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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
The complete, full-color graphic design guide for beginners
The field of graphic design is constantly evolving, with new design tools, methods, technology, and modes of expression being introduced all the time. Graphic Design For Dummies will teach you how to get started, introducing you to basic design principles as well as the latest best practices, software, and trends. You'll learn how to successfully plan and execute compelling design projects, even if you're not a trained designer. This fun and friendly book will empower you with the information you need to create design solutions. You'll also have the opportunity to test your skills with a series of interactive design activities, starting with step-by-step guidance and slowly building up your skills until you're ready to fly solo. Unleash your inner graphic designer with this Dummies guide.
- Create compelling visuals for a wide range of tasks and purposes
- Learn the basic concepts of graphic design and get the tools you need to start
- Get hands-on experience by following tutorials to create great designs
- Become proficient in graphic design—no art degree needed
Graphic Design For Dummies is a practical and user-friendly resource for those looking to create better design solutions quickly.
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Seitenzahl: 406
Veröffentlichungsjahr: 2024
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Graphic Design For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Graphic Design For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Title Page
Copyright
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Part 1: What to Know Before You Start Designing
Chapter 1: What Is Graphic Design?
Welcome to Graphic Design
Specialization in Graphic Design
Assessing Design Education and Training
Evaluating Freelance and Agency Experience
Pricing Your Work
Rejecting Speculative Work
Chapter 2: Developing Your Problem-Solving Skills
Identifying the Steps to Take Before Designing a Solution
Taking a Macro-View to Tailor Fit Your Design Solution
Chapter 3: Practices for Creating Better Design Solutions
Improving Your Empathy Skills to Help Reach Your Audience
Building Better Collaboration Skills
Embracing Creativity (and Mistakes)
Chapter 4: Choosing the Right Tool for the Job
Capturing Ideas with Pencil and Paper
Evaluating Electronic Pencils and Tablets
Appreciating the Adobe Creative Cloud
Software for the Budget-Conscious
Using Mobile Apps for Some Tasks
Chapter 5: Design Is an Iterative Process
Phase 1: Project Brief and Goals
Phase 2: Research and Planning
Phase 3: Brainstorming
Phase 4: Sketching Out Your Ideas
Phase 5: Design Development
Phase 6: Feedback and Revision
Phase 7: Finalization and Execution
Phase 8: Repeat
Part 2: Using the Principles of Design to Elevate Your Work
Chapter 6: The Principles of Design: Balance, Contrast, and Emphasis
Balance
Contrast
Emphasis
Chapter 7: The Principles of Design: Unity, Repetition, Rhythm, and Proportion
Unity
Repetition
Rhythm
Proportion and Scale
Chapter 8: The Principles of Design: Movement, Hierarchy, Alignment, and Space
Chapter 9: Creating Grid Systems and Page Layouts
Choosing a Grid Type
Working with Page Layout
Chapter 10: Constructing Color Systems
Defining the Brand Personality
Exploring Color Psychology
Choosing Primary Colors
Creating Color Combinations
Addressing Color Accessibility
Strategies for Making Charts and Graphs More Colorblind Friendly
Chapter 11: Choosing Type and Creating a System
Purpose, Tone, and Message
Staying Timeless or On-Trend
Considering Legibility
Establishing Typographic Hierarchy
Limiting the Number of Typefaces
The Importance of Font Size and Leading
Understanding Usage and Licensing
Avoiding Typographic Faux Pas
Part 3: The Part of Tens
Chapter 12: Ten Things You Should Know When Putting Together Your Design Portfolio
Focus on Quality over Quantity
Tailor Your Portfolio for Your Audience
Show a Range of Skills
Make Your Work Tell Your Story
Put Your Best Work Above the Fold
Lean into Your Establishing Shots
Include Sketches and Process Work
Keyword Stuff Your Portfolio
Meet with an External Reviewer
Keep Your Portfolio Up to Date
Chapter 13: Ten Ways Artificial Intelligence May Change Graphic Design
Automated Tools
Improved Efficiency
Data-Driven Design
AI-Powered Design Assistants
Advanced Image Recognition
AI-Generated Assets
Dynamic, Adaptive Design
Optimized Advertising
Cost Reduction
Creating New Design Roles
Index
About the Author
Connect with Dummies
End User License Agreement
List of Tables
Chapter 10
TABLE 10-1 Positive and Negative Connotations Colors Can Make
List of Illustrations
Chapter 2
FIGURE 2-1: This sketchbook shows how you can work out a design problem before ...
FIGURE 2-2: Finding inspiration in other products.
FIGURE 2-3: What other ways might you be able to use nature to inspire a design...
