For $250, a business can pay a graphic designer to create a logo for their business. Or, for $10,000 a business can hire a graphic designer to form a design strategy that contextually places the business’s branding in a stronghold against the market it’s competing in. Businesses aren’t just paying more for the same thing, but for a designer to use specific skills, abilities, and knowledge in a strategic problem-solving way.

只需花$ 250，企業就可以付錢給平面設計師為企業創建徽標。 或者，企業可以花10,000美元聘請一名平面設計師來制定設計策略，從而根據上下文將企業的品牌定位在競爭中的據點之外。企業不僅為同一件事支付更多的費用，還需要設計師使用以策略性解決問題的方式掌握特定的技能，能力和知識。

To have a seat at the table, strategic graphic designers of the future need much more than refined craftsmanship in a technical process to be so valuable in the marketplace; obtaining a strategic skillset isn’t often found in through higher education, but elsewhere.

要在桌面上占有一席之地，未來的戰略圖形設計師需要的不僅僅是技術流程中的精湛Craft.io，以使其在市場上具有價值。 獲得戰略技能的機會并不常見于高等教育，而是在其他地方。

傳統設計師圖 (The Traditional Designer Graphic)

She is known as someone who works with a particular set of skills to reach a state of perfection from a design brief. Paul Rand, Milton Glaser, and Saul Bass are prime examples of traditional graphic designers. Their work is distinctively recognizable and they were hired for their refined aesthetics and reliable reputation.

她被稱為具有特定技能的人，可以從設計簡介中達到完美狀態。 Paul Rand，Milton Glaser和Saul Bass是傳統圖形設計師的主要代表。 他們的作品廣受贊譽，并因其精致的美學和可靠的聲譽而受聘。

In 1971, Carolyn Davidson met Phil Knight, then an assistant professor at Portland State University who was starting a new sports shoe company. Davidson was a student at PSU making extra cash freelancing graphic design services to pay for oil painting classes at the university. Knight hired Davidson for $2 an hour to come up with a logo that would be placed on all the shoes. So, she created several logos, showed, them to Knight, who took a look, pointed at the swoosh mark, and said “We liked this one slightly more than the others”, paid Davidson $35 and both of them went on their way. Davidson continued to study painting while Knight founded Nike, a multi-billion dollar company. With only recognition for Davidson’s drawing abilities, she created an iconic logo that would become a branding masterpiece worth a fortune.

1971年，卡羅琳·戴維森(Carolyn Davidson)遇到了當時在波特蘭州立大學擔任助理教授的菲爾·奈特(Phil Knight)，他正在創辦一家新的運動鞋公司。 Davidson是PSU的學生，提供額外的現金自由圖形設計服務，以支付大學的油畫課的費用。 奈特以每小時2美元的價格聘請戴維森，想出一個徽標，該徽標可以貼在所有鞋子上。 因此，她創造了幾個徽標，向奈特展示，向奈特看了一眼，指著耐克標志，并說：“我們比其他徽標更喜歡這個徽標”，付給戴維森35美元，兩個徽標都繼續使用。 戴維森繼續學習繪畫，而奈特創立了市值數十億美元的耐克公司。 僅憑戴維森的繪畫能力得到認可，她創造了一個標志性徽標，該徽標將成為值得發家的品牌杰作。

In 1993, Steve Jobs hired Paul Rand for $100,000 to create a logo for NeXT, Job’s business venture after being fired from Apple. Jobs asked Rand to design several logos, to which Rand replied,

1993年，史蒂夫·喬布斯(Steve Jobs)以10萬美元的價格聘請了保羅·蘭德(Paul Rand)，為喬布斯(NeXT)的企業創建徽標。 喬布斯請蘭德設計幾個徽標，蘭德回答說，

“No, I will solve your problem for you and you will pay me. You don’t have to use the solution. If you want options go talk to other people. But I’ll solve your problem for you the best way I know how, and you use it or not, that’s up to you — you’re the client — but you pay me.”

“不，我會為您解決您的問題，您會付錢給我。 您不必使用該解決方案。 如果您需要選擇，請與他人交談。 但是，我會盡我所能為您解決問題，無論您是否使用，這取決于您-您是客戶-但您付錢給我。”

— Paul Rand, 1993

-保羅·蘭德(Paul Rand)，1993年

In 1996, Steve Jobs sold NeXT to Apple for $400 million.

