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Graphic Design Resources

Listed below is a growing collection of resources as a freelance graphic designer and logo designer you might find useful at any level of experience – help from everything from finding work to finding yourself in a good position in search engine results:

Graphic Design Organizations

  • The American Institute of Graphic Arts (AIGA)
  • Graphic Artists Guild (GAG)
  • IDEAlliance
  • Art Directors Club, Inc. (ADC)
  • Design Management Institute (DMI)
  • Design Studies Forum (DSF)
  • International Council of Graphic Design Associations (Icograda)
  • Society of Publication Designers (SPD)
  • Society for Environmental Graphic Design (SEGD)
  • American Design Awards – The American Design Awards (ADA) is among the top internationally recognized design awards organizations, and perhaps the most popular independent awards organization globally with more than 35,000 submissions annually. American Design Awards’ mission is to educate designers regarding the importance of upholding ethical design and business practices. One way to encourage such behavior is by awarding the most innovative, creative, and ethical designers accolades through the Monthly, Semi-Annual, and Student design contests.
  • ArtYears.com – ArtYears is a community site of art students & creative professionals. Reaching out to like-minded professionals across the web, ArtYears draws the creative community together with tools required to enhance our skills. You will find a host of new features, Profiles section, discussion forums, work display and a place to post your resume or speak about your services. ArtYears help you keep in touch and updates you of the current trends in the creative field.
  • RGD Ontario – The Association of Registered Graphic Designers of Ontario (RGD Ontario) represents more than 3,000 graphic designers, managers, educators and students across Ontario. RGD Ontario was created by an Act (Bill Pr56) of the Ontario Legislature in 1996 to grant graphic designers who qualify the right to use the designation Registered Graphic Designer (R.G.D.). RGD Ontario is the only graphic design association in North America to have this kind of legislation.
  • AGDA - The Australian Graphic Design Association (AGDA) is the national organisation for professional graphic designers. It was founded in 1988 to facilitate the advancement of the graphic design profession in Australia.Our goal is the establishment of fair and productive working relationships between graphic designers and their clients. We do this by providing designers with the tools and information to take control of their professional lives. We also work on increasing awareness of the value and importance of graphic design in business, education and culture.
  • BDI – British Design Innovation (BDI) is the representative voice to industry of established strategic designers operating in the innovation space. It is concerned with the engagement of strategic design as the glue binding innovation together.
  • CMG – Color Marketing Group is the premier international association for color design professionals. Our mission is to create color forecast information for professionals who design and market color. We are “the” place for color info exchange.
  • Design Council – We are the national strategic body for design. We believe design can help people to do what they do, better. We’re funded by the UK government, and we promote the use of design throughout the UK’s businesses and public services. We demonstrate that design can play a vital role in strengthening our economy and improving our society. We have a goal – to help UK managers become the best users of design in the world, supported by the most skilled and capable design professionals.
  • DMI – DMI connects the world’s design leaders to the inspiration, knowledge, and community they need to succeed.
  • The Grolier Club – The Grolier Club of New York is America’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts. Named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends, the Club’s objective is to foster “the literary study and promotion of the arts pertaining to the production of books.”
