Design on Tap 2025: A Summer Kickoff to Remember

Summer officially arrived with a creative spark at our June 18th Design on Tap event at Union Craft Brewing! Hosted at the ever-popular Union Hall, this seasonal edition brought together Baltimore’s vibrant design community for an evening of inspiration, collaboration, and, of course, great local brews!

From the moment doors opened, attendees mingled over drinks, swapped stories, and shared ideas in a relaxed and welcoming environment. Whether you came to meet fellow creatives, reconnect with old friends, or simply enjoy the atmosphere, there was something for everyone.

Creative conversations flowed freely as designers from a range of disciplines such as branding, web, illustration, etc. We love folks coming together to exchange ideas and find fresh inspiration!

Union Hall delivered on the refreshments, offering a tasty lineup of food and beverages that paired perfectly with the evening’s collaborative spirit.

Connections were made, from spontaneous brainstorming sessions to plans for future collaborations. It was a reminder that the best ideas often start with good conversation and a shared pint!

As always, events like these showcase the power of community and creativity when they come together. A huge thank you to everyone who joined us and helped make this summer kickoff one to remember!

 

Looking Back at Ink & Pixels 2025

In April, AIGA Baltimore hosted Ink & Pixels 2025 at Morgan State University’s Carl Murphy Fine Arts Center, bringing together designers at all stages of their careers for a day of learning, networking, and portfolio development.

The event kicked off with opening remarks from AIGA Baltimore Vice President Dilpreet Dayal and a Morgan State representative, setting the tone for an inspiring day. Keynote speaker Dr. Perry Sweeper followed with a powerful session on staying adaptable in the creative industry and building a purposeful career. His advice set an inspiring tone for the day and left a lasting impression on the audience, preparing them to tackle new challenges ahead.

The afternoon focused on portfolio reviews and workshops. Monique Jenkins and Jenn Crim led interactive sessions, offering hands-on strategies for refining portfolios, social media, and standing out in the competitive design world. Attendees then participated in portfolio reviews, receiving valuable one-on-one feedback from industry professionals, which is always crucial for growth and development.

Behind the scenes, a dedicated team of volunteers managed everything from tech setup to signage and coordinating review stations, ensuring the event ran smoothly. Special thanks to the volunteers who helped escort attendees to their rotations and those who supported the event’s logistical needs.

Thank you to Morgan State University for hosting, the speakers for their valuable insights, and all the attendees who made this event such a success. 

Stay connected and keep the energy alive by sharing your experience at #inknpixels.

Celebrating the Future of Design: Flux 2024 Student Design Competition Winners

Celebrating the Future of Design: Flux 2024 Student Design Competition Winners

AIGA Baltimore’s annual Flux Student Design Competition continues to recognize the next generation of outstanding designers. Since its launch in 2007, Flux has provided a nationwide platform for undergraduate and graduate students to showcase their creativity and innovation. 

809 entries were submitted across seven categories: Identity, Packaging, Poster, Publication, Social Impact Design, UX/UI, and Video/Motion Graphics. 186 projects were selected from these, making this one of the most competitive years yet.

Flux 2024 highlighted the power of design to inspire, communicate, and drive change. The winning projects exemplify excellence in craftsmanship, storytelling, and originality.

 

A huge thank you to our sponsors, Bmore Art and Alpha Graphics, for supporting this year’s competition! We also extend our gratitude to the esteemed panel of judges who brought their expertise and insight to the selection process:

  • Brockett Horne – Writer, designer, and educator; Co-Director of The People’s Graphic Design Archive.
  • Vinicius Lima – Associate Professor of Graphic Design at Grand Valley State University, specializing in branding, UX, and exhibition design.
  • Kaleena Sales – Associate Professor and Department Chair at Tennessee State University; co-author of Extra-Bold: A Feminist, Inclusive, Anti-Racist, Non-Binary Field Guide for Graphic Designers.

Congratulations to all participants and winners for their remarkable achievements! Stay connected with AIGA Baltimore for more updates and opportunities to celebrate design excellence.

2024 Best in Show

(In)visible AnecdotesNehal Modi, Maryland Institute College of Art

Category Winners & Honorable Mentions

Identity

  • Best in Category: FFLA: Forest Fire Lookout AssociationSantiago Noblin, Syracuse University College of Visual and Performing Arts
  • Honorable Mention: CreateXiamari Osorio, Tyler Fauvelle, Dani Goldman, Brianna Friend, Laney Plimpton, Emily McSorley, Tyler School of Art, Temple University

Packaging

  • Best in Category: SheeatsEmma Pham, A&M Corpus Christi
  • Honorable Mention: Tea Package DesignYing Han, Maryland Institute College of Art

Poster

  • Best in Category: Reflective Apparel Advertising CampaignCJ Kaltwasser, Baylor University
  • Honorable Mention: Slava Ukraini!Shakthi Hari N V, Maryland Institute College of Art

Publication

  • Best in Category: BAM (Brooklyn Academy of Music)Ying Han, Maryland Institute College of Art
  • Honorable Mention: Science SnacksShreya Dikshit, Maryland Institute College of Art

Social Impact Design

  • Best in Category: PankyMeiLi Carling, Tyler School of Art
  • Honorable Mention: UnderlinedNghi To, Tyler School of Art & Architecture

UX/UI

  • Best in Category: Fck Small Talk* – Mike Ray, Temple University
  • Honorable Mention: Mova—Building Confidence Through Language PracticeViktoriia Leonenko, Brigham Young University

Video/Motion Graphics

  • Best in Category: (In)visible AnecdotesNehal Modi, Maryland Institute College of Art
  • Honorable Mention: Contagion \ Title SequenceZoë Davis, Auburn University

Crafting Publications and Cultivating Community

A recap of the AIGA Baltimore and BmoreArt panel at MICA

On November 28, 2024, the auditorium at the Maryland Institute College of Art (MICA) was filled with the energy of Baltimore’s and the DMV’s graphic design community. They gathered for the panel “Crafting the Page,” an event hosted by MICA, BmoreArt, and AIGA Baltimore as part of AIGA Baltimore Design Month.

The event featured presentations by Ellen Lupton, Raquel Castedo, and Tony Venne. Each shared their expertise, insights, and experiences, offering valuable advice to aspiring designers, artists, and writers. The presentations were followed by a lively Q&A session with the audience, fostering a vibrant exchange of ideas.

