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Contract designer job growth summary. After extensive research, interviews, and analysis, Zippia's data science team found that:
The projected contract designer job growth rate is 2% from 2018-2028.
About 6,400 new jobs for contract designers are projected over the next decade.
Contract designer salaries have increased 7% for contract designers in the last 5 years.
There are over 29,361 contract designers currently employed in the United States.
There are 51,980 active contract designer job openings in the US.
The average contract designer salary is $58,458.
| Year | # of jobs | % of population |
|---|---|---|
| 2021 | 29,361 | 0.01% |
| 2020 | 29,102 | 0.01% |
| 2019 | 31,147 | 0.01% |
| 2018 | 31,381 | 0.01% |
| 2017 | 31,221 | 0.01% |
| Year | Avg. salary | Hourly rate | % Change |
|---|---|---|---|
| 2025 | $58,458 | $28.10 | +2.0% |
| 2024 | $57,336 | $27.57 | +1.2% |
| 2023 | $56,649 | $27.24 | +1.7% |
| 2022 | $55,683 | $26.77 | +2.0% |
| 2021 | $54,587 | $26.24 | +0.7% |
| Rank | State | Population | # of jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | District of Columbia | 693,972 | 222 | 32% |
| 2 | Washington | 7,405,743 | 738 | 10% |
| 3 | Massachusetts | 6,859,819 | 675 | 10% |
| 4 | Oregon | 4,142,776 | 398 | 10% |
| 5 | Virginia | 8,470,020 | 674 | 8% |
| 6 | Minnesota | 5,576,606 | 440 | 8% |
| 7 | Utah | 3,101,833 | 239 | 8% |
| 8 | California | 39,536,653 | 2,884 | 7% |
| 9 | Georgia | 10,429,379 | 713 | 7% |
| 10 | Maryland | 6,052,177 | 412 | 7% |
| 11 | Colorado | 5,607,154 | 383 | 7% |
| 12 | New Hampshire | 1,342,795 | 91 | 7% |
| 13 | New York | 19,849,399 | 1,119 | 6% |
| 14 | Illinois | 12,802,023 | 763 | 6% |
| 15 | Pennsylvania | 12,805,537 | 582 | 5% |
| 16 | Michigan | 9,962,311 | 458 | 5% |
| 17 | Connecticut | 3,588,184 | 178 | 5% |
| 18 | Maine | 1,335,907 | 62 | 5% |
| 19 | Rhode Island | 1,059,639 | 58 | 5% |
| 20 | Delaware | 961,939 | 51 | 5% |
| Rank | City | # of jobs | Employment/ 1000ppl | Avg. salary |
|---|---|---|---|---|
| 1 | Derry | 1 | 3% | $62,249 |
| 2 | Noblesville | 1 | 2% | $53,799 |
| 3 | San Diego | 1 | 0% | $71,511 |
| 4 | Washington | 1 | 0% | $80,570 |
Ferris State University

Kansas State University

University of North Texas
Marywood University

Florida International University
Tyler School of Art and Architecture, Temple University

Albion College

University of Nebraska-Lincoln
Louisiana State University and A&M College
Kansas State University
Kansas State University

