MD Food Bank Volunteer Day

AIGA Baltimore volunteered at the Maryland Food Bank on Saturday, September 21, and spent a few hours lending a hand to help end hunger. Who knew sorting cans of kidney beans from jars of peanut butter could be a fun time? We even got to go behind-the-scenes to see the mega freezer, which has a daytime temperature of -10 degrees! In just a few hours volunteers assisted in packing 10,785 pounds of food which equates to 8,296 meals!

Salvaged, donated food comes by the trailer-full into the warehouse, and all of it needs properly sorted and boxed before it can go back out to those in need. The cartons and cans are loaded onto the conveyor belt where daily volunteers help categorize it and pack it up.

Volunteers are critical to the Maryland Food Bank and its mission. Last year, volunteers contributed over 30,000 hours of service, saving the Maryland Food Bank $600,000.

Don’t wait for another AIGA volunteer day to give back—you can schedule a visit on your own. Better yet, bring your coworkers or friends. Check out www.mdfoodbank.org/volunteer or contact the volunteer program manager at 410.737.8282 x232 for more information on volunteer opportunities.

 

Happy 25th Anniversary, AIGA Baltimore!

We’ve had a lot to say about our 2nd Annual Baltimore Design Week over the last few weeks. There’s been so much going on we wanted to tell you about, including our plans for local studio tours, the Charm City Type Race, and special guests Khoi Vinh and Matteo Bologna.

Today, coinciding with Design Week, the Baltimore chapter of AIGA is celebrating our 25th year and we wanted to look at our history. We talked with former board presidents about their unique perspectives as they worked to make the Baltimore design community a source for events, ideas, and inspiration.

In 1988, Domenica Genovese was the senior art director at North Charles Street Design and she says she was enticed by the concept of starting a design-focused organization in Baltimore.

“Back then designers were second class citizens under account managers and sales and marketing,” she says, “So it was exciting to create a chapter that helps educate people about design.”

According to Genovese, there were no other goals aside from regularly getting together with about ten fellow designers, including two future AIGA Baltimore board presidents, Bob Shelley and Ed Gold. The group really just wanted to elevate the profession’s career status. One of their first events was an annual design competition called 20/20 where twenty designers were each given one minute to show off their talent and the success of the event pushed them towards becoming an official AIGA chapter.

Shelley says it took a lot to convince himself that he was ready to make the move from an unofficial gathering to an organization.

“I kept thinking about where to begin,” he says, recalling the memorable moments of early planning, “How do I create an AIGA chapter in Baltimore? It was mind-boggling. So many of my friends were there with me and I didn’t want to let them down. Plus, my company, RS Jensen, was splitting up and I was going through a divorce. But the Baltimore chapter was so important to me.”

“Then I thought, maybe a diversion would help me channel my energy into something I love: design.”

Pulling together a board, Shelley had a support system who convinced him that they were doing a good thing both for the present and the future. He visited other chapters throughout the country, getting their support to convince the AIGA National board that Baltimore needed its own chapter.

“Baltimore is not Washington,” he says, “We’re only 45 minutes apart but from completely different worlds.”

Ed Gold was, at the time, also the creative director of Barton-Gillet, a major advertising agency formerly located downtown. He remembers when desktop publishing changed everything.

“You either were print or video,” says Gold, referring to the available career choices at the time, “and you had a specific thing you did. When designers were able to set their own type using design software, it instantly put the linotype people out of business.”

Modern design tools are more available now than they were 25 years ago, when the equipment size and the specialized knowledge to operate it made them much less accessible. Gold believes because of this designers are now hired for their ideas instead of their ability to use those tools.

“With so much control in the hands of designers now, they’re in a great position to be entrepreneurs,” he says. “History is full of artists of all kinds who simply did something first because they could.”

We’d like to thank Domenica Genovese, Bob Shelley, and Ed Gold for talking to us. We’d also like to thank everyone who’s volunteered on the board over the last 25 years and, while we can’t list you all here, we can recognize our past board presidents and everything they’ve done for Baltimore’s design community and our AIGA chapter.

1988-1989 –  Robert Bob Shelley

1989–1991 – Anthony Tony Rutka

1991–1993 – Ed Gold

1993–1994 – Craig Zeigler

1994–1997 – Brenda Foster

1997–1999 – Kristin Seeberger

1999–2001 – Carl Cox

2001-2002 – Brigitt Thompson

2002–2004 – Joe Wagner

2004–2008 – Chuck Lowensen

2008–2011 – Christopher Jones

2011-2013 – Alissa Jones

Here’s to another 25 years!

There and Back Again (or, How to Get to and from Design Week)

We’ve got Design Week events going on all over the Baltimore metro area this year! From Owings Mills down to Columbia, we’re spreading our wings—and the love.

Some of you might be pondering your transportation options for our events. (You’re coming to every event, right??) So we’re here to help!