Moderated by BmoreArt’s editor-in-chief Cara Ober, this event provided valuable insights into design, partnership, and storytelling in publishing as part of the Design Month celebrations. For those who missed it, a recording of the panel is available to watch on YouTube.

Designing While Writing: four tips for creating engaging books

Ellen Lupton, a renowned author, designer, and educator, opened the evening by emphasizing the power of design and the magic of books. Lupton, who serves as the Betty Cooke and William O. Steinmetz Design Chair at MICA, has authored and co-authored over 30 books on graphic design, including Design Is Storytelling, Graphic Design Thinking, Health Design Thinking, and Extra Bold: A Feminist, Inclusive, Anti-Racist, Nonbinary Field Guide for Graphic Designers.

Lupton shared her four essential tips for creating compelling books, gleaned from her extensive experience as both author and designer:

  • Start with a Table of Contents: The table of contents acts as a roadmap for the book, outlining its structure and guiding readers through the content. A well-crafted table of contents provides a clear overview of the book’s thesis and theory, like a map leading readers to treasures within.
  • Design in Spreads: Recognizing that readers often jump around a book, Lupton advocates for designing in spreads, ensuring each two-page spread is visually appealing and makes sense on its own. This approach caters to diverse reading habits and ensures a satisfying experience for those who may not read the entire book linearly.

Page spread from the book Design Is Storytelling. Page spread from the book Design Is Storytelling

  • Picture Your Reader: Lupton stresses the importance of considering the reader’s perspective and knowledge base. Authors and designers should strive for inclusive, simple, and direct language that respects the reader and avoids assuming a shared vocabulary. Visual elements can play a crucial role in making complex ideas more accessible to a broader audience.

Page spread from the book Extra Bold.Page spread from the book Extra Bold.

  • Design the Cover Last: While envisioning the cover early on might be tempting, Lupton recommends waiting until the content is finalized to design the cover. This ensures the cover accurately reflects the book’s essence and appeals to the target audience.

Books covers from different editions of Thinking with Type.Book covers from different editions of Thinking with Type.

Lupton illustrated these principles with examples from her own work, including Design Is Storytelling and Extra Bold, showcasing how a thoughtful approach to structure, layout, and language can enhance the reader’s experience and create engaging and impactful publications. Her third edition of Thinking with Type serves as a compelling example of how a book’s design can evolve to reflect changing perspectives and a more inclusive philosophy.

Towards A Collaborative Publication

Tony Venne, Head of Design at the Walters Art Museum and publication designer for BmoreArt Magazine, shifted the focus to the collaborative process behind BmoreArt’s print journal. He highlighted how BmoreArt has consistently embraced collaboration, fostering a unique creative process involving photographers, artists, and writers.

Venne’s presentation traced the evolution of BmoreArt’s collaborative approach, sharing anecdotes and behind-the-scenes glimpses of the magazine’s development.

Early in the process, Venne realized the importance of shared knowledge and mutual learning, as he brought his print experience to the team while Cara Ober, BmoreArt’s publisher, provided extensive knowledge of Baltimore’s art community. This dynamic exchange, evident in their first team meeting and Cara’s first press check, laid the foundation for a fruitful collaboration.

BmoreArt Magazine’s editor Cara Ober with photographer Brady Robinson.BmoreArt Magazine’s editor Cara Ober with photographer Brady Robinson.

Venne emphasized that BmoreArt’s collaborative process extended beyond the core team. They actively engaged photographers, like Brady Robinson, in the creative process, moving away from traditional models where photographers worked in isolation. This collaborative approach gave the team more control over the visual storytelling and facilitated a deeper understanding of the artists and their work.

This spirit of collaboration even led to unexpected ventures, like a “takeout photoshoot” during the pandemic, highlighting Baltimore’s comfort food scene and supporting local restaurants struggling amidst lockdowns. These spontaneous collaborations, driven by shared interests and a desire to support the community, became a defining characteristic of BmoreArt’s approach.

Venne also described how BmoreArt’s design adapted to the evolving content, demonstrating how publications can “learn” and evolve over time. The need to credit artists featured in photoshoots led to significant changes in the publication’s grid, including repositioning folio numbers for longer captions. This evolution showcased how collaboration can necessitate flexibility and creative problem-solving in publication design.

Repositioning folio numbers on BmoreArt Magazine pages to accommodate longer captions.Repositioning folio numbers on BmoreArt Magazine pages to accommodate longer captions.

Furthermore, Venne emphasized the significance of cover design, revealing how Amy Sherald’s cover photoshoot marked a turning point for BmoreArt. The team’s dedication to this shoot, recognizing Sherald’s rising national prominence, led to a more sophisticated and elevated aesthetic, solidifying BmoreArt’s position as a platform for showcasing Baltimore’s vibrant art scene.

Amy Sherald’s BmoreArt Magazine cover photoshoot by Kelvin Bulluck.Amy Sherald’s BmoreArt Magazine cover photoshoot by Kelvin Bulluck.

Throughout his presentation, Venne underscored the importance of being open to new ideas and perspectives, embracing the unexpected turns that collaboration can bring. He concluded by reflecting on the enriching experience of collaborating with a diverse group of creatives, which has broadened his understanding of design and fostered a more inclusive approach to his work.

Crafting Artist Books as Collaborative Art

Raquel Castedo, a Brazilian graphic designer, educator, and researcher based in Baltimore, brought her expertise on artist books to the forefront. Castedo, who teaches book design at MICA and serves as BmoreArt’s Creative Director, focused on the collaborative aspects of crafting artist books, highlighting the unique challenges and rewards of such projects.

Castedo framed her presentation by emphasizing the significance of artist books, not only for designers and artists seeking to showcase their work but also for art enthusiasts, collectors, writers, and anyone interested in understanding the collaborative efforts behind these unique publications.

She then detailed the creation of Post-Consumption Benediction, a limited-edition artist book published as a companion to a two-person exhibit featuring Adam Stab and Jordan Tierney. The exhibition ran at BmoreArt’s Connect + Collect Gallery from December 2022 to March 2023. This project served as a case study, demonstrating the collaborative process and the importance of honoring the artists’ vision and materiality.

Limited-edition artist book Post-Consumption Benediction, featuring the work of Baltimore artists Adam Stab and Jordan Tierney, published by BmoreArt.Limited-edition artist book Post-Consumption Benediction, featuring the work of Baltimore artists Adam Stab and Jordan Tierney, published by BmoreArt.