FIGURE 2-4: Use this competitive analysis framework to help you identify who mi...
FIGURE 2-5: Analogous colors are colors that are close to each other on the col...
FIGURE 2-6: Simple shapes can be used to allude to different types of messages.
Chapter 3
FIGURE 3-1: Empathy maps are a framework for understanding your target audience...
FIGURE 3-2: Creating a persona can help your team make better design decisions.
FIGURE 3-3: A mood board.
FIGURE 3-4: A medieval gateway from Glendalough in Ireland.
FIGURE 3-5: An illustration of logical thinking versus creative thinking.
FIGURE 3-6: Using both creating and logical thinking together to solve a design...
Chapter 4
FIGURE 4-1: A quick thumbnail sketch of a business card layout in pencil and pa...
FIGURE 4-2: When part of the letter e is enlarged, look at the edge quality of ...
FIGURE 4-3: Silhouette of a cat to illustrate the use of Bézier curves, anchor ...
FIGURE 4-4: An example of a text effect that has been applied to type using Ado...
FIGURE 4-5: A sketch and refinement of an owl with Adobe Illustrator.
FIGURE 4-6: A demonstration of Adobe Illustrator’s Text to Vector Graphic tool.
FIGURE 4-7: Black circles illustrating pixel density.
FIGURE 4-8: A retouched image of a flower. The black arrow points to the dark d...
FIGURE 4-9: An example of a nondestructive layer mask being used to isolate (cl...
FIGURE 4-10: Amplifying the red channel in an underwater shot may help make the...
FIGURE 4-11: Adding generative AI is an extremely easy process. Simply select t...
FIGURE 4-12: Outside magazine design solution by Shelby Bryant.
FIGURE 4-13: You’ll be prompted to enter project parameters when creating a new...
FIGURE 4-14: The basic anatomy of an InDesign document with facing pages.
FIGURE 4-15: Adobe InDesign parent pages (A) and document pages (B).
Chapter 5
FIGURE 5-1: Cyclical diagram of the seven-part design process.
FIGURE 5-2: Illustration of tackling a problem using the standard approach (lef...
FIGURE 5-3: Iterative sketches don’t need to look good. They are often used to ...
FIGURE 5-4: Iterative sketching can help you dig down on an idea and develop it...
FIGURE 5-5: Captain America is the epitome of American patriotism, appropriatin...
FIGURE 5-6: An example of combining iterative sketches together to create a new...
FIGURE 5-7: An example of a Proof Approval Form that your client will sign to m...
FIGURE 5-8: These images might look similar, but they may act very differently ...
Chapter 6
FIGURE 6-1: An example of both symmetrical balance and horizontal balance. The ...
FIGURE 6-2: Four examples of asymmetrical balance that experiment with shape, c...
FIGURE 6-3: Four examples of radial balance.
FIGURE 6-4: Four examples of crystallographic balance.
FIGURE 6-5: Color contrast can be used to draw or diminish attention and be use...
FIGURE 6-6: If you wanted to create a funny t-shirt, would it be better to use ...
FIGURE 6-7: Creating textural contrast is a way of mixing different textures an...
FIGURE 6-8: How might size contrast affect how the information on this poster i...
FIGURE 6-9: An example of cannabis packaging. What might we infer from the desi...
FIGURE 6-10: Raskel packaging and brand guidelines by Ryan Margaret Lee.
FIGURE 6-11: Four examples of isolation emphasis.
FIGURE 6-12: Four examples of positional emphasis.
FIGURE 6-13: Using color to help create typographic hierarchy.
FIGURE 6-14: Graphic designer Caroline Mitchell’s use of white space on a moist...
FIGURE 6-15: Note the directional elements used to lead the viewer’s eyes.
FIGURE 6-16: More subtle uses of directional emphasis to help draw the eye to t...
Chapter 7
FIGURE 7-1: What do you see in this image?
FIGURE 7-2: Eight examples of Gestalt psychology.
FIGURE 7-3: Visual unity in a logo.
FIGURE 7-4: Which typeface creates a stronger sense of connectiveness?
FIGURE 7-5: Adhering to grid lines can help create visual unity.
FIGURE 7-6: Take a look at the proximity unity in the two cards. Do you see how...
FIGURE 7-7: It’s extremely easy to create a pattern in Adobe Illustrator that y...
FIGURE 7-8: Notice how texture can be used in typography to help steer the mean...
FIGURE 7-9: Don’t fall into the trap of using too many individual text boxes an...
FIGURE 7-10: Reducing the number of text boxes and replacing them with paragrap...
