A Graphic Artist adds logos and text and manipulates images for a project. They can also create custom transitions between shots. It’s akin to visual effects work and many people cross over.

David Kitchner, who has worked on various commercials, music videos, and logos, describes the process:

“I start a new project and talk with the client to figure out the general aesthetic. Once the overall feeling and look are established, then pre-production begins. Pre-production is essentially organizing assets and creating a stylebook or style guide for final approval — basically, going through colors and fonts to get inspiration and try something new.”

Within this aspect of design, the Graphic Artist is helping to tell the story by giving first impressions so it’s crucial that there is intention behind every decision. Following a Graphic Artist’s conceptualizations receiving approval, the assets will be manipulated in a program like Cinema 4D or Adobe After Effects.

From there, the Graphic Artist goes through rounds of notes. Once the project is complete, they deliver the final product to the client.

For a Graphic Artist in the film industry, Kitchner says, “Average pay is $80,000 per year but can go upward of $120,000.”

A Graphic Artist is a freelance position, and their pay can vary greatly. Kitchner says, “It can really depend. Sometimes the rate is per project and other times a company will hire an individual to work on multiple things at a day rate. If a Graphic Artist is on staff, then they’ll be paid every Friday. If it’s a freelance job, then it’s usually half before and half after.

“The way most work is bid on is by the second; for example, one second will cost $2,000 or $20,000. Currently, I make at least $500 per day. That is without any rush fees or holding rates.”

The career of a Graphic Artist can be a lucrative one, but it is likewise a highly competitive profession where individuals may be asked to provide bids for a particular gig. It’s important to develop a reel that demonstrates the skill level that a Graphic Artist has to justify the asking rate for their work.

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Graphic Artists most typically work as freelancers. Kitchner comments, “Starting out in the industry, people work late nights. They’ll have weird, long hours, sometimes as long as twelve-hour days. With every project, there is a learning curve, a new way of doing it. Extra time needs to be put in and it can’t be put on the client. Can’t bill that!

Once someone becomes more accomplished they can control their own hours and work a bit less. People can work five hours on, then six hours off before going back. Usually, it still tends to be a ten-hour day but there is more flexibility to goof off and switch between projects.”

As someone can learn more and develop a client base they’ll be able to have more flexibility in their schedule and work fewer hours overall. While there will still be a learning curve on every project, it’ll be less. However, since it is a freelance job, some hours will be spent on weekends and evenings as well as during the day — especially if there is a tight deadline to be met.

The Graphic Artist is usually working with the Post Supervisor or VFX Supervisor. They also collaborate with Editors and work with Assistant Editors to get assets. They typically work alongside the Colorist as well.

Advancement as a Graphic Artist depends partially on the knowledge a person acquires of software programs used by those in the field.

Kitchner says, “People don’t need to go to school but it helps. I started by learning on the job, taking on bigger projects, researching tutorials, and learning one job at a time. When a candidate is applying to a company, if they’re able to do basic stuff then they can come in as a Post-Production Assistant.

“Even though they can do basic work, much of their day is spent getting coffee and shuttling hard drives around town. They will also clean up computers so there isn’t too much digital bulk and [they will] organize assets.”

As a person develops their skills and builds trust within the company, they’ll be promoted to a Graphic Assistant. They’ll then handle cleaning up project files and doing exports. The next step up is working as a Graphic Artist. People can speed up their advancement by learning multiple programs and practicing with online tutorials. This is a career where what a person knows—and having the ability to demonstrate it—counts.

It can be tough to break into getting even an entry-level job as a Graphic Artist. Kitchner advises, “Do as many internships as possible at the best places possible. Another way is to go on Reddit and look up the demo reels of working professionals. Give them a call or an email. It may take twenty calls to get one person to answer.

“Knowledge is power. Nobody cares what school someone came out of. If a person is good, then people will hire them. Also, it’s important to live in Los Angeles, New York, or Vancouver. It’s where most of the post-production houses are. I take my daughter to the swings on the playground and have gotten jobs. Everyone works in the industry, so networking and random connections are easier.”

