As much as I embrace technology, I still love the tactile nature of books and continue to expand my home library. A few readers have asked why they should invest in books when the internet has an endless stream of inspiration. I use the internet for the majority of my visual research for projects but it’s healthy to break up your routine. Flipping through books and magazines with a pen and paper close by for thumbnail sketches often shifts my mindset and helps me come up with fresh, unique ideas.

I find the design titles by Rockport Books to be especially helpful. I own a few of their books but my personal favorite is Letterhead and Logo Design 11. 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.

Featuring more than 400 letterhead and logo designs, I feel like I discover something new each time I flip through it (trust me, it was hard to limit my scans to a handful of pages). The book was compiled by Design Army and they spent over two weeks evaluating over 5,000 entries from all over the globe. Of the results, Design Army says, “Along the way, we confirmed what we already knew: It’s the little thoughts that have the biggest impact. They inspire us to push farther. They work harder. They last longer.”

There’s not so much work jammed into Letterhead and Logo Design 11 that you get overwhelmed; it’s just filtered down the the best of the best. And as designers, isn’t that what we want?

Today, I’m going to share my new favorite book with you, Pantone: The Twentieth Century in Color. 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.

From the swatches of 1930s The Wizard of Oz (Silver, Straw and Lion) to 1980s Miami Vice (Pink Mist, Lavendula and Radiant Orchid) to 1990s Grunge (Coffee Bean, Faded Denim and Earth Red), the cultural movements of America and the colors they helped influence are all painstakingly covered. Students of graphic and fashion design as well as lovers of color theory will adore this book.

There’s always an endless stream of internet design inspiration at our fingertips but the feeling of flipping though a book can never be replaced. Over the years I’ve gathered a small library of design books that I refer to on a regular basis and though all quite different, I consider many of these titles to be indispensable for varying reasons. I am by no means proclaiming these books to be the best out there; these are simply titles that I personally own and have found to provide great content. Note: these are not listed in any particular order.

01: Graphic Idea Notebook by Jan V. White

If you’ve ever wondered how designers got inspired before the internet was commonplace, Graphic Idea Notebook 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.

Graphic Idea Notebook is overflowing with inspiration that will help you think in a whole new way when working with page layouts, type and images. I own the second edition from 1991 and the ‘new’ introduction from that time now sounds laughably quaint. An excerpt: “Imagine a time when there were no faxes, no answering machines, no microwaves, no CD players, no VCRs, no Cuisinarts, no Post-its — how primitive. No computers? (Big number-crunchers were around at that time. They didn’t do pages.) You mean people actually enjoyed making up pages using rubber cement, razor blades and scotch tape? Indeed they did ten short years ago…” The introduction goes on to say that even though technology has changed dramatically since 1980, we are still very much faced with the same old design dilemmas today. I agree. Perhaps the best part about White’s series of books is that they are completely accessible — you can pick up most of them for just a few dollars each!

02: Helvetica: Homage to Typeface by Lars Muller

Helvetica: Homage to a Typeface 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.”

03: How to Be a Graphic Designer without Losing Your Soul by Adrian Shaughnessy

How to Be a Graphic Designer without Losing Your Soul 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.

04: The Brand Gap by Marty Neumeier

The Brand Gap 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 here.

05: Experimental Formats 2 by Roger Fawcett-Tang

Experimental Formats.2 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.

06: Typography Essentials by Ina Saltz

Typography Essentials: 100 Design Principles for Working with Type 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.

07: Super Identity

Super Identity: In Your Sight and in Your Mind 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: My identity design for Nubbytwiglet.com was included as well but even if it wasn’t, I would still consider this book to be one of the best curated examples of identities out there.

08: The Elements of Typographic Style by Robert Bringhurst

The Elements of Typographic Style 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.

Hopefully my list of recommendations will help those of you who are looking for some new design books to add to your collection. In return, I always love hearing about the titles that other designers swear by. What are some of your favorites?

First of all, design is an immensely competitive field — for every one designer hoping to make it at an agency level, there are probably 100 more candidates waiting in line. Over the last year, I’ve started doing portfolio reviews at colleges and the talent coming out of schools is astounding! Students are more well-versed in what’s required to work in the design field now more than ever. Talent isn’t the only component of building a successful freelance career, though. Work ethic, personality, the strength of your portfolio and industry connections all play a part.

As a freelancer, there are a number of ways you can seek new work. The tried-and-true method of sending resumés and portfolios off to agencies and setting up interviews is perfectly okay. Placement agencies are another great option. And finally, it’s always a good idea to build a client base on your own outside of agency work because this could supplement your income if that area slows down. They say that you should never put all of your eggs in one basket and I agree 100%. As a freelancer, I’ve diversified my revenue sources as much as possible and they are now split between a steady freelance agency gig, a roster of my own clients and ad revenues.

Start building your career while you are still in school.

It’s never too early to get started with your freelance career. The day school ends, work doesn’t just magically appear — I know that this seems like common sense but I cannot tell you how many students are ill prepared for the harsh reality of being out on their own! By ‘building your career,’ start networking (with fellow students, teachers and local agencies), perfecting your portfolio, building an online presence (these days, a blog and online portfolio are a must) and reaching out for internships as soon as possible.