FIGURE 7-11: Some examples of the possible layouts for a simple 3 × 3 grid syst...
FIGURE 7-12: A.) Establishing rhythm through the space between visual elements....
FIGURE 7-13: Hierarchy of scale is demonstrated in example A, where the largest...
FIGURE 7-14: The golden ratio, or Fibonacci sequence, is observed in nature (to...
FIGURE 7-15: The rule of thirds is a technique to avoid centering content and f...
FIGURE 7-16: Photoshop’s cropping tool can be easily changed between the rule o...
Chapter 8
FIGURE 8-1: Examples of design elements creating directional movement.
FIGURE 8-2: Pick a number.
FIGURE 8-3: Repetition movement to move to help move your audience’s eyes.
FIGURE 8-4: Using sequential movement to lead the viewer’s eyes through a compo...
FIGURE 8-5: Overlap movement can create a sense of depth and hierarchy.
FIGURE 8-6: Implied movement can be used to suggest how a static object moves.
FIGURE 8-7: Hierarchy through line weight, transparency, and focus.
FIGURE 8-8: Look closely. In which example, A or B, do the circle and the trian...
FIGURE 8-9: Where you place elements in a composition can affect hierarchy.
FIGURE 8-10: Notice how alignment creates a hierarchy with both text and images...
Chapter 9
FIGURE 9-1: The anatomy of a basic grid structure.
FIGURE 9-2: Column grid design for a trifold brochure on 8.5 x 11-inch paper.
FIGURE 9-3: A quick mockup of a 3-panel brochure to explore the pacing and stru...
FIGURE 9-4: A modular grid structure for a poster printed on 18” x 24” paper.
FIGURE 9-5: Hierarchical grid systems adapt to the content and are used most fr...
FIGURE 9-6: A quick way to set up a baseline grid system.
FIGURE 9-7: To align text to a baseline grid, highlight the text and then click...
FIGURE 9-8: A 12-column responsive grid applied to both a mobile phone and tabl...
FIGURE 9-9: Type heavy layout (left) and image heavy layout (right).
FIGURE 9-10: Examples of layouts you can deconstruct and learn from are all aro...
FIGURE 9-11: Consistency is an element that can be used to create emphasis.
FIGURE 9-12: Which document would you rather read? The document with very littl...
Chapter 10
FIGURE 10-1: Color codes can be helpful for matching colors in various mediums.
FIGURE 10-2: The color red can be used for love as well as anger. Take a look a...
FIGURE 10-3: Color systems that might tap into our preconceived notions of a co...
FIGURE 10-4: Color palette built from examining a theme like modern, bold, or r...
FIGURE 10-5: Using Adobe Color to extrapolate colors from an image.
FIGURE 10-6: Three primary colors chosen for an Etsy seller.
FIGURE 10-7: Secondary colors don’t have the punch as my primary colors but are...
FIGURE 10-8: A fairly robust color palette with primary colors on the top row, ...
FIGURE 10-9: You can use an online color contrast checker to check your color c...
FIGURE 10-10: An example of a magazine spread uploaded to the online color blin...
FIGURE 10-11: What are some ways you could make this generic chart more accessi...
FIGURE 10-12: Yellow can be a particularly problematic color to use because it ...
FIGURE 10-13: Take a look at how our generic chart has been transformed through...
Chapter 11
FIGURE 11-1: Think about how these typefaces pair with the image above to influ...
FIGURE 11-2: Do opposites attract? Instead of pairing the image in Figure 11-1 ...
FIGURE 11-3: Some typefaces are more legible than others. Choose your typefaces...
FIGURE 11-4: Creating typographic hierarchy through weight, size, and typeface ...
FIGURE 11-5: The type family for Helvetica Neue. Notice how the aesthetics of t...
FIGURE 11-6: The x-height is the distance from the baseline to the median line,...
Guide
Cover
Table of Contents
Title Page
Copyright
Begin Reading
Index
About the Author
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Graphic Design For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
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Library of Congress Control Number: 2024950284
ISBN 978-1-394-26596-1 (pbk); ISBN 978-1-394-26598-5 (ebk); ISBN 978-1-394-26597-8 (ebk)
Introduction
Maybe you picked up this book because you have a design problem you need help solving, or maybe it’s because you’re considering a career in graphic design. Either way, I’m glad you did.
Graphic design is for everyone, and we can all benefit from a set of problem-solving tools to help us respond to the complexity of everyday life. I’ve been teaching design skills and methodologies for over 20 years, and I love empowering people to create, edit, arrange, innovate, conceptualize, and execute their ideas.