1996年，史蒂夫·喬布斯以4億美元的價格將NeXT賣給了蘋果。

Now, a logo doesn’t represent the value of an entire company, but from these two stories, we learn of two different types of graphic designers: the graphic designer who understands their value and the graphic designer who does not.

現在，徽標并不能代表整個公司的價值，但是從這兩個故事中，我們了解到兩種不同類型的圖形設計師：了解其價值的圖形設計師和不了解其價值的圖形設計師。

未來的平面設計師 (The Graphic Designer of the Future)

When clients hire graphic designers to solve problems, graphic designers are handed design briefs (the client’s understanding of the problems). The graphic designer of the future starts from the design brief to a research strategy to investigate the client’s market, the user‘s needs, and to strategize a path toward solving the problem before creating anything.

當客戶雇用圖形設計師解決問題時，圖形設計師會收到設計摘要(客戶對問題的理解)。 未來的圖形設計師將從設計簡介到研究策略，以調查客戶的市場，用戶的需求，并在創建任何東西之前制定解決問題的策略。

Kees Dorst, professor at the University of Technology in Sydney wrote:

悉尼科技大學教授Kees Dorst寫道：

“When people started trying to understand design … the first model they devised was of design as a problem solving process.”

“當人們開始嘗試理解設計時……他們設計的第一個模型就是將設計作為解決問題的過程。”

To become recognized for problem-solving processes, the graphic designer must take it upon themselves to understand different strategies for doing so. The Four Orders of Design is a structure that helps us understand the hierarchy of design, developed by Richard Buchanan. Deeper into his writing, he explains design is a process that involves systematic disruption and interactions between users before considering what is designed… meaning the results of effective design are equally as valuable as the tangible deliverable.

為了獲得解決問題的過程的認可，圖形設計師必須承擔起自己的責任，以了解解決問題的不同策略。 理查德·布坎南(Richard Buchanan)開發的“設計的四個順序”是一種結構，可以幫助我們理解設計的層次結構。 在他的著作的更深層次上，他解釋了設計是一個過程，涉及系統的中斷和用戶之間的交互，然后再考慮設計的內容……這意味著有效的設計結果與可交付的成果同等重要。

Design isn’t just a person at a desk pumping out logos. It’s a process where the graphic designer solves problems that disrupt systems in collaboration with the client and the end-user.

設計不僅僅是在辦公桌旁抽出徽標的人。 在這個過程中，圖形設計師與客戶和最終用戶協作解決了破壞系統的問題 。

Tony Golsby-Smith, professor at Alphacrucis College put it this way:

Alphacrucis College教授Tony Golsby-Smith這樣說：

“Design is the human power of conceiving, planning, and making products that serve human beings in the accomplishment of their individual and collective purposes.”

“設計是構思，規劃和制造為人類實現個人和集體目的服務的產品的人力。”

移情與合作 (Empathy & Collaboration)

So far, we understand Paul Rand and Carolyn Davidson as graphic designers who work to satisfy a design brief. If we are to find graphic designers who work collaboratively with the client, we need a new strategy that works systematically to disrupt systems and considers interactions between users.

到目前為止，我們了解Paul Rand和Carolyn Davidson是致力于滿足設計簡介的圖形設計師。 如果要找到與客戶合作的圖形設計師，我們需要一種新的策略，該策略可以系統地破壞系統并考慮用戶之間的交互。

Design Thinking is famously known as a collaborative problem-solving strategy championed by IDEO and Stanford’s Hasso Plattner Institute of Design (d.school) that emphasizes not graphic designers, but the end-user… this fits the bill.

設計思維因IDEO和斯坦福大學的Hasso Plattner設計學院(d.school)倡導而聞名，它是一種協作解決問題的策略，該策略不強調圖形設計師，而是最終用戶……這很符合要求。

Empathy is the driving force of Design Thinking, requiring everyone involved in the strategy to investigate human needs before ever solving the problem at hand. To be empathetic, people must seek to understand one another through mutual collaboration. Collaboration means designing together; not alone. To maximize the potential of Design Thinking, each person collaborating on the problem should have a different worldview, knowledgebase, and skillset to contribute to a more holistic solution. Therefore, the diversity of the group becomes as equally valuable as expertise in the group dynamic.