While I was in school full-time for design, I also worked full-time. I don’t think I had a real day off for a year. But, I still made time to start thinking about my portfolio and picked up the occasional freelance design job so that it wasn’t all school work. Once I finished my first year of school, I began working on getting an internship. Luckily, I got my first choice and spent my second year interning at an agency. A combination of things helped me get in the door and jump-started my career:

1. My portfolio was diverse and included projects that I’d done outside of school. This showed that I was a self-starter and able to handle real world deadlines.

2. My design teacher provided me with a solid recommendation. Having a teacher vouch for you is invaluable!

3. I showed a willingness to do whatever was asked of me. Initial tasks included spray painting shoes in the parking lot, filing invoices and designing CD labels. These small assignments built up a level of trust and led to much bigger projects.

4. Even though I was in school, I had a blog that I updated five days a week and the agency I interviewed at was very savvy with social media.

Though your question wasn’t about interning, finding internships while still in school can help you build a relationship with agencies (that may need freelance help later on) and add solid work to your portfolio.

If possible, gain in-house or agency experience before going freelance.

Attempt to build a reputation working full-time with at least one agency before branching out on your own. Learning how to work with varied teams of people, responding to feedback (both positive and negative), learning how to build presentations, picking up new creative tips from fellow designers, mastering the art of multitasking and making friends in the industry will all help you once you decide to take your career into your own hands. Also, I really do feel that being surrounded by creatives who are more advanced than you early on helps to push your boundaries and essentially ‘get better faster.’ Working at an agency when you’re starting out can also help in the portfolio department and can be a stepping stone to bigger things.

Work with placement agencies.

Once I’d built a reputation at one ad agency, I was able to successfully interview at placement agencies (in Portland, I highly recommend Aquent and in New York, I work with 24 Seven) where agents were able to pitch my work for other positions.

As a new freelancer, having an agent to assist with lining up interviews while vouching for the quality your work is hugely beneficial. They have the connections directly with top agencies — and they are the first people that get called when help is needed. Recommendations are very important — agencies don’t want to waste their money. They want to have someone who’s reliable the minute they show up. If you make a great impression and have solid work, agents want to place you. After all, they get a commission and the more you work, the more they earn.

My first year as a freelancer.

What’s that old advice? That the first year of running your own business is the hardest? I’d have to wholeheartedly agree. Since you’re just starting out, the fear of the unknown can get the best of you. And, it’s really hard to know how to budget when you have no idea how much you’ll earn. Since I wasn’t sure what to expect, I felt like I couldn’t stop working…because what if I did and it all came to an end? During that first year, I found most of my jobs on my own. They came in through recommendations from previous clients, interviews and a few lucky breaks. I constantly refined my portfolio, fired off emails, went out to events and lunches with people in the industry and most importantly, never gave up. Before I knew it, I’d freelanced at five agencies in that year and doubled the projects in my portfolio.

Even though the first year was a struggle at times, I wouldn’t trade it for anything. If I’d spent that year sitting at the same desk every day at the same agency, I wouldn’t have made as many connections or become as rounded as a designer. Working in completely different atmospheres with a variety of teams gave me a better perspective of the design world and what was expected of me. In the process, I concepted the direction of an entire ad campaign from scratch, designed a book in a week, assisted with building graphics for every team store in the NBA, revamped corporate guides, and, well…did production work for months on end. Though I learned something valuable from every experience, not every job was brimming with fun and excitement. But, that learning in varied situations, surrounded by a variety of personalities and deadlines (that ranged from extremely fair to you can’t really be serious) all prepared me for whatever may be just around the corner. Freelancing tends to push you outside of your comfort zone and forces you to have a can-do attitude.

It takes time to become a valuable freelancer.

Looking back, I would say that I became a valuable freelancer within six months. Every agency I worked at did things slightly differently and it took me awhile to get well-rounded enough that I could bounce from working on an intensely creative assignment to building production files. And, different agencies focus on different niches — for instance, I designed a website at one, created retail signage at another and worked on 100+ page catalogs at yet another. But sometimes, gaining the skill set needed for the wide variety of jobs that you’ll encounter isn’t the hardest part — adjusting to completely new environments and expectations is. There are always going to be times where you’re scared to death or wonder what you’ve gotten yourself into. Yet somehow, you always get through it.

Why would you want to go freelance?

The reasons for going freelance vary for each designer but almost all freelancers relish the freedom of choice. It’s up to you to decide who you want to work with and how much you want to work. The variety of clients, both big and small can be another appealing factor. And, there’s the opportunity to travel — I’ve packed along my laptop and worked in multiple locales with total ease. Also, there’s a chance to learn how to wear many hats instead of doing the same job every day. And finally, perhaps best of all, there’s no limit on how much you can earn. It’s completely up to you to decide how hard you want to work and what to charge. Though freelancing isn’t for everyone, I’ve found the experience to be highly exciting and rewarding. Perhaps you will, too.