Castedo’s journey began with studio visits, where she immersed herself in Stab and Tierney’s creative process, learning about their materials, techniques, and inspirations. These visits were crucial in fostering a connection with the artists and understanding their work’s essence.

Drawing inspiration from the artists’ use of found objects and their commentary on consumer culture and environmental crisis, Castedo sought to create a book that felt like a “found treasure.” The unique typography discovered in their artwork informed the book’s visual identity, including a custom-designed texture incorporating the exhibition’s title.

Castedo’s presentation also delved into the production process, highlighting the collaborative efforts required to bring the book to life. The decision to use wood for the cover led to a partnership with Open Works, a Baltimore-based makerspace. The team at Open Works, led by Zack Adams, experimented with laser engraving techniques, testing various wood thicknesses and refining the design to achieve the desired aesthetic and durability.

Zack Adams, project coordinator Inés Sanches de Lozada, and Raquel Castedo at Open Works.Zack Adams, BmoreArt project coordinator Inés Sanches de Lozada, and Raquel Castedo at Open Works.

The production process involved a multi-stage approach, with each layer adding a new dimension to the book’s physicality. After laser engraving, the covers were spray painted by Adam Stab, followed by a second round of laser cutting. Jordan Tierney then added collaged elements to each cover, creating a unique textural interplay. Stab then added handwritten details with permanent markers, further enhancing the book’s handcrafted feel.

Finally, the BmoreArt team gathered at Tierney’s studio to attach the interiors to the covers and add a final touch: unique forks sourced by Tierney from Baltimore rivers, adding a symbolic and evocative element to the book.

Castedo highlighted that the success of Post-Consumption Benediction—recently awarded Gold in the 10th Bornancini Award for Editorial Design, a prestigious honor presented by ApDesign in Brazil—was rooted in the strength of the collaborative network behind its creation. She emphasized the importance of fostering connections with artists, designers, production teams, and vendors, including Open Works and Indigo Ink, which handled the printing of the book’s interior.

Post-Consumption Benediction book interior pages.Post-Consumption Benediction book interior pages.

Furthermore, Castedo highlighted the often-overlooked aspects of book production, such as shipping and distribution. She advised designers to consider the practicalities of shipping and the costs involved early in the process. She also emphasized the importance of finding the right community for the book, ensuring its accessibility and preservation for future readers.

Post-Consumption Benediction, now part of the special collections at several Baltimore institutions, stands as a testament to the power of collaboration. It transcends mere documentation, becoming an extension of Stab and Tierney’s artistic practice, embodying their creative spirit and the unique materiality of their work.

Discussion and Audience Q&A

Following the presentations, a lively Q&A session offered the audience a chance to engage directly with the panelists, raising insightful questions about the future of design, the intersection of art and capitalism, and the challenges of navigating the digital landscape. The discussion underscored the importance of inclusivity, audience awareness, and the enduring value of physical objects in an increasingly digital world.

The panelists highlighted the lasting significance of books and publications, recognizing them as time capsules that preserve cultural moments and artistic expressions for future generations. They encouraged attendees to be thoughtful in their creative practices, considering not only their message and audience but also the long-term impact of their work.

Ethical considerations in design were also addressed, particularly regarding the tension between artistic expression and commercial pressures. The panelists advocated for a balanced approach that supports creative freedom while critically engaging with the systems that influence artistic production.

The role of social media and online platforms in contemporary design was another key topic. While acknowledging their value for communication and promotion, the panelists stressed the importance of maintaining a discerning perspective—prioritizing authentic connections over superficial online engagement.

The “Crafting the Page” panel at MICA provided an invaluable opportunity to explore the multifaceted world of publication design. Through engaging presentations, thoughtful discussions, and a dynamic Q&A session, the event fostered a sense of community among designers, artists, and writers, inspiring creatives to embrace collaboration, challenge conventions, and craft publications with meaning and purpose.

Resume Writing: Guidance for Designers

Writing a resume can be a daunting task for many. What template should you use? Remembering and articulating your tasks PLUS results? Do you need to customize every resume?

But do designers have different rules than other professions? When I have partnered with Creative and Design directors to identify design talent, they have all requested that the designers have a portfolio or samples of work to supplement the resume. In fact, many have prioritized the portfolio over a resume.

This article offers two distinct perspectives on crafting powerful resumes for design roles. First, I’ll share my comprehensive resume guidance applicable to all professionals.

Next, to go beyond assumptions, I interviewed 11 design leaders in the DC and Baltimore area. They offer their unique insights on what truly catches their eye when evaluating design talent.

Clarity before Writing

Before you decide upon the formatting of your resume, spend time to self-assess and reflect on your career journey up until this point. What projects have you enjoyed contributing to? What type of work environment do you work best in? What are your strengths and weaknesses? What are your longer-term career goals, and what stepping stones do you need to take to get there?

By identifying where you have been and the experiences you have had, you can create a unique value proposition to market to employers. What factors could make you different?

  • The projects you have worked on
  • The industries you have helped
  • Hard skills, training, and methodologies
  • Aesthetic/style (shown in the portfolio)

Have you analyzed the job descriptions you are applying for to make sure your resume speaks to the job requirements? If the job supports government clients, a requirement may include knowledge of Section 508 compliance or the need for an active security clearance. Other requirements could include design software exposure, industry experience, or project type.

Will the ATS kick me out?

The short answer is no. First, an Applicant Tracking System (ATS) is the centralized software system that businesses deploy to manage the recruitment process. Typically, if you are applying to a job online there is a software system where you upload your resume and fill out open fields with your personal information. I wrote an article about the Myths of the ATS system with insights from a dozen recruiters who are the end users.

Many people believe that if your resume isn’t formatted correctly or has the right keywords, the system will boot you out and reject you for the job. Some recruiters and companies may set a job opening to screen with a knockout question, such as “are you authorized to work in the US” or “do you have X years of experience.” If the answer doesn’t align to the requirements, an automated rejection may trigger.

Otherwise, up until today, I do not know any recruiters who are fully relying on keyword match or ranking tools to move applicants on to interviews.

The one thing to be mindful of is how the content of your resume parses into the fields of the ATS system. Text boxes, columns, and images can alter the data extraction of the parsing. With the systems I have worked with, I can view PDF and Word docs as they were submitted.