移情是設計思維的動力，要求參與戰略的每個人在解決眼前的問題之前都要調查人類的需求。 要有同理心，人們必須尋求通過相互合作相互了解。 協作意味著一起設計； 不是一個人。 為了最大程度地發揮設計思維的潛力，每個在問題上進行協作的人都應該擁有不同的世界觀，知識庫和技能，以提供更全面的解決方案。 因此，團隊的多樣性與團隊動態的專業知識同等重要。

探索策略 (Strategies of Exploration)

Beyond empathy, collaboration, and diversity of the group collaborating on a problem… graphic designers leading the process must have a library of design strategies to pull from to find solutions in linear and non-linear ways.

除了同理，團隊協作和在問題上進行協作的多樣性外，領導過程的圖形設計師還必須擁有一個設計策略庫，可以從中找到線性和非線性方式的解決方案。

Terry Winograd, professor of Computer Science at Stanford University writes:

斯坦福大學計算機科學教授Terry Winograd寫道：

“There is no direct path between the designer’s intention and the outcome. As you work a problem, you are continually in the process of developing a path into it, forming new appreciations and understandings as you make new moves.”

“設計師的意圖和結果之間沒有直接的道路。 當你的工作出了問題，你是不斷在發展的道路進去，形成新的升值和諒解為您做出新的動作的過程 “。

The emphasis on process, not the design brief, is important here. The graphic designer must be capable of leading strategies and processes even if they’re messy. And, they will be messy. But as a facilitator of the process, these strategies become the tools the graphic designer uses to lead.

在這里，重點在于Craft.io而不是設計簡介。 平面設計師即使是凌亂的，也必須能夠領導戰略和流程。 而且，它們將變得凌亂。 但是，作為過程的促進者，這些策略成為了圖形設計師用來領導的工具。

Throughout any of these processes, the graphic designer keeps their attention on the why and how; not the product. In doing so, the graphic designer gathers insights to explore the psychology behind what the intended audience or end-user needs. Strategies for finding these insights are not traditionally taught in higher education design programs but they are finding their way into programs. As a result, the responsibility of having these strategies ready is still on the graphic designer, which can be learned through workshops at IDEO, books, graduate-level classes at universities, and from experience working in the field.

在所有這些過程中，圖形設計師都將注意力集中在原因和方式上。 不是產品。 在這樣做的過程中，圖形設計師會收集見解，以探究目標受眾或最終用戶需求背后的心理。 傳統上，在高等教育設計課程中不會教授發現這些見解的策略，但它們正在進入課程。 結果，準備好這些策略的責任仍然在圖形設計師身上，可以通過IDEO的研討會，書籍，大學的研究生班以及在該領域的工作經驗來學習。

可交付成果 (Deliverables)

When strategy becomes a primary responsibility of a graphic designer, deliverables look different. Graphic Design is largely known as a service industry where clients pay for typography, photography, and illustration. These deliverables are all visual. In the scope of Design Thinking and the Four Orders of Design, the deliverables of strategy & research are insights that look like excerpts from interviews, analyzed data reports, survey results, customer user journey maps, and the like. The difference between delivering visual products and insights should not be confused as any less work. The value of the insights guides decision-making, so the return on investment (ROI) is huge. All of these deliverables should be charged from the grahpic designer to the client with a mutual understanding of their value contributing to solving the client’s problems.

當戰略成為平面設計師的首要職責時，可交付成果看上去就不同了。 平面設計在很大程度上被稱為服務行業，客戶需要支付版式，攝影和插圖費用。 這些可交付成果都是可視的。 在“設計思維”和“設計的四個順序”的范圍內，戰略和研究的交付物是洞察力，看起來像是訪談摘錄，分析的數據報告，調查結果，客戶用戶旅程圖等。 交付視覺產品和洞察力之間的區別不應因為工作量少而混淆。 洞察力的價值可指導決策，因此投資回報(ROI)巨大。 所有這些可交付成果都應由圖形設計者向客戶負責，并應相互理解其價值，以幫助解決客戶的問題。

定價，談判和可持續性 (Pricing, Negotiating, and Sustainability)

Charging clients for strategy and research can be foreign for graphic designers, so understanding a variety of pricing models, how to negotiate, and working toward a goal of sustainability can help.