Extra Credit

• One Year of Freelancing: What I’ve Learned
• Freelancing 101 for Graphic Designers
• 7 Tips For Creating A Print-Based Design Portfolio

Ah, I see that you’re contemplating taking the opposite path that I did! Back in 2005, I graduated with a 4 year degree in Business (minor in Marketing) and after a year off, I went back to community college for a 2 year degree in Graphic Design. Originally, I went to school for Business for the very same reason you’re contemplating doing so — I felt the need to have “something to back me up just in case.” While I don’t have anything against the degree I earned (it made me way more rounded than I would have been), it did absolutely nothing to quench my true passion, which I realized was design.

When I graduated from high school in 2000, I toured my dream school, a local art college. But, it was prohibitively expensive and like you, I realized that there were no guarantees of finding employment afterwards. And, to be honest, I was firmly middle class. I didn’t have a backup plan (or a college fund, for that matter). University was much cheaper than art school. And, in my mind, it was much more practical on my resumé (I didn’t know a single graphic designer at the time — looking back, I wish that I had!)

What I learned in the process though is that you can’t feel fulfilled if your true passions are being buried. I clearly remember doing my senior thesis on an early incarnation of Nubbytwiglet.com. That was where my passion was. I still have the project somewhere — a red folder with custom designed print-outs that clearly lay out my business plan and marketing strategy (maybe I’ll share it sometime).

As someone who’s now been on the inside of ad agencies for upwards of three years, let me tell you this: while the business degree did look nice on my resumé, it was not a defining factor in any design job that I got. The interviewers were much more interested in the quality of my portfolio and my blog. Period.

To be clear, I’m not trying to deter you from earning your business degree. On the other side of the coin, one of my best friends went to school for Business & Marketing but has a huge passion for design. In the process, he became an instructor at a handful of top art schools. He also manages to work full time at an agency in their Sales & Marketing department. Once, he too was also at a fork in the road, trying to decide between Graphic Design and Business degrees. He took the business route, aligning himself with top agencies and designers along the way and has been hugely successful in this path.

The moral of this story is that you have to follow your true passion, no matter what. During the way, you may curse yourself for the hardships that you have to endure, but once you get to the other side, you’ll thank yourself. I spent most of my 20s in college. I barely went to parties, worked in drab offices and a shoe store or two, interning for a year before I got hired at my first design job. But now? I can honestly say that every second of that path was worth it. Hard work builds character and if anything, sometimes those jobs you hate are good for something — when you do get that first design job, hopefully you won’t take it for granted!

But, back to your schooling. You mention that you are considering a 4 year degree in Design. What’s wrong with your 2 year degree? Have you checked into art schools that may be a bit more lax and accept more of your credits? If you do decide to go to university, at the very least, having your math and science out of the way is a good start. Even if it takes you a year longer to earn back those extra credits, a year in the overall scheme of life is fairly minimal.

Whatever you decide, you have to make the right decision for YOU. One thing I’ve learned the hard way is that you can’t worry about all the “what if’s” in life. Even if you perfectly plan everything out and take the route that you’ve deemed the most practical, you’ll still encounter challenges. It’s never too late to follow your dreams. I didn’t go back to school for graphic design until I was 25. The choice is yours (and yours only). Good luck!

I received a bachelors in graphic design a few years back, but have done hardly anything with it and have been working in an only marginally related job since graduation. My design software isn’t even up to date. I’ve been toying with the idea of getting back into design lately, but I don’t know where to start. What would you suggest I do?

Life happens but really, it’s never too late to catch up. There are times when we get pulled in different directions or have to take another job that’s not related to our profession and that’s okay. Nobody expects you to be an amazing designer overnight. Possessing a willingness to learn and a sense of follow-through will help you with getting back on track.

Enroll in a Continuing Education Program

If you need a quick refresher, you’re in luck because quite a few art schools now offer Continuing Education programs. I am familiar with these because I was recently invited to review portfolios for design students in the program at PNCA. Many of the students I spoke with had already previously earned degrees in design or related fields and in the meantime, ended up in different professions, took time off to be stay-at-home parents or just wanted to refresh their knowledge and update portfolios.

These programs make a lot of sense when you really think about it. Many aren’t necessarily credit-based and the cost tends to be less expensive than traditional, for-credit programs. And, if you’ve previously earned a degree in design, it’s pointless to go back to school to re-earn the same degree again. Technology and software are always changing and if you’re hoping to re-enter the field after an extended break, one of these programs can provide the tools, motivation, connections and resources to get you up to speed with current practices.

Subscribe to Design Blogs

Become familiar with what your design peers are doing (for free) by subscribing to design-related blogs. Keep an inspiration folder on your desktop and collect images as you go (I upload my saved images into a private folder on my Flickr account about once a week).

Once you learn about a few blogs, a whole world will begin to open up as they link to others. A few good places to start (in no particular order) are: Smashing Magazine, For Print Only, Neusblog, I Love Typography, ISO50, Logo Design Love, Computerlove, Brand New and Brand New Classroom, Friends of Type, The Dieline and Design Work Life. This is just scratching the surface!