General Resume Advice

Formatting:

  • Choose a chronological format, prioritizing your most recent experience.
  • Enhance readability by incorporating a fair balance of white space rather than cramming content into the document.
  • Use readable fonts and adopt a font size larger than 10. I shouldn’t have to zoom in to read your resume.
  • Avoid unnecessary visual elements, like a headshot or subjective skill graphics. While I’ve seen a huge uptick in including a headshot over the last five years, you may want to take precautions due to concerns about discrimination based on appearance.
  • Consider offering both PDF and Word document formats, although PDF documents will maintain formatting consistency.

Content:

  • Contact Information: Include relevant details like email, phone, city/state, and LinkedIn/portfolio URLs. A street address is not necessary and maintains your privacy.
  • Summary: Ditch “Objective” and use a targeted statement showcasing your value proposition. This field is a simple space where you can customize your resume to the target job.
    • Consider removing generic sentences inflated with soft skills. For example: Passionate and results-driven web designer with X years of experience crafting user-friendly and visually stunning websites
    • For more impact, you could transform it into a unique statement aligned to the job: Web designer with 5 years of experience creating high-performing websites for SaaS companies. Passionate about leveraging design to empower users and streamline financial processes in the fintech space.
  • Experience: The majority of your content should be dedicated to this field. For readability, format the sentences in a bullet-point list. Include the tasks + results, and quantify your results when you can. Examples:
    • Example: Increased website conversion rate by 15% by redesigning checkout flow using user-centered design principles and A/B testing.
    • Designed a captivating logo for tech startup, resulting in 42% increase in brand recognition within first 6 months.
  • Skills: List relevant software, technical, and language skills, possibly categorized for clarity.
  • Achievements: Consider a separate section for awards, scholarships, certifications, or honors (limit to 2-5).
  • Education: List recent degree, institution, and relevant awards/honors. Include coursework details only if you have no work experience.
  • References: Remove any mention of Reference, as this information can be provided once you convert to an interview. Plus, do you want anyone reaching out to your references without your knowledge?

Additional Tips:

  • Proofread meticulously to avoid grammatical errors or typos. If you aren’t using software tools like Grammarly, hand it off to a trusted colleague or friend to proofread.
  • Have a few copies of your resume if you are targeting different job titles. For example, if the job is for a “Content Designer” then include any project details around content design principles or methodologies. In the summary, swap out the copy “Summary” for “Content Designer.” Do you have an achievement you can highlight here that matches a job requirement?
  • Adding interests or hobbies is your personal choice.
  • Don’t keyword stuff. Instead of creating a laundry list of skills, weave the keywords into your experience section to demonstrate context.

Insights from Design Leaders

Resume advice can be subjective, as everyone has their preferences (and biases). I also wanted to seek out advice from people who are influencing and making the hiring decisions. Here are the recommendations of eleven design leaders from the DC metro area:

Jay Selway, Creative Director at Accenture Federal, prioritizes the portfolio over the resume. “If the resume isn’t nicely designed, that’s a red flag.” However, Jay admits he has seen not-so-impressive resumes from people with amazing portfolios. He said, “the work gets you in the door, and your personality and passion close the deal. The qualifications are the cherry on top.”

A Chief Creative and Founder of a DC-based boutique firm reviews both the resume and portfolio to assess design talent. For the portfolio, he looks for a consistency and sense of style across pieces, along with a sense of proportions and typography. For the resume, design is as important as the content. Seen as a self-marketing opportunity, he looks for creativity and personable branding. Specifically, “how they handle their names? Do they give themselves a logomark? Are there widows and orphans in the type?” Even the decision to use a Word document doesn’t demonstrate the full potential of a creative.

A VP of Design from a real estate tech firm says that a resume that is easy to read and is well-organized, paired with relevant experience is the ideal recipe for an effective resume. What else catches their eye? If the applicant showcases skills needed for the job requirements, like flows, wires, research, and design systems. If you are entry-level, the coursework outweighs the academic performance (like GPA). If the resume is poorly designed with excessive fancy formatting, it negatively impacts the readability.

A VP of Creative & Design, with experience in both a corporate and global agency setting, says that the “portfolio will always be king.”, but be sure to demonstrate your process. Include your sketches, inspiration, and round builds to demonstrate your thinking and unique contribution to the project. For the resume, keep it simple, well-organized, and thoughtfully crafted. Choose a clean typeface that allows the content to be the hero.

Billy Candela, SVP Creative Director at Vox Global, believes that the resume design matters. A well-designed resume (preferably in PDF) showcases a designer’s attention to detail and reflects their overall design skills. The portfolio is a confirmation of the capabilities on the resume. Both the resume and portfolio are a first impression and an extension of your self-marketing, so make them easy to navigate and highlight your relevant experience.

A resume is the sneak peak of your design style before getting into the cool stuff in your portfolio, an AVP, Creative of an agency stated. A clean, readable layout with a bit of creative spark will stand, but it’s about how the design and information work together.

A marketing executive at a SaaS technology company believes less is more with resume writing, but keep it relevant. Crafting an impressive resume is all about telling a concise and captivating story that sets you apart. Focus on clear, tailored writing for your target job level, skip the fancy designs, and cut out the excess. Utilize solid facts and stats to prove your expertise, ditch the flowery language. Research keywords for those resume-scanning bots. Keep it to one page-ish, sync it with your LinkedIn, and add a professional pic and background. Personalize those opening letters, 100% avoid any typos(triple check), and keep it snappy. If you share a portfolio, make it straightforward and showcase your value with meaningful metrics. Your resume should tell a compelling tale of your intentions and your desired company fit. Stay flexible and realistic, avoiding both self-doubt and overconfidence.

“The creativity should not overshadow or overpower the message,” says a Creative and Marketing leader, about the criteria of a strong resume. A one-page resume is preferred, without a personal photo, and it must have clean visual design language and a hierarchy of information. They also seek a business-minded creative, so showing metrics and KPIs shows they understand the value ifor delivering results. As a leader of people, they do give weight to skills and behaviors–not just what they can do but how they do it. A portfolio is also a must-have!

The owner of a Baltimore creative agency prioritizes a strong portfolio and a compelling narrative of the thought process and context behind the work. Real-world experience trumps formal education. As for a resume? It’s not a necessity, especially if the designer has a robust LinkedIn presence.