  • Institute of Designers in Ireland – The Institute of Designers in Ireland is the professional body representing the interests of Irish designers. Its function is to promote high standards of design, to foster professionalism and to emphasise designers’ responsibility to society, to the client and to each other.
  • IAPHC – The International Association of Printing House Craftsmen (IAPHC) is an International organization. Dedicated to individuals in the printing and graphic arts industry. For the purpose of their self development, their companies’ success and the enhancement of the printing and graphic arts industry in society. We connect, educate, inform and promote our members and the global graphic community, fostering their growth and success.
  • International Color Consortium (ICC) – Founded 1993, Reston, USA. For international color designers. Membership organization established by industry vendors for the purpose of creating, promoting and encouraging the standardization and evolution of a cross-platform color management system architecture and components. Developed the ICC profile specification.
  • Icograda – The International Council of Graphic Design Associations (Icograda) is the world body for professional graphic design and visual communication. Founded in 1963, it is a voluntary assembly of associations concerned with graphic design, visual communication, design management, design promotion and design education. Icograda promotes graphic designers’ vital role in society and commerce and unifies the voices of graphic designers and visual communicators worldwide.
  • Letter Exchange – The Letter Exchange, founded in 1988, is a society for professionals involved in the whole spectrum of the lettering arts and crafts, from calligraphy and letter-cutting, through design for print, publishing and typography, to signage and architectural lettering.
  • NAPL – The Trade Association for Excellence in Graphic Communications Management. A not-for-profit trade association serving companies in the $100 billion+ graphic communications industry, NAPL offers a comprehensive slate of business-building solutions that provides company leaders with the strategies, insights, and guidance they can use to make informed business decisions, minimize risk, anticipate change, and profitably grow their business.
  • NAPP – The National Association of Photoshop Professionals (NAPP) is a dynamic trade association and the world’s leading resource for Adobe® Photoshop® education, training, and news. It is led by a world-class team of Photoshop experts, authors, consultants, trainers, and educators whose focus is to ensure that NAPP members stay on the cutting edge of Adobe Photoshop techniques and ahead of their competition.
  • OBD – The Organization of Black Designers (OBD) is a multicultural, multidisciplinary professional association of more than 10,000 members located throughout the United States and world committed to the increased visibility, empowerment and support of its membership.
  • SEGD – Society for Environmental Graphic Design (SEGD) is an international non-profit educational organization providing resources for design specialists in the field of environmental graphic design, architecture, and landscape, interior, and industrial design. SEGD members are leading designers of directional and attraction sign systems, destination graphics, identity programs, exhibits, and themed environments.
  • SND – The Society for News Design encourages high standards of journalism through design. An international forum and resource for all those interested in news design, SND works to recognize excellence and strengthen visual journalism as a profession.
  • GDC – The Society of Graphic Designers of Canada (GDC) is Canada’s national graphic design association. It is a member-based organization of design professionals, educators, administrators, students, and associates in communications, marketing, media and design-related fields.
  • SIAD – The Society of Illustrators, Artists and Designers (SIAD) is an international web-based organisation. Membership of the Society is open to all practising illustrators, artists and designers involved in any visual media. Membership requirements and an application form are available from our membership page.
  • SPD – For over a quarter of a century, the Society of Publication Designers has been a driving force for quality and innovation in publication design. It is the one venue in which the best of the best continually strive.