Take Online Tutorials

When I was in school, we weren’t required to purchase many books. Instead, we subscribed to Lynda.com, which I highly recommend. Providing an amazingly comprehensive selection of online tutorials, Lynda uses videos to teach you new skills. If you don’t understand something the first time around, it’s easy to re-watch the video again and again. Lessons are divided up by chapters and if you’re more advanced, it’s very easy to skip ahead. In the past, I’ve learned a lot of inDesign and Flash tricks by watching Lynda videos. Finally, the subscription options are really affordable, as low as $25.00 a month and allow you to access over 53,000 online video tutorials instantly. So much knowledge at your fingertips!

Test the Waters With Temporary Work

If you haven’t been in the design market for a few years, it’s hard to know what to expect and if you’re up for the challenge — will you enjoy the work, can you handle the workload, are you up to date with practices, do the clients interest you and do the hours work with your schedule? You can only tell so much from an interview. Many companies have been trending towards hiring freelancers as a way to test the waters, especially in this still shaky economy. This is beneficial for both parties because a freelancer can see if they like what the company has to offer with regards to work quality and culture; at the same time, the company can make sure that the freelancer is a good fit with the rest of the team.

When freelancing for a company that I am unfamiliar with, I personally prefer to go through placement agencies so that I have a liaison between myself and the business via my agent. Your agent can assist you with navigating unfamiliar or tricky situations and act as a confidant if any issues arise. They can also put in a good word if you really like the place and are seeking permanent placement. And, if things don’t work out for some unseen reason, there’s less of a loss for both sides. The company doesn’t have any contractual obligation…and, well, you don’t get fired.

Pay Attention to your Portfolio

As a designer, if you end up in a long-term gig (design-related or otherwise), it’s easy to get too comfortable and neglect your portfolio. We are all guilty of letting things slide at some point. Though, when you take too much time off, it becomes increasingly difficult to catch back up. For this reason, I try to set aside a chunk of time every six months to refresh the look and contents of my book. This is your key to finding steady work, whether it be freelance or permanent. And, if a few years slip by, your book runs the risk of becoming dated and falling behind the competition.

Where should you begin? If you feel too overwhelmed to take on the challenge by yourself, a continuing education program can help you get up to speed. If you lack the budget and time, most agencies and design professionals are willing to set aside 15 to 30 minutes to give you a quick round of feedback as long as you’re polite and clear about what you are looking for (an informal portfolio review, not a job!) If you’re in need of some portfolio tips, pay a visit to two of my previous posts, 7 Tips for Creating a Print-Based Portfolio and Creating a Killer Portfolio Discussion.

Readers, do you have any recommendations or further resources for someone who would like to re-renter the graphic design job market?

I’m a graphic design student at the Hartford Art School. I keep wanting to drop out because I haven’t been getting the best feedback. How do you know if you’re capable of being a designer? We’ve been doing a lot of business logos and I just feel like I’m stuck in this uncreative bubble. Lastly, how much should I listen to my teachers? Design is so subjective. I show some people my work and they love it, while my teachers were overly critical about it. I could use a lot of advice so I can feel motivated again.

First of all, take some relief in the the fact that you’re not the only designer who feels this way. At some point, every person in a creative profession wonders if they’re good enough. It’s human nature to question whether you ‘measure up.’ And, that is so much more admirable than just thinking that you’re the greatest designer that ever lived. Being humble will get you way further anyway, I promise.

But, you’re still wondering if you’re ‘good enough.’ As you mentioned above, design is so subjective. This is where things get tricky. Step back from your teachers and peers. Do you think that you’re good enough? Do you love sitting in front of a computer all day and bringing concepts to life? Do you feel like you can handle constructive criticism and listen to what a client (or teacher) wants, even if you disagree? It’s okay to disagree but are you still willing to give their idea a shot?

School Is a Test

School is meant to prepare you for the real world. As a designer, you’re often creating work for public consumption and if you want to get paid, you have to buckle down and please clients. The views of your teachers and fellow students regarding your work may differ in part due to age and views. While a teacher may encourage you to keep your work timeless and to drop unnecessary content, your peers may love the fresh new technique you just picked up from a tutorial.

Do your teachers ‘hate’ your work or are they just making suggestions on how you can improve? Is their feedback constructive or are they disregarding the outcome altogether? If your teachers are good, they will be critical. They simply want to push you to be your best. Sometimes, they see potential in a project that perhaps you don’t. Teachers understand design principles in ways that a new student might not and it’s true that if you want to break the rules, you have to learn them first.

Accept That Someone Is Always Going To Be Better Than You

Stop comparing yourself to everyone else because it will only make you miserable. I had only one year of community college design courses under my belt when I started interning at my first ad agency. I was surrounded by guys with a minimum of 5 years experience each and sometimes it was intimidating. At times, I felt overwhelmed but I also knew that I wanted to be as good as them someday. Everyone has to start somewhere and the people that you admire were probably in your shoes once. Even if you’re naturally talented, it takes years of hard work. If anything, rubbing shoulders with people who are better than you will push you further faster.

