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Job outlook for commercial art instructors in the United States
Are commercial art instructor jobs in demand?
Commercial art instructor job and salary trends over time
Commercial art instructor jobs over time
Commercial art instructor job growth rate over time
| Year | # of jobs | % of population |
|---|---|---|
| 2021 | 33 | 0.00% |
| 2020 | 33 | 0.00% |
| 2019 | 35 | 0.00% |
| 2018 | 34 | 0.00% |
| 2017 | 36 | 0.00% |
Average commercial art instructor salary over time
Commercial art instructor salary by year
| Year | Avg. salary | Hourly rate | % Change |
|---|---|---|---|
| 2025 | $46,259 | $22.24 | +1.8% |
| 2024 | $45,427 | $21.84 | +2.8% |
| 2023 | $44,180 | $21.24 | +2.9% |
| 2022 | $42,916 | $20.63 | +1.9% |
| 2021 | $42,134 | $20.26 | +2.4% |
Commercial art instructor jobs by state
Most common states for commercial art instructors
| Rank | State | Population | # of jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | Colorado | 5,607,154 | 681 | 12% |
| 2 | Delaware | 961,939 | 114 | 12% |
| 3 | District of Columbia | 693,972 | 80 | 12% |
| 4 | Georgia | 10,429,379 | 1,100 | 11% |
| 5 | North Carolina | 10,273,419 | 1,025 | 10% |
| 6 | Virginia | 8,470,020 | 823 | 10% |
| 7 | Oregon | 4,142,776 | 405 | 10% |
| 8 | Iowa | 3,145,711 | 301 | 10% |
| 9 | Montana | 1,050,493 | 105 | 10% |
| 10 | Alaska | 739,795 | 72 | 10% |
| 11 | Wyoming | 579,315 | 58 | 10% |
| 12 | Massachusetts | 6,859,819 | 636 | 9% |
| 13 | South Carolina | 5,024,369 | 465 | 9% |
| 14 | North Dakota | 755,393 | 68 | 9% |
| 15 | Vermont | 623,657 | 55 | 9% |
| 16 | California | 39,536,653 | 2,972 | 8% |
| 17 | New Jersey | 9,005,644 | 728 | 8% |
| 18 | Minnesota | 5,576,606 | 430 | 8% |
| 19 | Alabama | 4,874,747 | 369 | 8% |
| 20 | Connecticut | 3,588,184 | 283 | 8% |
Most common cities for commercial art instructors
| Rank | City | # of jobs | Employment/ 1000ppl | Avg. salary |
|---|---|---|---|---|
| 1 | Boston | 1 | 0% | $63,432 |
Commercial Art Instructor job outlook: Expert opinions
Our panel of commercial art instructor experts
School of the Art Institute of Chicag
Eastern Illinois University
Meredith College
Meredith College
University of Maine
Sul Ross State University
Rutgers University, Camden Campus
Southern Oregon University
University of Northern Colorado
Columbus State University
University of Pittsburgh
Eastern Illinois University
University of Louisiana at Lafayette
Seton Hall University
Kent State University
Andrew Falkowski
Graduate Coordinator and Associate ChaiSchool of the Art Institute of Chicag
Department of Painting and Drawing
What skills stand out on Commercial Art Instructor resumes?
Andrew Falkowski: Skill is a nebulous term, but examples of previous experience organizing a curriculum as an educator give an art department a sense of how someone would approach their class. Also, foregrounding the type of work one does in their career, as it relates to what someone teaches, is also really helpful. If someone is new to teaching, having a solid ability to use foundational skills is really helpful because introductory courses are usually the first type of classes offered.
What hard/technical skills are most important for Commercial Art Instructors?
Andrew Falkowski: Again, skill is a nebulous term, and there isn't one set of skills that apply to all courses, with perhaps the exceptions of being well organized and being a clear and consistent communicator.
What skills will help Commercial Art Instructors earn the most?
Andrew Falkowski: Making artwork, writing, administrating, curating, public speaking, and obviously teaching are all skills that help one 'earn' more opportunities for higher-paying jobs. I have noticed at the college level that having a consistent national exhibition record seems to make a difference between those who are considered for full-time contracts and those who remain adjunct/part-time instructors. Also, being willing and able to relocate from one program to another helps. All that being said, I taught as an adjunct while showing nationally for 11 years before I was hired for a full-time contract, so sometimes it just takes a lot of time and a lot of hard work to get there.