University of Dubuque
Montclair State University

AIGA, the professional association for design
MJSA
Georges Fares: In the coming years, several skills will become increasingly important in interior design. First, sustainability and eco-friendly design will gain significant emphasis. Designers will need to be well-versed in sustainable materials, energy-efficient systems, and green certifications such as LEED and WELL. Knowledge of how to incorporate renewable resources and environmentally responsible practices into projects will be essential. Technology integration will also be highly valued. Proficiency in advanced design software, 3D modeling, and the use of virtual reality (VR) and augmented reality (AR) will become integral to the design process. These tools will enhance visualization, presentation, and client collaboration, allowing for more immersive and interactive experiences. An awareness of global design trends and cultural sensitivity will be increasingly important as the world becomes more interconnected. Designers will often work on international projects, requiring an understanding of diverse cultural aesthetics, traditions, and preferences. This global perspective will help create spaces that resonate with varied client bases. Adaptability will be crucial in responding to evolving client needs, technological advancements, and market trends. The ability to pivot and innovate in response to new challenges will distinguish successful designers. Moreover, collaboration with diverse teams, including architects, engineers, and contractors, will be essential for seamless project execution. Effective communication and teamwork will ensure that all aspects of a project align and integrate smoothly. Finally, understanding clients' emotional needs and how design can address these will become a key aspect of creating meaningful and impactful spaces. Interior designers will need to consider psychological and emotional factors, designing environments that promote well-being, productivity, and comfort. This client-centered approach will lead to more personalized and effective design solutions.
Patrick Klarecki: Graduates in May 2020 and December 2020 did not see the opportunities their previous alumni did. We were able to place only about 25% of our graduates. There are a couple that have offers of employment "When things get better."

Kansas State University
Interior Architecture and Industrial Design
Vibhavari Jani: Ability to communicate effectively, work with others in a team environment, work independently without constant hand-holding, and ability to use hand sketching and software.

University of North Texas
Department of Design
Bill Morgan: -Drawing Proficiency (drawing of all types, includes 3D visualization)
-Technical Proficiency (detailing)
-Project Management
Marywood University
Art Department
Sue Jenkins: A strong understanding of the Principles and Elements of Art and Design, killer typography skills, an understanding of color theory, some training in sociology and psychology to gain a better understanding of user experience, creative and critical thinking skills, attention to details, a strong conceptual framework that supports the project goals, the ability to speak up, take critical feedback and be a team player, and above all the courage to be authentic and bring something fresh to the table.
Sue Jenkins: Before saying what stands out most, there's one thing to avoid; those skill self-assessment bar graphs that take up too much real estate and don't provide the reader with valid, useful data. A better solution is to list skills and proficiency in years, such as Adobe Photoshop, three years.
Now, what stands out most on a resume is evidence of creative engagement beyond the classroom. Has the student been a member of any clubs? Won any awards? Have you participated in any solo or group exhibitions and completed any internships, pro bono, or freelance work? Have you worked on any side projects? Run an Etsy, Society6, or RedBubble account? Sold any commissioned work? Definitely include all these types of activities along with any tangible outcomes and achievements, like "Designed a series of digital documents that downsized paper waste and reduced the client's carbon footprint by 13%." Results-oriented statements provide a better sense of the designer's understanding of their role and their value to an organization.

Katie Rothfield: The post-COVID-19 job market for interior architecture/design majors largely mirrors what we are seeing in each respective industry: while some trades, such as hospitality and cruise ship, are seeing a downturn or outright freeze in work, other sectors, such as law, were unaffected by the pandemic and are still operating and hiring at normal speed. Likewise, just as there is a great demand for healthcare workers, demand is also high for interior designers with strong problem-solving skills and knowledge of innovative sustainable design practices, building systems, technology, and psychology/theory who can address issues related to indoor air quality, viral transmission on surfaces, and social distancing.
In addition, corporations will need interior designers to study and respond to new remote and in-person work patterns and rethink the future design of the office, and with so many people spending countless hours at home, there is increased interest and demand in the residential design market.
Abby Guido: We've all heard the buzz about networking, and there is so much buzz because it works. Make sure your LinkedIn profile is both up to date and active. Connect with all of your past professors, classmates, and anyone and everyone you meet in a professional setting. I often tell students to get into the habit of searching for any classroom guests, or guest lecturers, to connect, thank them for their time, and build their network. Share content. Write articles, or reshare those you find interesting.
Every job I have ever received in my career has been through someone else I know. I share this with students to help them see the value in relationships. I always remember the students that took the time to write a handwritten thank-you note. And I think of them when I get an email asking if I know any students are looking for work.
Abby Guido: Our field is constantly changing and adapting; sometimes it moves so fast you cannot keep up. The areas I see growing are in AR/VR and experiential design.
Abby Guido: Designers can be well-compensated for their work. Some design areas are more lucrative than others, which tend to be the jobs in digital design. These jobs include user-experience design, experiential design, interactive design, motion design, and all AR and VR design positions.