Learn to Accept Feedback, Both Good & Bad

As a designer, you’ve got to develop a tough skin because people love to tell you what they think, good and bad. It’s never easy but over time, it does get better. When you’re still in school and experimenting and developing your style, it’s natural to be unsure about what you’re doing. But as you get more experience, you can more clearly judge if your work is measuring up. I spent nearly two years at agencies where I got constant feedback from art directors and I never took it personally. It’s their job to push you to make the work look its absolute best for a client. A fresh set of eyes can see things that you can’t when you’ve been staring at a screen all day. In school, your teachers are the equivalent of an art director.

Not Everyone Is Going To Love Everything You Do

Work usually falls into one of four categories:

1. You love the outcome of a project. Your client loves it. The public hates it.
2. You love the outcome of a project. Your client is unsure. The public loves it.
3. You loathe the outcome of a project. Your client loves it. The public hates it.
4. You hate the outcome of a project. Your client really hates it. The public loves it.

If you can manage to make everyone happy, including yourself (and get a portfolio-worthy piece out of it), relish that moment!

School Is Not Supposed To Be Easy

Life at an agency (or wherever you end up) isn’t easy. Getting pushed hard in school is a huge benefit in a way because it helps to build a solid work ethic for when you hit the job market. Someday, you may actually look back and miss the carefree (in comparison!) days of school. Knowing what I know now, I sure do. Take feedback in stride. School, just like everything else, doesn’t last forever.

As a fellow creative personality, what would you say to a 19 year old girl who has taken a year off college and wants to pursue a job in graphic design somewhat similar to your own? In a nutshell, what is a common workday like for you? What is the most exciting thing about your job? How much school did you have to go through to be where you are now? Did you ever consider any other careers? Is Portland a booming center of design and if not, do you know somewhere in the U.S. that is?

At 19, I admire your confidence in knowing what you want to do for a career! First of all, if you are really passionate about graphic design, I would recommend enrolling in a college level program. While there are plenty of amazing designers out there who are self-taught, graphic design requires an understanding of basic design principles and a specialized set of skills that a structured program will thoroughly cover.

Even if you naturally have an eye for composition and can put together fantastic layouts, knowing how to properly build those layouts and prep them for production is just as important. Agencies commonly used to have production artists on staff but with economic woes, many will now expect you to do it yourself. What I’ve learned (the hard way) is that designing something just because it “looks cool” is not enough of an explanation, especially to clients! Knowing how to get from point A to point B, why you decided to design a project in a certain manner and being able to accept critiques (both good and bad) is hugely valuable.

Not all of us are able to go to school when we want or where we want but in the meantime, don’t let that slow you down. When I decided to go to school for design, I enrolled really late and didn’t make it off of the waiting list. During the year I had to sit out, I regularly purchased design books, scoured design blogs and worked on art projects. I did my best to stay inspired and keep the momentum until it was finally time to take the plunge.

A Common Workday is Not Really Common.

As a freelance designer, establishing structure can be difficult because you never know what’s going to come up. On a normal day, I usually wake up by 6:30 a.m. If my blog post for the day isn’t ready to go, I try to wrap it up. By 7:30, I am putting on my makeup, getting dressed and then walking to the coffee shop with my boyfriend and dog. When I get home, I quickly scan my emails to see if anything client or agency-related has popped up.

My workdays can vary quite drastically. I could have an entire week at home in my office doing work for my clients (at any time, they range from 5 to 10) or, on the flipside, I could end up double-booked, running back and forth between two agencies. It’s all very unpredictable. I get calls at the last minute, sometimes with a day’s notice to show up somewhere. In the last year, I’ve freelanced at four different agencies in Portland, one in New York and in-house at one company — Nike. Agency hours are usually pretty long. It’s not uncommon to arrive by 9 a.m. and work until 6, 7 or 8 pm. Clients don’t care how late you have to stay….they want the job done. Since I am still young and don’t have a huge amount of responsibility, I don’t mind the long hours but if you have other extracurricular tasks, kids and pets, be prepared for your day to not wrap up at a set time.

The hardest part of being a freelancer is the lack of a division between work and life. I often cancel after-hours plans to get a job done, work through the weekends and feel guilty when I do take a day off because there’s always a job waiting.

Exciting Work is Usually Balanced Out with Production

What do I love about my job? The sheer variety of projects that I get to work on! In the last few months, I’ve designed websites, books, blogs, email ad campaigns, landing pages for online retailers, logos, media kits and more.

Though, not all design work is fun! I think that a common misconception that students have when starting out in graphic design is that they get to be creative all day, every day. From my experience, while graphic design is more creative than your average job, I would say that I only get to be creative HALF of the time. The other half is spent setting up files, doing production work or conducting research. When you walk into a store and see signs for events and promotions everywhere, when you pass window displays, when you pick up a catalog or notice a product’s packaging…someone had to set up those files and send them to the printer. I’ve had entire weeks where I spent 10 hours a day in InDesign, outputting mechanicals to go to print. Being creative is a great asset, but knowing how to properly set up and deliver the files that that creativity is housed in is really important.

I Considered Other Careers Because I Didn’t Know What Graphic Design Was

I wish I’d had a mentor or someone who could have taught me about design. I would have discovered it that much earlier. I always read fashion magazines through my history and math classes (mid-90s issues of Bazaar were so great!) and I loved the world they showcased outside of my suburban town. I think I would have wanted to do something in the fashion industry….though I’m not sure what. Beyond that, I knew that I didn’t want to toil my life away doing mundane office work (which I ended up doing for two summers in college).

School Felt Never-Ending

For school, I am going to go out on a limb and say that overall, it’s less important about where you go — the weight of your employability is mostly based on the quality of your portfolio, your personality (are you easy to get along with and willing to do whatever it takes to get the job done?), who you know and of course, your experience / expertise.

My road to becoming a designer was a bit convoluted. When I was in high school, I would scour the school library for advertising books and anything to do with vintage Swiss poster design. I didn’t know any graphic designers though and the connection that design could be a viable career was completely lost on me. When I interviewed at a local art school, the professor told me that my portfolio needed more fine art — but I disliked drawing and painting. Looking at my angular collages, excessive use of rub-on letters and very sparse, graphic layouts, I really wish he had told me about the graphic design program. I walked out of that meeting feeling disillusioned and decided that I didn’t want to be “a starving artist.”

Later, after spending some time in community college, I fell in love with an eBusiness class. Marketing was where it was at for me. I still dabbled in design but it was more of a visual experimentation and nothing professional.

In 2005, once I finished my business degree, I felt unsatisfied. I was a creative person by nature and people had begun to offer me freelance design work. I had a vision for what I wanted to do and started doing some fairly big jobs, but I wasn’t comfortable with my skill level — I wanted to know how to do things the right way instead of guessing. In 2006, I went back to community college for a two year design degree. The classes were small, affordable, thorough and the schedule allowed me to continue working. If you’re on a budget and live on your own, I highly recommend going the community college route. If you still have a thirst to learn more once you’re finished, you can always transfer to a four year school.

For Not Being a Metropolis, Portland Has a Lot to Offer

Besides being home to the behemoths that include W+K and CMD, there are so many small agencies scattered across this town and I am constantly discovering more. It’s quite unbelievable, really. Large companies like Nike, the U.S. headquarters for Adidas and Columbia Sportswear are located in town so there is a constant flow of work funneling down from them that keeps a lot of places busy. Four of the agencies I’ve worked at in the last year have 15 or less people and there are tons more that I’ve learned of only recently. Before I make Portland sound like a perfect utopia for designers, there has been a nonstop influx of creatives for probably the last 10 years now and the market is flooded. Competition can be stiff. Don’t just show up and expect to be handed a job! On the other hand, if you want to be a freelancer and run your own studio, the independent creative spirit is very much alive and well.

Do you have a question that you’re dying to have answered? Ask Nubby!

When I started freelancing full time in May 2009, I wasn’t really sure what to expect. Freelancers seem to have quite varied experiences which is to be expected when you’re working as your own boss. I’m a very structured person that was accustomed to working in teams with other designers and art directors; I wondered if would I be able to trust my own judgement and still output high quality work. I questioned whether I could handle not having a set time to show up to an office every day. Would I be able to keep a schedule that allowed me to not only get all of my client work done but also have time for meetings and blogging?

Though I’d been taking on freelance jobs since 2005, I’d always had another job to back me up. Taking the leap into running my business full time was scary because it meant that I was fully dependent on my design and networking skills to make a living. Though, I was lucky because I already had a few big clients in my portfolio (including Forever 21 and Virgin Records) and had received great hands-on training during the year and a half I’d spent at an ad agency. And, my largest freelance clients were in LA and New York so I was accustomed to working remotely. Sending off rounds of work through email and having conference calls instead of in-person meetings was an easy adjustment.

To drum up new work, I didn’t have to do any pitches since I had a steady stream of clients who contacted me through my blog. Though, I did do a few other things to secure new work:

1. I built a print and PDF portfolio of my newest work. By having a PDF on hand, I could upoad it to my blog and let potential clients know that I was accepting new projects. If they liked what they saw, they could email me for a quote. I also kept an 11 x 17 print portfolio ready to go for face-to-face meetings with creative directors, clients and designer friends. I took every opportunity where I thought a critique could be possible and drug my book along. The feedback, though differing, made my work stronger overall. 7 Tips for Creating a Print-Based Portfolio can provide some pointers.

2. I set up appointments with placement agencies. I pounded the pavement, went to as many placement agencies as possible and in turn, had a steady stream of offers in Portland and New York within the first few months. Not every one was a perfect fit and I turned down more than I took but because of these contacts, I was able to do work for companies including the Wall Street Journal and Nike. My agents did the screening, found suitable positions based on my experience and set up the interviews. If you’re just getting started and need to build connections and contacts, placement agencies are a huge asset.

3. I contacted ad agencies directly. Design communities are pretty tight knit; everyone knows each other, even in larger cities. I reached out to producers and agency owners, forwarded them my resumé and portfolio and when there was a need, they brought me in to work on projects. Once you’ve passed the test on a project or two, demonstrated that you are reliable and easy to work with, chances are that you will get called back. Building strong connections with just a few agencies can keep you fairly busy.

First of all, you get to become your own boss. You can go anywhere, work for anyone you choose and take on a huge variety of client projects while getting out and seeing the world. I spent a huge chunk of last year traveling. During stays in Orlando, Phoenix, New York and Seattle, I was on my laptop, still meeting deadlines and keeping current with client emails.

While freelancing, the sheer variety of jobs that I get to work on has made me a much more rounded designer. Some of the current jobs I am working on include a wedding photographer’s media kit, a logo for a restaurant specializing in hot wings, album packaging for a metal band, an identity for a gourmet line of sweets, a media kit for a burlesque star, a full website design for an art organization, a logo for a fashion line and more. The combination of styles, not to mention striving to meet a wide variety of client needs keeps me on my toes, stretch my skills to the limits while diversifying my portfolio. I love being able to work with people from all walks of life – it’s refreshing and satisfying.

From a networking standpoint, it really is astounding how many contacts you can make when you’re not sitting at the same desk all day, every day. Your world as a designer begins to expand infinitely. Being a freelancer forces you to get outside of your little bubble and to interact with the community. As you start working with more agencies, going out to art openings, visiting open houses, reaching out for informational interviews and emailing people you admire, opportunities begin to pop up. Creative stimulation is important for designers and the internet can only provide so much; it’s important to make regular face-to-face contact.

Along with the perks, there are many potential downsides to freelancing as well. The work / life balance becomes increasingly hard to manage, in part because there’s not a clear division of where your ‘day job’ ends and your personal life begins. It’s easy to get caught up in jobs and spend the entire weekend in your office, to turn down invites to stay home and work into the night and to check your email at 6 am, only to realize that there’s a looming client emergency and jump out of bed.

One of the most significant downsides to freelancing is the lack of a consistent or steady income. Some months, the stars align and money pours in at a rate you could have never imagined; you think you know what it feels like to be rich. Other months, deals fall through, agencies don’t call and it seems impossible to wrap up old projects. Overall though, if you’ve built up a solid network, the good and bad months tend to balance out. Diversification helps immensely in this area; keeping agency work, staying in contact with agents and working with your personal clients tends to keep the jobs coming in.

Lastly, it is easy to become isolated. If the phone doesn’t ring for awhile, it’s all too convenient to sleep in, have your food delivered and sit in front of the computer in the same room every day. Lulls in work should be viewed as an opportunity to create self initiated projects, a chance to take short trips and to go out on lunch dates with friends.

Some techniques that help me function as a freelancer are quite simple but work wonders. Now that I have a dog living at my house, I use that as an excuse to get out and take regular walks. It not only helps to clear my mind but is also a chance to take different routes every time with the intention of scouting new spots to take outfit photos. Recently, I’ve also been writing out daily schedules of what work needs to be accomplished by what time. If I don’t do this, it becomes easy to surf the net and lose focus. By holding myself accountable and crossing off accomplishments as I move along throughout the day, I can see tangible results. Finally, I set up regular meetings with friends at coffee shops and bars to break up the day. Human interaction, not to mention the chance to explore new establishments across the city keeps things interesting.

As a freelancer, I would say that it takes a solid six months to really cement your branding, overall vision, to make enough contacts and to get up to speed in general. I’ve had an amazing time freelancing and running my own business has been hugely fulfilling. Though I am open to returning to agencies on a full-time basis, the opportunity to freelance has taught me more in a year than I ever thought possible. Freelancing has forced me to grow up, to take charge of my professional career and to realize that I am responsible for my success or lack thereof. Freelancing can make or break you…and in the process, at the very least, you have the opportunity to learn so much about yourself. That in itself is invaluable.

Often, I receive questions from my readers resembling the one below:

I am a graphic designer that recently graduated and I just got a design job a few weeks ago. Eventually, I hope to be able to freelance. I was wondering how one should go about freelancing. What was your transition like going from working for a company to becoming a freelancer?

Freelancing can be a hugely rewarding experience but it also takes a strong sense of knowing who you are as a designer and where your strengths and weaknesses lie. Looking back, my transition from working full-time to freelancing was about a six month long process. Though I already had my own clients including Virgin Records and Forever 21, it took some serious time to rework my portfolio, resumé and blog. Once these components were updated, I moved on to making appointments with placement agencies and potential clients.

When starting any new business, the first year is usually the hardest. It has the potential to make or break you. You have to be extremely focused and driven; working around the clock should be expected. This is your future, after all!

Below, I’ve compiled a list of tips to help you navigate the often murky waters of freelancing.

Before you jump into the world of freelancing, remember the golden rule: NEVER put all of your eggs in one basket. As a freelancer, do not depend on one source for all of your income. At some point in your career, you’re bound to hit a snag and lose a client; don’t let your business crumble because of it! I am incredibly lucky that I have never had to do a pitch to gain potential clients. I’ve always made it a point to diversify my clients into three areas and because of this, the work has been very consistent. The three areas are as follows:

01. Personal Clients. My personal clients find me via word of mouth or through my blog and contact me directly.

02. Ad Agencies. A few local agencies are familiar with my work and if they are in need of help in the studio, they give me a call. Sometimes, it’s just for a day while other engagements can stretch on for weeks at a time.

03. Placement Agencies. It is always helpful to have your portfolio on file at as many placement agencies as possible. The agencies are a fantastic resource because they WANT to help you to find work. I work closely with three agencies in Portland and New York. All of my agents are super friendly and call or meet with me on a regular basis. Agents are also a great resource for a recommendation if you land an interview since they tend to be on a first-name basis with many of the best firms and ad agencies in your city.

There are other ways of branching out to find work as well including searching freelance job boards and Craigslist, but I don’t have direct experience in either to vouch for the results. Use at your own risk!

There are probably a million other freelancers out there. What makes you stand apart from the competition? Look and act like you mean business and have a clean, well executed portfolio. A solid web presence helps, too. Make sure you have a print and PDF version of your resumé and portfolio readily available. Need some tips? Seven Tips for Creating a Print-Based Portfolio can help!

Though most of my freelance work is generated through working at local ad agencies and taking on my own clients, I also keep my portfolio on file with a few placement agencies. The bottom line is this: if your portfolio is solid and you have a non-abrasive personality, you will get called. Remember to keep your agent in the loop by letting them know when you’ve updated your work.

Placement agencies are noticeably different in every city. In Portland, the agents really want to get to know you. They slowly flip through your book and ask questions about your background, what your strengths are and where you’ve worked. It’s a very intimate, one-on-one meeting. The goal of these longer meetings is to make sure that they find the right fit for you work-wise. The agents know that if you’re happy, you will more than likely make their clients happy and they will want to keep you around.

On the other hand, in New York, it took me longer to fill out an application than my entire meeting. I walked into a well-known placement agency this August and after a quick handshake, the agent flipped through my book so fast that I had to stop her repeatedly to point out various accomplishments. I secretly wondered if she’d even noticed half of it. But, those New Yorkers have a sharp eye. They really are all-knowing. After closing my book, she got up, raced across the office and within five minutes, I had agents offering to pitch me to Showtime, The Food Network, and perhaps best of all, for an art director position at a rap mogul’s ad agency. My mind was boggled. New York, I love you!

If you get offered a fantastic paying job that happens to not be part of your core skill set, it is better to pass versus taking it on, disappointing a client and never getting called again. If the client is looking for a retoucher and you usually spend your days designing logos, ask yourself if it is a good fit not only for you, but for them. I’ve turned down a job to create iPhone icons and days later, picked up another that involved a type-based project for the Wall Street Journal. Never feel bad for saying no; there is always more work lurking around the corner.

This is all common sense but is worth repeating. If you’re freelancing at an agency, show up at the predetermined time. If you’re running late (this happens to everyone at some point), call ahead and let them know when they can expect you. Bring the necessities; some things that I always carry with me are pens, snacks, headphones and a notebook full of tutorials and key commands.

In a way, as a freelancer, you are the equivalent of a guest staying at someone’s house. You are welcome, but don’t overstep your boundaries. Leave your space in the same condition that it was in when you arrived.

First impressions are everything. Though talent is important, personality plays a huge part in getting call-backs. You may be the most amazing freelancer ever, but if you don’t work well with others and are argumentative, people will notice. Remember that you’re getting paid to complete a job, not to change the world!

When I am freelancing, I am never afraid to ask a question. It is ALWAYS better to ask and get clarification than to jump in, accidentally overwrite important documents, screw up someone’s files or waste valuable time in general. Asking a question doesn’t make you look like an idiot. On the contrary, it should be viewed as an affirmation that you are committed to getting the job done right the first time.

If you’re freelancing at an agency, always check in and thank them at the end of the day. Once you’re finished, let your contact know where your finished work is located and thank them for calling you in. It’s okay to reach out and ask if they need any further help at that time as well.

Once your work is complete, as a freelancer, it is usually your responsibility to bill the client. If you don’t invoice them, you don’t get paid. Your rate is based on a multitude of factors including your level of experience, your skill set and how desperate you are for work (let’s be honest!).

Remember to ask who is in charge of payments and forward them a copy of your invoice. Items that you may want to include on your invoice are the number of hours you worked, the dates you worked, your rate, the client or job description, an invoice number, the total and perhaps most importantly, your contact information along with a mailing address.

For more freelancing information, I highly recommend reading Freelance Switch, Freelance Feed and Guerrilla Freelancing. And, How To Be A Graphic Designer, Without Losing Your Soul by Adrian Shaughnessey is full of timeless advice, much of which can be directly related to freelancing.

Readers: Are any of you freelancers? How long have you been freelancing? What do you enjoy about it? What have been your best, most rewarding experiences? What have been your worst?