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AIGA believes that professional designers should be compensated fairly for their work and should negotiate the ownership or use rights of their intellectual and creative property through an engagement with clients. To that end, AIGA strongly encourages designers to enter into client projects with full engagement to show the value of their creative endeavor, and to be aware of all potential risks before entering into speculative work.
AIGA acknowledges that speculative work—work done prior
to engagement with a client in anticipation of being paid—occurs
among clients and designers.Yet not all unpaid design work is considered “spec work.” In fact, unpaid work may take a number of forms:
Not all of the above are considered speculative work, and in fact many designers choose to do unpaid work for a variety of reasons. Students and professionals may draw different lines on what constitute
unacceptable practices. In each case, however, the designer and client
make the decision and must accept the associated risks.
AIGA believes that designers and clients should be aware of all potential risks before entering into speculative work:
AIGA has provided a sample letter for designers and firms to explain why speculative proposal compromise the design profession. The letter should be modified based on the needs of your particular situation. To add your voice to the spec work discussion, please comment on the related AIGA Insight article.
Clients may, at times, request that you or your firm compete for
an engagement on the basis of spec work. While it is up to each
designer to make the choice of whether to engage on this level,
this sample letter is intended to serve as a resource if you choose
to communicate with these clients to explain why speculative
proposals compromise the profession and the resultant work. You
should modify it based on the needs of your particular
AIGA sample letter for speculative work
A brand is, or at least should be the representation of a particular group of people and the activities in which they engage, and not the thing itself.
Section: Why Design
“The thought of going in-house initially scared me,” says the associate creative director of Target. “I was worried that I’d have less variety and fewer opportunities to flex my creativity. I couldn’t have been more wrong.” Peters talks about what it’s like to work for one of the most respected in-house design groups around.
Section: Inspiration -
advertising, illustration, branding, communication design, identity design, print design, corporate design, in-house issues, interview, INitiative, identity system, logos
What is it about the accidental rumble and thud from a vending machine that so delights? McCracken celebrates this favorite “found sound.”
Section: Why Design -
sound design, design thinking, business
Responding to a design challenge posed by the public radio show “Studio 360,” Hyperakt reimagined the branding associated with the teaching profession, creating a new visual vocabulary with key elements made publicly available to teachers around the world.
Section: Why Design -
branding, communication design, graphic design, identity design, nonprofit, print design, typography, Design for Good, college, K-12, website, education, social responsibility
Measure Me Stick
Studio 1 a.m.
External Resources (cont.)
Roca Barcelona gallery
Hockey Bunnies Logo