對圖形設計師來說，向客戶收取策略和研究費用可能是陌生的，因此了解各種定價模型，如何進行談判以及為實現可持續發展目標而努力會有所幫助。

There are 5 models of pricing:

有5種定價模式：

1. Cost-based pricing is frequently used to maximize profits and requires graphic designers to add up all their costs associated with offering a design and adding on a percentage for profit.

1.基于成本的定價通常用于最大化利潤，并且要求圖形設計師將與提供設計相關的所有成本相加，并增加一定百分比的利潤。

2. Fixed pricing charges the client a set price for a service offered, regardless of how many hours are expended or how many resources are involved.

2.固定定價向客戶收取所提供服務的固定價格，而與花費多少小時或涉及多少資源無關。

3. Hourly pricing requires graphic designers to charge time and expenses for designs in an invoice to the client of all expenses required (such as mileage to client’s business, paper costs, etc.) and for each hour of work at an hourly price depending on the services purchased.

3.每小時定價要求平面設計師在發票中向客戶收取設計所需的時間和費用，包括所需的所有費用(例如與客戶業務的里程，紙張成本等)，以及每小時的工作時間，具體取決于每小時購買的服務。

4. Performance-based pricing required graphic designers to invoice clients based on the performance of the design delivered.

4.基于性能的定價要求圖形設計師根據交付的設計的性能向客戶開具發票。

5. Value-based pricing requires graphic designers to determine a price based on the perceived value clients will receive from the design.

5.基于價值的定價要求圖形設計師根據客戶將從設計中獲得的感知價值確定價格。

Of these five models, value-based pricing most accurately represents what is being purchased from the graphic designer because the problems being addressed are understood systematically. (Liozu, S., Hinterhuber, A., Boland, R., Perelli, S.)

在這五個模型中，基于價值的定價最準確地代表了要從圖形設計師那里購買的價格，因為已系統解決了要解決的問題。 (Liozu，S.，Hinterhuber，A.，Boland，R.，Perelli，S.)

Beyond pricing, graphic designers must be adept at negotiating prices to make a profit, which provides the value of their work. Having a framework that communicates a process that can be trusted by a client is more important than a portfolio. (Enns, B.) While the portfolio provides a body of work representative of the past, an articulated design process promises new results that shouldn’t be like anything else since the results are tailored specifically to the client’s intended audience.

除了價格之外，圖形設計師還必須善于通過價格談判來獲利，以提供其工作的價值。 具有一個可以傳達客戶可以信任的流程的框架比投資組合更為重要。 (Enns，B.)雖然投資組合提供了過去的工作成果，但明確的設計過程可以保證產生新的結果，這種結果與其他任何東西都不一樣，因為結果是專門為客戶的目標受眾量身定制的。

Finally, a sustainable business practice is the most important principle to remember. Becoming a sustainable graphic designer means business is continuous and reliable while finances are operating on a profit margin. Graphic designers are often driven by passion not profit, but keeping a business healthy and thriving requires a reciprocal relationship between the graphic designer and client. If designers deliver valuable results, clients will refer designers to other potential clients.

最后，可持續的商業慣例是最重要的原則。 成為一名可持續的平面設計師意味著企業持續不斷且可靠，而財務則以利潤為基礎。 圖形設計師通常是由激情而不是利潤驅動，但是保持業務健康發展需要圖形設計師和客戶之間的對等關系。 如果設計師能提供有價值的結果，客戶將把設計師推薦給其他潛在客戶。

Good work will bring more good work.

好的工作會帶來更多的好的工作。

超越基于客戶的工作 (Beyond Client-Based Work)

There will always be dips in business. When graphic designers are not working with clients, they can be networking to build new partnerships, but they can also utilize their skills and abilities to build additional streams of revenue to supplement their income.

總會有生意下滑。 當圖形設計師不與客戶合作時，他們可以通過網絡建立新的合作伙伴關系，但他們也可以利用自己的技能和能力來建立更多的收入來源以增加收入。

‘Passive income’ is a popular topic; it’s debatable whether they are effective or not. Creating an online store that sells digital or physical products is a route that requires work on the front end but it serves the end goal of marketing their work and serving as a useful or beautiful product that is enjoyed by others. It’s even possible to sell products to other graphic designers. Dustin Lee makes six figures selling Photoshop actions, Illustrator tools, brushes, textures, patterns, etc. through his web store Retro Supply.

