Below information consists of national averages (finally updated by the Bureau of Labor Statistics!). That means that the pay scale is slightly lower for the Mid-South region and slightly higher for large cities in other parts of the country. Cities will always have higher pay, as the cost of living is usually much higher.
2016 Bureau of Labor Statistics: GRAPHIC DESIGNER (overall)
2016 Bureau of Labor Statistics: ART DIRECTOR
2016 Bureau of Labor Statistics: WEB DEVELOPER (some design)
2016 Bureau of Labor Statistics: SOFTWARE DEVELOPERS, APPLICATIONS
2016 Bureau of Labor Statistics: MULTIMEDIA ARTIST and ANIMATOR
2016 Bureau of Labor Statistics: DESKTOP PUBLISHER (production artist)
2016 Bureau of Labor Statistics: CRAFT or FINE ARTIST
2016 Bureau of Labor Statistics: PHOTOGRAPHER
2016 Bureau of Labor Statistics: FILM and VIDEO EDITORS
2016 Bureau of Labor Statistics: PRODUCERS and DIRECTORS (film and video)
Also see here for the AIGA Design Salary surveys from 2014 (updated every 5 years or so).
Instead of a list of links like the rest of this site, here is a collection of informed opinions from me, Prof. Arnell.
______________________
There are many jobs in design, different working environments, and multiple mediums in which to specialize. All of these require continuous learning and specialization of skills. Beyond technology and trends, graphic design is COMMUNICATION with a culture/subcultures and things change constantly. Designers and art directors need to visually problem solve ways to reach different objectives on a daily basis. No day is ever the same and not every day is fun. But if you do your job right, you will (almost) never be bored. "Boring" is not a descriptor of this occupation.
• Take critiques seriously in college. Learn how to present your work professionally. Learn to have a presence. Look people in the eye and be open. People tend to mirror each other; therefore, put good vibes (smile, unguarded body language, etc.) out and get good vibes back. Likewise, if you don't believe in yourself, people won't believe in you. Your confidence goes to your very core...so if that means you have to give yourself pep talks every once in awhile, get to it.
• Grow this confidence without tripping on your own ego. Have ownership and pride in your work from the brilliant Big Idea down to the tiniest detail of craft. But grow a tough skin because you will need it in this land of creativity for hire.
• With experience, you will learn to ask questions (budgets, timelines, objectives, demographics, branding, competition, your pay, etc.) before you begin to work. Remember the Design Process - you must understand objectives and then research FIRST. Otherwise, you are wasting your time and the client's money, neither of which is appreciated.
• As far as job titles and responsibilities, you will begin as a Junior and work up to a Director. Depending on the size of the city and scope of the shop, you may be a Designer (more aesthetically aware and visual mastermind, though still able to think Big Idea) or an Art Director (more overall Big Idea strategy and concept, though still a great designer). If you are all web, you will most likely not be a programmer, but to be what I call a "Devigner" (a designer who can can practically code by hand) is very very valuable.
• Work environments: There are advertising agencies, design shops, places that specialize in web only, in-house design, printhouse pre-press, etc. And of course, freelance at a shop or freelance out of your home with a client across the street or across the globe. Many times these places will overlap. Or ad agencies will be a bit more design-y vs. corporate, etc. That's why you should network and get to know the feel for a shop, though a good starting point is to see the kind of work they produce.
• Network everywhere. NETWORK NOW. Develop your own brand and have beautifully designed biz cards that show the way to your website. Become a member NOW of AIGA (the professional association for design whose inherited acronym is now too small a scope for what it does, hence "American Institute of Graphic Arts" isn't really enough) and/or AAF (American Advertising Federation). When you move to a new town, find where these groups are and JOIN THEM (or similar in town: for example, ADCD - Art Directors Club of Denver where there are tons more than art directors). Or at least show up to mixers and mix it up with people, leaving biz cards everywhere. KNOW PEOPLE WHO KNOW PEOPLE and keep in touch. And never ever burn a bridge because everybody somehow knows everybody, even across the country.
• Enter awards shows, especially for AIGA and AAF. Also try to intern at powerful shops, but definitely intern somewhere. Find great Real World work to do while in school, whether it pays or not (but make it a habit to be paid!!). All of these will be much more valuable on your resumé than the fact that you held down a job as a cashier. Holding down a job while acquiring your degree is important (!!!!!...and more !!!!!!!), but try to start thinking about what will matter to those who will hire you in your upcoming CAREER. Not job, but career.
• While you're a student, take advantage of breaks in the industry. Adobe and Apple give drastically reduced prices. AIGA and AAF provide much cheaper membership fees. These groups and many others also often have student only competitions (like AAF's Student Addys), and an award is an award. Aside from these groups, the majority of fellow creatives like to mentor upcoming talent; however, only give 110% to anyone who gives this time to help you. If a mentor sees mediocrity, it is equal to burning a bridge.