A Sr. Creative Director from a global PR agency prioritizes 3 main sources when evaluating a design candidate: LinkedIn, a portfolio, and a resume. A LinkedIn profile provides a history of experience and education, and the portfolio showcases the designer’s skills and style. A resume is still important, as it hones in on the designer’s attention to detail. This includes typography, choices of visual hierarchy, and formatting like sentence breaks. Designers who make resumes too “designy” or branded like infographics risk being offputting and overselling their authenticity.

The design leader of a digital solution firm emphasizes the importance of targeted, clear, and visually appealing application materials to demonstrate an understanding of the job and how you can add value. With a resume, focus on clarity and relevance–help the hiring manager understand how you could apply those skills and learnings to the new role. For formatting, make it succinct and scannable. The portfolio connects the dots of the skills and experience stated in the resume. Content design matters! Treat your portfolio design with the same care you’d give client work. And if you consider a cover letter? First, ditch the generic template. Secondly, don’t focus just on your experience. Bridge the gap by showing how that experience will meet the business challenge at hand.

Wrapping up

While I’ve shared my approach to resume writing paired with the valuable insights from design leaders who are calling the shots on hiring, remember that hiring is nuanced. If anything, the perspective from the 11 is a clear example of this.

Ultimately, each interviewer brings their own unique perspective and priorities. Don’t be afraid to tailor your resume and highlight experiences that resonate with specific companies and roles. Experiment, seek feedback, and trust your instincts to craft a resume that authentically reflects your talent and aligns with your target job.

About the writer

Kelli Hrivnak

LinkedIn | Website

Kelli Hrivnak is a leader with over 15 years of experience in staffing and recruitment services. Recognizing the limitations of quantity-driven staffing models, Kelli embarked on a mission to create a forward-thinking alternative. She is founder of Knak Digital, a recruiting agency prioritizing strategy and quality over high-volume recruitment. Throughout her career, Kelli has partnered with various companies, from Fortune 500 corporations to start-ups. Her extensive background in the technology and marketing industry has provided her with valuable insights and a deep understanding of client needs.

The Power of an Optimized LinkedIn Profile

When I joined LinkedIn 14 years ago, the platform was known as the place where you transferred your resume and work history into an online version. LinkedIn has evolved far beyond a platform for just placeholding your digital resume, as your profile is the first impression you will make to people in and outside your network.

But a LinkedIn profile isn’t your resume–it is static, searchable, and offers more features to showcase your expertise beyond just the history of your job experience.   I’m going to touch on the impact of an optimized LinkedIn profile for designers, exploring how it can attract job opportunities, foster connections, and enhance your reputation (aka personal brand). Let’s embark on a journey to unravel the secrets of LinkedIn success in the design arena.

Where to Start?

LinkedIn provides a variety of sections for you to input information.  As a recruiter who proactively uses LinkedIn to source and identify potential prospects for job opportunities, I’ll emphasize the areas and content I seek out when scanning a profile to assess the alignment for a role.

Headliner

Your headliner is the copy that is located right below your name on the LinkedIn profile and it will be the first thing people see (along with your name).  Not only does it show on your profile page, but also when you comment, send invitations, “Who Viewed your Profile“, and in the intro section of your profile. You have a 220-character limit. A shortened version of your headliner will be visible when commenting (75 characters), sent invitation (80 characters), and in search results (82 characters).

The words in the headliner do affect the search results.  Keeping this in mind, I advise to be clear about your expertise and use keywords that a recruiter may look for when sourcing.  This may include job title, skill sets, certifications, and companies.  A Unique Value Prop (USP) is a popular choice for a headliner, like “turning ideas into visual symphony,” but I urge people that it’s not the best (SEO) option if you are in an active search.  A USP can be ambiguous and a recruiter isn’t using those keywords when searching.

A simple format I suggest is:

Job title + Company + (skill sets, results/achievements, awards) + (fun add about personality or USP).

If your current job title is vague or you are making a career pivot, the headliner is an alternative field to sub in your target job title.  Example:  Your job title is “creative specialist” which doesn’t encompass your expertise in design.  Use “Graphic designer” in your headliner instead.

Photo

Is there a greater chance of receiving outreach when you include a photo on your profile? Discrimination is real, unfortunately, and I’ve talked to people who strategically omit or strengthen their privacy settings by design to hide their headshots on their profiles. Make decisions based on your comfort level.

If you opt for a photo, a DIY iphone session can quickly produce a credible headshot Here is an article with some helpful tips!

 

Location

If a company is looking to hire a local candidate within commuting distance,  they could be using a radius search by location.  Users can search by by Region or Postal Code. The latter option enables a nuanced radius search, allowing users to filter results within 5, 10, 25, 35, 50, 75, and 100 miles.

To enhance your discoverability, consider selecting a broader metro area rather than specifying your exact city. For instance, instead of “Baltimore,” use “Washington DC-Baltimore” to increase your inclusion in wider-radius searches.   If you are in the midst or open to relocation, set the targeted location as your geography so your visibility will be amplified in those geographical searches.

Industry

Companies could be prioritizing their search by industry experience.  While you can include vertical exposure in your About and Experience section, you can choose an industry sector in your account settings.  LinkedIn expanded their industry codes from 24 core functions to sub categories, likely expanding to over 400+ soon.  Pick one most important to you, and again–you can mention others in other areas.

Keywords

Before I cover the About and Experience section, I encourage everyone to conduct keyword research to identify what skills and keywords are associated with your current job and target.  Wordtracker and Google Keyword Planner are excellent tools, but what works on Google won’t be a replica on LinkedIn.   ChatGPT can generate a list of associated words too.

 

Review the words and think about how you can integrate these words into the content of your profile. For example, instead of listing out a bullet-pointed list of keywords like “Storyboarding,” “campaign development,” and “advertising,”  try weaving them into the story of your experience and about section.

 

Consider the keywords you prefer not to be associated with on your LinkedIn profile. While retaining your work history is advisable, it’s beneficial to eliminate skills or keywords that hold no relevance to your future career aspirations.  Unfortunately, some recruiters are lazy and will mass message anyone who possesses a keyword they are searching for–regardless of context.  Proactively removing skills or titles misaligned with your target job can potentially curtail unwarranted outreach.

 

Scope out your competition.  Run a keyword search on job titles (like “Art Director” or “Sr. Graphic Designer) and pay particular attention to the initial pages of search results.  How does the algorithm prioritize profiles related to content?