“被動收入”是一個受歡迎的話題； 它們是否有效尚有爭議。 創建一個銷售數字或物理產品的在線商店是一條需要前端工作的途徑，但它最終目的是營銷他們的工作并成為其他人喜歡的有用或精美的產品。 甚至可以將產品出售給其他圖形設計師。 達斯汀·李(Dustin Lee)通過他的網上商店Retro Supply賣出了六個人物來出售Photoshop動作，Illustrator工具，畫筆，紋理，圖案等。

Developing online classes through services such as Skillshare, Lydia, and Udemy allows graphic designers to teach profitable skills to other graphic designers. Graphic designer Ohn Mar earns $1,250 — $3,500 per month from her classes on Skillshare. As a result, sharing these skills also builds credibility for the graphic designer and their ability to lead others through processes.

通過Skillshare，Lydia和Udemy等服務開發在線課程，圖形設計師可以向其他圖形設計師傳授可盈利的技能。 平面設計師Ohn Mar每月在Skillshare上的課程可賺取$ 1,250-$ 3,500。 結果，共享這些技能也為圖形設計師建立了信譽，并增強了他們帶領他人進行流程的能力。

Hosting podcasts or videocasts using streaming services also creates the opportunity to teach others, but hosting a show that creates or contributes to the broader design community is easier than ever before. Debbie Millman has been posting “Design Matters”, a podcast where she interviews a different graphic designer every episode for over 14 years.

使用流媒體服務托管播客或視頻廣播也為其他人提供了學習的機會，但是托管一個能夠為更廣泛的設計社區做出貢獻的節目比以往任何時候都容易。 黛比·米爾曼(Debbie Millman)一直在播出“設計事項”(Design Matters)，這是一個播客，她在每集節目中都采訪了一位平面設計師超過14年。

The income created by initiating multiple streams of revenue can pay off in the long run and may require little maintenance from the graphic designer. As these ventures are established, it’s worth noting the earlier and more strategic graphic designers initiate these ventures, the more they will make in the long run and could exponentially cause the graphic designer to become more valuable to clients.

從長期來看，通過啟動多種收入來源創造的收入可以得到回報，并且圖形設計人員幾乎不需要維護。 隨著這些合資企業的建立，值得注意的是，越早且更具戰略意義的圖形設計師發起這些合資企業，從長遠來看，他們將獲得越多的收益，并可能成倍地增加圖形設計師對客戶的價值。

謀生 (Making a Living)

It turns out, graphic designers can still make a good living shipping design; not research & strategy. Aaron Draplin, David Carson, and James Victore are successful in their own right and do quite well without offering research and strategy services. Ultimately, if research & strategy are not services a graphic designer wishes to offer, they’re working in a niche market.

事實證明，圖形設計師仍然可以做出良好的生活設計。 不是研究和策略。 亞倫·德雷普林(Aaron Draplin)，戴維·卡森(David Carson)和詹姆斯·維克多(James Victore)本身都是成功的，并且在不提供研究和策略服務的情況下做得很好。 最終，如果平面設計師不希望提供研究和策略服務，那么他們將在利基市場工作。

The same goes for clients, as well— clients may not want to hire a graphic designer for strategy, but a niche graphic designer who delivers a specific kind of design. In this case, the specialist is more valuable than the generalist.

客戶也一樣。客戶可能不想雇用平面設計師來制定策略，而是要提供特定設計的利基平面設計師。 在這種情況下，專家比通才更有價值。

Today, there are local and international markets for selling design services. Websites like 99designs, Toptal, and Upwork have created a marketplace of graphic designers who share their experience, education, specialties, and portfolios and can be hired for specific services and publicly reviewed later by the client. This makes it easy to start a design practice by plugging into a market.