Graphic design is the art and practice of creating visual content to communicate ideas to an audience. Design can be applied to a variety of mediums (for example, print, digital, and environmental) and seemingly appears all around us in a variety of contexts. Perhaps this is part of why I enjoy being a designer so much. I never know if I’m going to be working on a design solution for a bottlecap or a billboard, and the medium, message, concept, client, and audience change frequently. Every day presents a new puzzle to solve and an opportunity to learn, practice, and evolve.
My hope for you is that you enjoy the design process as much as I have, and whether you’re solving a problem or researching a career path, that you enjoy the journey. Let your curiosity and imagination propel you forward to learn the principles of design to help guide your design decision-making. So, without further ado, I’m pleased to present Graphic Design For Dummies and to share some of my knowledge of graphic design with you.
About This Book
It doesn’t matter if you aren’t artistic, have no prior graphic design experience, or if you’re a seasoned designer. The point of this book is to empower you with a basis for making better design decisions.
Maybe you have a design problem that needs to be solved immediately; if so, jump into the chapter that is most applicable to your problem. Or perhaps you don’t know much about graphic design and want to see if graphic design might be a good vocation for you; some of the earlier chapters can help you make this determination. Or you may be enrolled in a graphic design program in high school or college and want a resource that breaks down the design process into steps to guide your own graphic design solutions. There is plenty of content included in this book for you, too.
No matter where on this spectrum you are, simply use the Table of Contents to help you jump right into the information you need. Each chapter begins with a brief description of the main topics, but don’t be afraid to use the index at the back of the book to help you find the places where certain terms have been discussed.
Foolish Assumptions
This book isn’t (only) for graphic designers. It’s for people with no graphic design background, too. I believe we are all lifelong learners, and some of us simply have a little more practice under our belts. Comparison can be the thief of a job, so I recommend that you don’t be too hard on yourself — especially if you’re first starting out or at the beginning of your journey.
I also feel the need to stress that if you’re doing your job correctly, there are times when you will fail. Inspiration rarely strikes like a lightning bolt when you go from nothingness to awesomeness. Normally, there’s a lot of hard work, feedback, reworking, testing, and other steps involved with making an awesome design solution. The thing I would stress to each and every one of you is to learn from your mistakes. Stop. Slow down. Think about your missteps. Why don’t they work? Why did they fail? How could you pivot or alter them to be stronger? Don’t be fooled into wadding them up and throwing them away as if they represent something shameful — because they totally aren’t.
Creating something is always a messy, chaotic, and uneasy process. If you are creating something and reach a point where you aren’t sure how you feel about it, then walk away for a couple of hours and come back to your work after you’ve eaten or rested and look at your solution with fresh eyes. Chances are good that this will help get you unstuck.
Finally, don’t expect your first ideas to be your best ideas. When I create a logo, I might sketch somewhere between 50-150 thumbnail sketches before I begin working on the computer to create even more sketches. Stop treating graphic design like a cup of instant noodles, and know that a lot of the work that designers do involves thinking, playing with, deconstructing, discovering, and evolving ideas. If you rush the design process, you’re likely to truncate your design solution’s potential.
Icons Used in This Book
This book contains icons that point to the type of information you’re reading.
The Tip icon is a small piece of expert advice that will save you time and make your graphic design experience a little easier.
I cover a lot of details and information, and every now and then, I throw in a Remember icon to remind you of important details that might be advantageous to remember.
Who doesn’t love a little technical jargon? I’ve pulled out these paragraphs so you can understand the technical aspects of graphic design without getting overwhelmed.
Yes, this book has a few warnings. When you see a Warning icon, please take heed. You’re not going to blow up your computer or do anything irreparable, but I want to save you from as many headaches as I can.
Beyond the Book
To learn even more about graphic design, check out this book’s cheat sheet, which shows you helpful links to web pages containing information about graphic design. To get the cheat sheet, go to www.dummies.com and type Graphic Design for Dummies Cheat Sheet into the search box. You’ll see not only the cheat sheet but any significant updates or changes that occur between editions of this book.
Also, on the dummies.com site, you’ll find a ton of additional content I wrote that I just couldn’t pack into the book. You’ll find the following full chapters there:
Chapter 1
: Designing Together
Chapter 2
: Selected Strategies for a Successful Design Solution
Chapter 3
: Avoiding Common Mistakes
Chapter 4
: Testing Your Skills and Solving Design Problems
Chapter 5
: Accepting Project Constraints and Feedback
Chapter 6
: Practicing How to Critique
To start your graphic design career, all you need is a pencil. But be careful: Although all you need to start your career is a pencil, you might catch the graphic design bug and wind up with a fancy computer and software! Technology is great because it enables graphic designers to perform tasks a lot quicker than doing them by hand with a pencil. But here’s a secret — always start your design projects with a pencil, not a computer — if you want to maximize your time. A simple pencil is enough to get ideas out of your head and down on paper, and a computer is fantastic when you already have a good idea of what you’re trying to accomplish. Don’t be fooled into thinking that ideas come from your computer or your software; they don’t…they come from you. Computers are mostly helpful in executing your ideas, not generating them.
