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.

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.

5 DMV Experts Weigh In: How to Start Your Creative Career

On Saturday April 23rd, 2022, AIGA Baltimore held a virtual panel discussion for Ink & Pixels, “From Portfolio to Offer: The Art of Getting Hired”. The discussion featured a fantastic group of established professionals while talking about how to rethink and refine your approach to getting hired in the creative industry. There was lots of insight on the dos and don’ts of resumes, portfolios, and interviews as well as the other things to keep in mind that Google doesn’t tell you.

The panel included Nate Brubaker, Owner & Executive Producer at Rock Shore MediaJordan Watts, Director of Design at Fearless; Amy Quarles, Creative Director at Visit Baltimore; and Hilliary Turnipseed, Director of Recruitment & DEI at Subject Matter and Founder of Hill Street Strategies, and was moderated by Nhu Nguyen, Vice President at AIGA Baltimore and AVP, Creative Director at Fenton.

Career Values

What do you value? If you don’t know, start thinking about it. What do you value in your career? Some of our panelists noted that experience, respect, and a mission you can stand behind, is very important when looking for a career. Don’t forget to think about values in your personal life—especially a good work life balance. Workplace culture shouldn’t be stagnant. Just like the field of design is always changing, your workplace should be full of people who are also willing to change.

HR Advice

When applying for a job, be prepared and know where you are applying. We suggest having a document of when and where you applied and know about all of them. If you aren’t excited for the job application or if it doesn’t interest you, don’t apply! The interviewer will know if you don’t care or aren’t familiar with the company. Don’t hit apply if you wouldn’t be excited to get a call back.

When you graduate from college, you might not have the career experience you are looking for, but you should have some job experience. 

Think about it:

  • Have you had a job anywhere? Starbucks or anything at all?
  • Have you done any passion projects? These make you stand out from the crowd. 
  • Have you completed an internship?
  • Have you had a career shift? HR calls these nontraditional backgrounds with transferable skills. Talk about what underlying skills you have that will make you effective in this new role. 

Make sure you are being seen, heard, and valued. If an offer comes in and it seems insulting—it is insulting. Negotiate and believe in your worth.

What happens if you miss the job application deadline? If the job is still posted online (such as Indeed or LinkedIn), just apply and go for it. Be sure to look for contact information and email the person hiring to let them know you have applied to the job. 

Embrace the Change: Seize the Opportunities. 

Hillary embraced that you don’t have to explain your career gap in a global pandemic! If the employer asks about your gap, that may be a potential red flag. If you do want to explain—it’s ok to be your authentic self. Nhu noted, “feel free to be authentic. If you need to take time off for family, or for yourself, you can say this.”

Sometimes it’s okay to fake it until you make it. If you are learning something new like photography, just keep welcoming new opportunities (school project, client project, etc.). This is how you can bring your ideas to the table.

Networking

There are lots of ways to network and create connections—make connections in real life at events or online via LinkedIn, Twitter, etc.! Always be in conversation, always be there to support people. Create GENUINE connections. There might not be an immediate benefit, but it can come back around. Connect with them because you share a commonality.

Cover Letters & Resumes

When you are creating your cover letter, make it personal so you can stand out. Make sure to show yourself in your cover letter with your passions, personality, and values. Go deeper into what you have learned and how it applies to the specific company. Go through each of your resume bullet points and see how it can apply to the job. Don’t forget  to address the cover letter correctly, including the right person and the correct company. 

Each of these pieces (cover letter, resume, portfolio) are just one piece of the puzzle. Some employers will look holistically at the candidate, look at the outcomes, and look beyond their title. As Jordan explained, “The cover letter is a great place to explain your “why” and have a personal letter to your hiring manager.” 

When designing your resume, don’t overthink it or overdesign it—assigning a percentage to a certain skill or software is often not recommended (for example, 56% in Adobe Photoshop is confusing). Instead, keep it simple and add your skills/software in bullet points. We also recommend having a PDF copy as well as a simple Microsoft Word copy—sometimes the PDF won’t work on certain applications when you have to apply online. Make sure your resume can be printed, no tie dye backgrounds or lots of color in the background, keep it simple!

Portfolios

A few things to consider when deciding your portfolio platform: What is the cost? How easy will it be to update over time? For you, this might be a PowerPoint presentation, or it might be a website. 

