Ben Jenkins Lives Slow and Makes Fast

Ben Jenkins, founder of OneFastBuffalo, toured the East Coast hitting up six cities in six days to talk to six AIGA chapters about how he evolved his design business and his personal life into a more satisfying and fulfilling one. We laughed, we learned a lot about his concept of work-life balance, and we talked about how designers have a natural inclination to be designtrepreneurs.

“Twitchyness is contagious”

Ben Jenkins started his presentation with a disclaimer: “I can be a bit twitchy, and it can be contagious.” And as he continued through his talk, we watched him go into side tangents, witnessing just for ourselves how twitchy he was. We hung onto every word, anyway, as Ben told us a story about how he evolved his design business and his personal life into a more satisfying and fulfilling one.

About Ben

Growing up in the suburbs of Dallas, Ben Jenkins loved two things: art and baseball. He admitted it’s an odd combination; there aren’t many sports fanatics that are also into art and design. Following his dreams, he got a scholarship to play baseball at Mississippi State University, where he studied graphic design and architecture. After graduation, Ben went on to play for the Phillies in the minor leagues, and out on the road he passed the time working on small design projects for whoever asked him. These projects put him on the path to freelancing after Ben realized that his career as a baseball player was not going to land him in the big leagues. He continued his education at the School of the Art Institute of Chicago, where he earned an MFA in Art & Technology.

Everything is Bigger in Texas (Including Partial Male Nudity)

In 1998, OneFastBuffalo (OFB) was born from the idea that conventional wisdom isn’t always useful. Using his competitive nature as a ball player, Ben grew OFB from a two-person operation to a boutique firm. OneFastBuffalo would move from one office space to another as they expanded, and each time Ben would strive to create the dream office that any agency and their employees would love to have, especially one that would impress clients.

Through the growth of OFB, Ben sought validation as a successful graphic designer. He felt strongly that in order to be considered a good designer, he needed a client list full of the big ones. He was collecting his own design trophies, so to speak. Over time, he would spend more energy managing than designing, more time at the office than at his home, and more time making calls for work. Those 10 years of trophy collecting took a toll on Ben. The man who had been good enough to play in the minor leagues had gained substantial weight and it showed (literally) in the photos his wife took of him just wearing gym shorts.

Slimming the Buffalo (and the Man)

In 2008, Ben realized that it was time for another renovation, and not just one of office space. He turned his work and personal life upside down after realizing that he could work better in a different way. In a period of purging, Ben reduced not only his weight and a large portion of needless possessions, but also the size of OFB as the economy took a downturn.

He even subleased his office space (with the furniture), enabling him to do more with less. Plus this allowed him to spend more time with his wife and three sons. Instead of just heading off to work in the morning and getting home late from the office, he wakes up and has coffee with his wife, takes his sons to school, works in his home office (or wherever he feels like working), and spends time with the boys after school, too.

As Ben simplified the external aspects of his business, his branding process changed, as well. Now, instead of giving clients multiple logo concepts, Ben focuses on just one concept until he gets it right. This allows for more concentration and energy to be put into that one idea, as opposed to spreading the creative energy and time across two or three ideas, he says. And, as an added benefit, the client never picks his least favorite concept. And this process works, too! Since Ben began presenting one concept to clients in 2008, he’s only had to go back to the drawing board a few times.

Since 2008, one logo concept is shown to the client. This allows for more concentration and energy to be put into that one idea.
Since 2008, Ben shows only one logo concept to the client. This allows for more concentration and energy to be put into that one idea.

As his business evolved, Ben also stopped worrying about collecting trophies. He now focuses on creative work to help good people make famous brands, and he’s quickly learned that it’s more enjoyable and more fulfilling to work this way.

Where the Buffalo Roam (Have laptop, Will Travel)

While eating some authentic Mexican cuisine with his wife and kids, Ben came up with the idea of a Mobile Creative Lifestyle. Harking back to his days as a baseball player in the minor leagues and being out on the open road, Ben wanted to combine his passion for design and travel. Buying a 1958 Airstream trailer, Ben began to take his family out on “journeys” (not just vacations) and taught himself to “create big work in the smallest of ways,” by working within the confines of wherever he is at the time.

