The world of graphic design is competitive. According to the US Department of Labor stated that more than one-third of the 500,000 graphic designers are “self employed” (Page 48). One of the reasons why graphic designers tend to work freelance is because of the employment opportunities that are available. There are many creative people in the world of graphic design who are applying for the same jobs you are. This means that there are only a limited number of jobs that are available in studios. Because of the limited spaces in studios many designers have no choice but to work freelance.
There are two ways to approach design. “Design is either a solitary or a communal activity depending on your aesthetic view and psychological make-up” (Page 48). Within the Interactive Digital Design program I feel as though students are encouraged to work in solitary. During the course of my four years in the program I have worked twice in a group. It was a complete culture shock. This is not because I’ve never worked in a group before but because as a designer I’ve relied on myself. However, it is important to be able to work with others. By working with others you are able to get other perspectives on work. Also by working in a group there could be “…creative chain reaction set in motion by the collaborative process” (Page 48). When you’re in a group just brainstorming things have the potential to explode. When you’re working alone you can easily hit a wall. But in a group you can always rely on your fellow designers to pick up your idea and run with it.
Though I will not be working full time as a graphic designer, I became inspired while reading. Because my decision to enroll in Higher Education graduate program I felt as though my degree would not mean much. But this is not the case. I realize now that I can work freelance and still use my creativity and design experience. This excites me because I will be able to work in two fields that I have a passion for. On the other hand, I feel as though I’ll be missing out on studio experience. Studios can be looked at as communities. It is suggested that as a young graphic designer you give studio work a shot. “It allows you to sample studio life, gives you an insight into how different studios function and provides you with a pool of contacts that you can call on again and again” (Page 49). By working in a studio you are able to hone you’re craft. You’re able to ask other more experienced designers for help and advice. More than likely you won’t need to use the help feature because someone in the studio should have some knowledge on software use. When you’re studio time is over you can set out to work freelance. This is when your studio experience will come in handy as you are able to use your contacts and network in order to get started.
What appeals to me most about working freelance is the flexibility. “Perhaps the single most important aspect of being self-employed is that you retain flexibility…” (Page 49). I want to be able to this work when I want too. That is why working freelance appeals to me. There isn’t as much urgency to the work because I’m deciding what work to do, I am not being told what to do. One of the problems with freelance is will power to do the work. This will not be a problem because I am motivated by pressure. “On your own, you have to be more disciplined, not less” (Page 51). The one aspect of freelance that I’ve always wondered about is how to price projects. It is important to know you’re getting paid for the work you do. I won’t be able to make money as a freelance designer unless I have something that makes me stand apart. I need to have an factor X. There needs to be something that sets me apart from the crowd. Without a factor X you won’t get hired.
Because of my plans after Quinnipiac don’t involve fulltime work in graphic design, work in a studio does not appeal to me but I can understand why it is important. Studio work gives you freedom but a different kind of freedom than freelance work. At a studio certain people are allocated certain responsibilities. One person is involved with working directly with clients while another deals with staff relations. This can allow the people within the studio to work on what they’re interested in. It could even be divided up in terms of print, web and animation. Through this people will be able to work in their strongest suite instead of something they might not be comfortable with. Also, there could be osmosis at work in a studio environment. Someone who was working in animation might work next to a print designer. By observing the designer they might be able to develop an interest in working with print. Also, they might be inspired by the print designers work and somehow incorporate it into their own work.
Some of the aspects of setting up a studio are also helpful for me to know as I pursue freelance work after graduation. The five steps that are detailed in the process of starting up are also relevant to working freelance. The step that I find particularly important is registering a company name and securing a URL. If you’re not on the web you don’t exist as a designer. The Internet has become the go to place for everything and this includes researching graphic designers. When you’re work is not on the web it is much harder for you to get your name out there. Word of mouth will be what you rely on and it isn’t always the most reliable means as finding work.
Another important step is choosing a name. A name can be fluid in graphic design. “In years to come you might change the nature of your business so you don’t want to be saddled with a name that is inappropriate” (Page 67). If you’re name is getting you attention for the wrong reason it might be important to change it. You want a name that will appeal to a wide variety of people and not pigeon hole you. The evolution of a name is best illustrated through this comparison “Like a new pair of shoes, a new name feels stiff and conspicuous to start with, but just as you soon ‘grow into’ new shoes and they become part of your skin, so too with names” (Page 67). As your studio or company goes it might become necessary for the name to change in order to accommodate your growth as well as to create a new appeal.
In working in freelance or within a studio a portfolio’s importance is undeniable. This is something I’ve really learned through reading both How to be a graphic designer without losing your soul and Designing a Digital Portfolio. That is why it is important to make sure your portfolio makes a kind of “personal statement” (Page 30). You want it show you what you can do and what type of work you are looking for. Also, it is not solely the work in the portfolio that perspective employers are paying attention to, it is also the portfolio itself. In terms of how much work a portfolio should contain there is no ideal number. Yang Kim wrote “I recommend under 20. If you get too many pieces, it’s hard to remember anything significant” (Page 31). You want to stand out as a designer but by having too many works it is almost impossible for one piece to really pop out in the mind of a potential client if they’ve been looking at work all day.
Finally, it is important to know what companies are looking for when they’re commissioning work. As much as clients will be interviewing them you are interviewing them too. Walking into a meeting having an idea of what the company is all about and what they’re looking for will put you at an automatic advantage when it comes to the interview. Also, research will allow you to adjust your portfolio to the needs of the clients. Being knowledgeable about a company will never hurt you as you pursue them as an employer.
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