• Unless you were grandfathered in and you are in a managerial position (think Creative Director or CEO), the career landscape demands awareness of both web and print now. (Even more if you can - think Apps and social media, but also traditional illustration, etc.) Know both. Web changes so quickly that you must constantly be aware of the latest and greatest. For example, Flash is dead when it was the superstar not that long ago. Get your DOCTYPE right at the beginning of a page! Overall, the more you know, the better.
• As a colleague stated, "Learn, learn, and then when you feel like stopping... learn some more." Technology is a big aspect of this, but not the only one. Don't be average. Don't be a cliché. This business moves far too quickly to ever stop learning. Plus, it makes for a much more exciting life to have undying curiosity.
• As far as job security, designers have some of the worst and some of the best. Here's what I mean... Design and advertising usually parallels how well or poorly the economy is doing : supply and demand, profit margins etc. Also, if a shop loses a client, this means the shop loses money and usually has to lay people off. The good news is that this business is constantly moving and changing, which is why you should never ever ever stop networking. And if need be, there is always freelance production work. Just remember that if (when, because you will) you freelance in any way, learn a little about taxes and health insurance. And don't take either of those two lightly.
• Know how to be part of a team. If you finally get an interview (like a real one and not the informational, networking kind though these are still very valuable), they know your work is good enough. You (of course) have an online portfolio. They've seen your resumé. You've probably talked on the phone. So the interview is really about if you will be a good fit in the creative dynamic of a shop.
Other stuff:
• Learn how to write copy. Not be a copywriter, but develop the ability to write a headline or a tagline and not a novel. Learn the difference between conversational and proper English (or other language). (But good grammar is always important!)
• Learn how to "massage the copy" in what you say too, but never EVER lie because you will regret it. Just don't over-inform and don't bring attention to things you don't want spotlighted.
• Learn how to strategically communicate. Not be a marketing expert, but know the language of business.
• Learn about copyright and plagiarism. Be proactive. Don't steal others work, but understand what appropriation and brand equity are.
• Read Annuals all the time - Communication Arts (Design Annual, Advertising Annual, Interactive Annual, etc.), Print, Archive, HOW, etc. Know what is winning awards at the national and international level. Regional is nice too, but think BIG.
• Learn how to OBSERVE and listen and ask questions. Have an undying curiosity for everything and everyone. If you are in this aspect of the art world, you probably already do this. Keep it up.
A lot of what is explained above and that you will learn in Branding is reiterated in this AIGA link "How To Find Your First Job."
2016 Bureau of Labor Statistics: GRAPHIC DESIGNER (overall)
2016 Bureau of Labor Statistics: ART DIRECTOR
2016 Bureau of Labor Statistics: WEB DEVELOPER (some design)
2016 Bureau of Labor Statistics: SOFTWARE DEVELOPERS, APPLICATIONS
2016 Bureau of Labor Statistics: MULTIMEDIA ARTIST and ANIMATOR
2016 Bureau of Labor Statistics: DESKTOP PUBLISHER (production artist)
2016 Bureau of Labor Statistics: CRAFT or FINE ARTIST
2016 Bureau of Labor Statistics: PHOTOGRAPHER
2016 Bureau of Labor Statistics: FILM and VIDEO EDITORS
2016 Bureau of Labor Statistics: PRODUCERS and DIRECTORS (film and video)
Also see here for the AIGA Design Salary surveys from 2014 (updated every 5 years or so).
Instead of a list of links like the rest of this site, here is a collection of informed opinions from me, Prof. Arnell.
______________________
There are many jobs in design, different working environments, and multiple mediums in which to specialize. All of these require continuous learning and specialization of skills. Beyond technology and trends, graphic design is COMMUNICATION with a culture/subcultures and things change constantly. Designers and art directors need to visually problem solve ways to reach different objectives on a daily basis. No day is ever the same and not every day is fun. But if you do your job right, you will (almost) never be bored. "Boring" is not a descriptor of this occupation.
• Take critiques seriously in college. Learn how to present your work professionally. Learn to have a presence. Look people in the eye and be open. People tend to mirror each other; therefore, put good vibes (smile, unguarded body language, etc.) out and get good vibes back. Likewise, if you don't believe in yourself, people won't believe in you. Your confidence goes to your very core...so if that means you have to give yourself pep talks every once in awhile, get to it.
• Grow this confidence without tripping on your own ego. Have ownership and pride in your work from the brilliant Big Idea down to the tiniest detail of craft. But grow a tough skin because you will need it in this land of creativity for hire.
• With experience, you will learn to ask questions (budgets, timelines, objectives, demographics, branding, competition, your pay, etc.) before you begin to work. Remember the Design Process - you must understand objectives and then research FIRST. Otherwise, you are wasting your time and the client's money, neither of which is appreciated.