Don’t believe me? Then imagine that your dad was a goat. Draw a picture of yourself (using a pencil) of what you would look like as a half-goat, half-human. You have 60 seconds to complete this task.
How does your drawing look? Sixty seconds isn’t much time, is it? How long do you think it’d take you to draw your half-goat, half-person self-portrait on your computer? I’m willing to bet that it’d take a lot longer than 60 seconds. This example kind of proves a point, doesn’t it? You don’t have all the latest software in order to practice your design skills. A computer might help you make your ideas look professional, but it’s just a tool. The really valuable design ideas — well, they come from you.
Part 1
What to Know Before You Start Designing
IN THIS PART …
Understanding the basics of graphic design
Sharpening your problem-solving skills
Learning how empathy can improve your design
Stocking up on the right hardware and software
Boiling down the phases of the design process
Chapter 1
What Is Graphic Design?
IN THIS CHAPTER
Getting your feet wet in graphic design
Specializing in graphic design
Setting hourly rates and flat fees and using retainer agreements
Ibelieve design is an instrument of organization, a means of relating objects to people, a medium for persuasion, and a way for humans to cope with the complexity of daily life. I believe there is no “right” way to solve a design problem because I’ve seen other designers solve design problems brilliantly in ways that I would have never thought of. Graphic design is a thinking person’s game where you solve problems by creating a visual language from type, illustrations, images, and other elements.
My goal as a designer is to reach my audience with whatever medium is necessary in order to communicate most effectively. Call me an optimist, but I believe that graphic design can help make the world a better place because when people communicate effectively with one other, we build stronger relationships, reduce misunderstandings, resolve conflicts, and facilitate understanding and growth.
Graphic design is all around us, and we are immersed in its artifacts. As you sit there reading this page, I bet there are no less than ten things around you that a graphic designer has created. From the laundry logo inside your shirt to the operating system on your mobile phone and to the cover design on this book — design is all around us. Yet, for many people, the design and creation processes are opaque and often unappreciated. Sometimes, it isn’t until graphic design fails — like the 2,000 “butterfly ballot” used in Palm Beach County, Florida, where presidential candidates’ names were listed on both sides of the ballot and led some voters to vote for the wrong candidate — that people understand exactly how important good design is.
Fortunately, graphic design is not defined solely by its failures but is celebrated for its many successes. It has profoundly shaped the world by enhancing communication, influencing mass media, building powerful brands, and driving marketing strategies. Beyond these, graphic design plays a crucial role in cultural and social expression, contributes significantly to the economy, enriches education and learning, and champions environmental and social responsibility. Graphic design enhances how we understand and interact with the world around us.
Graphic design can be described as the art and practice of planning ideas and experiences using visuals and text. It can be used in branding, advertising, web design, print media, and other fields to convey information, evoke emotions, and guide visual interactions. Often, graphic designers specialize in a particular aspect of design and hone their skills to master their craft.
Welcome to Graphic Design
Allow me to officially welcome you to the wonderful world of graphic design! It’s a fascinating discipline where you are likely to take on the role of artist, hustler, risk-taker, mathematician, creator, innovator, collaborator, typographer, scientist, composer, iconographer, technology guru, social observer, businessman, and so much more.
I’ve been working as a graphic designer for more than 30 years, and I love the discipline as much today as I did when I first started. Graphic design is a career path that is flexible, constantly evolving, and necessary. The work we do is both beneficial and broad in so many ways. It’s a journey that will require you to continually learn, grow, and adapt. For some, ever-present change can be frustrating, and for others, it embodies a spirit of freedom and personal expression.
I’m not going to lie; there will be moments when the road may get bumpy, but with each project, client, and experience, you will get stronger, faster, and conceptually deeper while navigating the terrain more confidently with less effort. There’s likely not going to be a moment where you feel that you’ve arrived at the goal line, but the journey is amazing, and I highly recommend it to anyone.
No matter if you’re reading this because you have a design problem you need to solve or if you’re considering a career in graphic design, graphic design is an empowering process and discipline. You have the opportunity to create and communicate using visual language and connect with others. Not only that, but graphic design is damn fun.
So, allow me to be the first to welcome you and encourage you not to just dip your toe in. Jump on into the wonderful world of graphic design. I’ve been expecting you!
Specialization in Graphic Design
There are many subsets in the graphic design discipline, though some graphic designers will often specialize in a particular area. Perhaps an area aligns with your specific interests, or maybe you will choose a higher-demand area that commands a higher salary.
If you’re interested in researching graphic design salary ranges, then you might want to search for “design salary survey.” One of my favorite design salary survey resources is Aquent, a staffing agency in Boston, Massachusetts, that specializes in placing employees in creative industries. Its salary survey can be found online at https://aquent.com/lp/salary-guide.
Specialization can help graphic designers stand out in a crowded market by offering unique skills and services and can help differentiate them from other designers in the field. Here are six areas of specialization within graphic design:
Branding and logo design:
Branding and logo designers often focus on creating visual elements to represent or promote a brand. This can include creating logos, color palettes, typography, and brand guidelines to create a cohesive and recognizable identity that resonates with a particular audience.
Web and digital design:
Web and digital designers often focus on creating websites, apps, and digital interfaces. This includes user experience (UX) design, user interface (UI) design, and creating layouts and graphics that are optimized for digital platforms.
Print design:
Print designers often focus on creating design solutions for physical media such as postcards, magazines, books, brochures, posters, and other printed media. Print designers pay particular attention to layout, typography, illustrations, and photography and work with printers to create their design solutions in a physical form.
Illustration and motion graphics:
Designers specializing in illustration create illustrations, create visual stories, and enhance communication for a variety of mediums, while motion designers create kinetic design solutions to create animations, animated graphics, video content, commercials, and advertising.
Exhibition design:
Exhibition designers often focus on designing physical spaces, signage, wayfinding systems, exhibitions, and retail environments. Exhibition designers create visually engaging and functional spaces that enhance a user’s experience.
Packaging design:
Package designers often focus on designing packaging for products that are both aesthetic and functional. Package designers work to create attractive, protective, and informative packages that align with a company’s brand guidelines.
Despite specialization in the design discipline, many of these areas share a common foundation, particularly with using the design principles (discussed in Chapters 6-8) to solve design problems. Also, many of these different areas of specialization use similar hardware and software but may use additional software to expedite certain workflows and tasks.
Assessing Design Education and Training
Many people interested in graphic design struggle with understanding what education and training they need. If you want to work in the design profession, do you need to go to college and get a degree in graphic design?
The short answer is that while a degree in graphic design can be beneficial for a career in the field, it’s not strictly necessary. I won’t lie; there are some big advantages to going to college and majoring in graphic design, but you can have a successful career without a degree.
One of the biggest advantages of studying graphic design is that a credentialed program will offer structured learning in design principles, typography, theory, and software skills. A good design program may also offer students networking opportunities, access to design labs, software, printing, and other resources like graphic design critiques to help improve your work that can be difficult or expensive to pay for independently.
That said, there are a variety of online courses, tutorials, and books that someone who is motivated to do so could use to teach themselves about the art and practice of graphic design. Self-motivated individuals can also freelance and gain practical experience. Also, starting in an entry-level position can provide on-the-job learning.
I’m a big fan of designers, no matter their level, using their skills to solve design problems. There are opportunities to help people who can’t pay expensive design fees while growing their skills at the same time. For example, I designed a cookbook for my church to help raise money to upgrade their playground equipment. Members of the church shared their favorite recipes, and I designed the cookbook for them. The money we raised selling the cookbook was the primary source of funds used to upgrade their playground equipment. Opportunities to grow your skills as a designer and help someone out it the process are all around if you look for them.
All in all, a degree in graphic design offers a lot of advantages, but it’s not the only path into the design discipline. Some really good designers have entered the discipline through other means, but majoring in graphic design in a credentialed program is likely to expedite your graphic design journey in some significant ways.
Evaluating Freelance and Agency Experience
Almost all of my graphic design students get their degrees and either go to work at an agency, become entrepreneurs or freelancers, or go on to a graduate program. So, let's investigate some of these options.
Small, mid-sized, and large agencies
Your experience working at an agency can differ, depending on the size of the organization.
Small agencies:
Small agencies are usually great at providing their clients with personalized service, lots of flexibility, and lower costs but may have more limited resources, leading them to focus on local or niche markets. Small design agencies sometimes ask their team to wear a number of hats, which can be great if you’re interested in learning the ins and outs of the discipline. Many small agencies can produce high-quality work and are often flexible and adaptable enough to adapt to client needs quickly.