First off, we’re happy to announce that we’ve partnered with spanking-new ride-sharing service Lyft (of fuzzy pink car-mustache fame) to offer discounted rides to all guests for the Charm City Type Race and INTERACT panel discussion. Just download the app and enter the code AIGA under “payment” to receive $10 of free credit towards your ride. Learn more about Lyft here.

Another great option if you’re in the city is to use the Charm City Circulator. This free shuttle service runs through several of the city’s main corridors and would be an excellent choice for getting back to the starting point from the end point of the Type Race. You could also use it to get to our 25th Anniversary Party in Fells Point or the the Refresh Baltimore panel at MICA. County folks can connect to the Circulator via the MTA’s Light Rail service.

Alternatively, if you want a scenic, relaxing transportation option and aren’t in a time crunch, you could try out Baltimore’s Water Taxi service. It docks at several spots around the Inner Harbor. After the Type Race, wouldn’t it be nice to take a sea cruise back to Locust Point?

Parking

We always recommend carpooling when you can because it’s not only green, it’s less frustrating—instead of each of you finding your own parking spot, you only have to find one!

Some of our events feature street-only parking: the Charm City Type Race, INTERACT panel discussion, and studio tour at Gilah Press + Design. We recommend leaving yourself plenty of time to park for these events. If you end up arriving early, no worries. We’ll be happy to welcome you into the event.

For the Type Design for Non-Type Designers workshop on Tuesday, there will be plenty of free parking available at Stevenson University’s School of Design. Just make sure you account for rush hour traffic!

Whether you’re carpooling or not, you’ll also find street parking in Fells Point for our 25th Anniversary Party. If you can’t snag a street spot, there’s always the garage on Thames Street, which is pretty darn cheap and just a couple of blocks away. The garage is also an option if street parking is unavailable for the Orange Element studio tour in the same area. However, you’ll find plenty of free parking in ADG Creative’s lot!

We’re looking forward to seeing all your shining faces at these events. Let’s make Baltimore’s second annual Design Week awesome!

3 Reasons Why You Should Register for the Charm City Type Race

1) You don’t have to be a designer to have a great time. Bring your friends!

2) It’s good for you and the environment. Motorized vehicles are prohibited. Get outside and get active, while discovering new ways to look at our surroundings.

3) PRIZES! PRIZES! PRIZES! Did we mention that we’re giving away prizes?

Join us on October 20th for a a typography scavenger hunt through Charm City.

Board Spotlight: Jami Dodson!

Our social design director and subject of this month’s Board Member Spotlight, Jami Dodson sat down to fill us in on what this Southerner has been doing in Baltimore for the last decade.

“I moved here for grad school after working in advertising in Chicago,” she says, “I’ve always worked on the agency or design firm side and have recently switched it up by moving to an in-house team at a nonprofit. We’ve just built the marketing team from the ground up and the work has been very fulfilling and inspiring.”

When it comes to design, Jami’s says, for her, it’s all about the process.

“It’s problem solving,” she says, “that requires responsibility, intellect, and insight that’s clearly articulated to intended audiences. You can work for hours on something and then somehow when you’re about to give up and go be a farmer, it all comes together.”

About joining the AIGA Baltimore board, she says, “I’d been on the sideline of the Baltimore design community for awhile and decided it was time. I’d like to expand the role of what it means to be a designer by advocating for how our abilities can help to create social change. We have a lot to offer and I want to encourage designers to be active participants in the world around them.”

Speaking of the world, if she could paint her surroundings with one color, what would she choose?

“Any shade of green,” she nods, “Pantone 340 or Crayola’s yellow green.”

In her spare time, Jami says she likes to get outdoors and head to one of Baltimore’s parks.

“I love our city parks. Druid Hill Park has so many different parts to it. Nearby is Cylburn Arboretum, my favorite spot to take a walk or sprawl out on a blanket. It’s a hidden respite.”

When not designing or enjoying the outdoors, Jami says she’s often in the kitchen. Currently, her obsession is making fresh ricotta and grilling pizza. Next up: kimchi and sauerkraut.

“I really want to get to South America and Southeast Asia. The food alone would be worth the trip. Finding a chunk of time to take off is the hard part. Sagmeister was onto something when he recommended everyone take sabbaticals…it’s really important to step away from the screen.”

We totally agree.

 

Touring Baltimore Print Studios

On Tuesday, August 6, thirty AIGA Baltimore members and friends stopped in to Baltimore Print Studios on North Avenue ready to put ink to paper. Each attendee was given opportunities for some hands-on tasks, including hand pressing coasters, running off posters on an antique machine, and even putting together a cut-and-assemble mini Vandercook press.