 

About Section

This is your canvas to craft a narrative of your career journey and an opportunity to reveal more information beyond the facts of your experience.  Did you make a career pivot or your path has been non-linear?  Has design been your passion since you were a child? How did this path become your “why”?

What’s your opening hook?  Keep the mobile user in mind, as they’ll likely encounter the initial 90 to 150 characters of this section before having to click down. Desktop viewers may extend to around 300 characters.

As you share your story, consider incorporating a call to action (CTA) to encourage recruiters to engage further. This could involve providing a link to your portfolio, sharing your email address, or including a phone number (consider using Google Voice for added privacy). Embrace the first-person perspective to infuse authenticity into your narrative (a third-person narrative may be more suitable for fields like legal or finance.)

Reinforce your expertise.  Don’t forget to enhance your visibility by strategically integrating those relevant keywords and skills into the narrative.  You also have the option to add your top 5 skills that will be promoted in this section.

 

Experience Section

I’ll argue that this section is the most significant in your profile. While other sections can represent your branding, the experience section unveils the application of your keyword skills and the outcomes achieved. It provides the crucial context to assess your qualification for a role.

In each job experience, include details on project work, tasks, results, industry exposure, management roles, certifications, specific software proficiency, training, and promotions. Adopting a format with bulleted points or well-structured sentences enhances readability.

Utilize LinkedIn’s feature to add skills to each experience entry, showcasing your expertise aligned with each job title and company.  If you used Adobe XD in your current job but only Indesign at your prior, you can distinguish how recent you were exposed to tools here.  In addition to hard skills, consider adding other tasks like project management, motion design, business development, etc

 

Featured Section:

Designers, do not overlook this section!  This space is your place to add content, from articles, videos, URLS, podcasts, photos, and presentations.  Most importantly, if you have an online portfolio, include the link.  This is the visual “highlight real” of your achievements.

Contact Information

Ensure your email is up to date to efficiently receive timely notifications. If anyone is using Inmails, messages, or general invitations, your notifications will go to this email. If you using your work email domain, keep this in mind (especially if you fear that your employer is monitoring your emails). This article will show you how to adjust the visibility of your email. Consider a pseudo email strictly for LinkedIn outreach and messaging.

Along with the Featured section, you can include your portfolio link here. If you were assigned a generic URL, you can explore custom options.  If there is a custom domain that is available and aligned with your personal branding, snatch it up.

What else should you consider?

A background photo, which is the large image behind your profile picture, is customizable.  I usually recommend Canva as a tool to create a unique banner that highlights your brand or expertise, however I recognize an audience of designers will have the skills and other tools to execute this task at a higher level.  The dimensions are 1584 x 396 pixels and accepts PNG, JPG, and GIF files.

Should you use the Open to Work Banner?  My opinion is mine alone, but I do not hold a bias against anyone who is actively in a job search and chooses the visual cue of the banner.  My objective, as a recruiter, is to identify a candidate who is motivated and qualified to make a job move.  Some others may discriminate against people unemployed, so you need to make the best choice for yourself.  If your job search is confidential, I would encourage you to use the Recruiters Only option.  The Recruiters Only option is limited to users who subscribe to the Premium Recruiter seat, so that isn’t limited to recruiters only but to those who pay for that level of service.

A LinkedIn Allstar Status increases your visibility. While the meter is no longer on display in your profile, reference this link on how to access your level. Hint: Look for the “Suggested for you” prompt.

What qualifies as an Allstar Status?  Complete all of the following sections.

  • Industry/Location
  • 3 positions (including current). If you don’t have 3 job experiences, consider volunteering, freelance, or gap options.
  • Education
  • Skills (3 minimum)
  • Profile Photo
  • 50 Connections

In today’s competitive job market, having a well-optimized LinkedIn profile is more important than ever. This is a passive, one-stop effort that can generate inbound leads and increase your chances of being discovered by recruiters and potential employers.

About the writer

Kelli Hrivnak

LinkedIn | Website

Kelli Hrivnak is a leader with over 15 years of experience in staffing and recruitment services.  Recognizing the limitations of quantity-driven staffing models, Kelli embarked on a mission to create a forward-thinking alternative.  She is founder of Knak Digital, a recruiting agency prioritizing strategy and quality over high-volume recruitment. Throughout her career, Kelli has partnered with various companies, from Fortune 500 corporations to start-ups.  Her extensive background in the technology and marketing industry has provided her with valuable insights and a deep understanding of client needs.

2022 Flux Student Design Competition Winners

Judging for AIGA Baltimore’s annual Flux Student Design Competition has been completed. Flux is a nationwide competition that recognizes outstanding design work produced by students in the categories of Identity, Packaging, Poster, Publication, Social Impact Design, UX/UI, and Video/Motion Graphics. This year, 205 projects were selected by a jury of creative professionals including Jenny Hoffman, Alberto Rigau, and Liese Zahabi. 631 entries were submitted making the 2022 Flux Student Design Competition one of our largest and most competitive yet.

The Flux22 awards reception and 15th-anniversary celebration were held at Price Modern on Friday, February 3rd. Thank you to our sponsors: MindgrubAlpha Graphics, & Price Modern. We honored recipients for the following categories; identity, packaging, poster, publication, social impact design, UX/UI, and video/motion graphics. Thank you to the AIGA Baltimore board and volunteers for putting on a fantastic reception!

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2022 Winners

 

 
 
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Exploring the Future of Figma with Mindgrub

On Thursday, October 27th, 2022, AIGA Baltimore held an in-person panel discussion for “Figma: Fad or Future,” which culminated AIGA’s Baltimore Design Month 2022. The discussion featured Mindgrub’s creative team sharing their transition to Figma, cross-departmental collaboration, thoughts on Adobe’s acquisition of Figma, and their predictions for the future of design software.

The panel included Mingrub’s Emilee Beeson, Art Director; Evan Reisberg, Interactive Design Manager; Steph Loughran, Product Design Manager; Sandra Koranteng, UX Designer; Alex DeRito, Developer; and was moderated by: Benjamin Guarino, UX|HCD Specialist.

Watch the full video, and read on for a recap of key takeaways.

Q: How do you see Figma being transformed by this acquisition?