The OneFastBuffalo 1958 airstream mobile office
The OneFastBuffalo 1958 airstream mobile office.

 

You can now find Ben working on a brand concept in the back of his truck on a lawn chair, parked by a lake, while his wife and three sons enjoy some fly fishing or playing in a nearby playground. This is how “Live Slow, Make Fast” became his new mantra. Ben says that living and doing beautiful things that you enjoy while resting and relaxing will re-energize your work. Working in this way allows him to stay more focused and fill the eight hours (and only eight hours) with a more productive workflow. He uses the 8-8-8 principle to demonstrate this: 8 hours of sleep, 8 hours of play, and 8 hours of work make for a much more healthier work-life balance. There’s time to make and time to live, all in one day.

Ben quickly noticed that this new found freedom of working anywhere at any time made his work better, too. The famous brands that Ben used to chase around now just come to him because they recognize the quality of work he produces and the energy and focus he puts into it.

Designtrepreneur

With his new approach to working, Ben found he had the energy and focus to create brands for himself rather than for a client. He believes that designers are still artists at heart and that their ability to create and produce gives them a natural inclination to start their own personal brands. Armed with a passion for baseball, Ben started Warstic Bat Company, which produces handmade wood bats, baseball gear, and apparel. The company was recently featured in the pages of GQ and was even contacted by Coach to sell a limited run of men’s gear in their stores. Some other brands Ben has created are Treadsmith Board Co. (a snowboard producer), and INDIG (a strategic branding company for Native American owned companies).

Warstic_Pic
Warstic Bat Company, one of Ben’s many self-created brands.
The Journey Continues

The takeaway from Ben’s presentation is that a well-rounded work-life balance can be beneficial to re-energizing a creative professional’s focus and drive. He says you do not have to allow the pressure and distractions affect you as a whole. Spending time away from the computer and spending quality time doing things that make you happy will help you to be a better creative.

On June 1, 2015, Ben will shut OFB down for the summer and not reopen for business until September 1, 2015. He will travel around the country on a journey with his family, enjoying some quality time together while resting and relaxing. When September comes back around, with the energy he will have stored up, he most certainly will come out swinging his bat of creativity. And we can’t wait to see what he does next.


Chad Miller is a Senior Graphic Designer for MedStar Health who enjoys all things design and all things caffeinated.

How to Give and Receive a Good Design Critique

Why is critique so important?

As designers, we don’t design in a vacuum. A good designer will need to learn to take the feedback from their peers, clients, and bosses to solve a particular design problem. Critiques will also help you broaden your communication skills as a designer, as there is always the opportunity to articulate why you did what you did or to better explain your idea to the reviewer if they don’t see it as clearly as you do.

A good critique can involve both positive and negative feedback, which can be tricky to navigate. Here are some quick tips on how to give–and receive–good design feedback during a critique.

How to give a good critique:

The Love Sandwich
The best way to approach critiquing someone else’s work is to sandwich the feedback with love. If you think of your critique as the sandwich, the bread would be what you “love” about the work and the middle—the fillings—would be what you didn’t like as much.

First, tell your fellow designer what aspects you like about the piece, whatever they may be. Be descriptive. Instead of just saying “I like it” explain why you like it while using specific examples from the design whenever possible.

Next, move onto the constructive criticism. If you think certain aspects of a design aren’t working, try to explain why or offer suggestions on how they can be improved. Asking the designer questions may help them to see problems in the execution of the design that they may not have seen on their own.

You may also want to limit your use of personal pronouns, like “you,” to make sure your critique is about the design work and not about the designer. We all feel personally about our work, but during a critique it’s best to separate the person from the piece. For example, say you have a critique about a line intersection. You may want to say, “The way this line intersects with that line…” instead of “The way you intersected this line with that line…”. This will help reassure the designer that the criticism is about the work and not about them, as designers.