When asked about getting started if living outside the major industry hubs, Kitchner suggests, “Start at a small company and learn by shadowing. It could be at the local television network as it’s in the entertainment industry. From there, move out to Los Angeles and start getting jobs wherever they’re available. Working is a good way to meet people.

While the production side of filmmaking is becoming global, the post-production companies are still based in big cities.”

Aspiring Graphic Artists should strongly consider moving to a large city like Los Angeles or New York because that is where the majority of post-production work happens. There will be more opportunities and chances to advance as well as network with professionals to learn.

The following offers additional tips for those just entering this field:

• Get to know one specific program. High-quality footage can be downloaded and there are many tutorials to try out. The best way to learn it is to do it.
• Join Lynda.com for tutorials.
• Call up a production company in town and express interest in learning from them.
• Watch the opening credits sequences of movies.
• Pay attention to the motion graphics in commercials.

A good background in design is great for becoming a Graphic Artist. Kitchner says, “People don’t need to be great animators. If they have that talent then it’s a great pull. But diversifying interests can also enrich an aspiring Graphic Artist.

“Learn sculpting. Learn ceramics. Learn typography. Learn drawing. And really learn color theory. It all plays in and is valuable for building a network that will yield referrals. Most jobs come through a ‘who you know’ web.

“Therefore, it’s learning various art forms to develop a distinctive viewpoint and creating a demo reel of work to display what has been learned. If someone can show that they are able to make a desired effect then they’ll get an interview, even if they haven’t worked on big projects.”

People can gain experience through doing online tutorials and creating their own demo reel but they also need to diversify their artistic skills to cultivate a unique viewpoint. While copying is good for learning, Producers want to hire artists who will bring a unique perspective and make their project original.

There are a lot of different personalities conducive to becoming a Graphic Artist, especially those that might not work in a traditional workplace. Kitchner says, “I’m dyslexic and have ADHD. This career is the best thing for it. Most of the people in editing or the design world have something like dyslexia.

“Here it’s a gift because we tell stories without words. Our minds can express without hindrance. Words and texts are a recent thing. For hundreds of thousands of years, humanity communicated through body language, grunts, and gurgles. Maybe some drawings in the sand, too.

“Beyond that, people considering this career field must like to be alone. If they’re a social bird, it can be a hindrance because most of the career is a person locking themselves in a room with only a computer as company. A lot of people would be sad in that scenario.

“However, I’m content sitting with my characters and design. People considering this type of career track need to ask themselves what kind of person they are.”

Individuals who learn in a non-traditional manner can have advantages in the design world. Also, if they are comfortable with long periods of solitude, the career of a Graphic Artist might just be a perfect fit for them.

The best training or education a person can get to become a Graphic Artist is to attend a specialized school like the Gnomon School.

Kitchner states, “Going to school for Motion Graphics is best. If someone is past that stage in their life they can still succeed without a degree but they need to dedicate themselves to learning the programs and the art form itself. Great undergraduate degrees outside of the motion graphics field are History, Design or getting a general Liberal Arts degree.

“If a person can only push buttons and not know how to think and understand philosophy, then they won’t last long. Graphic Artists are in the storytelling business.”

Many people get caught up in technology, which is important, but what people must get from their education is an understanding of how storytelling interfaces with motion graphics. That way a Graphic Artist can become a collaborator, not just a cog in the machine.

Since the job of a Graphic Artist has a strong element of solitude grounded in computer work, many online resources and organizations are available to access from home. Some can be found just by using Google.

Kitchner mentions, “The Visual Effects Society (VEF) is great to follow. Lynda.com is a solid tutorial website that can even be accessed for free, depending where a person lives and if they have a library card. In terms of groups, if a person lives in Los Angeles they can see the professionals from organizations such as NAB and SMPTE speak and have meetings.”

Becoming part of the graphics community involves figuring out when events are being held and attending them. Also, check out non-profit organizations such as Film Independent or the Independent Filmmakers Project. While they don’t necessarily focus on motion graphics, they’re good places to network with filmmakers.