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by Andrew Lam-Po-Tang
Following on from How To Get A Job - Part 1 and How To Get A Job - Part 2...
Reality Check - the truth is out there
Firstly, a very big thank-you to the studios that contributed their
figures and thoughts for this article - sharing this kind of knowledge
and insight is what AGDA is all about, and it's great when it works this
well!
This article is predominantly focused on what studios are specifically
looking for, and what they are prepared to pay graduates, but also
includes some useful comments for people just entering the design
profession. This article is not meant to be a definitive statement of
recommended salaries because in this profession, 'there ain't no such
thing!' but rather a current round-up of market rates and issues.
What design studios are looking for
This is a synthesis of what the studios said they are looking for, but I
have also included those comments below (unexpurgated, no particular
order) to give you a good sense of the "horse's mouth."
- Passion and commitment to great design
- Positive attitude to having a job and learning at work
- Ability to THINK through to a design solution, rather than
window-dress
- Good interpersonal skills and personal presentation
- Ability to be part of a team
- Attention to detail (a number of studios noted that they reject
outright anyone can't spell the studio's name correctly)
One thing I would add to the above list is:
- Fun to be around (from personal experience, this is really
important at 2 am before a major presentation - it is what keeps the
team sane)
It's interesting to compare this to what Anthony Cahalan noted from his
recent visit to the UK (excerpted from The Future of Design Education)
- it is not that much different.
In employment, the following were considered by some [UK] speakers to be
favourable qualities for a prospective design employee:
- A generalist rather than a specialist.
- A connectivist - someone who can see connections in the world and
who has a knowledge of business.
- Worldliness; a breadth evident in the portfolio.
- No spelling mistakes; get the name of the employer correct
- Original creative skills; evidence of having a great idea;
unexpected, yet relevant, solutions
- Strong interpersonal skills and the ability to work effectively in
a team.
- Ability to make and fully justify a decision verbally, visually and
economically.
What studios are prepared to pay graduates
Starting salaries are typically in the range of $20K-$25K. Quite a wide
variation between different states (see below), bearing in mind that all
of these figures are from capital city-based studios.
Internet/multimedia studios appear to be paying slightly higher starting
salaries.
It's important to note that many of the contributing studios included
the first year salary growth expectations as well - around 15% to 25% -
this is interesting in that it indicates that studios are cautious about
overcommiting initially, but very keen to reward new hires quickly as
they prove themselves. Make a note to ask the studios you are
interviewing with what their view of salary growth is, and what kind of
performance would be required.
VIC: $25K
VIC: $20K - $25K
VIC: $20K - $25K, top of $28K, with a 3 month review
VIC: $23K - $29K
VIC: $24K - $28K (paid $27K last year for a 'top'grad)
VIC (internet/multimedia design): $24K - $27K, top of $32K
NSW: $20K-$25K, $25K for a top person, working up to $30K-$32K within
12-18 mths
NSW: $22K-$23K to start, up to $28K by end of 1st yr
NSW: up to $26K, with 3 mth review to $27.5K
NSW: $23K - $25K, top of $28K
NSW: $25K, with annual review to $30K
NSW (interactive): $25K - $35K, $35K for a really 'top' person
ACT: $20K-$25K, working up to $27K-$30K in the following year
QLD: $21K-$22K, max $23K, revised up to $24K-$25K within 3-6 mths for a
top performer
TAS: $20K - $22K (no 'top' figure given)
TAS: $20-30K in Hobart, with the average being $25K (advertising
agencies at the high end, design studios in the middle)
Entering the design profession
Fantastic! You've landed your first job with a design studio - look out
world! Following are some tips about what you should be aware of, so
that you can balance that enthusiasm and commitment with just enough
reality to ensure that you don't end up unnecessarily disappointed or
paranoid at the end of the first month. Forewarned is forearmed.
You're stepping on to a moving train
Unlike lectures or classes, studios do not have a beginning or end. On
the same day as your interview, they were also designing, managing paper
and print suppliers, having discussions with clients, worrying about
their cashflow, and wondering what to do next weekend. So it can be a
bit daunting knowing that you don't know about everything that is going
on around you. Relax - it's that way with anyone who has just started a
new job, regardless of seniority. The important thing is to learn as
fast as you can, and get the basics buttoned down quickly. The basics
are: how do we manage clients (who, when, where), who in the studio is
the keeper of the brief, how much time should you spend on each task,
what do people do for lunch, when do we get paid, etc
.