Lisa TenHulzen: This is a big question. Because of the financial strains the pandemic has placed on the entertainment industry, I suspect we will see trends towards smaller cast shows as well as simpler productions, overall. I believe this will help to ease some of the financial burdens a large cast and crew can place on a theatre, as well as help ease the audience back into a sense of security. Depending on the location of the production, an audience might not feel comfortable attending a large-scale performance. Smaller shows lend themselves better to smaller audiences. All of this to say, I believe theatre jobs will be in short supply for quite some time. At least until theatres are able to make up some of the financial losses. This means hiring will be limited to core positions of production such as directors, stage managers, technical directors, designers, and only a few technicians. For smaller theatres, we will most likely see theatre artists taking on multiple jobs within the production.
Lisa TenHulzen: Work hard. I don't have to tell you that being successful in the theatre business is extremely difficult, even at the best of times. Post-pandemic, I believe this will be even harder. You have to be able to push yourself to become stronger, more professional and more driven than you ever anticipated. Being in the theatre professionally is not easy, and if you expect it to be, you are in the wrong field. Even the most talented among us have to work their tails off to be successful. Pursue anything and everything that comes your way, be kind to your colleagues, and be collaborative. Understand that there are 100 more artists waiting to take your place, so treat each position with the respect it deserves. One thing that will not change post-pandemic is how small the theatre world is and how much that can help or hinder you based on the relationships you build.

Dr. Jennifer Jorgensen Ph.D.: COVID-19 accelerated the widespread use of e-commerce, and omnichannel retailing has never been more vital. Consumers are doing their research before purchasing a product, or even going into a brick-and-mortar store, making technology even more important in our word. People entering the job market know how to utilize different technologies to allow company operations to be more transparent and efficient. Job candidates must be comfortable with data analytics and forecasting future challenges. During times of industry disruption, job candidates with a broad knowledge of the industry, including product development and design, supply chain and sourcing, merchandising, and textile science will be more desirable.
Dr. Jennifer Jorgensen Ph.D.: The retail industry is robust and requires many skills. Content and industry-related knowledge are essential, including comfort with computer applications like Adobe Creative Suite and Microsoft Excel. Beyond knowledge of the industry, job candidates need excellent communication skills in written and oral forms. It's also highly recommended that job candidates have work experience in their area of interest, which could include an internship, job shadow, or part-time position.
Louisiana State University and A&M College
College of Art and Design
Mark Boyer: I would think that those who have gone through this experience will be changed in ways we still have yet to learn. Some of those changes will be positive (adaptability, endurance, resiliency), and some may be negative (depression, loss of family members or jobs).
Mark Boyer: I don't think the skill set needed will change much from what it has been. Qualities that come to mind are: teachable, reliable, thoughtful, articulate, adaptable, engaged, critical thinker, technologically adept, able to think big and small, empathetic, and good listener.
Mark Boyer: I think an employer would be better to answer this question, but my speculation is that experience as an intern in an office would be important, any experience that would be in an area related to a direction the firm is going or type of projects they are pursuing. I think any type of construction or building experience would be of interest.
Kansas State University
Department of Interior Design and Fashion Studies
Barbara Anderson: Technology in buildings and using technology to design buildings and communicate with teams and clients will be more critical than ever.
Barbara Anderson: The experiences individuals can describe on a resume are meaningful, but soft skills are most impressive in a new hire. My top two soft skills areas are communication (listening, speaking, writing, digital and analog visualization) and being productive in a team (cooperation, constructive conflict, continual personal improvement, taking responsibility, anticipating others' needs).
Kansas State University
Department of Interior Design and Fashion Studies
Barbara Anderson: The integration of technology in buildings and the use of technology to design and communication design to clients and users will continue to accelerate in the next five years. I expect the technology integrated into buildings to focus on communications, health and well-being, and Net Zero and water efficiency with the goal of resilience/sustainability.