Samantha Osborne
Assistant Professor of Graphic Design, Owner, Samantha Osborne DesignEastern Illinois University
Art + Design
What skills stand out on Commercial Art Instructor resumes?
Samantha Osborne: Soft skills are equally important to hard skills. Graphic designers are visual communicators. Visual communication is a universal learned skill, vs. a linguistic capability. This means that graphic designers must learn to recognize and effectively utilize mood and tone in their own visual compositions in regard to color theory and psychology, gestalt principles, and font or lettering design. Essentially a well-skilled graphic designer becomes part psychologist in working through design problems and deciphering client direction, part problem-solver in developing an effective solution to the design problem, and part artist in bringing astonishing and original visual communication and graphics to reach a solution.
What soft skills should all Commercial Art Instructors possess?
Samantha Osborne: Three soft skills stand out most: an ability to see the big picture, an ability to "read" people, and an ability to make a convincing argument for your design solution(s).
i. An ability to see big picture: there are an infinite number of details in graphic design, whether you work in website design on the front or back end, or in print media with physical outputs. It's easy to get caught up on the details, especially when clients are making specific demands about things such as paper type. A skilled designer must be able to see beyond the details and look at the big picture for an effective design solution. For example, a client may be asking for an invitation design for an up-coming event. A skilled designer will ask questions and dig in, eventually uncovering that perhaps for a successful event, the client also needs a splash page and social media, either in place of or in addition to an invitation. A skilled designer addresses design problems holistically, rather than minutely.
ii. An ability to "read" people: designers are trained in art-specific vocabulary. Hue, saturation, pixels, gestalt...most non-art folks don't use or speak that language. When clients are describing their goals, they aren't using art-vocabulary. It's a designer's job to translate what the client is saying into an advanced and effective creative solution. They must be able to speak and understand the language of non-creative folks, as well as the language of the broader creative industry.
iii. An ability to make a convincing argument for your design solution(s): many young and inexperienced designer tend to get their hearts broken when a client smashes one of their [very well thought-out] ideas. Rather than rolling over, a designer must learn to navigate how best to build support for their idea(s). That might mean in some instances you work more fluidly with the client throughout the design process, so that they feel they have ownership in the development of the solution. In other instances it might mean that the designer is presenting options, rather than a single solution, so that the client feels empowered to make choices throughout the design process. And in some instances, it might be a matter of better explaining and presenting your idea to a client; perhaps the designer needs to push back more, perhaps they need to provide more research as to why their solution is best, or maybe they simply need to present it with more excitement and enthusiasm.
What hard/technical skills are most important for Commercial Art Instructors?
Samantha Osborne: This completely depends on which sector of the graphic design industry you're involved in. Generally speaking, a working knowledge of the Adobe Creative Suite is essential, with expertise in other software as it applies to your field. I also find it refreshing and highly effective when designers can begin exploring and developing solutions in an more analog fashion on the front-end of projects, before jumping to the computer. For example, it's easier to visually organize complex ideas via a post-it/mood board wall in which you can physically move ideas around, especially when you're working with a team, which is more common than not.
What skills will help Commercial Art Instructors earn the most?
Samantha Osborne: An ability to effectively communicate, navigate creative resources, network, empathize with others, and come up with innovative creative solutions. That said, your work still needs to be stellar and consistently great if you're going to be a big earner.
What are the biggest trends we'll see in the Commercial Art Instructor job market given the pandemic?
Emily Howard: There is a noticeable increase in the number of and usage of online galleries and platforms for
visual artists. Saatchiart.com and Foundwork.art are good examples.
What Commercial Art Instructor skills would you recommend for someone trying to advance their career?
Emily Howard: Given the increase in online and virtual marketing, having professional quality images of artwork
is more important than ever. I would recommend enhancing portfolio photography and
videography skills. Internships and apprenticeships are a great way to gain experience and
skills.
What Commercial Art Instructor skills would you recommend for someone trying to advance their career?