Kim and Kyle, the proprietors of Baltimore Print Studios, were on hand to give demos, talk about background history, and answer attendees’ questions. While they do offer printing services, the studio also teaches classes in both printmaking and screen-printing and is open to the public to rent by the hour. Featuring four 75-year-old presses, screen-printing materials, and drawers (and drawers) of woodblock type, they definitely cater to the do-it-yourself designer!

Did you miss the event? AIGA Baltimore members Justin and Giordana were gracious enough to take a video demonstrating how to use the Vandercook press.

Be sure to check out baltimoreprintstudios.com for their operating hours, their class schedule, and prints for sale. Make sure you follow them on Twitter @baltimoreprints and Instragram, too.

Want to see more pics? We’ve got more on our NEW Instagram site!

Greg Jericho spends an awfully lot of time designing for clients that do not exist at his equally fake company, Myopic! Studio.

Kate Lawless often daydreams about how she can make a full-time job out of what she does for AIGA Baltimore. When her head isn’t in the clouds, you can find her designing communications, digital signs, documentation, and online software demonstrations and interactive elearning for the operations department of a large healthcare company in Baltimore.

It’s So Hot

Is it hot enough for ya yet? How’s your summer so far? We hope you’re splish-splashing at the pool, the beach, the lake, or at least somewhere with some sweet, sweet AC.

The summer’s heating up and your AIGA Baltimore board members have broken into a sweat preparing for some exciting events for this fall. So, we’ve decided to cool down this month and take a little vacation. I mean, we all need to take a break sometimes, right? Well, while we’re not hosting any events, we’ll still be around. If you need to get ahold of us, you can send us an email and we’ll still continue to share cool links on Facebook, Twitter, and LinkedIn. Keep in touch, okay? We’ll see you in August!

 

Thank you!

Every year, AIGA Baltimore asks its membership to vote on the current board members to ensure we are aligned well with our members. This year, like many years prior, you voted us IN for the next year! Thank you so much!

Each of us is excited to be a part of a growing group of designers dedicated to our craft in Baltimore and as such we are excited to serve up some excellent design events, networking opportunities, and more for you in the Baltimore area.

Be on the lookout for emails in the coming months about interactive lectures, letterpress events, and our 2nd Annual Design Week in October, when our chapter celebrates our 25th birthday. Make sure you’re subscribed to get our emails (see the widget to the right) so you can keep in touch and get updates on upcoming events. You won’t want to miss what’s coming!

Letter from the Incoming Co-Presidents

This spring Jennifer Marin and Stacey Fatica begin their first term as Co-Presidents of AIGA Baltimore, replacing the outgoing leadership of Alissa Jones and Brian Ghiloni.

Both Stacey and Jennifer joined the chapter last Spring. As Education Director Jennifer is inspired by Baltimore’s community of artists, designers, and web developers. Stacey, as Social Design Director is motivated by her connections with the local design community. Both believe that individuals are drawn to AIGA because of a need to belong to something bigger than themselves, to learn from both freelancers and business owners while sharing their own unique knowledge with an unusual city of diverse backgrounds, interests, and talent.

As the incoming Co-Presidents prepare to invest themselves into their challenging roles, they are aware that they are expected to build upon the legacy started 25 years ago with AIGA Baltimore’s first president, Bob Shelly. Under Alissa and Brian’s leadership, the board launched Baltimore’s very first Design Week, executed a large-scale student design conference, Ink & Pixels, and in 2012 alone, held 45 other events geared towards professional development.

The goal of the new presidency is, put simply, to continue and strengthen the legacy of the chapter as set by its predecessors. Providing relevant, memorable events to foster actionable conversation appropriate to the impact that design has on society and the lives of individuals, both personally and professionally.

Assisting Jennifer and Stacey in achieving their goal is a board powered entirely by volunteers, each of whom have a specific focus that is added to their respective teams. The Programming Team, led by Courtney Glancy, pioneered AIGA Baltimore’s first Design Week in 2012 and is currently working on the next, this October 2013. Converse, the well-attended monthly design conversation event, continues to be executed by Lauren Zuber. And our communications team Greg Jericho, Kate Lawless, and Vanessa Vichayakul have combined their efforts to create a powerful social media following and are developing an increased online presence.

Maintaining the foundation of volunteers as set by the outgoing presidency of Alissa and Brian is, itself, a primary focus for the incoming leadership. The Co-President’s message is clear:

“We are here for you. This is your AIGA. This year AIGA Baltimore celebrates our 25th anniversary and it is impossible to name the many individuals who have shaped our chapter throughout the years. Stepping into our roles, we know that our time on the board will be short and that we cannot succeed in this alone.”

“Whether you’ve offered your space for an event, volunteered to speak, reviewed a portfolio, or simply attended one of our events, you are the reason we continue to thrive. So thank you, Baltimore: we couldn’t do it without your support. We look forward to the next two years and hope that we provide the leadership that AIGA Baltimore deserves.”