There are lots of ways to present your work (printed portfolio, website, Behance, slide deck/PDF) but you want to showcase your work in a simple and organized way. Make sure you present in a way that is efficient, effective, and clean. When presenting, have something that is ready to go and doesn’t require WiFi. If you’re an animator, don’t have a print portfolio. If you are creating a portfolio with Google Slides/Keynote/PowerPoint, make sure to save and send as a PDF for a more professional look.

If your portfolio is on a website, make sure it’s mobile friendly (you never know what device the employer is using!). The moment a recruiter or hiring manager is faced with a difficulty (such as a website not loading or doesn’t have the PowerPoint software to open your .ppt presentation), they will more than likely move on to the next candidate. 

If it’s a team project, make sure to specify what you were responsible for. Keep in mind that most people assessing your projects are likely not to spend more than 5 minutes looking at a specific project—be sure to be prepared to talk about each project. 

You can find more information about the number of projects, and what to include (don’t forget process and sketches!), in this blog: Best Practices for Creating a Design Portfolio & Preparing for Interviews in 2022.

Interview Tips

When you are being interviewed, it’s not just the employer interviewing you—you’re also interviewing them. You want to make sure that they are a good fit for you. Always ask questions—especially questions about the company’s culture. Don’t forget to do some research on the company! Always be prepared.

What happens if you need special accommodations for your interview? For example, if you are deaf, you might prefer to meet in-person or on a video call. You can ask for accommodations in the comment section of the application or when they email you back. If you can’t find an email or if there is no place to add comments, try looking the company up on LinkedIn and see if you can message anyone. Again, it is totally reasonable to ask for the accommodations you need in order to have a productive interview—whether that is a permanent or temporary condition.

Our panelists shared their top advice for job applicants:

  • Be genuine and authentic: Don’t be afraid to show your personality. Employers want to make sure you will be a good cultural fit. 
  • Know about the company: Show that you’ve done your research on the company you’re interviewing for and show a genuine interest in what their goals are and how you can contribute to their success.
  • Your portfolio isn’t everything: Don’t just “let the work speak for itself.” Your portfolio is only half the battle. Make sure you are articulating your skills outside of your portfolio as well. How well do you work in a team? What leadership skills do you have? Are you good at managing multiple project deadlines?

5 Key Takeaways from Our Panelists

Nate Brubaker
Seize opportunities! When hiring, we’re not just looking for a degree. Looking for the person who took advantage of all the opportunities available. 

Jordan Watts
Look for whether a company is willing to change and embraces change. Recognize imposter syndrome. From his colleague Kelsey Johnston—“if you think you’re 80% qualified, you are 100% qualified.” That remaining 20% is the room for growth, and learning on-the-job is expected.

Amy Quarles
For your portfolio: Think about what you learned from each job/project. Even if the design output wasn’t completely newsworthy, your hiring manager will be looking at it in the context.

Hillary Turnipseed
Only apply for as many jobs/interviews as you can show up for 100%. The interviewer will know if you don’t care or aren’t familiar with the company. Don’t hit apply if you wouldn’t be excited to get a call back. Rejection is Redirection.

Nhu Nguyen
Fight through the fear. Don’t let imposter’s syndrome hold you back. The best opportunities come from taking risks!

 

Meet the Panelists 

Nate Brubaker

Owner & Executive Producer @ Rock Shore Media
Nate developed a passion for entrepreneurship and the creative industry at a young age. According to Nate, the most rewarding part of creating Rock Shore so far has been the ability to grow his team and see them prosper.

Jordan Watts

Director of Design @ Fearless
Jordan has spent his career working to rebuild trust in government and public institutions. As the Director of Design at Fearless he leads a multidisciplinary design practice to help people deliver and get better government services.

Amy Quarles

Creative Director @ Visit Baltimore
Amy began her career as an in-house graphic designer at a labor union in Washington, D.C., and moved to the leisure and tourism marketing space in 2007 where she has been ever since. She works with one full-time, in-house graphic designer and marketing managers in a small group of freelance creatives—photographers, illustrators, stylists, and videographers.

Hilliary Turnipseed

Director of Recruitment & DEI @ Subject Matter
Founder @ Hill Street Strategies
Hilliary is a DMV area-based talent acquisition executive, with a rich background in early-stage technology startups, media and social impact organizations. She seamlessly integrates diversity, equity, and inclusion strategies into her work, with an emphasis on advocating for underrepresented/underestimated candidates and creating two-way interviewing experiences.