You don’t have to agree or like the decisions of the designer but their work deserves honest feedback. Put yourself in their shoes. If they are brave enough to share their work and ask for feedback, then they deserve to get that, both the good and the bad.

Finally, don’t forget to repeat or elaborate on what you liked about the piece so that the critique ends on a positive note. This way, the designer knows the piece may need some reworking, but also that there are aspects of the design that work as-is, too.

How to receive critique well:

A Grain of Salt
Hopefully, your fellow designer will follow the Love Sandwich guidelines and give you a great, honest critique. During a critique, It’s important that when you hear the good and the bad feedback to take it with stride. Design isn’t math. There are no right and wrong answers; only subjective opinions that may differ from one designer to another.

That being said, remember that a critique is about your work and making it the best it can be; it shouldn’t be about you. If you disagree with specific feedback, explain your decisions thoughtfully but also listen to what’s being said. Remember, those who are giving critiques generally do so because they want to help you grow as a designer, so try not to get defensive or take their criticisms personally.

And, if you don’t agree with specific comments you receive during a critique, it’s okay to ask for other opinions, too. Baltimore is filled with great designers who are willing to help and who love to give a good critique. There are also online resources like Dribbble or Behance that you can log into and share your work with others around the globe. Anyone, even a non-designer friend or coworker whom you trust to give honest and constructive feedback, can be a good resource. And, a good round of feedback is always better than no feedback at all.

Students and recent graduates! Want to have your work critiqued by Baltimore area design professionals? Register for Ink & Pixels, AIGA Baltimore’s Student Design Conference, before it is too late.

What’s the best or worse feedback you have ever gotten during a critique? What advice would you give to someone taking part in a design critique for the first time?

Related Articles:

The 4 essentials of a design critique

The Art of the Design Critique

Design Criticism and the Creative Process


Photo by Jeremy Drey for AIGA Central PA

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. Tweet her at @katereeez

Shannon Crabill is a New Media Specialist at T. Rowe Price. She has a love for social media, tech, all things do-it-yourself, baking, coffee and the occasional cringe-worthy pun. Outside of the Internet, you can find her dancing, riding her motorcycle and binge-watching home improvement shows on HGTV. Tweet her at @shannon_crabill

An INside look at Baltimore magazine

Baltimore Magazine was first printed in 1907 by the Baltimore Chamber of Commerce. It is to this day, the oldest city magazine in the U.S. In 1994, Steve Geppi, owner of Rosebud Entertainment acquired the magazine with the goal of reviving the publication by rethinking its content as a channel to celebrate the great things that Charm City has to offer. With over 50,000 magazines in circulation, its in-house creative team collaborates diligently to keep the look and feel of the publication fresh and dynamic. Amanda White-Iseli has been Art Director for the publication for the last 16 years and shares insight on her in-house team.

How far in advance do you start working on your next issue?

Baltimore is a monthly publication designed on a 4- to 5-week production cycle. My team and I work closely with each other and with the editorial team throughout the cycle. Work begins even before the previous issue hits newsstands as art directors and designers meet with editors and writers to discuss the stories for the next issue. As a department, we all rely on each other for collaboration and critique at every step of the process. We’ve developed a strong, harmonious relationship with the editorial staff as well as with our digital and social media divisions, whom we also work closely with.

Special Editions and Marketing Art Director, Staci Lanham designs our quarterly Home section, our annual Baltimore Bride magazine, and all in-house promotional materials. Our Design and Print Division—headed up by Art Director Vicki Dodson and Senior Designer Michael Tranquillo—is creating fresh, new looks for businesses all over the region including print advertisements, stationary, media kits, newsletters, brochures, and more. Jon Timian is our Production Manager and is responsible for the top-notch production of the magazine—color correcting, along with the image, print, and paper quality. Production Artist, Marina Feeser designs ads and manages ad production for the monthly magazine as well as Baltimore Bride. Craig Forbes is our digital designer handling our web design and many of our online videos.