Mid-sized agencies:
Mid-sized agencies often have a larger team with more specialized roles. Mid-sized agencies strike a balance between personalized design services and organizational structure, like having a dedicated account manager or a project lead. Mid-sized agencies generally have access to more tools, technologies, and resources or have dedicated departments for frequently used design services. Additionally, mid-sized agencies often strike a balance between structure and flexibility. While their prices may be higher than a small agency, they usually have competitive pricing compared to larger design agencies.
Large agencies:
Large agencies have extensive resources and specialized expertise in high-profile and complicated design projects. Large agencies usually have a large team with very specialized roles and may have multiple offices in various strategically chosen geographical areas. Large agencies often provide clients with more formalized interactions to complete long-term, complex design solutions on a large scale. Large agencies are often less flexible than small or mid-sized agencies but are highly efficient in how they handle large volumes of work. Large agencies have extensive resources but command higher prices for their work due to the scale of projects, their expertise, and the level of resources at their disposal.
Freelance work
Working as a freelance graphic designer is an excellent way to control what projects you work on and when. For a lot of people, this flexibility allows for a better work-life balance. Also, choosing which clients you work with can lead to more satisfying and creatively rewarding work. Most of the clients that I’ve freelanced with were really cool clients, and I’ve largely found this work really interesting and engaging. In fact, the diversity of clients that I’ve worked with over the years has really helped me diversify the work in my portfolio and gain experiences in a variety of disciplines. I remember working with a scientific company on a website that hosted scientific datasets that scientists would use to run analyses. At one point, I had to talk with a Russian scientist living in Siberia about gene therapies and cloning. Needless to say, I did not have that on my beginning-of-the-week bingo card!
Aside from the niceties of freelance design, designers work temporarily or on specific projects or tasks for an agency or directly with a client. Typically, freelance designers charge an hourly rate, a flat rate, or a retainer fee and work for clients on an as-needed basis. Because of this, freelancers set their own rates and potentially earn more than they would in a traditional job at an hourly rate. Keep in mind that freelancers have to pay for their own healthcare and contribute to their own retirement savings because a company does not do this for them.
I encourage many of my graphic design students to freelance as a side hustle. One of the biggest tips I would give is to begin your freelance career by working with a few people that you know and trust first to get your freelancing legs underneath you before working with clients that you don’t have some type of relationship with. Start with small jobs for people you know and build up your network (and client list) slowly until you gain confidence.
I absolutely love working with clients in my community and helping them solve some of their graphic design issues. In fact, if you’re not sure about what to charge a client, you can think about bartering for goods and services. I’ve worked with a number of my favorite restaurants, and instead of being paid in cash, we set up a tab so I can eat a certain number of meals for free. I’ve also bartered for hang gliding lessons, triathlon training, and scuba certifications. Freelancing is a great way to get to know the members of your community and to help them out! I promise you — nothing feels better than walking around your town and seeing your design work in the local storefronts and thinking to yourself, “I did that.”
Use a contract
Allow me to give you some of the best advice that you might receive if you’re interested in freelancing — use a contract. A contract is crucial for freelance designers because a contract:
Creates clarity by setting designer and client expectations
Provides legal protection in case a dispute arises
Sets key time frames and compensation terms
Sets the scope of a project
Demonstrates your commitment to professionalism
Defines confidentiality and copyright/intellectual property terms
Specifies how the agreement can be terminated
While I’m not an attorney and not qualified to offer legal advice, the following sidebar shows a simple contract I use for my own freelance agreements. If you adopt it, then you should show it to an attorney because local and state laws may require you to add or remove certain language to make the contract legally acceptable. That said, you can see how a contract can be used to create clarity between a freelance graphic designer, ABC Designs, and a fictitious client, XYZ Client.
Even if you’re working with someone you know and trust, you should still use a contract. Contracts aren’t traps; they are documents to help both parties know what the expectations are.
SAMPLE FREELANCE DESIGN CONTRACT
Today’s Date:
Client’s Name:
Client Email:
Client’s Phone:
Client’s Address:
PROJECT: Give the project a name (e.g., T-shirt Design for XYZ Client)
SCOPE OF THE PROJECT: Describe the project in detail and make sure to indicate the scope of the project and what needs to be done to conclude the project. (e.g., ABC Designs will create two-color vector artwork for XYZ Company to be screen printed on a light gray t-shirt. ABC Designs will deliver three concept sketches for XYZ Client to approve, along with two rounds of edits. The artwork will be created with Adobe Illustrator and the file will be delivered as an Illustrator EPS file and delivered to XYZ Client’s screen-printing company on a USB drive.)
