Here’s What It's Like Being a Freelance Band Merch Designer

Shirt designs by Kyle Crawford

Out of all the thankless jobs that exist in this world, being a freelance merchandise designer is far from the worst option—but it is true that there are much less stressful ways for a designer to make a living. Sure, you get to work for some of your favorite bands but the tight timelines, difficult merchandise managers, and very real possibility of straight up working without pay have plenty of potential to slowly drive you crazy.

Chances are that most of us have bought a T-shirt at a show, but never think twice about who designed it, or the painstaking process that happens in order for you to wear it. We spoke with a variety of designers working at all levels and corners of the industry to get their takes on what the day to day hustle is actually like.

The majority of this industry operates under the guise of spec work. Designers are expected to create unique, original artwork for bands without receiving any upfront payment—all with the hope that the band will pick one of their submissions. It's kind of like asking a barista for a coffee, but telling them you're not going to pay until after you drink it and are sure it's exactly the way you wanted. Life doesn't usually work that way, but unfortunately for most merchandise designers, that's the nature of the business.

This spec work approach isn't all bad though—it gives brand new designers a chance to work in the big leagues. Since there's no risk involved for merchandise vendors, they can give a shot to up-and-coming designers who lack the experience and portfolio. Sam Kaufman, a designer who works for bands ranging from Deftones to ACDC to Caspian, recalled his first few years breaking into this industry. "[Spec] was great when I was getting started," he said. "It gave me a lot of opportunities that I wasn't qualified for. When you don't know what you're doing, you can't really expect people to pay you."

Shirt designs by Kaufman

One may think that creativity knows no bounds, but for the majority of musicians, it stops at the music. They're not visuals artists—far from it, in fact. Sure, some bands will have a specific vision or concept in mind for a design, but the vast majority are pretty clueless when it comes to their own merchandise. "You have to be fast, reliable, and good," said Kyle Crawford, one of the industry's most in-demand designers who has worked for everyone from Blink-182 to Lynyrd Skynyrd. "You have to be able to think for the band. I get no direction most of the time—nothing. I have to just roll with it. In a way it's the dumbest job you could have because you are literally just throwing stuff at a wall and hoping something sticks."

Even if you're lucky enough to get some sort of direction, it's usually pretty damn vague. "I'll get emailed asking for three photo shirts, or three graphic-based designs," Kaufman recalled. Which is better (and less insulting) than the designers who are sometimes told, "We want you to make a design that looks like this other guy's work." Those are not words any creative type wants to hear.

Shirt designs by Crawford

Despite merchandise being one of the largest sources of income for musicians, the actual designs are pretty low on their list. In a way it makes sense—they're touring, writing new music and have more than enough on their plates. Musicians aren't always known for their professionalism, and that might be rubbing off on their merch companies. Most designers regularly receive frantic emails in a demanding tone asking for designs—no common courtesies or small talk. The truth is, though, that even a little bit of respect goes a long way. "The worst of all was the guy in this one band who said 'Nobody buys it for the art.' Fuck that guy," said Rob Dobi, a former merch designer who focuses on editorial illustration for the likes of The New York Times, Variety, and Noisey.

Illustration by Rob Dobi

The one benefit to working directly with the band is that they can tell you exactly what they are looking for. When it's a larger merchandise company, designers end up with a diluted and broad direction, which is much harder to deliver on. You also lose any sort of personal touch when dealing with the big guys. Sometimes these emails don't include much more than "we need some new designs." In spec work scenarios, it's pretty common for companies to pass on designs without informing the designer—not even sending them so much as a "no thanks" email. Again, a little bit of respect can go a long way. "I love that I get paid to create, and sometimes I do get that 'nice work' email. It's the little things that can go a long way," noted Crawford. He offered his thoughts on a better back and forth between designers and merch companies: "Answer your emails. Get my answers. Pay on time. Give a shit about what you do. A lot of bands and merch managers just don't care."

Shirt designs by Dobi

Even getting paid is no walk in the park. Most of the industry works on NET terms, meaning you won't get paid until 30 days (or in some cases, 90 days) after creating an approved design. It's almost standard for designers to have to hound managers and companies to get paid on time, or even at all. Crawford notes he has "around four-thousand dollars of unpaid invoices" at the moment, which sadly isn't that uncommon. Even with the right contracts, deposits, and kill fees, the power rests in the hands of the industry, not with the designers.

Similar to other industries, there are definite busy and slow seasons in the world of band merchandise. While there are usually tours happening year round, the summer is dominated by festival season, and the demand for more merchandise kicks into overdrive. Bands are playing to larger and more diverse audiences and need designs that cater outside of their normal niches. The other three seasons can be pretty unpredictable, making it tough for most young designers to make a steady income from designing band merch alone.

Cassie Podish, a designer who mainly works with punk and hardcore bands along the lines of Neck Deep and Spirits, described how the two ends of the industry—the newbie designers and the seasoned veterans—are often fighting for the same jobs. "It's very competitive. You have the veterans who are really good at what they do, and the rookies who charge little to nothing." In the competitive landscape, the practice of undercutting by a younger designer usually levels the playing field, and gives them a realistic chance when designing against veterans.

Shirt designs by Podish

When all's said and done, being a designer in this world isn't really that bad. You don't get into the business without having a passion for music, and all those flexible hours spent working in sweatpants make the shitty parts of the industry much more tolerable. And, if you're lucky, you develop close creative relationships with artists who you respect and admire—and get paid (hopefully on time) to do so.

Even better, while you as a designer are anonymous to most of the people consuming your work, the reach of your designs extends well beyond that of your portfolio. People from all over the world wear your designs, and you're playing an integral part in how a musician makes money in today's digital landscape. "Going to a show and seeing a handful of kids wearing stuff I made as a young designer felt incredible," Dobi sums it up.