It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling. For sales, and not design are the raison d’etre of any business organization. Unlike the salesman, however, the designer’s overriding motivation is art: art in the service of business, art that enhances the quality of life and deepens appreciation of the familiar world.
The designer who voluntarily presents his client with a batch of layouts does so not out prolificacy, but out of uncertainty or fear. He thus encourages the client to assume the role of referee. In the event of genuine need, however, the skillful designer is able to produce a reasonable number of good ideas. But quantity by demand is quite different than quantity by choice. Design is a time-consuming occupation. Whatever his working habits, the designer fills many a wastebasket in order to produce one good idea. Advertising agencies can be especially guilty in this numbers game. Bent on impressing the client with their ardor, they present a welter of layouts, many of which are superficial interpretations of potentially good ideas, or slick renderings of trite ones.
The skilled graphic designer is a professional whose world is divided between lyricism and pragmatism. He is able to distinguish between trendiness and innovation, between obscurity and originality. He uses freedom of expression not as a license for abstruse ideas, and tenacity not as bullheadedness but as evidence of his own convictions. His is an independent spirit guided more by an “inner artistic standard of excellence”* than by some external influence. At the same time as he realizes that good design must withstand the rigors of the marketplace, he believes that without good design the marketplace is a showcase of visual vulgarity.*Anthony Storr, “The Dynamics of Creation”, (New York, 1972), 189.
Rand, P.  The Politics of Design. [Online]