DETAILS: Describe what the client is getting for their money. (e.g., Proofs will be delivered to XYZ Client within seven days after ABC Designs receives a 50 percent payment and all associated content. This estimate includes the initial client meeting, research, sketching, concepts, design, and production, and one round of revisions.
This estimate is based on the scope of the project defined above. Changes to the scope of work may result in changes to delivery time and price. Additional expenses (such as illustration, photography, shipping expenses, etc.) will be itemized on the final invoice. This estimate is valid for 30 days from the date listed above. The fees for the project may vary as much as 15% from this estimate.)
ESTIMATE: $325.00
Sketching & Concepts: 2½ Hours @ $50.00
Design Work: 4 Hours @ $50.00
TERMS & CONDITIONS:
Sketches: The fee above includes three pages of concepts; additional sketched concepts may incur extra fees.Final artwork: The fee quoted includes one digital file of the final artwork. Any changes to the final artwork, once it has been approved, may incur an additional cost based on the extent of complexity.Rights: Upon full payment of all fees and costs, the rights to use this design transfer to the Client listed above. Until full payment is made, the Designer retains all rights to this work.Credit: The Designer retains the right to display this project on their portfolio website.Overtime: Fees quoted are based upon work performed during the course of regular working hours. Overtime, rush, holiday, and weekend work by the Client’s directive will be billed at a rate of $100.00 per hour.Billable Items: In addition to the fees and costs estimated, costs incurred for additional services and shipping are billable to the Client. Whenever applicable, state and local sales taxes will be included. Travel expenses will be billed additionally, at cost.Purchasing: All purchases made on Client’s behalf will be billed to the client. In all cases, prices may reflect a small markup of 5 percent. Charges for insurance, shipping and handling charges are additional. In the event the Client purchases materials, services, or any items other than those specified by the Designer, the Designer is not liable for the cost, quality, workmanship, condition, or appearance of such items.Schedule of Payment: 50 percent of the project estimate is due at the beginning of the project and the remaining 50 percent is due when the project has been approved and is delivered to the Client. Invoices are due upon 30 days of receipt. A 9.9% per month fee will be applied to payments that have not been received within 60 days of the project’s delivery.Termination Policy: Client and Designer may terminate this project based upon mutually agreeable terms determined in writing. The termination of a project already underway by the client may be subjected to a “kill fee” and services rendered by the Designer will be invoiced and billed to the client.Term of Proposal: The information contained in this proposal is valid for 30 days. Proposals approved and signed by the Client are binding and begin on the date of Client’s signature.If the information in this proposal meets the Client’s approval, the Client’s signature must appear below to authorize the Designer to begin work. Please return a signed copy of this proposal to the Designer.
Designer / Date: ______________________
Client / Date: ________________________
Pricing Your Work
Setting your rates involves several key factors to consider. If you’re new to the graphic design profession, then focus on developing your graphic design skills first; once you’re ready to work with a client, it’s time to think about what these skills are worth.
Hourly rates
Many freelance graphic designers charge by the hours they work on a project × their hourly rate, but how do you determine what your hourly rate should be? Too low and you’ll feel taken advantage of and too high and you might price yourself out of jobs. In order to determine what your hourly rate should be you’ll need to account for your experience and skill level. Beginners usually charge less than those with more advanced skill levels, and those with more experience are likely to demand higher prices than those without.
Your geographical location and market rates can also affect your hourly rate, so a freelance designer in Alabama is likely to charge less than a freelance designer in California just because there is a difference in the cost of living, competition for jobs, and expectations for what this work is likely to cost.
Along these same lines, the types of clients and their budgets can affect your hourly rate. For instance, if I were working for a health insurance company, then I’d charge them a higher rate than if I were working for a veteran’s fundraising campaign to support local veterans with counseling needs. The health insurance company can afford my services, but I would likely reduce my fees when working with veterans since my dad was a veteran, and I want to help out veterans who are in need of counseling services.
When you set your rates, try to contact a peer who is working at the same level in your geographical area and talk with them about their hourly rates. I don’t want to undercut them, but I want to make sure that my rates aren’t too high or low. Also, as a freelance designer, sometimes you have to pass on certain jobs, so having a designer whose work you respect allows you to direct work their way in the event that it’s not a good fit for you. As an informal agreement, you can ask your peer to return the favor if the situation is reversed.
Some might say that having a sliding hourly rate is unfair, but I don’t think that’s the case. I try to treat all of my clients fairly, and once I determine my hourly rate on a case-by-case basis, I’ll stick with it and honor my agreement. I don’t have any issues with discounting work in order to work with certain clients or projects that I might be particularly interested in working with or projects that I find highly fulfilling.
