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Nicole Langstaff
CST 300/L
September 25, 2013

The Multifaceted Career of a Visual Designer
The career field of visual design is often difficult to define as it encompasses a vast range
of artistic techniques and mediums, from corporate logos to infographics. When exploring the
increasingly diverse facets of this occupation, one must decide which form(s) they want their
work to take and whom they want it to impact the most. Once this is decided, it is much easier to
find a suitable design firm and to adjust ones skills and education in order to become a
prospective employee. It is common for a visual designer to have a lucrative career if they can
work well in a team and adapt quickly to changing graphic trends.
With the development and implementation of new technology comes new ways of
visually expressing and communicating ideas. Print design has been the crux of visual media for
centuries and only recently has the computer enacted a digital revolution on design, consequently
making it faster and easier to create and reproduce artwork than ever before. This modernization
of design dimensions appropriately occurred concurrently with the rise of consumerism,
capitalism, and mass production throughout the twentieth century. Material is still being printed,
but now it is possible, as well as expected, to have rapid turnaround and consistent, colorful
reproduction (Cullen, 2011). Software such as Adobe Photoshop and Adobe Illustrator have
simplified the creative process of photo editing and drawing, respectively, so much that one does
not need any formal training to produce admirable work. Programs including QuarkXPress and
Adobe InDesign can assist in layout design for a variety of publication purposes (Crowley,
2009). All of these applications were constructed with straightforward user interfaces and give
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artists the option of undoing their work and experimenting with a myriad of styles with only a
few clicks of the mouse.
Possibly due to the commercialism of digital design tools, there are no real major
companies in the $7 billion U.S. graphic design industry, but rather thousands of firms of various
sizes (First Research, 2013, p. 2). Most of these companies have a few offices spread out over
the globe and work on a diverse array of projects, often branching into the web design and
interactive media fields. As a result of the influx of technology and Internet services, a design
firm can be considered successful even though they only have a few staff members, such as
Memo Productions of New York City, NY (Bonneville, 2009), who have a long client list, but
only about two employees (Clients, n.d.). There are, of course, some legendary agencies like
Chermayeff & Geismar & Haviv, FutureBrand, Landor Associates (Outlaw, 2009), Siegal+Gale,
and MetaDesign who all have extensive client lists featuring prominent corporations and
publications. There are unique studios like Milton Glaser, Inc., founded by the iconic designer
himself, that are small, yet reputable, and have a distinct aesthetic (The Studio, n.d.). Each
company has its own take on visual design and their own services that they provide, though
brand consulting and advertising are preeminent.
Pentagram is a noteworthy studio founded in 1972 in West London, UK and is now
considered the largest independent design consultancy in the world. The original founders were
Theo Crosby, Mervyn Kerlansky, Colin Forbes, Kenneth Grange, and Alan Fletcher, and they
decided to establish an eccentric system of operations in which there are no head directors, only
collaboration among creative equals. Now there are nineteen different partners (none of the
original founders) who are all innovators in their particular fields and operate the agency in a
symbiotic, flat organization with no CEO or president, but instead with each client working
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closely with one or more partners (Pentagram, n.d.). They employ 142 workers with offices in
London, New York, San Francisco, Austin, and Berlin and offer services in everything from
architecture and environmental graphics to books and websites. In an interview with Represent,
Angus Hyland, a partner since 1998, described the set-up of Pentagram as an atelier of small
businesses, working more or less independent from each other in terms of projects, but sharing
profit, portfolio, and space. Hyland went on to say that the partners meet up every six months to
discuss projects and developments in the company (Alderson, 2013). This kind of framework
gives Pentagram an edge in the visual design industry because they have the resources of a more
corporate firm, but the individuality and flexibility of a small-scale agency.
Two long-term and significant partners at Pentagram are Paula Scher and Michael Bierut.
Scher has worked in the visual design field for over forty years, and joined the New York
Pentagram office in 1991, where she created the exceedingly contemporary graphic identities for
Citibank and Tiffany & Co.. Her other clientele include the likes of Coca-Cola, Microsoft, the
Museum of Modern Art, the Metropolitan Opera, Bloomberg, and The Daily Show with John
Stewart and the list of her awards and affiliations seems endless: The Beacon Award (1996), The
Art Directors Club Hall of Fame (1998), The Chrysler Award (2000), the national board of The
American Institute of Graphic Arts (AIGA) (president, 1998 2000), and The National Design
Award for Communication Design (2013), to name a few (Paula Scher, n.d.). She earned her
B.F.A. from the Tyler School of Art in Philadelphia in 1970, and honorary doctorates from the
Corcoran College of Art and Design, the Maryland Institute College of Art, and Moore College
of Art and Design in later years. Additionally, Scher has taught at The Cooper Union, Yale
University, and the Tyler School of Art, hold permanent exhibits in three countries, and has
published two books: Make It Bigger (2002) and MAPS (2011) (Paula Scher, IDI, n.d.).
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Michael Bierut shares much of a similar background as he graduated summa cum laude from the
University of Cincinnatis College of Design, Architecture, Art and Planning in 1980, joined as a
New York City partner of Pentagram in 1990, and has since designed for Motorola, the New
York Jets, Yale School of Architecture, the Walt Disney Company, The New York Times
building, MillerCoors, Saks Fifth Avenue, and The Atlantic. He, too, has won hundreds of
awards, including the AIGA Medal (2006) and the Design Mind Award in the National Design
Awards (2008), and was inducted in the Art Directors Club Hall of Fame in 2003 (Michael
Bierut, n.d.). Clearly Scher and Bierut have earned their partnerships at Pentagram and
exemplify the kind of prestige and commitment that goes into a profitable company.
Pentagram has thrived over the last four decades and has completed hundreds of
memorable projects. One could marvel at their strategic architectural design of the Harley-
Davidson Museum in Milwaukee, Wisconsin in 2008, or appreciate their branding strategies
from the air in United Airlines and Ted planes. They have a history of pro-bono work including
the Madison Square Park and promotional materials for the New York Public Theater, which
made them more recognizable as a name and helped them gain additional clients (CNCS, n.d., p.
9, 15). As an employer, Pentagram doesn't post specific positions they need filled, but rather
waits for suitable artists, in various stages of their careers, to present themselves and hires them
if they are a good fit and have done respectable work. The firm has a generally favorable
reputation, and, as Huffington Post reporter Mallika Rao (2012) puts it: For better or worse, the
transatlantic design consultancy has significantly affected the look of the world.
The visual design industry is responsible for almost everything seen in daily life, and yet
it does not have a very powerful economic standing. According to the U.S. Bureau of Labor
Statistics (2010) graphic designers earn a median annual salary of $43,500 and made up about
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280,000 jobs, of which 29% were self-employed. Industry growth is currently low with the main
obstacles of stagnant economic growth and competition from in-house staff, online DIY design
services, and offshore agencies (First Research, 2013, p. 2). The social opinion of what is fresh
and bold in design is constantly shifting, but the most recent trends include interactive media,
contrasting typefaces, and hand-drawn illustrations. The environmental affects of design are
increasingly pertinent as well, mostly when considering print usage. In the 50
th
Anniversary of
their Print Design Survey, Graphic Design USA magazine stated that 93% of their users still
work on projects using print because it gives readers a comforting sense of permanence and
physicality (Kaye, 2013, p. 36). When asked for the survey if print was becoming smarter and
more sustainable, Stan Fine, of Fine Design, stated, Print is getting greener and cleaner. It is a
slow process. A huge and responsible task, that will take more time. Thanks to the advocacy of
the print industry's leaders notable progress has been made, (Kaye, 2013, p. 42). Only time will
prove the endurance of print media as visual designers are certainly utilizing innovative
technologies to communicate their ideas as progressively as the technology is being invented.
This has been seen in the recent production and spread of 3D printing and 3D imaging, Quick
Response (QR) Codes, and Cloud Computing being implemented into design software like
Adobe Creative Cloud.
With these advancements in technology comes a controversial topic within the design
world: autonomous, self-taught graphic designers. Freelance artists (meaning not employed
permanently at a company) are nothing new and there are several renowned designers that
trained themselves in their field, and learned primarily from observation and practice. With
thousands of tutorials available on the Internet today, virtually anyone with a computer and the
required software can create convincing work. While this certainly can be beneficial in growing
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the artistic realm of knowledge on a global scale by widening the inclusion of perspectives, many
professional designers are outraged that their formal educations may become obsolete. In a harsh
criticism of self-taught designers, David Barringer (2005) of AIGA debates the nuances of
recognized graphic design education and opens by stating, The self-taught are a varied bunch of
ragtag amateurs, fakers, enthusiasts, wackos, quacks, thieves, simpletons, liars, rubes,
chuckleheads, delusionaries, hobbyists, and geniuses. Beware. Passion, inspiration, and buoyant
tenacity are crucial in any visual designer; however, a well-rounded education that incorporates
writing, business, traditional design principles, and critical analysis disciplines makes for a more
hirable hand. In the end, the capability of a professional in any field will be tested and
demonstrated effectively and employers will, essentially, get what they pay for (Henker,
2013).
Determining the most advantageous course of action when attempting to mold ones self
into an optimal employee of the visual design industry can be a daunting task, partly because of
the multifariousness of the trade. Since 2006, Adobe and AIGA have collaborated to discover the
skills that make a successful graphic designer in order to enhance the curricula of design-oriented
schools and develop appropriate tools and resources to aide students. Recently they outlined the
coming industry trends and competencies that the Designer of 2015 will need. They concluded
that designers will need to have a meta-disciplinary education (i.e. humanities and social
sciences), have a keen anticipation of complex problems, communicate towards more narrow &
specialized audiences, elicit attention from viewers, endorse consumer customization into their
designs, and consider sustainability and societal impact at all times (Designer of 2015 trends,
2013). This is incredibly pertinent information for students, such as myself, that are planning to
graduate from their universities in 2015 and begin looking for jobs in the visual design industry.
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Obtaining a Bachelors of Science Degree in Communication Design from a smaller
college like California State University Monterey Bay has numerous perks when compared to a
B.A. or B.F.A. from a specialized arts institute. The fundamental difference is that a public
college from an accredited system has several general education requirements that, while
seemingly futile at times, broaden a students worldview and instill a well-rounded skill set.
Some of these interdisciplinary courses that I have taken include BIO 204: Introduction to Life
Sciences, GS 200: Politics of Everyday Life, Japanese 101-103, MATH 130: Pre-calculus, SL
230S: Building Community through the Arts, and PHYS: 121: Integrated Physical Science.
There are also computer science courses that fulfill general education needs, such as CST 211:
Technical Communications and CST 212: Technical Presentations, which strengthen students
writing, research, and verbal skills through presentations and persuasive and technical papers
(Courses, 2013, CST 211& CST 212 sections). A useful elective that also satisfies the Art
requirement for CSUMB is CST 226: Digital Photography as it gives visual designers the ability
to integrate photographs into their work and understand established rules of photography,
printing, and composition (Courses, 2013, CST 226 section). Along with this course, I am
currently enrolled in CST 227: Introduction to Digital Graphic Design, CST 300L: Major
Professional Seminar, CST 304: Publication Design. CST 227 and CST 304 train students in
foundational design practices and introduce a client-oriented system of continuous critique and
adjustment of designs. CST 300L is key in developing students project and time management
skills, building teamwork abilities by involving a semester-long team project, and fortifying
professional writing structures. To bolster my adeptness in web design and computer hardware
(things that visual designers do not always consider learning) I have taken CST 236: Computing
for Digital Artists, CST 221: Scripting for Multimedia, and plan to take CST 251L: Basic Web
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Design, CST 352: Web Scripting, and CST 351: Web Design throughout the next three
semesters.
In the coming years, I expect to further my knowledge of design theories and prepare
myself for the entering into the professional labor force. I still need to complete the Social
Sciences requirement, which I will do next year by taking SBS 345: Cultural Anthropology; in
addition to helping me graduate, this course will empower my understanding of global cultures
and societal equity, which, as mentioned before, is a desirable trait for visual designers (SBS
345, 2013). Similarly, CST 373: Ethics in Communication & Technology will teach me to
scrutinize my design work from a moral standpoint and consider how I will impact the lives of
others throughout my career (Courses, 2013, CST 373 section). A pivotal component of any
degree at CSUMB is the Capstone project, which is a four-course, two-semester undertaking that
is essentially a culmination of ones entire education at the university. For a Communication
Design major these courses are: CST 400: Senior Capstone Project Planning, CST496 A and B:
Directed Study, and CST 401: Capstone Lab. This momentous project guides students through
the many stages of the design process, from finding a client with specific needs, to managing the
development and delivery of a product (Courses, 2013). Most students with a visual design
emphasis tend to complete a graphic identity package for a local business, however I would like
to do something involving a charity or a social justice theme.
These courses will surely prepare me for the vocations Im aspiring towards, but
graduating with a degree, and even Honors level grades, does not guarantee a job.
Extracurricular participation in clubs, organizations, internships and part-time work (paid or
unpaid) are bound to severely improve ones experience index and ones chances of meeting
potential employers. An example of one useful organization would be the National Society of
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Leadership and Success, which I, myself, recently joined. The Society has dozens of chapters
around the U.S., including one at CSUMB, and members gain access to several benefits like
exclusive scholarships & awards, discounts on school supplies, a personalized letter of
recommendation, professional success coaching, and official leadership certification. With ones
affiliation to this Society comes the opportunity to build social and leadership skills with helpful
on-campus speaker events, service projects, interview workshops, and networking seminars
(Benefits, 2013). The easiest way to build up a portfolio and client relations skills as a student
is to do freelance (and often free) design work for local businesses or known individuals. For
instance, I designed the wedding materials for my own sister this past year, including the
invitations, RSVP cards, menus, table settings, banners, and ceremony programs. I also teamed
up with the Android Development Club at CSUMB to create their logo and promotional
materials that will be posted all over campus. I fully intend to complete an internship at a design
studio or printing press in the Monterey Bay area once my schedule allows for it. Another
rewarding tactic would be to join influential associations within the design industry such as the
American Institute of Graphic Arts (AIGA) and the Society for News Design (SND). Both of
these offer various membership levels and fees and provide access to databases full of industry
insider tips, recommendations, contacts, programs, exhibitions, resources and more (Join Us!,
2013), (AIGA Membership, 2013).
The Society for News Design would be especially interesting to join for those that plan to
work in the Visual Journalism field, such as myself. This line of work entails the creation of
information graphics and illustrative representations of data and information; in essence
converting intelligence into simplified graphics that are more attractive to readers, which I find
highly appealing as a career option. I have always been interested in educating others about
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important social, cultural, political, economic, and scientific issues in artistic, comprehensible
ways, and making my work expand the breadth of knowledge in individuals. AIGA seems to
appreciate these values as well, as they are involved in initiatives that promote transparency in
governmental affairs and design projects that stimulate community growth and positive social
change (Design for Good, 2013), (Transparency, 2013). Of course, as a visual designer, I
aim to work in several outlets (particularly illustration, brand identity, signage, packaging, and
publications) but the more insightful and meaningful the work, the better.
Though the visual design career path involves swift changes and a variety of possible
creative practices, it is an exhilarating profession that will only continue to adopt more dynamic
and innovative methods in the future. Only after extensive research should one choose their
preferred emphasis and distinctive job category, but all the while maintain an open mind and an
updated skill set in several design fields, such as layout and packaging services. A formal
education will increase ones probability of getting hired into the design workforce, but it is the
interactive experience with new technologies, design tenets, problem solving, and teamwork that
turns professionals into masters.


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References
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