Some of our panelists noted that although the acquisition is shocking, it would likely make Figma a stronger platform and more future-proof. With Figma being so near and dear to people heart’s, the hope is that the interface will not change drastically; rather, it will be improved upon. They are looking forward to seeing how Adobe integrates with Figma, with Adobe’s being able to support Figma with options such as vector capabilities and a more extensive font library.

Q: How has Figma impacted the way your team collaborates?

Adopting Figma has made it easier for the Mindgrub team to collaborate on complex prototypes in one location. It challenged them to become transparent and organized with their process, structure, and handoff. Additionally, using Figma has encouraged more ideas and resource sharing among team members. They can see how others set up their file, which has helped build their process. Figma has been a huge step forward compared to Sketch and has reduced the number of different software designers used for a project.

Q: How has Figma supported Mindgrub’s work from anywhere/anytime policy?

With Mindgrub’s improved workflow on Figma, they can collaborate efficiently across time zones, reducing back and forth and making it easier for people to jump back into their projects anytime. Having a stable structure also helps Mindgrub build trust with clients because it allows clients to see the progress being made and what the team is working on. Figma is also great for making real-time updates to projects sent to clients.

Q: Do you think Figma will stand the test of time in 10 years or more?

Some of our panelists believe that Figma can get the rug pulled from under them if they don’t keep up with a design to code. Competitor programs like Web Flow, with easy-to-use and evolving technology, can creep up on Figma if they don’t keep up. However, the Figma community is fantastic and has tons of plug-ins, resources, and events that will support Figma’s growth over the years to come. Other thoughts shared are that although design to code is interesting, there needs to be a happy balance with evolving technology where we can automate some of our work without losing the human touch to create something unique and personal.

Q: What are some limits of Figma that you want improvement on?

Evan would like to have scroll trigged animation in prototyping. That’s an element he goes out to another application to create. Emilee shared that creating custom artwork in Figma is challenging. She often has to switch to Photoshop but hopes that Adobe will add the library-sharing feature between Photoshop and Figma so she can work between both applications without having to export.

Audience Q&A

Q: While designing in Figma, are you developing content as well? Which stage do you involve a content strategist in?

Some of our panelists noted that they don’t use the real copy in the flat design. The content strategist or copywriter often collaborates with the client on a platform they are more comfortable with, and they later integrate the content into the design. But it ultimately depends on where the content strategists are comfortable working, whether in Figma simultaneously or separately in a Word document. However, the client might be more focused on the content than the design if actual content is used.

Q: How do you display your designs to clients for mobile and desktop views?

Depending on the project and team, they present a few different size artboards to give clients an understanding of the project view ranging from mobile to small laptop to huge monitor sizes.

Our panelists shared their top advice for teams transitioning to Figma:

Establish a culture of sharing – Emilee shared that it can be easy for creatives to be guarded in a competitive environment, so establishing a culture of sharing is really important. Emilee feels comfortable with her team because they are all working together to learn the program and know it’s okay to make mistakes when learning.

Learn the basics – Steph recommends learning auto layout first because it saves time when adding new content. Steph believes this tip will change your life.

Talk to your local Figma Evangelist – Sandra recommends reaching out to those on your team who are really experienced with Figma for tips. Getting support from Figma evangelists like Evan and Emilee has been helpful. She also recommends learning how to use components.

Embrace the change – As a developer, Alex feels the benefit from collaborating in Figma and shares that fellow Developers shouldn’t be a blocker to transitioning.

Be open to showing your style – Get comfortable with having everyone on your team being able to access the project and see how you work. Evan shares that being able to see each other’s work has allowed the team to learn each other’s design preferences.

Some of our Panelist’s Favorite Figma Plug-ins

  • Spellcheck: Check your spelling as you work on Figma.
  • Unsplash: Insert beautiful images from Unsplash straight into your designs.
  • Color Contrast: Check contrast according to WCAG guidelines and apply changes directly to your artwork.
  • Stark: A combination of integrated tools that help you streamline your accessibility workflow.
  • Google Sheets Sync: Sync data in a spreadsheet to elements in your design.
  • Content Reel: Quickly insert text-based content into your design, such as names, phone numbers, US addresses, emails, URLs, and more.

AIGA Baltimore Becomes Caretaker for AIGA Blue Ridge Legacy: Flux Student Design Competition

Flux, a student design competition that’s attracted over 900 entries in past years, has a new host, AIGA Baltimore.

Flux celebrates the best creative work produced by undergraduate and graduate students from across the country. Entries are selected by a jury of leading design professionals and showcased in a gallery exhibition as well as online. Flux has been an outlet for student designers of all practices, and despite a change in ownership, the foundation of Flux has ensured that its success will not waver.

The competition was established in 2007 by the former AIGA chapter, Blue Ridge. Board Member Katlynn Almansor led Flux in 2021 and felt the impact of the Blue Ridge leadership before her.

“I believe we were very lucky to be able to maintain that event, and that was in large part because of all the work over the years by past presidents and board members… Flux was built on a solid foundation, and it’s stood the test of time and change thus far,” said Almansor.

Kicking off the competition and growing it to a nationwide audience took the dedication and commitment of many AIGA Blue Ridge members. Joe Wagner, served as a long-time advisor and sponsor of Flux. Wagner credits former President Laura Webster and Board Members Cathy Bruce and Jenn Laumann with establishing the competition’s solid foundation.

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Katlynn Almansor

President Emeritus
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Cathy Bruce

President Emeritus
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Kevin Bruce

Web Director
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Troy Dean

President Emeritus
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James Hersick

President Emeritus
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Jenn Laumann

Past Treasurer
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Matt Laumann

Past Vice President
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Joe Wagner

AIGA Baltimore, President Emeritus, AIGA Central PA, President Emeritus, and AIGA Blue Ridge Volunteer / Flux Sponsor
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Laurel Webster

President Emeritus
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Former Blue Ridge member Kevin Bruce has been the long-time owner of Flux’s online presence. Bruce is a designer that found himself in the world of coding, a skill that AIGA Blue Ridge needed when building a national competition site. In 2010, Bruce was asked to clean up the code and by 2014, he was in charge of maintaining the website, which is now complete with competition details, judge profiles, and an entry portal.

Flux has several admission categories ranging from packaging design to motion graphics and so much more. Students must be enrolled in undergraduate or graduate programs to be eligible to enter, and they can participate in multiple categories. Bruce has seen Flux become a great motivator for students each year.