Holly Fischer: Depending on the career goals, it is always recommended to work with professionals to learn
more about a certain area of the artworld. This could be working in a museum, gallery, and/or for
a professional, working artist as an intern or assistant.
What are the biggest trends we'll see in the Commercial Art Instructor job market given the pandemic?
Constant Albertson Ph.D.: Before the pandemic, schools were desperate to hire art teachers. Their need has only increased. Before the pandemic, our hire rate was 100 percent. There are more jobs than qualified art teachers. When I say qualified, I mean that they aren't merely artists in schools but people with expertize not only in the content areas of art and art history but also with conceptual and practical skills in teaching in the arts.
Carol Fairlie
Professor of ArtSul Ross State University
Fine Arts and Communication Department
What experience really stands out on Commercial Art Instructor resumes?
Carol Fairlie: -The ability to plan
What skills stand out on Commercial Art Instructor resumes?
Allan Espiritu: I feel it's currently desirable for a candidate to hold administrative and technical skills in addition to their specialized skill sets. For a designer, it is desirable to have the ability to be a content maker and producer. The ability to work independently and timely is always crucial, especially now.
Are there any particularly good places in the United States for Commercial Art Instructors to find work opportunities?
Allan Espiritu: The pandemic has created infrastructures to work remotely that wasn't really established pre-pandemic. Companies have calibrated and appraised their workflow to account for working remotely. Post pandemic, I don't think this will go away or be dismantled. I think companies will continue to embrace remote working. Some companies are leveraging the financial benefits of going totally remote instead of renting office spaces. If this is true, the idea that location is equated with opportunities will dissipate. Also, the pandemic has allowed us to pause and evaluate our "quality of life" balance. Some of the popular hub cities don't accommodate this perspective. Remote working has started to create a shift. I believe major cities will not necessarily be the hub of talent and commerce. Good work opportunities will be accessible from anywhere- from Los Angeles, CA to New Hope, PA. I also see smaller cities like Philadelphia compete for the same talent that would have gone straight to NYC otherwise.
What are the biggest trends we'll see in the Commercial Art Instructor job market given the pandemic?
Robert Arellano: Employers, understandably, will need talented creatives who are prepared to work remotely, communicating with clients and coworkers efficiently and effectively while also managing their project workflow. But we'll again be returning to onsite jobs, so people at all stages of their careers will need to work together to adapt to new, hybrid configurations of workspaces.
What general advice would you give to a Commercial Art Instructor?
Robert Arellano: Spend at least five hours a week deep-researching people who are at a place in their career where you want to be in three to five years - these are your potential career mentors. Reach out with a polite, professional email or LinkedIn message requesting an information interview (there are useful articles on how to do this allover the internet). Every positive response could lead to three more potential mentors, and before long, you'll have a personal, professional network.
Are there any particularly good places in the United States for Commercial Art Instructors to find work opportunities?
Donna Goodwin Ph.D.: The arts are showcased and continue to uplift communities and regions across the country, in the rural areas and more metropolitan areas, with growing creative districts and cultural sectors. The boom in remote working brings an interest in artistic and craft expression and connections to many previously unexplored areas.
What are the biggest trends we'll see in the Commercial Art Instructor job market given the pandemic?
Donna Goodwin Ph.D.: There is a promising outlook for the fine arts. They make strides in supporting communities and economies and creating and building bridges between varying and diverse groups. Artists are pivoting from large face-to-face venues to hybrid and blended experiences, and using online platforms for outreach, advocacy, and community networking. The arts provide connections across the human experience, big and small, and in times of crises are sought as an expressive outlet as much as in the time of prosperity.
What skills stand out on Commercial Art Instructor resumes?
Donna Goodwin Ph.D.: Demonstrated creativity continues to be one of the top applied skills sought by business leaders. Additionally, problem-solving, an entrepreneurial spirit, connection making, and community building are all skills much needed in our current and future societies and economies. The fine arts dominate in these outcomes.
Are there any particularly good places in the United States for Commercial Art Instructors to find work opportunities?