Does Great Design Equal Great Success?

At varying points in a career, the question of success rises to the top of a list of concerns. If a designer is not finding it, they might diversify an existing skill set to better qualify for different types of assignments, or possible begin work in an unfamiliar style in order to develop a relevance in a contemporary design market. Sometimes, though, it’s worth considering that there’s something other than a portfolio holding us back, something that keeps us from competing with other designers besides the work itself.

At AIGA Baltimore’s most recent Converse, our open talk on a specified design-related topic, we asked our group this question: Is the success of a designer dependent solely on the finished product? Are we all missing that ‘something’ and are we even aware of it? The suggestions we heard were interesting, and the conversations, inspiring.

Be Prepared

Being prepared is necessary. Unfortunately, parents, teachers, and co-workers have been telling us to ‘be prepared’ so much, that it comes off as just a cliché. A filler. Words said to bridge the gap between receiving the assignment and agreeing to the deadline. To dismiss research, development, and practice by intending to go into a project with an overconfident, self-perceived cleverness to win over a client is not only going to fail, it’s going to give the appearance that any design experience comes solely from watching all five seasons of Mad Men.

We heard from well-prepared individuals who suggested including quantifiable data to back up logic in a presentation. By doing market research and reading case studies, a designer can show returns on investment, giving little room for logical disagreement. By using online analytics to measure the impact of interactive products and by using social media to configure metrics regarding the successful exposure of printed materials, there is a clear emphasis made that we understand how to make this thing work. Being clear means being prepared.

Explain Yourself

While we were on the topic of being clear, we identified at Converse that designers aren’t particularly strong when it comes to communicating verbally, and it’s a common misconception that it’s not a necessary skill, that the work should speak for itself. In truth, all the aforementioned research and development that was done to assure a project’s success needs a knowledgeable speaker to explain it in terms of goals, direction, and purpose. A creative brief of this sort can become a preemptive explanation to the client, an education in design process, that can prevent confusion and unrealistic expectations, especially in later stages where their seemingly minor change means a complete conceptual reworking for the designer. One Converse attendee so believes in the power of a verbally-skilled designer, that she took an acting class not only to present herself and her work, but also how to react to clients’ comments. That decision scores points for being prepared as well.

Trust Me

Being prepared and well-spoken are absolutely paramount in creating a trustworthy image of a designer. The Converse group found that there were many clients who had never met their designer or even talked to them. In a society that believes that it’s called ‘Dreamweaver’ because you dream up a website, click a button, and it weaves one up for you, it’s important to become separate from our software.

As designers, our clients should understand that we chose our career because there’s a collaborative effort, a critical process that we require to do our best work. If we didn’t want input, criticism, or revisions, we’d have gone into Fine Art and insisted upon our sole vision. We are people who have a unique talent to visualize the solution even better after we’ve broken the last one, whether by accident or knowledgeable rejection. For this sort of partnership to work, we have to trust each other and, because the client is the financier, it’s up to us to gain that trust first. By explaining early and often why they should believe we’ll succeed and how they can help keep it that way throughout the process, the client feels assured that we are able to control the project without micro-input. Being mindful that both parties specialize in different areas and shouldn’t be expected to guess how the other does their job is a welcome transparency and should also prevent some unwelcome surprises.

Success is How You Work

Our Converse attendees gave us lots of valuable insight on success with clients but they also suggested some tips to help productivity while working to increase the value of time spent designing. Planning ahead for what will be the most productive time of the day allows an opportunity to clear out distractions. Check email a limited number of times a day, for a limited length of time. Most agreed three times a day for thirty minutes each was the maximum.

Some of the most difficult distractions are often mental, the pressure of conjuring an idea that’s worth exploring or that spurs a creative work session. Non-computer related activities such as sketching or flipping through a coffee table book are two ways of refreshing inspiration, the added benefit being less time spent troubleshooting a software tool or becoming distracted while connected to email or other types of e-communication. The stress of administrative tasks is as detrimental to creativity as regular writer’s block, so it’s important to remove the availability of tasking reminders during the previously scheduled productive times. Otherwise, the guilty, inner voice insists on responding to everything before allowing a relaxed mind. Creativity works well under pressure because there’s not any time to worry about anything else.

Join Us Next Time

Interested in some more about creativity and where it comes from? Be sure to join us for our next Converse on April 18 at The Windup Space and tell us how you come up with those ideas. Or tell us that you’re not: maybe we can help. It’ll be like designer group therapy.

Here’s some links suggested during the Converse:

Viewing: Designing a Stop Sign

Reading: Be Excellent at Anything

Greg Jericho spends an awfully lot of time designing for clients that do not exist at his equally fake company, Myopic! Studio. Kate Lawless strategizes content for the web, develops e-learning, and designs digital signage by day. By night, she’s a freelance designer and socializer-extraordinaire.