Understanding the broad strokes of the story and the writer’s tone influences the direction of the design and helps with the initial concept stage. Stephanie Shafer, the editorial design assistant, is responsible for part of the front of the book and all of the departments. Sophia Belitsos, the assistant AD, designs the rest of the front of the book, some features, and our Local Flavor section. I design the cover as well as features, provide direction to the assistant AD and design assistant, and manage the art department as a whole.

The three of us meet weekly to review progress, discussing design direction and potential illustrators and photographers that would be a good fit for the stories. Each person is responsible for creating art assignments for the stories they are working on.

October 2013 issue. Photography by Scott Suchman.
Baltimore’s Best Breakfast Spots. October 2013 issue. Photography by Scott Suchman.
Photography and Illustration have become a huge part of your publication, is all of this done in-house?

David Colwell, our Director of Photography, shoots a large part of the photography for any given issue. Front of the book sections such as “Charmed Life” are typically shot in our studio during the second week of the production cycle. The studio—which is a block away from our Lancaster Street offices in Harbor East—is a large, open space that provides an area where we can paint walls, build sets, and do whatever is necessary to shoot everything from fashion to portraits to product and detailed documentary photography for the monthly magazine as well as our annual Bride publication. (It was even used for a short scene in Season 2 of “House of Cards.”)

We also assign work to photographers in our extensive network of talented freelancers. We try to choose photographers whose style and aesthetic is a good fit for that particular project. We then send a detailed art assignment explaining the story and our design ideas, often including sample images that will help describe the look we are after. We try to give them two weeks to complete each assignment, although time is a luxury we don’t always have.

Baltimore magazine. September 2014. Photography by Mike Morgan. Hand lettering by Martin Schmetzer

We approach illustration projects in much the same way, providing art assignments and examples of illustrations that will help guide the illustrator’s concept and initial sketches. We have worked with renowned painters and illustrators from all over the world as well as those in our own backyard, including MICA graduates and even some professors. We find most of our illustrators either through artist reps or as a result of their own dogged determination to promote themselves via print mailings and email inquiries (yes, a well-written email or catchy postcard still works).

Can you give an example of a recent concept for a cover that you really enjoyed working on? What was the process?
October 2014 issue. Photography by Scott Suchman. Hand lettering by Lauren Hom.

We recently produced our October 2014 Cheap Eats cover which was a lot of work–but really fun to do. The food stylists who I usually work with were unavailable, so I tried my hand at styling the dogs myself. I worked with photographer Scott Suchman who is gifted at shooting food. It was a long process that involved lots of buns, lots of toothpicks, and a soldering iron! I was really happy with the results. I also worked with illustrator Lauren Hom who is amazing! She did the hand lettering for the piece. I provided sketches of what I wanted to include and where—and she worked her magic.

How do you coordinate what goes into your print publication vs. digital?

We meet monthly with digital team to maximize the capabilities of digital media and make the content fresh and dynamic. This can include everything from redesigning charts and incorporating infographics to shooting behind-the-scenes footage from photo shoots as a supplement to the editorial content. We are active on Pinterest and Facebook, posting contests, polls, and generally maintaining an online presence that further nurtures our relationship with existing readers and helps develop new ones. That relationship, and the resulting communication, helps us deliver designs that complement and support the stories and enhance the reader’s experience.

Follow Baltimore Magazine: Facebook | Twitter | Pinterest

Jennifer Marin is co-president of AIGA Baltimore, you can follow her on Twitter: @hungry4design

What’s Up With Your Workspace?

If there’s one thing for certain, it’s that Baltimore designers have some fantastic workspaces. This is only evidenced by the growing number of Instagrammers out there tagging #bmoreAIGA100 on their #workspace photos this month.
So far, we’ve seen that many local creatives have multiple screens:

http://instagram.com/p/zCoI_JN2w0

 

some expansive workspaces:

http://instagram.com/p/ysn6O3RHii/

 

and even miniature workspaces with big visuals:

http://instagram.com/p/y0fCtbLLMH/

 

Speaking of big visuals, we’ve got some inspirational walls:

http://instagram.com/p/yu9mZ6qAtg/

 

a few ‘remote’ coffee shop spaces:

http://instagram.com/p/y5aydMvgQb/

 

and some well-appointed cubicles, too:

http://instagram.com/p/zAwgnJOx_i/

 