Everyone else has more experience than you
This is a very good thing, because it means lots of learning
opportunities. All professions are, to some degree, an apprenticeship.
Your formal education was important in establishing the key principles
of design (and in some case, design management), but there is a whole
universe of practical experience to draw from. That experience is all
about the most efficient and effective way to get things done, and it
can range from tips about using layout programs to the easiest way to
say no to a client. Intellectually, you know these things exist, but
putting them into practice is much harder. To be truly creative and
innovative does not mean reinventing someone else's wheel, it means
getting a grip how things are done today, and then spending some
reflective time working out how to push the edge of the envelope.
You are still in charge of your own professional development
In the ideal world, you'd be able to get on with your work and
periodically get time away from work to focus purely on your
professional development. In the ideal world, the studio would pay for
this - the only problem is that the studio probably won't, not because
they don't want to but probably because they don't make THAT much money
and aren't THAT organised. So what do the pros do? They get out there!
They stay in touch with their friends who work at other places, and talk
shop a lot. They go to AGDA functions to learn about what other
designers are doing, and about design management issues. They READ the
annuals, as well as look at the images. They ASK their key suppliers
(paper merchants, printers, prepress houses, illustrators,
photographers) about what is going on, and who is doing what. They SURF
the web a lot. Because our industry is so fragmented, there are few
convenient ways to find out what is going on internationally and
locally. It is really up to you, and the time you're prepared to invest
in finding out what is going on.
The unexpurgated truth
Here are the unedited responses that studios gave to the question,
"what are the top 3 characteristics or attributes that distinguish a
'forget it' from a 'gotta have' prospective employee?" What is great
about this material is not only the actual 'specs' but the insight that
you get into how the studios think about their new employees overall.
=========
A demonstrated ability to find design solutions appropriate to the
brief, rather than just imposing whatever's the latest trend onto the
project regardless of content. You try to pick this up from the content
of their folio.
Strong computer skills, although this is wishful thinking. Graduates
rarely possess these. Work needs to be set up and completed efficiently,
without the need to redo it along the way, and it's hard to make time
for on-the-job training. For instance, we would love new employees to
have an understanding of how to maximise the benefits of using style
sheets, master pages and so on; and how and when to set up colours as
Pantone or process, what trap is... the list goes on. It is nearly
impossible to evaluate from an interview, because they all THINK that
they have strong computer skills.
Typographic and text-handling skills, including an ability to spell and
punctuate. I am really put off when viewing folios with elementary
mistakes, or designers who don't know the names of any of the typefaces
they've used. We have an inbuilt test: anyone who can't spell our name
on the application isn't considered (you'd be surprised how many are
discarded that way).
Someone who has a manner and appearance that's suited to dealing with
our clients. Although we wouldn't be unleashing a new designer on
clients too often, we wouldn't go for someone who would have to be kept
in the basement.
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1. very special work with style and a "classical" sense of typography,
as opposed to type-arrhoea
2. a well read person with a good sense of place and time
3. an enthusiastic team player.
=========
Must be a self starter and mad for design. Technical ability is not
immediately critical, but an indication of aptitude in this area is
important.
=========
People that work for us have to
(graduates) demonstrate strong conceptual, well presented, innovative
portfolio solution
(graduates) accept to put college behind them and start again
demonstrate that they think beyond graphics
the foresight to leave their designer attitude at the door
be prepared to work hard, take criticism, learn, contribute
be able to have a laugh with us and at themselves
=========
In order of importance.
1. Innovative design and conceptual approach (a new direction - not
the latest magazine style).
2. Personality - friendliness, open-mindedness, team-spirited, respect
(you spend a lot of time with these people, so you've gotta like
em).
3. Technical ability (finished art - computer software & hardware
knowledge)
4. Genuine enthusiasm (not just "I want to get a job" enthusiasm - but
genuinely enthusiastic to make a difference. Also an enthusiasm to work
in THIS studio, not just any studio, but because they've researched what
we do and they like it, and want to be a part of it.
=========
1. that spark of real creativity
2. sense of 'type'
3. attitude,personality (are they going to fit in?)
4. a sense that the grad is willing to learn
=========
concept ability... (meeting the clients specific needs with ideas not
just pretty pages)
business sense... (being able to design within budgets and work as part
of a team)
not being a psycho (you'd be surprised how many there are in
multi-media)
=========
Original creative work.
Problem solving ability.
Application to tasks given and enthusiasm/dedication (work ethic??)
=========
one able to fit into the existing team
two the ability to relate to clients appropriately
three lack of ego
People look for a decent, strong portfolio, an understanding of
typography, and a spark of intelligence which means they can be trained
in the methods and procedures of the studio. Emphasis on ability to work
to a system, for job tracking and such. Most of the studios I spoke to
said that creativity wasn't a problem, it's the nitty-gritty where
people get bogged down.
=========
We have found that most graduates really have to start from scratch when
they enter the real world - it takes even an experienced designer a
minimum of six months to settle into a new job.
In graduate interviews we look for:
IDEAS- evidence of great/unusual/surprising ideas, and the ability to
talk about projects from the idea point-of-view, demonstrating a line of
thought from the brief how they have arrived at a solution (NOT 'I used
the blur filter for this one').
ATTITUDE - openness and willingness to learn and relate to a team
environment - bright and intuitive (no arrogance or lone rangers) - the
correct attitude is more important than being able to drive every
computer program.
POTENTIAL - we do not look for a portfolio or person who can be all
things to all people, we would much rather see no more than six well
thought out projects demonstrating potential (no more bulging books
please!)
=========
In terms of the top 3 characteristics that we are looking for I guess we
are driven by having people working for us who aspire to be the best and
enjoy what they do. Key characteristics would be;
1. A portfolio that illustrated creative thinking - design based on good
ideas
2. Initiative - willingness to get involved, question and be proactive.
Staff who work for us will learn new skills but we are not a training
ground - this is the real world.
3. Love or passion for design - not necessarily to work, rest and play
design 24 hours a day - but an enthusiasm that suggests that it is not
just another job.
=========
Top 3 characteristics for a "must have"
1) "must have" must have, the ability to analyse, to think for
themselves, to be able to look at a brief and decide what would be best
for the client, not to just draw pretty pictures. They want to
conceptualise and develop concepts, from an idea rather then what just
looks good. These type of people tell me this of of their own accord,
I've never asked this question!
2) In the design stakes, I look for someone with strong design
capabilities, such as strong layout, good direction of design in layout,
communication ability (meaning I want to understand what the design is
saying, not have them explain it to me) Innovative design, (rather then
what is just trendy at the moment) And I look for strong typographical
innovation, someone that has the sense that typography can set a job
apart from the ordinary, rather then relying on pictures and
illlustrations. And presentation skills, are very important, if they
cannot present themselves well to me, and present there work in a neat,
impressive, innovative way, (portfolios always seem to be in the big
black folder, when someone shows me their portfolio in a hand made box
or something else, I immediately think, this person stands apart, wants
to be noticed, and this is what design is about to me!)
3) And finally, they have to be a team play, wanting to contribute, not
just do it on their own, they want to service the client, be helpful, no
room for egos. This is very important, especially in a small design
practise. Confidence is also very important
"forget it"
1) if someome turns up with portfolio in a plastic bag
2) Someone who ego is so big their can barely get their head through the
door. (I had a beauty earlier this year, he demanded $60k
non-negotiable, then proceeded to tell me what was wrong with my design
and what I was doing wrong in my business. I told him I would be really interested in
hiring him for twelve months just for the challenge of getting his head
head out of his arse!)
3) Someone who just sits their and waits for me to do all the talking, I
like it when the applicant asks some basic questions.
4) I find it really irritating when an applicant just turns up with a CD
and no printed material and just expects us to uproot and kick someone
off a computer to look at their work. (this is just a personal quirk of
mine)
=========
Attributes separating "forget it" from "gotta have" graduates
Attitude
Depth of exploration in portfolio projects
Computer skills
Ability to "draw"
=========
[a] Readiness to learn good work practices, and become a member of the
team
[b] Evidence of good time/project management skills
[c] Good creative thinking behind design concepts (which are then backed
up with good visual execution)
=========
Copyright AGDA Oct 1998. AGDA members are free to use this information
as they see fit (since collectively you own it), but we would ask that
you remember to credit AGDA as the source, where appropriate.
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