“Having helped run Flux over the years, you learn a few of the professors’ names because they rely on the Flux competition to challenge their students every year,” said Bruce. “That was the real reason why we didn’t want to just let it die.”

Since Flux’s creation, entries have grown from around 600 to 950, according to Bruce. With AIGA Blue Ridge dissolving and an overwhelming desire to grow the competition even more, Almansor says it was a no-brainer to contact their sister chapter in Baltimore.

“My hope is for Flux to not only maintain its quality and longevity, but to exceed it,” said Almansor. “The closure of AIGA Blue Ridge was a hard decision, but passing on Flux to another chapter was not. It was the one thing we wanted to see continue to impact and promote young designers, and we are so happy Baltimore took it over. I believe they might have the resources to not only sustain Flux but make it bigger and better.”

Current AIGA Baltimore President Frances Miller says the Baltimore chapter was excited to take on the challenge and acknowledges the opportunity that Flux provides to the college curriculum.

“We are excited to produce something that touches hundreds of students and educators across the country while putting a spotlight on Baltimore,” said Miller. “We’re off to a great start! [Board Member] Karole Kessler has hit the ground running as this year’s Flux leader and already has our reception on the calendar for February, with support from new Flux sponsors: Price Modern, Alpha Graphics, and Mindgrub.”

AIGA Baltimore launched Flux 2022 on September 27th and have their judges ready to review entries when the portal closes on November 16. Judges typically evaluate entries based on the students’ interpretation of the project, level of creativity and originality, and their artistic skills demonstrated, according to former Flux advisor Joe Wagner. Awards in the past have included a best of show for each category and an overall best of show.

All awarded entries will be displayed online and exhibited at a reception at Price Modern in Baltimore. The special reception will recognize participants and take place at Price Modern on February 3rd, 2023. Miller is already looking to the future of Flux beyond next year’s reception.

“Our goal in 2023 is to establish our Education Committee to envision and build the future of Flux,” said Miller. “We’d like to see an impressive online gallery to showcase the work…As a 100% volunteer-run organization, all of these ideas rely on a passionate board of volunteers.”

AIGA Baltimore is currently seeking their next Education Chair to help establish the competition’s future. Professionals can nominate themselves or a colleague on the AIGA Baltimore’s website. 

The dedication of countless volunteers has allowed Flux to impact the lives of 15 graduating classes of designers. Flux has given young artists a place to showcase their work and without it, there are limited, organized events for student designers to get their work in front of the public.

“Emerging designers are doing great work, which often goes unseen past their critique room and portfolio…Plus, when you’re new to a field, building confidence can be a huge hurdle,” said Miller. “Of course winning an award helps with confidence, but even submitting is a statement to yourself that your work deserves to be seen.”

While the Baltimore chapter is focused on growing Flux as a student competition, they’ve also considered how Flux can fuel other initiatives, like introducing a contest to professionals.

“We’ve also discussed the possibility of opening a professional competition, using Flux to fund a scholarship, or partnering with other AIGA chapters,” said Miller. “We’d love to hear feedback from educators and students about what they’d like to see.”

For now, AIGA Baltimore is focused on Flux 2022, which is well underway. This year’s judges are Liese Zahabi, a graphic/interaction designer and Assistant Professor of Design at the University of New Hampshire, Jenny Romei Hoffman, co-owner of Ashton Design and board member for the Baltimore Design School and the Charles Street Development Corporation, and Alberto Rigau, graphic design instructor and co-chair for AIGA’s Design Educators Community.

Learn more about the 2022 judges at the Flux Competition website.

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The deadline to submit projects is November 16. To enter the competition visit  Flux Design Competition. Interested in volunteering to help with Flux? Please email flux@baltimore.aiga.org

Designers Celebrate 20 Years of AIGA at Morgan State University

On October 7th, Morgan State alumni and faculty and AIGA members gathered to commemorate 20 years of the founding of the first AIGA chapter at an HBCU (Historically Black College and University). We watched alumni reconnect, exchanging stories with their beloved professor Joseph Ford, esteemed designer and educator, and founder of AIGA MSU.

Joseph Ford graduated with a Bachelor of Fine Arts from the Maryland Institute College of Art in Baltimore, Maryland. He earned a Master of Fine Arts from Cranbrook Academy of Art in Bloomfield Hills, Michigan.

In 1984, Joseph Ford began working at Morgan State University as the Art Director of Public Relations bringing with him years of experience and recognition from the Advertising and Graphic Design Field. He was acknowledged as the first African American Art Director in an Advertising Agency in Baltimore and an active member of the AIGA.

Nowadays, you might run into Joe catching a film at the Senator Theatre.

This exhibition is a testament to the graduates’ accomplishments and the rigor of a liberal arts education at Morgan State University. You can see the designs on display throughout October 2022 in the Murphy Fine Arts Center third floor atrium, see the work below, or journey through the virtual exhibit.

A huge thank you to Perry Sweeper for working to organize the exhibition.


Tricia Dukhie is a senior graphic designer at Inglefield Ogilvy and Mather. She has also worked on many projects as a freelance designer in her native Trinidad & Tobago.


Terry Plater is a senior graphic designer at Impact Marketing and Communications. He previously held design positions at Erickson Living and Nielsen Audio.


Raphael Davison is a assistant art director at Carnegie Hall’s Weil Music Institute. She previously worked at Baltimore Center Stage and the Washington, D.C. Shakespeare Theatre.


Paul Herring is a graphic & web designer for 1199SEIU. He has worked with art collective Artwork Mbilashaka on marketing projects and live mural paintings for Adidas, Heineken, Scion (Toyota) and Red Bull.


Jerry Jones is manager, social and digital content design for the National Basketball Association. He previously worked as a graphic designer for Major League Baseball.


Emmanuel Hightower began his career as a graphic designer at Kahala Brands. He also did design work for Reebok, Phi Beta Sigma and National Football League players.


Eileen Eldridge is a web content specialist at the University of Maryland, Baltimore. She has a diverse graphic & web background.


Carlee West is a freelance graphic designer currently pursuing her Master of Fine Arts at Full Sail University. She graduated with a Bachelor of Arts from MSU.


Brandon Young is a freelance graphic designer who has previously worked for Southern Maryland News. For more than a decade he has focused on publication design.


Erika Johnson is a freelance graphic designer, founder and CEO of PrettyGirl Academy, Inc. She received a certi cate in Digital Publishing from New York University after graduating from MSU.