And this isn’t even half of the postings on Instagram, so go check out the rest with hashtag #bmoreAIGA100.
While you’re at it, snap a pic of your own #workspace and tag it on Instagram with #bmoreAIGA100. We don’t care if it’s messy and cluttered or clean and dust-free; just do it by February 28th and you’ll be entered to win one of two year-long Skillshare subscriptions!
BONUS ROUND: Want to double your chances? Come up with a creative way to spell out #bmoreAIGA100 in your photo for a second entry.
Oh, and here’s one last Instagram with a lovely Bmore feline to leave you feeling cozy on a cold winter’s night:

 

workspace with O's gear and a kitty
rmadar1: My lil corner workspace, lots of orange, lots of cat. #bmoreAIGA100 #workspace #Baltimore

 

 

 

Meet Megan Brohawn, Baltimore Designer

Megan Brohawn

Megan Brohawn is a powerhouse designer who brings a modern perspective and fresh approach to her projects at Novak Birch. Check out her work and get to know her a little better:

What’s your favorite project in your portfolio right now?
My favorite recent project was designing the Baltimore Triathlon logo. It was a really fun collaboration with Will, the owner of Elite Race Management. The inaugural race takes place in a few weeks, and I can’t wait to see the logo on the final materials – shirts, medals, stickers, banners, and more!

Who’s your favorite designer or design studio?
Jessica Hische; I am really inspired by her hand lettering.

What music do you listen to while you’re working?
Music is an absolute must for me when working! Currently I am listening to a lot of St. Vincent, Jack White, Yeah Yeah Yeahs, and Arcade Fire.

Choose one: Adobe Illustrator, InDesign, or Photoshop?
Indesign.

Why do you love AIGA?
I love AIGA because I enjoy sharing experiences with other designers and taking part in our local design community.

BMA’s Big Table Roundtable: A Conversation on Immersive Design

On Saturday, October 18th, AIGA Baltimore opened its third annual Design Week at the Baltimore Museum of Art with a roundtable discussion on immersive spaces.

The Big Table is a project headed off by Baltimore Museum of Art (BMA) that strives to address questions and criticisms about art posed by visitors. Each year, a designer or a team of designers is chosen to address one question or idea. Bruce Willen and Nolan Strals from Post-Typography, Ellen Lupton and Abbott Miller from MICA and Cooper-Hewitt (respectively), and David Plunkert of Spur Design, have all designed for The Big Table over the past few years. They gathered together to discuss their concepts at the BMA in the Fall of 2014.

Gamynne Guillotte, Director of Interpretation & Public Engagement for the BMA, talks about the purpose and format of The Big Table.
Gamynne Guillotte, Director of Interpretation & Public Engagement for the BMA, talks about the purpose and format of The Big Table.
Words are Pictures are Words

How do contemporary artists use text in their work? Willen and Strals approached this question by considering language and how meaning changes depending on how it’s written. They created their immersive space, titled Words Are Pictures Are Words by using that same phrase in several contexts, including a room-sized infographic, showing how the meaning of the phrase changes depending on type, style, and arrangement.

Willen and Strals talk about their concept for Words Are Pictures Are Words.
Willen and Strals talk about their concept for Words Are Pictures Are Words.
Point, Line, Grid

“The idea becomes the machine that makes the art.” This quote by Sol Lewitt inspired Ellen Lupton and Abbott Miller to create the work Point, Line, Grid. They created a bulletin board-style grid that explores the way an artist thinks by inviting visitors to create and display their own artwork to dominate the room for the next year. The environment was created to point to the inspiring artwork while letting the visitors create something of their own.