University of Dubuque
Digital Art and Design Faculty
Alan Garfield: Technology and creativity have always been important for graduates, but in 2020 this has become even more pressing. Creative solutions to problems involve creative use of technology but not a reliance on technology. Graduates have recently learned this thru frustration via university-level coursework during this pandemic time. Second, communication, always critical, takes on an added focus because of the technology's strengths/weaknesses. Excellent listening skills can be demonstrated easily. When an employer talks about a position, there are many ways to acknowledge what is heard. There are also ways to show that one hasn't listened to what was said. Third, demonstrating networking skills - connecting with others who do similar work - will assure the completion of tasks. Solutions via teamwork should now be a significant push by graduates.
Alan Garfield: Besides soft skills, which I don't think can be 'proven' on a resume, I believe that experiences that demonstrate what a candidate has done either in class or outside of the course are significant. An employer will not find a candidate who has done precisely what needs to be done in all likelihood. If there are examples - deliverables - which are somewhat close to those in the position and demonstrate timing, communication, and excellence in production, then the employer takes less of a risk. Also, merely throwing out names of software is worse than useless. It is sloppy. I believe your resume should list software/hardware (name and company) and a simple, humble measure of the applicant's level of experience in that software. Please include Oss as well.
Lauren Carr: Technology and a biblical pandemic have changed the perspective of studios, who are now working remotely. Perhaps industry people won't have to up and move their lives to other parts of the country to work on a show.

Bennie F. Johnson: We will likely see the Bureau of Labor Statistics trends cited in the Design Futures research to continue to intensify. "Traditional" design jobs had already been decreasing pre-pandemic, due to technological change, while design jobs in technology fields have been growing rapidly. So if anything, it will be designers who will be making a strong impact on technology. This doesn't necessarily mean that all designers will need to code. It does mean that the need for designers to understand complex systems, business models, and the social/cultural/ethical implications of their designs.
While there are tremendous challenges ahead, the design community has a unique opportunity to show leadership, to do good, and to inspire. Unprecedented times can lead us in new and unexpected directions that allow relationships to be strengthened and provide opportunities for expanding networks and connecting in exciting ways with family, friends, and colleagues. The ability to adapt is what is needed in these times.
Bennie F. Johnson: Our Design Futures research from 2018 covered this topic in some detail. Some highlights of needed skills include an understanding of business models, complex systems, and data. One of the seven Design Futures trends is "Bridging Physical and Digital Experiences," which has become even more important in a COVID world. Of course, mastering craft and specific tools remain important, especially for entry-level work, but so is a general ability to "learn how to learn," as the rate of technical change (and obsolescence) is only getting faster.
In May of 2020, AIGA conducted an industry pulse check survey around the impact of COVID-19 on the design community and found, not surprisingly, that adaptability skills continue to be the most critical for design professionals, and collaboration made the list of top five skills for the first time.
Rich Youmans: There are a number of jewelry retailers (both small independents and large chains like Signet) that have a need for bench jewelers, and jewelry manufacturers also need good help. However, they often require skill levels above those of recently graduated students. As noted above, students will need to be able to learn on the job to advance their skills.
States in the U.S. with a significant jewelry manufacturing presence include New York, California (primarily around Los Angele), and Rhode Island/Southeastern Massachusetts, but there are many significant companies throughout the United States-Akron, Ohio (Signet), Lafayette, Louisiana (Stuller), and Albuquerque, New Mexico (the Rio Grande, a Berkshire Hathaway company) are just three that come to mind.
Rich Youmans: Computer-assisted design and manufacturing (CAD/CAM) and lasers have become commonplace, but these technologies continue to be honed. In the past few years, 3-D printers have become more affordable, and their quality and output continue to improve. This has opened up more opportunities for jewelry at all levels to increase their productivity. Three-dimensional metal printing, in which users can take a CAD file and print them directly in metal, could disrupt the traditional casting method, but the technology isn't quite there yet -- the cost is still too exorbitant. But the best tools for jewelers are still their hands-there will always be a market for handmade work done by skilled craftsman.