draw it and you set the style.
The motion language. The four-dot signature, Blu verb-states, product and UI motion, and 3D when a flat frame will not carry it. One hand across the still and the clip cut from it.
Art direction of the look. One world across the site, the ads, the decks, and social, so nothing reads as templated.
Range at speed. Brief to finished frame in a day, short-form cut from real footage, and the judgment to know when a phone-shot clip beats a produced piece.

You are

5+ years with a portfolio that shows both: a distinctive illustration voice (editorial, advertising, or branding), and real motion work with the timing and restraint of a product-grade motion designer. Not one deep and one thin.
An illustrator who animates: fluent in Blender and After Effects so your art moves without being handed off, and comfortable in code-driven motion (Rive, Lottie, GSAP, Three.js).
Fluent in Figma and the design system, and fast in an editor (Premiere or CapCut).
A brand thinker who protects a system and extends it, and can tell on-brand from off in a glance.
Able to make a technical product look like a world worth being in, without dumbing it down.
AI-native across the toolchain: Image Studio, claude.ai, and Lovable for first passes, and Claude Code for code-driven motion and web animation. You use the agents to do more, then you put your own hand on top.

Tech stack

Your own illustration practice first, digital and analog.
Blender, After Effects, Figma, a non-linear editor (Premiere or CapCut), the Adobe suite, and the code-motion tools (Rive, Lottie, GSAP, Three.js).
Image Studio, claude.ai, and Lovable for AI-assisted passes, and Claude Code for code-driven motion and web animation.
The Intempt brand system as the source of truth: tokens, the deep-sea illustration world, the four-dot motion signature, and the Blu identity set.

Not a fit if

You are a motion-graphics generalist with no illustration voice, or an illustrator who cannot make work move cleanly.
Your reel is templates, not art you made.
You freelance a new look instead of owning and extending the brand world.
You want a full production pipeline and six weeks for every asset.

To apply, email us your resume.