• As far as job titles and responsibilities, you will begin as a Junior and work up to a Director. Depending on the size of the city and scope of the shop, you may be a Designer (more aesthetically aware and visual mastermind, though still able to think Big Idea) or an Art Director (more overall Big Idea strategy and concept, though still a great designer). If you are all web, you will most likely not be a programmer, but to be what I call a "Devigner" (a designer who can can practically code by hand) is very very valuable.
• Work environments: There are advertising agencies, design shops, places that specialize in web only, in-house design, printhouse pre-press, etc. And of course, freelance at a shop or freelance out of your home with a client across the street or across the globe. Many times these places will overlap. Or ad agencies will be a bit more design-y vs. corporate, etc. That's why you should network and get to know the feel for a shop, though a good starting point is to see the kind of work they produce.
• Network everywhere. NETWORK NOW. Develop your own brand and have beautifully designed biz cards that show the way to your website. Become a member NOW of AIGA (the professional association for design whose inherited acronym is now too small a scope for what it does, hence "American Institute of Graphic Arts" isn't really enough) and/or AAF (American Advertising Federation). When you move to a new town, find where these groups are and JOIN THEM (or similar in town: for example, ADCD - Art Directors Club of Denver where there are tons more than art directors). Or at least show up to mixers and mix it up with people, leaving biz cards everywhere. KNOW PEOPLE WHO KNOW PEOPLE and keep in touch. And never ever burn a bridge because everybody somehow knows everybody, even across the country.
• Enter awards shows, especially for AIGA and AAF. Also try to intern at powerful shops, but definitely intern somewhere. Find great Real World work to do while in school, whether it pays or not (but make it a habit to be paid!!). All of these will be much more valuable on your resumé than the fact that you held down a job as a cashier. Holding down a job while acquiring your degree is important (!!!!!...and more !!!!!!!), but try to start thinking about what will matter to those who will hire you in your upcoming CAREER. Not job, but career.
• While you're a student, take advantage of breaks in the industry. Adobe and Apple give drastically reduced prices. AIGA and AAF provide much cheaper membership fees. These groups and many others also often have student only competitions (like AAF's Student Addys), and an award is an award. Aside from these groups, the majority of fellow creatives like to mentor upcoming talent; however, only give 110% to anyone who gives this time to help you. If a mentor sees mediocrity, it is equal to burning a bridge.
• Unless you were grandfathered in and you are in a managerial position (think Creative Director or CEO), the career landscape demands awareness of both web and print now. (Even more if you can - think Apps and social media, but also traditional illustration, etc.) Know both. Web changes so quickly that you must constantly be aware of the latest and greatest. For example, Flash is dead when it was the superstar not that long ago. Get your DOCTYPE right at the beginning of a page! Overall, the more you know, the better.
• As a colleague stated, "Learn, learn, and then when you feel like stopping... learn some more." Technology is a big aspect of this, but not the only one. Don't be average. Don't be a cliché. This business moves far too quickly to ever stop learning. Plus, it makes for a much more exciting life to have undying curiosity.
• As far as job security, designers have some of the worst and some of the best. Here's what I mean... Design and advertising usually parallels how well or poorly the economy is doing : supply and demand, profit margins etc. Also, if a shop loses a client, this means the shop loses money and usually has to lay people off. The good news is that this business is constantly moving and changing, which is why you should never ever ever stop networking. And if need be, there is always freelance production work. Just remember that if (when, because you will) you freelance in any way, learn a little about taxes and health insurance. And don't take either of those two lightly.
• Know how to be part of a team. If you finally get an interview (like a real one and not the informational, networking kind though these are still very valuable), they know your work is good enough. You (of course) have an online portfolio. They've seen your resumé. You've probably talked on the phone. So the interview is really about if you will be a good fit in the creative dynamic of a shop.
Other stuff:
• Learn how to write copy. Not be a copywriter, but develop the ability to write a headline or a tagline and not a novel. Learn the difference between conversational and proper English (or other language). (But good grammar is always important!)
• Learn how to "massage the copy" in what you say too, but never EVER lie because you will regret it. Just don't over-inform and don't bring attention to things you don't want spotlighted.
• Learn how to strategically communicate. Not be a marketing expert, but know the language of business.
• Learn about copyright and plagiarism. Be proactive. Don't steal others work, but understand what appropriation and brand equity are.
• Read Annuals all the time - Communication Arts (Design Annual, Advertising Annual, Interactive Annual, etc.), Print, Archive, HOW, etc. Know what is winning awards at the national and international level. Regional is nice too, but think BIG.
• Learn how to OBSERVE and listen and ask questions. Have an undying curiosity for everything and everyone. If you are in this aspect of the art world, you probably already do this. Keep it up.
A lot of what is explained above and that you will learn in Branding is reiterated in this AIGA link "How To Find Your First Job."
This is helpful when creating contracts for freelance work:
