Enhanced descriptions from Syndetics:

Through her work with hundreds of corporations around the world, leading headhunter Roz Goldfarb provides readers a treasure trove of valuable information for thriving in this creatively driven business, including updated hiring criteria, the latest developments in technology, and the marketplace affecting design careers.

Discussion in this revised and expanded third edition includes: jobs, hiring practices, salaries, portfolios, resumes, networking, headhunters, training, freelancing, and more, with a special focus on the new design disciplines, training requirements, and opportunities for the Internet. Careers by Design should be on the desk of every ambitious graphic designer.

Table of contents provided by Syndetics

• An Introduction to a Special World (p. vii)
• 1 What is Graphic Design? (p. 1)
• The Designer's Role in Society and Business (p. 2)
• Clearing Up Some Confusion About Advertising and Design (p. 4)
• Design's Impact on Style (p. 6)
• Successful Design Is a Successful Business Solution (p. 6)
• Is Design for You? (p. 7)
• 2 The Structure of Graphic Design (p. 9)
• The Rise of Specialization and the Recent Convergence of Media (p. 10)
• Meeting the Client's Needs (p. 11)
• Experience Design (p. 13)
• The Effects of Media Convergence (p. 15)
• 3 Branding and Design Management (p. 17)
• Branding (p. 17)
• Corporate Branding and Corporate Identity (p. 18)
• The Design Process (p. 21)
• Brand Architecture and Design Implementation (p. 23)
• Nomenclature/Naming (p. 24)
• Design Management (p. 26)
• Retail Identity (p. 28)
• Brand Identity and Packaging Design (p. 30)
• Packaging Design Management (p. 33)
• 4 Design Consulting Services: the Business Side (p. 37)
• Titles, Titles, Titles (p. 38)
• Busines Roles (p. 39)
• Head-Count Dominance (p. 41)
• Keys to Success (p. 42)
• 5 Print Design (p. 47)
• Corporate Literature (p. 49)
• Information and Systems Design (p. 49)
• Annual Reports (p. 50)
• Corporate Communications (p. 52)
• Editorial Design (p. 53)
• Magazine Promotion (p. 54)
• Book Design (p. 55)
• Catalogs (p. 56)
• 6 Environmental Design (p. 59)
• Environments Branded and Otherwise, Retail and Entertainment: A Definition (p. 59)
• Where Environmental Designers Work (p. 60)
• Sample Projects (p. 61)
• Learning Environments (p. 63)
• Wayfinding (p. 64)
• Design Semantics and Options (p. 65)
• 7 Advertising and Design (p. 69)
• General Advertising (p. 70)
• Direct Marketing/Direct Response (p. 71)
• Promotional Advertising and Design (p. 71)
• Integrated Advertising and Design (p. 71)
• Sales Promotion (p. 71)
• Promotional Firms (p. 72)
• Licensing (p. 73)
• Where Are the Promotion Jobs? (p. 75)
• Advertising: Roles and People (p. 75)
• The Advertising Art Director (p. 76)
• Copywriting (p. 77)
• Account Management in Advertising and Design (p. 77)
• Advertising Tips for a Changing Market (p. 76)
• 8 Industrial Design (p. 81)
• ID: A Cornerstone in the Evolution of Graphic Design (p. 81)
• Current ID Practices (p. 82)
• Product Design (p. 83)
• Environmental Design | Exhibition Design (p. 83)
• Signage (p. 83)
• The Industrial Designer's Role (p. 84)
• The Graphic Design Connection (p. 86)
• 9 Interactive Media (p. 85)
• A Short History of a Short History (p. 86)
• A Viewpoint from a Pro (p. 88)
• A Different Workplace in Interactive (p. 89)
• Presenting Creative Work (p. 91)
• Design Jobs, Descriptions, and Titles (p. 93)
• Production Design (p. 94)
• Job Opportunities/Writers (p. 95)
• Client Services (p. 97)
• Making a Job Transition/Design (p. 96)
• The Business Side (p. 97)
• Where Is All of This Going? (p. 98)
• The Future from the Business Side Perspective (p. 101)
• Into the Unknown (p. 100)
• 10 A Guide to Production Jobs: Print and Interactive (p. 101)
• Print Production (p. 102)
• Are You a Designer or a Production Professional? (p. 102)
• Print Portfolios (p. 102)
• Roles and Titles (p. 102)
• Career Opportunities (p. 103)
• Production for Interactive Media (p. 104)
• Titles and Responsibilities (p. 104)
• What Makes a Good Web Production Person? (p. 106)
• Hot Companies for Web Producers (p. 106)
• Interviewing for Web Production (p. 107)
• Portfolios for Web Producers (p. 107)
• Education and Networking (p. 107)
• 11 Getting Started: How do You Get There? (p. 109)
• Who Are You? (p. 111)
• Networking and Portfolio Submissions (p. 114)
• Showing Your Portfolio and Drop-Offs (p. 115)
• Diaries for Business Contacts and Taxes (p. 116)
• Headhunters (p. 117)
• A Simple "Thank You" (p. 118)
• Resumes (p. 118)
• Sample Resume (p. 120)
• Choosing a Job (p. 123)
• Non Creative Positions: Account Services, New Business, and Studio Management (p. 123)
• Freelancing (p. 125)
• 12 Your Portfolio (p. 127)
• Traditional Portfolios (p. 128)
• Size (p. 128)
• Loss Protection (p. 129)
• Choosing a Format for a Traditional Portfolio (p. 130)
• Interactive Portfolios (p. 131)
• Sketches (p. 131)
• Finished Art (p. 132)
• Presentation (p. 133)
• Changing Work Goals (p. 135)
• Shared Projects and Work Ethics (p. 136)
• Production Work in a Creative Book (p. 138)
• Still Can't Make the Final Content Decisions? (p. 138)
• Why Your Portfolio Will Never Be Finished (p. 138)
• 13 Hiring Practices (p. 141)
• Establishing Busines Relationships (p. 141)
• In the Beginning: The Hiring (p. 143)
• The Employer's Viewpoint (p. 144)
• The Candidate's Viewpoint (p. 149)
• The Interview (p. 152)
• Confidentiality and Noncompete Agreements (p. 159)
• Psychological Testing (p. 160)
• Medical Examinations (p. 160)
• References (p. 160)
• Accepting or Rejecting an Offer (p. 161)
• 14 The Money Question (p. 163)
• Salary Variables: What Are You Worth? (p. 163)
• What's Your Job Worth? (p. 166)
• Benefit Packages (p. 167)
• Negotiating a Salary (p. 167)
• The RGA 2001 Salary Survey (p. 174)
• 15 Moving on: When and How to Leave a Job (p. 177)
• How to Quit (p. 178)
• And If You're Fired? (p. 179)
• Finishing Work in Progress (p. 181)
• Obtaining Portfolio Samples (p. 182)
• Exit Interviews (p. 182)
• References (p. 183)
• Vacations (p. 183)
• Giving Notice (p. 183)
• 16 In Search of Education (p. 185)
• Choices in Design Education (p. 185)
• Faculty: The Key Influence (p. 188)
• In Search of a Contemporary Curriculum (p. 189)
• Postgraduate Programs (p. 190)
• A Sample of Choices (p. 191)
• How to Contact Colleges (p. 191)
• An Educational Shortlist (p. 192)
• 17 Past, Present, and Future (p. 197)
• Change: The Only Constant (p. 197)
• The Future Belongs To... (p. 198)
• Appendix (p. 201)
• Bibliography (p. 205)
• About the Author (p. 209)
• Index (p. 211)

Author notes provided by Syndetics

Roz Goldfarb founded and heads Roz Goldfarb Associates, a specialized, full-service recruitment agency based in New York City. The agency places creative and managerial personnel in marketing communication firms, corporations, and advertising agencies nationally and internationally. While actively engaged in recruitment, Goldfarb's responsibilities additionally include establishing mergers, acquisitions, and new business ventures, as well as acting as a management consultant.



She is a multi-disciplinary person whose skills emanate from many years of hands-on business management, coupled with her early training as a sculptor and painter and her tenure as the director of Pratt Institute's Associate Degree Programs, where she hired and trained numerous faculty and developed programs, design curricula, seminars, and foreign programs.



Goldfarb frequently addresses professional groups and numerous educational institutions about career opportunities and the changing design environment. Recent engagements include the HOW Conference, the International Institute for Research, the Design Management Institute, the Association of Professional Design Firms, and the AIGA National Conference. She has been a visiting guest lecturer and critic at Syracuse University, FIT/State University of New York, Art Center College of Design, the Academy of Art College, the Los Angeles chapter of the AIGA, the Parsons School of Design, and Pratt Institute. In 1987, she established a scholarship with the Art Directors club of New York to further the education of talented design students who require scholarship aid.



She holds a master of fine arts degree from Pratt Institute and a Bachelor of arts degree from Hunter College of the City University of New York, where she studied painting with Robert Motherwell.