“If you have the right skills and attitude, sooner or later you’ll be in the right place at the right time.” —David Annetts
There are a lot of students out there who read this blog as well as a lot of people questioning whether they should go to school for design. This post is for you. Even though I’ve been out of school for close to five years now, I started this blog as a design student and I remember having more questions than answers about the industry I was beginning to break into. I only wish there was a guide like The Design Student Handbook around at that time.
I now take a lot of the information I’ve gathered for granted but flipping through this guide makes me remember exactly what it was like. And I commend Computer Arts for putting this together. It’s approachable, solid and takes a lot of mystery out of what it takes to start a career in design. And it doesn’t sugarcoat the fact that the design industry is more competitive than ever.
The handbook is divided into 8 chapters and covers topics including picking the right learning method (from self-taught to university), how to find an internship, what works (and doesn’t) for self-promos, what it takes to make it in the real world and how to get noticed in a sea of other designers.
I like the practical approach to the guide — it even weighs the pros and cons that come with traditional schooling routes and covers alternatives to getting qualified that involve a lot less expense. And, it gives you tips on how to survive while studying from staying inspired to keeping a budget! I feel like alternative methods aren’t discussed often enough and I’m glad this guide breaks down those barriers. For instance, I attended an accelerated design program at a community college and it taught me everything I needed to know at a fraction of what it would have cost at university. It’s important to weigh your options before incurring a huge amount of debt.
Of course, getting into school and doing the work is only the beginning. I love that the guide says that you should treat your final year at university like a job. And, to always be your worst critic. Because honestly, when you’re in school, these are the two things you don’t want to hear! Beyond that, submit your work to design blogs, put time into your website and never stop networking, both online and off.
Remember that no matter how great you are, you still have to nail your first interview. A few points on the list stood out in particular, namely to not be late, personality definitely counts and YOU’RE NOT GOD. The takeaway: be confident but never arrogant!
The internship section is also spot-on. This starts by explaining the difference between internships, placements and work experience. Who knew?! I interned at the same design studio for a full year and agree with many of the sentiments including confidence is king, speak up, become irreplaceable, act interested and act as though you’re already on the staff!
“Your portfolio serves as an extension of your personality.” —Dominic Lippa
I found the self-promotional section perhaps the most helpful because the truth is that no matter how talented you are, you still have to get out there and let people know that you exist! Portfolio tips and promo ideas are covered but also perhaps more importantly, tips on how to avoid social media pitfalls are as well.
Finally, there’s a resource guide in the back. I like that it’s not just the usual list of inspiration sites and schools. Instead, the list runs the gamut from courses to essential reading to legal to finances, housing, digital folio sites and industry advice. What more do you need?!
I found my copy of The Design Student Handbook at Barnes & Noble but you can head on over to the Computer Arts shop as well. Students, if you’re looking for an affordable, go-to guide this is a great place to start.
. Unlike the internet where search results can be questionable, when I’m working on a design projects I reach for this book more than any other I own because the featured work is all top-notch.
. What makes this book so amazing is that it covers the evolution of color in our society over the last 100 years, from 1900 onwards. Each decade receives its own chapter along with corresponding images of art, fashion and decor representative of particular palettes that were popular during that period.
can easily answer that question. This book definitely has a spot in my top three all-time favorite design books. Each page is brimming with basic design concepts that are as relevant today as they were in 1980 when the book was first published.
was the first ‘design’ book that I ever purchased; I found it back in 2002 during my second trip to New York, tucked away in the F.I.T. bookstore. This book helped me understand how graphic design relates to our every day environments. The book’s premise is very simple; it features snapshots taken throughout the world’s major cities of Helvetica in use, most commonly on store and subway signs. Also mixed throughout the pages are packaging, maps, logos and more, all featuring Helvetica as the unifying factor. Of the book, Müller says, “The designs gathered together here in honor of Helvetica have been created by superb designers and anonymous amateurs from all over the world…Helvetica is the perfume of the city.”
has probably been mentioned on my blog more than any other book. I bought it while still in college and referred to it constantly. Why? It is brimming with practical, common sense advice that every beginning designer should know. I love the introduction: “Designers are quick to tell us about their sources of inspiration, but they are much less willing to reveal such critical matters as how to find work, what to charge, and what to do when a client rejects three weeks of work and refuses to pay the bill.” This book answers all those nagging questions designers have when starting out but don’t know who to ask. Written in a very straight-forward manner by a designer for designers, this is a must-read for design students.
isn’t exactly a design book. But, if your goal is to be a designer at ad agencies (like mine was), it’s important to have a basic understanding of the relation between business strategy and design. This book can help you understand why some of the biggest brands in the world have been so successful in a simple, fun manner. Marty Neumeier wrote a brilliant introduction that starts out with, “A lot of people talk about it. Yet very few people understand it. Even fewer know how to manage it. Still everyone wants it. What is it? Branding, of course — arguably the most powerful business tool since the spreadsheet.” Bonus: If you want a sneak peek, I shared my favorite slides from the PDF version of the book 
is a bit more gimmicky than the rest, but in all fairness, it lives up to its name. With an emphasis on books, brochures and catalogs, the book has a split spine and folds out into two books. It’s full of edgy and inspiring printed matter and fantastic if you’re looking for new ways to liven up your publication design projects.
is a recent addition to my collection and perhaps quite telling, it is already bookmarked with a pile of sticky-notes. Each page in this book is brimming with relevant, of-the-moment examples. I have found the huge number of editorial design layouts that are showcased to be particularly helpful. Sometimes, when you’re stuck on a basic page layout, you just need a few visuals to jog your memory. This book isn’t the most cutting-edge but it is one of the most practical — the 100 principles and corresponding images are well curated and fairly timeless. 
is a must-have if you’re an identity junkie. Incredibly well designed and with a focus on mostly fashion and retail brands, it doesn’t just showcase the same old logo and letterhead combos. Promos, ads and other integral pieces of collateral are shown off, creating a truly inspiring and well-rounded look. Martin Margiela, American Apparel, and Saks Fifth Avenue are all covered. Disclaimer: 
is often referred to as the “Typographer’s Bible.” This book is super wordy, detailed and…poetic. Bringhurst’s attention to detail when it comes to typography is unparalleled. He speaks about type in a truly enlightening manner and really makes you notice and appreciate even the smallest details in typography all while absorbing proper etiquette. Especially useful is the inclusion of a glossary of design terms, an explanation of letters in foreign alphabets, and even a listing of type designers and foundries.