About the Moderator:

Nhu Nguyen

Vice President @ AIGA Baltimore
AVP, Creative Director @ Fenton
Nhu brings over 12 years of comprehensive experience within the multimedia, interactive, and traditional design space and creative industry to develop effective and impactful campaigns. She leads the creative team at Fenton, integrating strategy, effective design, and compelling storytelling to create memorable solutions that help grow brands and leave lasting impressions. Nhu has worked in a variety of different industries and is passionate about amplifying voices that are underrepresented.

Thank you to Kristin Kosmides, Nhu Nguyen, and Frances Miller for your help on this blog.

Meet the Designers Behind the Ink & Pixels Branding 2022

Ink & Pixels is coming up at the end of April! Save the dates for the virtual panel, “From Portfolio to Offer: The Art of Getting Hired” on April 23rd and the in-person portfolio reviews on April 30th. This year, the branding for Ink & Pixels was designed by Jamie Wheeler of Jelly Creative Co. (@jellycreativeco) and Jess Langley of White Coffee Creative (@whitecoffeecreativeco).

Can you tell us about yourself? What’s your story?

Jamie — My go-to line is, “I’ve been getting paid to design for almost 15 years.” It started with a high school internship, a design degree from York College of PA, various design jobs, a few years teaching, and now I own Jelly Creative Co. A branding and design studio for the creatively ambitious. I also like lava lamps, Nutella, my dog Nova, reading fiction, and playing board games with my husband. When I’m working towards a deadline you’ll find 90’s hits or EDM blasting on my Spotify.

Jess — My story has been full of lessons and ups and downs. In college, I landed my first design-related job as a Store Artist at Whole Foods. I learned lettering, how to work with others, and built up my confidence. That led to my first internship turned design job after graduating with a BFA in Graphic Design from Towson University. After being laid off from there in June 2017, I decided I was done with the typical 9-5 culture and went out on my own. I started White Coffee Creative and haven’t looked back since! My services, style, branding, and who I like to work with have changed drastically since then but I’m so grateful for the journey. I started coaching creatives in 2020 and now am learning to balance the two businesses with ease. When I’m not working, you can find me sipping coffee (obviously, with extra cream and sugar), bingeing Netflix shows, hiking with my 2 pups and partner, or dreaming about having a cabin in the woods.

How did you meet and start working together?

Jess had been running her business for two years when I DM’d her on Instagram asking if we could meet for coffee and talk shop. We met up at Spoons for breakfast and just clicked! She was my first local design/business owner friend and a huge supporter as I went full-time with my company in 2019. Community is really important to us both so when I brought the idea of a group for local designers to Jess she was on board to help start the Facebook group, Baltimore Graphic Designers, which now has 300 members! We have worked on local branding projects together, drank lots of local coffee, sent countless voice messages, and continue to cheer each other on. After Ink & Pixels, we’re excited to see what design mischief we can get into next!

How did you approach this branding project and what was your design process?

We were inspired by the juxtaposition of ink (organic) and pixels (geometric). We started with basic shapes within the AIGA color palette, then using only these shapes we started creating icons that can be used in various ways. The final touch is the wavy lines that intersect with the shapes and icons to create movement and bring everything together.

Having a stark black background allows the colorful elements to be brought to life and grab your attention while scrolling on Instagram or walking by on campus.

The fonts are designed by our friend Alex of The Routine Creative, a Texas-based designer. The jackknife font just felt too perfect not to highlight!

Can you describe your inspiration and any challenges you came across them while designing the branding?

If we had been working solo, there may have been more challenges, but we were able to pass the files back and forth when one of us was feeling stuck creatively. We have worked on branding projects together so we hopped right back into a nice groove. When we say it was a fun project, we really mean it!

What’s your favorite part about designing branding?

Jamie — Like any large design project there are the peaks and valleys, I think the moments right after the valleys are my favorite. I think all designers have the thoughts of “this is never going to work, what am I doing” but it’s the “oh yeah, this is it!” that I’m always chasing.

Jess — I love pulling visual inspiration and using strategy and color psychology to tie in meaning. It’s always a fun challenge to create branding that visually captures the essence of a business while maintaining simplicity. So that beginning exciting energy and the finale of when it’s all done and ready to show the world are my favorite parts.

Was there an aha moment when you knew you wanted to be a designer?