Graphic & Web Design Trade Customs

The following are important definitions of terms that BonFX abides by as usual and customary:

  • Estimate: A preliminary projection of cost which is not intended to be binding. Estimates are based upon prevailing wages, the anticipated hours of work and cost of materials and supplies necessary to produce work in accordance with preliminary copy, style and specifications and are not binding upon the designer unless a firm quotation has been issued.
  • Quotation: A quotation is a fixed price for producing a given project. A quotation is firm unless otherwise specified. Quotations are subject to acceptance within 30 days and are based on the cost of labor and materials on the date of the quote. If changes occur in the cost of materials, labor or other costs prior to acceptance, the right is reserved to change the price quotes. Subsequent projects will be subject to price revision if required. Quotations do not include alterations or applicable sales tax unless otherwise specified.Alterations: Alteration charges are incurred by a client when a change is made to: approved layout, approved manuscript, mechanicals or disk produced correctly or any new work not within the original specifications.
  • Overtime: Overtime is work performed by the designer in excess of the work schedule of the project. Overtime may be charged at the designer’s prevailing rates for this service.
  • Copyright Ownership: Creative work such as sketches, illustrations, layouts, designs, icons, logos, etc. produced on paper, computer disks or any other medium, are protected under the 1976 copyright act. Until the designer transfers ownership rights, creative work remains the property of the designer. There can be no use of the designer’s work except upon compensation to be determined by the designer. Purchase orders issued after the completion of creative work, claiming the client’s ownership of creative work, are not valid unless agreed upon by both parties.
  • Experimental Work: Experimental or preliminary work performed at the client’s request will be charged at current rates and may not be used by the client until the designer has been reimbursed in full for the work performed. All experimental work performed by a designer without authorization of the client is not billable.
  • Condition of Copy: If original copy, disk or manuscript, furnished by the client to the designer differs from that which has been originally described and consequently quoted, the original quotation shall be amended or a new quotation will be issued.
  • Production Schedules: Production schedules will be established and adhered to by client and designer, provided that neither shall incur any liability or penalty for delays due to state of war, riot, civil disorder, fire, labor trouble, strikes, accidents, energy failure, equipment breakdown, delays of suppliers or carriers, action of government or civil authority and acts of God or other causes beyond the control of client or designer. Where production schedules are not adhered to by the client, final delivery date(s) will be subject to renegotiation.
  • Client’s Property: The designer will maintain fire, extended coverage, vandalism, malicious mischief and sprinkler leakage insurance covering all property belonging to the client while such property is in designer’s possession. The designer’s liability for such property shall not exceed the amount recoverable from such insurance. Client’s property of extraordinary value shall be specially protected, only if the client identifies the property as requiring extraordinary coverage.
  • Outright Purchase vs. Reproduction Rights: These terms should be established at the time of purchase. Outright purchase gives the buyer physical possession of the artwork, disk, or negatives, while reproduction rights and related copyright interests require the return of the original to the artist. Outright purchase does not give to the buyer commercial or private reproduction rights or any other copyright interests unless so stipulated in the purchase agreement. The matter of first reproduction rights with subsequent reproduction rights subject to additional compensation should be clearly understood at the time of purchase.
  • Re-use and Extended Use of Artwork, Disk or Negatives: Artwork disk or negatives purchased for a specific use cannot be re-used or adapted for other purposes than originally planned without additional compensation to the artist. If this possibility exists at the time of purchase, it should be so stated and the price adjusted accordingly. If re-use or adaptation occurs after purchase, the buyer should negotiate reasonable additional compensation with the artist. Whenever adaptation requires the services of an artist, and the creator has performed to the buyer’s satisfaction, the artist should be given the opportunity to revise his own work.
  • Mark-ups: An out-of-agency services or goods such as typography, printing, photography, etc., or materials used specifically for the completion of a given project will be billed to the client with an appropriate mark-up. This mark-up is a handling fee only and unless otherwise agreed, does not include any professional or management fees.
  • Speculation: Graphic design should not be asked for on speculation by a client. Design contests, except for educational or philanthropic purposes, are also considered speculation and not a trade custom.
  • Terms: By assigning an order either verbally or in writing or by purchase order, the client agrees to the designer’s terms of payment and late charges on unpaid balances prescribed to by the designer. Payment shall be whatever was set forth in quotation or invoice unless otherwise provided in writing. Disputes over invoices must be made by the client in writing within a period of fifteen (15) days after the client’s receipt of the invoice in question. Failure to make such claim within the stated period shall constitute acceptance and an admission that the client agrees with the invoice submitted. If only a portion of the invoice is in dispute, it is the client’s responsibility to pay the portion not in dispute within the terms of the invoice.
  • Liability: A designer is only liable for the correction of errors made during the design and mechanical processes. The ultimate proofing prior to printing is always the client’s responsibility unless the designer accepts this responsibility in a written agreement. In any instance, the designer cannot be liable for more than the design and mechanical costs of a job in dispute.
  • Indemnification: The client shall indemnify and hold harmless the designer from any and all losses, costs, expenses, and damages (including court costs and reasonable attorney fees) on account of any and all manner of claims, demands, actions, and proceeding that may be instituted against the designer on grounds alleging that the said designer unknowingly violated any copyrights or any proprietary right of any person. Any materials such as photographs, photostats, transparencies, drawings, painting, maps, diagrams, etc. furnished by the client to the designer should be free and clear of any copyright or trademark infringements. The designer is indemnified against any liability pursuant to the client’s failure to obtain correct usage rights and said materials. Any false statements knowingly or unknowingly given to the designer, by the client, to be used as factual information to promote a product or service shall remain the client’s sole responsibility for substantiation. The designer is indemnified from any liability due to the client’s negligence.
  • Print Management/Press Inspection: If a designer performs a press inspection for a client, the client’s responsibility for proofing remains in effect. If the client has signed a printer’s blueline, the designer is not responsible for any errors reflected in the approved blueline. If the designer approves color on a press proof or any other color proof, the designer is only responsible for approving color acceptable by industry standards. The printer is responsible for ensuring that the subsequent press run matches the color within acceptable standards of the proof approved by the designer.
  • New Media: If a designer reviews a Web site for a client, the client’s responsibility for proofing remains in effect. If the client has approved a site’s content, the designer is not responsible for any errors reflected on the approved site. The client’s Webmaster is responsible for ensuring that the colors and images remain within the acceptable standards of what has been approved by the designer.