Ellen Lupton talks about how they implemented the grid on the walls, and suddenly the room became an interactive experience for viewers...or shall we say, participants?
Ellen Lupton talks about how they implemented the grid on the walls, and suddenly the room became an interactive experience for viewers…or shall we say, participants?
Extra-Ordinary Objects

David Plunkett says that an object in a museum becomes something more important because it’s in a museum. He approached his Big Table project by studying the permanent exhibits in the contemporary wing and making a list of the common items he saw there and in an everyday environment. The resulting work, Extra-Ordinary Objects, is a room about objects one could find anywhere, remixed and displayed in ways that were unusual, presenting the viewer with a new, amusing way to see the relationships between those everyday objects. It will be on display in the Contemporary Wing until September 2015.

David Plunkert talks about a few of his extra-ordinary objects.
David Plunkert talks about a few of his extra-ordinary objects.

To see more photos from this event, check out the set on Flickr.


Greg Jericho spends an awful lot of time designing for clients that do not exist. Check out his work at gregoryjericho.prosite.com.

Touring through the National Parks Conservation Association’s Brand Journey

When Scott Kirkwood joined the National Parks Conservation Association (NPCA), headquartered in Washington, DC, as the senior editor of National Parks magazine 9 years ago, he knew he had a lot of work to do. The magazine was in desperate need of a redesign, the annual report had been neglected, and the logo hadn’t been revised since dinosaurs roamed the planet. He could sum up the brand in one word: stale.

But he said “We can do better!” Scott buckled down and began making small tweaks to the design department’s production and nearly 10 years later he’s lived to tell the tale of the NPCA’s brand revitalization. His side-kick, Annie Riker (who came on as a designer at NPCA in 2006) joined him on Tuesday, January 28, 2014, to talk to a large audience of brand-hungry design lovers at Groove Commerce’s new digs in Harbor East.

Participants nodded in agreement as Scott and Annie revealed their views on cultivating client and partner relationships and what constitutes engaging content. Check out some of the highlights from our Twitter feed below and some great moments captured above.

Continue reading “Touring through the National Parks Conservation Association’s Brand Journey”

HOW Interactive Conference 2013: Tools & Resources

When I first set out to write about what I learned over 3 fabulous days at the HOW Interactive Design Conference in Chicago, I realized (as I sifted through pages and pages of notes) that what’s needed here isn’t another recap of sound bites from the event. What I usually hear from design conference attendees is “it was good but I was expecting more” or “I had a great time but it only reinforced what I already knew.” If you’ve scoured hundreds of articles, blogs, and books about how to be a better designer then you don’t need to learn more, you need to do more. So, with this article, I figured you’d want tools to get the job done.

I’ve put together the tools and resources that the speakers shared at HOW, some of which are free.

PROTOTYPING & WIREFRAME TOOLS

sketches

Axure.com
Make interactive wireframe and prototypes without writing code.

UIStencils.com
Get the tools you need to sketch any type of prototype with pen and paper. Check out this iPhone Stencil Kit!

Protosketch
Build fully-interactive prototypes from your UI Stencil Sketches.

FluidUI.com
Design working mockups for mobile and tablet apps in the browser to share instantly.

Invision
Quickly share a mockup or demo a mobile app with this prototyping and collaboration tool for designers.

Flinto
Make your designs interactive. Create iOS prototypes with your rough sketches or final mock-ups. This tool adds interactivity by linking screens so you can quickly share with your client.

Skala preview
Send pixel perfect previews from your Mac to as many devices as you like. And if you’re working in Photoshop CS5 or higher, you can preview as you edit.

Codiga
A cloud-based drag-and-drop mobile interface builder. Import your own code or choose from their JQuery powered library of components.

Wirify.com
Convert any web page into a wireframe. The PRO version lets you export and edit the wireframes into a variety of formats.

Sketch
A vector graphics app (Mac only) for web and UI design. Render text, create artboards, and use its adjustable 960 grid for wireframes. Using Sketch Mirror, you can preview your work on your iPhone and tablet over Wi-Fi.

USABILITY TESTING

Silverback
Usability testing software for designers and developers. Screen capture, record live video & audio of your users testing your website.

Optimizely
Website Optimization and A/B Testing

UXrecorder
Mobile Website Testing for iOS

DESIGNING & BUILDING

Chris Butler

Macaw
Tired of designing in Photoshop and Illustrator? This web design tool writes code as you draw it.