Rachel Blackburn Ph.D.: Where to find opportunities: This is a bit of a loaded question because the most obvious place to become involved in theatre in the U.S. is New York City. However, that said, there are numerous reasons to go to other theatre markets, including outside of the U.S. So many local markets need practitioners to continue live performance in their city. I'd like to see theatre-makers move to the less obvious places that might desperately need community healing right now, such as Detroit or Flint, MI, Minneapolis, MN, St. Louis, MO, Phoenix, AZ, etc.
Those are places where communities have seen some rough patches, and I'd like to see how theatre might innovate by bringing people together to heal those communities. Otherwise, Seattle, Atlanta, LA, Houston, and some others are places that might surprise our graduates with the size and history of their theatre markets. For the intrepid explorer who is open to a little adventure, go abroad!
Your student loans will be deferred while you're out of the country, and if you have no spouse or kids, leap, it's a perfect time. London, Toronto, Dublin, Montreal, Paris, Edinburgh, Sydney - go to Auckland and see how you can support the theatre of the indigenous Maori peoples in New Zealand; why not? Instead of feeling overwhelmed by the possibilities, take the reins and enjoy this moment as a time when you can make the world your oyster, if you want. Sniff out places that have something to teach you besides just employing you.
How do you envision technology impacting Commercial Art Instructors in the next 5 years?
Scott Andrew: As someone working with video, animation, sound, and other computer-generated work, technology advancements are very important. Advancements in equipment like cameras, computer processing, sound and lighting, AR/VR, etc. have, and will continue to have, great impacts on the ways that multimedia and new media artists can and will create work that reflects the world around us. Primarily, we have seen that social media, internet streaming, and other forms of virtual communication and generation of work online has grown due to Covid-19, whereas people are looking for more ways to stay engaged since live exhibitions and performances may seem less desirable, during this time, for health and safety reasons. There was already rich history of artists working within net art realms, but I believe this will continue to grow and adapt due to our current reality. In addition, as new technologies continue to become more affordable, I believe we will see more and more artists benefiting from and creating work that both utilizes and deals with issues that relate to said technological advancements.
Barbara Bonnekessen Ph.D.
Professor and DeanEastern Illinois University
College of Liberal Arts & Sciences
What technology do you think will become more important and prevalent for Commercial Art Instructors in the next 3-5 years?
Barbara Bonnekessen Ph.D.: From using musical instruments, whose history spans thousands of years, to studying gamers and how people adapt to online classes, meetings, and family occasions, the liberal arts' fields use a variety of very old to very new technologies (some even study the emergence and users of new technologies), just as people do in the world. Communication technologies and computer skills remain necessary skills for most, and one needs to adapt as these change.
What are the biggest trends we'll see in the Commercial Art Instructor job market given the pandemic?
Kevin Hagan: Now, more than ever, there is a need for students to graduate with the ability to be self-motivated and work independently. With many different companies asking employees to work remotely and communicate through email or online video conferencing, it's imperative that one has the ability to pick up a project and make it work by a given deadline.
Will there be an increase or decrease in demand for Commercial Art Instructors in the next 5 years?
Kevin Hagan: I certainly see there is an increase in visual arts majors over the next five years. The main reason for this is due to our students' ability to creatively problem solve the challenges presented to them. Companies are always looking for individuals who are creative, inquisitive, and are able to look at a problem from many different perspectives in order to find the best solution, and that is where our students excel. The more broadly the future employee can think about a problem, and try multiple different approaches until the best solution is discovered, is something that is always highly sought after.
What general advice would you give to a Commercial Art Instructor?
Lauren Schiller: Students will need digital skills - technology will definitely continue to impact the field. With iPads and Wacom tablets, there is a growing connection between technology and fine art. While there are art related jobs all over the world, cities have been the best places for artists to find meaningful work. The sheer number of artists and arts organizations concentrated in cities offer the best chance for a young artist to find their way.
Are there any particularly good places in the United States for Commercial Art Instructors to find work opportunities?
Dr. Jay Dorfman: There are certainly some states with teacher shortages, but that is often because those states' political or economic climates make them less desirable as a place for teachers to work. If teachers' teaching conditions and salaries were improved, there would be more people interested in entering the profession. That said, I typically tell students that the broader their search for a job can be, the more likely they are to find a good fit.