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ISCO 2166 · O*NET 27-1024.00 · codes unverified

Graphic designer

Shares an ISCO unit group with product design and sits nowhere near it on the map. That gap is the strongest argument on this site for not trusting a job title.

The third designer on the site, and the one that makes the classification problem visible. Read the essay →

43
Resilience Shifting

A large share of the work is moving. The remaining core is narrower and more senior than it used to be.

0 rebuilding 100 anchored

Scale, labels and thresholds are provisional. This is open question Q-02.

13 of 20 in the launch set

How the score is made

Four declared inputs, never collapsed into one number. Assistance is kept apart from outright automation, because a tool that makes you faster and a tool that replaces you are not the same event. Physical work counts as shelter only to the extent robotics cannot reach it.

The full method is written out, including what it cannot tell you.

Note on this occupation ISCO-08 appears to place this role, product design and multimedia design in one unit group. On this site they are separated using O*NET detail, because a single score across all three would be an average of three different futures.

Assisted
82

Higher is generally good news. It means more of the work gets faster without the work going away.

Done outright
58

This is the number most people mean when they say exposure. It is kept separate from assistance on purpose.

Physical
8

Protective only for as long as robotics cannot reach it. Read this one next to the robotics number, never alone.

Robotics reach
35

Low reach turns physical work into shelter. High reach turns it into the main exposure.

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What changes

Tasks moving to machines, in whole or in part.

  • Producing variations, resizes and adaptations of an existing layout.
  • Stock imagery, background removal and retouching.
  • First-pass concepts against a clear brief.

What stays human

Tasks that need a person, and why.

  • Deciding what an organisation should look like, and defending it.
  • Knowing which rule to break and being able to say why.
  • Sitting with a client who does not yet know what they want.

What's new

Work that did not exist in this job ten years ago.

  • Art-directing machine output at a volume no studio could previously produce.
  • Keeping a brand coherent when anyone in the company can generate assets.
  • Deciding what should not be automated, and being the person who says so.

These three lists are editorial commentary, written against task-level data but not generated from it (OCC-05). Treat them as the author's reading, not as output.

Compare with another job

Pick one. You get a card with both scores, both sets of components, and a link worth sending to someone.

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