如今，有本地和國際市場可以出售設計服務。 諸如99designs，Toptal和Upwork之類的網站已經創建了圖形設計師的市場，這些人可以分享他們的經驗，教育，專長和作品集，可以租用特定的服務，并在以后由客戶公開??審查。 這樣可以很容易地通過進入市場來開始設計實踐。

結論 (Conclusion)

The field of Design will continue evolving as new theories and strategies are developed over time. To move from a traditional graphic designer to the graphic designer of the future, 10 paradigm shifts can help:

隨著時間的流逝，隨著新的理論和策略的發展，設計領域將繼續發展。 要從傳統的平面設計師轉變為未來的平面設計師，可以進行10種模式轉變：

1. Discover problems before creating deliverables

1.在創建可交付成果之前發現問題

2. Investigate human needs with a blank slate

2.用空白板調查人類需求

3. Excel at collaboration

3.精通協作

4. Lead the Design Thinking process

4.領導設計思維過程

5. Charge clients for the entire design process

5.向客戶收取整個設計過程的費用

6. Utilize a value-based pricing model

6.利用基于價值的定價模型

7. Negotiate using a reliable framework.

7.使用可靠的框架進行談判。

8. Invest early in passive income ventures.

8.盡早投資于被動收入企業。

9. Deliver quality work sustainably.

9.持續交付高質量的工作。

10. Assess the client’s needs early on.

10.盡早評估客戶的需求。

討論區 (Discussion)

At the end of the day, the client is still left with a decision to hire a graphic designer who’s charging $35 for a logo or a graphic designer who’s charging $10,000 design strategy that guides the deliverables. As the field evolves and becomes more recognized for processes like Design Thinking and the utilization of the Four Orders of Design, its demand and value will increase over time for businesses who seek such transformative and effective practices. Graphic designers who choose not to practice these powerful processes will be left in a niche market and graphic designers aren’t bad or better — but, traditional in historical context because their peers will have already moved into the future.

歸根結底，客戶仍然可以決定聘請一位平面設計師，每位設計師收取35美元的徽標費用，或者聘請一位平面設計師，收取10,000美元的指導可交付成果的設計策略。 隨著該領域的發展以及對設計思維和設計四階的利用等過程的認可，對于尋求這種變革性和有效實踐的企業，其需求和價值將隨著時間的流逝而增加。 選擇不實踐這些強大流程的圖形設計師將留在一個小眾市場中，圖形設計師并沒有壞的或更好的習慣，但是在歷史背景下還是傳統的，因為他們的同行們已經進入了未來。

參考書目 (Bibliography)

1. Dorst, Kees. Notes on Design: How Creative Practice Works. BIS Publishers, 2017.
   基斯特，多斯特。 設計注意事項：創作實踐的工作原理。 BIS出版社，2017年。
2. Enns, B. (2010). The win without pitching manifesto. RockBench Publishing Corp.
   恩恩斯(2010)。 不投宣言的勝利。 RockBench Publishing Corp.

3. Golsby-Smith, T. (1996). Fourth Order Design: A Practical Perspective. The MIT Press.

   Golsby-Smith，T.(1996)。 四階設計：實踐視角 。 麻省理工學院出版社。

4. Kees Dorst, Notes on Design: How Creative Practice Works, 2017
   Kees Dorst，《設計筆記：創意實踐的方式》，2017年

5. Liozu, S., Hinterhuber, A., Boland, R., Perelli, S. (2012). The Conceptualization of Value-Based Pricing in Industrial Firms. Journal of Revenue and Pricing Management: Vol. 11, 1, 12–34.

   Liozu，S.，Hinterhuber，A.，Boland，R.，Perelli，S.(2012年)。 工業企業中基于價值的定價的概念化。 收入與定價管理雜志：第一卷。 11、1、12–34。

6. Muratovski, G. (2016). Research for designers. Los Angeles: SAGE.

   Muratovski，G.(2016年)。 設計師研究 。 洛杉磯：SAGE。

7. Winograd, Terry. Bringing Design to Software. Addison-Wesley Publishing, 1996.
   特里·威諾格勒。 將設計帶入軟件。 Addison-Wesley出版社，1996年。

Joshua Hoering is a writer, designer, educator, artist, and speaker based in Chicago, Illinois. He’s currently working on an MFA in Graphic Design & Visual Experience at the Savannah College of Art & Design. More of Joshua: Twitter, Instagram, Pinterest, Facebook, and LinkedIn

Joshua Hoering是 伊利諾伊州芝加哥市 的 作家 ， 設計師 ， 教育家 ， 藝術家 和 演講者 。 他目前在薩凡納藝術與設計學院從事平面設計和視覺體驗的碩士學位。 約書亞的更多內容： Twitter ， Instagram ， Pinterest ， Facebook 和 LinkedIn