Jamie — Why yes, yes there was. It was when I photoshopped Ashton Kutcher into my homecoming photo and posted it to my Myspace. Technically, that’s when I opened the world to design, but the moment I learned it was an actual career and a college major I knew that was the path I was taking.

Jess — Yes! In college, I dabbled in a few different majors—journalism, photography, general fine arts, and design. I vividly remember one of my college professors (shoutout to Carolyn Norton!) in an Intro to Design class telling me I was already a designer. Getting that recognition and encouragement made me feel ready to step into this direction as a designer full-heartedly, and I got accepted into the GD program at Towson that following semester!

In the long term, what do you hope to eventually accomplish as a designer? What is your biggest goal/dream as a creative?

Jamie — This question is making me realize how much I have accomplished as a designer already, which is really cool. My dream client at the moment would be to work with a performing arts company. Lately, I’ve been searching for ways to bring all my talents and interests together while also helping other designers and keepin’ it real. A huge dream of mine was to host a retreat for designers, which is happening this spring, so I’m too sure what’s next!

Jess — I’m really enjoying running my own studio. I love being a multi-faceted creative offering design, murals, AND coaching. I hope to continue to navigate balancing a variety of tasks, projects, and clients while continuing to reinvent myself and where I want to go next. My big dreamy goal right now is to speak on stage at a creative conference one day about intentionally finding that balance as a business owner while having the freedom to explore a variety of creative outlets.

Thank you to Jamie and Jess for sharing their stories! We cannot thank you both enough for creating the branding for this year’s Ink & Pixels. Make sure to follow them on their various social channels!

White Coffee Creative
Designer + Muralist
whitecoffeecreative.com | @whitecoffeecreativeco

The Colorful Jess
Mindset + Pricing Coach
thecolorfuljess.com | @thecolorfuljess

Jamie Wheeler
Owner + Creative Director
jellycreativeco.com | Instagram | Facebook

Best Practices for Creating a Design Portfolio & Preparing for Interviews in 2022

AIGA Baltimore is here to help you succeed in your design portfolio reviews and interviews! Here is a guide for creating a design portfolio and some tips on how to prepare for an interview.

1. Quality over quantity. Showcase your best work.

We recommend starting and ending with an awesome piece. Don’t be afraid to include self-initiated work to stand out from the crowd. ONLY show your best work in your portfolio. If you aren’t 100% happy with a particular piece, don’t include it. It’s better to have 5-7 amazing projects than 10-15 projects that aren’t so great.

2. Think about how you will present your design portfolio—whether it is a PDF or an online portfolio. 

Traditional portfolios are printed in a flipbook style. If you have mostly print pieces, the traditional route may be the way to go. A bonus of having a printed portfolio is the opportunity to showcase printed pieces and to give reviewers a takeaway. Or if you have mostly web pieces, think about creating a portfolio website.

If you create a traditional printed portfolio or just a PDF, we suggest using Adobe InDesign to create the best design layout! Use 1-2 pages for each project and make sure you have a good hierarchy in terms of typography and images. A good size is 12×18 inches. 

Don’t forget to make your projects pop by placing them in mockups. We recommend keeping your mockup files organized to avoid re-downloading huge files. Some good mockup sites are mockupworld.co, creativemarket.com, graphicburger.com, and unblast.com. If you can’t find a free mockup, sometimes it’s easier to just create your own. 

If you need more design resources, check out this *FREE* Design Resource Guide from YouTuber & Graphic Designer, Kel Lauren.

3. Create a graphic design online portfolio.

It is a good idea to have a graphic design online portfolio so you can easily share it on LinkedIn, via email. Think about using Behance (free to use), Adobe Portfolio (you need a Creative Cloud account), Dribbble (you need to be invited), or a custom website such as Squarespace, Wix, or WordPress. Keep an out on the Creative Market freebies as they sometimes offer free website templates. 

4. Seek design opportunities outside of school.

There are lots of ways to get involved in design outside of school. Join the Baltimore Graphic Designers group on Facebook. It’s a group for Baltimore area-based graphic designers to create community, ask questions, get advice, share jobs, and plan meet-ups.

One way is to get involved with AIGA Baltimore! AIGA Baltimore is gearing up for another year of learning, connecting, and growing, and we need your help! Join board leaders on 1/26 at 12PM to hear about open roles and volunteer needs and find out where you can make a difference.

5. Keep your career goals in mind.

What do you want a career in? Think about all of these categories:

  • Brand Identity Design
  • Marketing & Advertising Design
  • Packaging Design
  • Motion & Video Design
  • Web & User Interface Design
  • Print & Publication Design
  • Lettering & Type Design
  • Graphic illustration
  • Data Visualization & Infographic Design

Learn more about these specific career types on dribbble: https://dribbble.com/resources/types-of-graphic-design

6. Practice how you will present your work. 

Be ready to discuss the goal of the project and how you reached the solution. Consider bringing any process sketches with you as well since reviewers are interested in your overall process.

Make sure that the pieces you include are the ones you are proud of. Make sure you can talk confidently in your meeting, interview, or review. Practice with a professional if you can.

7. Seek expert feedback. Attend Ink & Pixels 2022!

Take the next step towards your design career! Whether you want to make a good impression in interviews, need a new perspective on your portfolio, or want fresh eyes on a current project, we’re here to help. Ink & Pixels is one of AIGA Baltimore’s largest events focused on helping designers prepare for a career or career shift. 

This year, Ink & Pixels will be a 2-part event. The first event will be a virtual panel, From Portfolio to Offer: The Art of Getting Hired on Saturday, April 23rd. The Ink & Pixels portfolio reviews returns on Saturday, April 30th at Towson University. Mark your calendars and clean up those portfolios!

Recap and Recordings | AIGA Baltimore Design Month 2021

This past October, AIGA Baltimore had a month-long celebration of design and designers in Baltimore and beyond! The theme for this year’s design month was Inside Out. We want to say a big thank you to everyone for attending events throughout the month and thank our branding sponsor, BCG Agency.

About the theme: Inside Out

It’s no secret that the pandemic has taken a toll on every single one of us. Many of us have experienced grief, loneliness, and isolation as well as freedom, triumph, and new beginnings.

As the world slowly evolves and “returns” to a new state of operation, we all find ourselves coping in different ways. A lot of us have grown accustomed to our routines at home while others are eager to go back out into the world again.

Whether you are in your healing journey, it feels like things are literally, and figuratively, turning inside out. That’s why we chose to use this as our theme.

We as a creative community acknowledge and understand you. We’ve seen how you’ve turned to art and creativity to express your feelings during a time of sudden change, and while the world continues to change again, we are here to celebrate your creativity, wherever you may be. Inside or outside. We are in this together.

Event Highlights

Through a series of online and in-person presentations, workshops, and social events, we aimed to inspire, strengthen, and showcase the Baltimore creative community. We held our mural hunt week, studio tours with Alpha Graphics, Duckpin, Fearless, & Indigo Ink, happy hour at Union Craft Brewery, the Baltober art challenge with MWCA, an artist panel with Lori Rubeling, and our first big event of the year, Spooky BBQ & Paint Night: Celebrating Creativity.

Paper, Pints, & Pizza at Union Craft Brewing

Check out the video below by our social media volunteer Caroyln Sangi for a recap of this amazing event! Special thanks to Jill Boorse and Rolland Papers for treating our guests, and Well Crafted Kitchen and Union Craft Brewing for supporting the event as a part of their Community Day program. The tasty and creative treats were made by Baker’s Best.

 

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A post shared by AIGA Baltimore (@aigabaltimore)


AIGA x MWCA Baltober

The drawing prompts for this year included festivals, sports, neighborhoods, attractions, parks, music, transportation, and food. Thank you to all of those that participated! Here are some of the illustrations that were submitted! Featuring some illustrations and drawings from Beth Harper.


Likely Stories: Chaos and Cosmos Recording

Lori Rubeling’s “Likely Stories: chaos and cosmos” Stevenson University exhibition provides an example for how we might tell 9/11, COVID-19, and Climate Change “origin” stories.

This webinar was a panelist conversation. UX designer Ebony Kenney, artist and community activist Rikiesha Metzger, and artist, designer, and SoDA planning committee member Richard Stanley joined Lori Rubeling in discussing the themes presented in the “Likely Stories: chaos and cosmos” exhibition.


Studio Tours

This year, we brought back our popular Studio Tour event in a virtual format. Special thanks to our guests: Kim Loper, Senior Designer at Alpha Graphics (who also served as the event planner and made this series possible); Jordan Watts, Director of Design at Fearless; Chad Birenbaum, Creative Director & Managing Partner at Duckpin; and Matt and Liz Richardson, Owners of Indigo Ink Digital Printing.

Watch the recordings:
Fearless Studio Tour and Q&A with Jordan Watts
Duckpin Studio Tour and Q&A with Chad Birenbaum
Indigo Ink Digital Printing Shop Tour

 


Spooky BBQ & Paint Night: Celebrating Creativity

Thank you to all of the attendees that came out to one of the first in-person events in the past few years! Everyone had a great time painting ceramics, taking pics in the photobooth, eating BBQ, and socializing with the community. Check out our Facebook page to see the photos from the evening taken by photography volunteer Christian Escano.

Frances Miller, Krystal Cotriss, and Nhu Nguyen created this collaborative spooky playlist on Spotify, give it a listen!

Also big thank you to our event partners: Indigo Ink Digital Printing, Phim HerBlue Pit BBQ & RestaurantBrand Nhu Creative, and Baker’s Best Desserts!

Big thanks to BCG for designing this year’s Design Month branding!

Meet the Designer: Paige Olsen | Ink & Pixels 2021

Have you seen the branding for this year’s Ink & Pixels on social media, our website, or the emails? The branding, patterns, and images were created by Stevenson University Alumna, Paige Olsen. We interviewed Paige recently to learn more about her process and her story.

Can you tell us about yourself? What’s your story?

I recently graduated with a degree in Visual Communication Design and am currently working as a Freelance Graphic Designer. In this role, I am designing promotional assets, visual identities, and graphic art according to client specifications.

In addition to my love for design, I have a love for fitness. I approach design similarly to how I approach fitness. Fitness requires a consistent effort to progress and a desire to persevere. I’m looking for an opportunity to take the next step in my Design career and am hoping to do so by merging both of my passions with a focus on graphic design in the fitness industry.

How did you approach this branding project and what was your design process? Can you describe your inspiration and any challenges you came across them while designing the branding?

My first step in approaching the branding project started by really understanding AIGA’s brand (goals and vision) and allowing the ideas to come to me. This general information led me to a better understanding of where the brand is vs. where they want to go. I continued my research by identifying the audience, as well as, reviewing past events/similar portfolio events in the area. Knowing what has previously been done allowed me to differentiate Ink and Pixels 2021 from what currently exists.

The number one strategy I used that inspired the brand’s identity was a Word Association list. I generated keywords associated with the main goals of the event, instead of pulling all of my inspiration from the title of the event, “Ink and Pixels”. The strategy led me to 4 main keywords that represent the event (Network, Continue (to learn), Connect, and Progress). I developed these keywords into icons to visually communicate the value of the event. By integrating these keywords directly, it is easy to understand what the event offers. The icons are also designed into an abstract pattern to reinforce this idea.

The main idea behind the visual identity is to show that even with different audiences (Students, Design Professionals, Speakers), they all have a common goal at Ink and Pixels (connecting, growing, and coming together). One challenge I faced along the way is the abstract pattern itself. The style I was attempting was new to me and needed to be designed heavily off of a grid. I overcame the obstacle by studying patterns that were also designed from a grid to understand how I can create my own.

What’s your favorite part about designing branding?

My favorite part about designing branding is turning my ideas into reality. I love the process of creating something impactful and memorable in the world that once wasn’t there.

Was there an aha moment when you knew you wanted to be a designer?

My journey as a designer is very different from what you would normally expect. I did not know anything about Graphic Design and wasn’t exposed to the idea until my senior year of High School when I enrolled in a Computer Graphics course. When growing up, I always had a love for art, but I never knew this would be the path I would take.

What led me to be a designer is that I felt as if it fit my personality. I am known for being driven and diligent. I enjoy challenging myself and in design, you need to constantly challenge yourself out of your comfort zone. Design is a challenge for me and that is what drew me to it. I have a willingness to always learn and progress. I believe consistent, disciplined action beats natural talent and that’s the approach I take in all aspects of my design work.

In the long term, what do you hope to eventually accomplish as a designer? What is your biggest goal/dream as a creative?

In the long term, I see myself further developing my skill set to create recognizable and noteworthy work at a reputable studio/company. I desire to evoke emotion and to bring the unexpected to the target audience of my designs. My end goal is to have a positive impact through the messaging of my designs while offering a high level of creativity.

Thank you, Paige Olsen, for sharing your story! We cannot thank you enough for creating the branding for this year’s Ink & Pixels. Make sure to give Paige a follow on her Behance portfolio page and on LinkedIn!