Codrops
A web design and development blog that publishes articles and tutorials on the latest trends and techniques.

Hammer.js
Javascript library for multi-touch gestures.

Adobe Generator for Photoshop CC
Create image assets in real time.

Adobe Edge Reflow
Design responsive CSS layouts for all screen sizes and export to an HTML code editor with Adobe Edge Reflow CC.

Communication is Key

BOOKS, BLOGS, AND MORE…

Want to know more? Here are some books from the HOW speakers themselves. If I hadn’t brought all carry-on luggage, I might have bought every one of these. Thank goodness for the internet.

Patrick McNeal Twitter
Creator of designmeltodown.com
Session:  What You Need to Know To Be An Effective Web Designer
Books: The Mobile Web Designer’s Idea Book, The Web Designer’s Idea Book

Chris Converse – Twitter
Codify Design Studio
Session: How to Turn Your PSD Documents into Web Pages
Some Great Resources and Templates can be found here

James Victore – Twitter | YouTube
Keynote Speaker
Book: Victore or, Who Died and Made You Boss?

James Pannafino
Associate Professor, Millersville University
Session: Interdisciplinary Approach to Interactive Design
Book: Interdisciplinary Interaction Design

Chris Butler – Twitter | Blog
COO, Newfangled
Session: Master (minding) the Process: Presentation Slides
Book: The Strategic Web Designer

Margot Bloomstein – Twitter
Principal, Appropriate, Inc.
Session:  Making Meaning in Content and Design – Presentation Slides
Book: Content Strategy at Work

Todd Zaki Warfel
Co-Founder, Nimbly App
Session: Interactive Prototyping & Exploration of Standard Prototyping Tools
Book:  Prototyping A Practitioner’s Guide

Terry White, Sr.
Worldwide Evangelist, Adobe
Session: Create HTML Websites, iPad Apps and eBooks Without Writing Code
Tutorials

Cameron Moll
Founder, Authentic Jobs
Session: Visual Execution of Branding Across Platforms
Books: CSS Mastery , Mobile Web Design

Christopher Cannon
Senior Designer, Bloomberg
Session: Designing Data: How to Create Meaningful Visualizations – Presentation Slides

Brian Wood
Co-Owner, AskBrianWood.com
Session: Bridging the Designer/Developer Divide

David Sherwin – Blog
Principal Designer, frog
Session: Using Storytelling Techniques to Create Better Interactive Experiences
Book: Success By Design: The Essential Business Reference for Designers

Dan Rhatigan
Type Director, Monotype
Session: Tailored Type for Screens – Website

Want a play by play of the event? Here’s a beautiful summary of the social media from the conference as it happened.

Have you used some of these? Do you have something to add? We want to hear about them!

Jennifer Marin is the co-president of AIGA Baltimore and she clearly loves resources.

Nominate your favorite Baltimore Logo Designer!

This November, to highlight the contributions made by the many designers in Charm City, Edwin Gold, professor of Communications Design and director of Ampersand Institute for Words & Images, is curating a special exhibition featuring the very best logo designs by Baltimore creatives to be displayed in the UB Student Center Gallery.

The exhibit, which is to be on display for three months, opens with a reception for the designers and friends. Further information, including the panel of judges and instructions for mounting are to be finalized in coming weeks.

To nominate your favorite local designer (or yourself), contact Ed: egold@ubalt.edu and include name, contact information, and samples of your favorite logo designs.

DEADLINE FOR SUBMISSIONS: September 20, 2013.

25 Ways to Rejuvenate Your Creativity

To celebrate AIGA Baltimore’s 25th year, Jon Barnes, Director of Communications at ADG Creative, has a to-do list for you that’ll motivate your imagination.

Dig out some of your old work or go through an earlier portfolio to see how far you’ve come.

Go to a museum you’ve never been to but always wanted to visit.

Watch a documentary on an artist or visionary who inspires you.

Have your best friends bring their favorite inspirational documentaries over for a movie night.

Focus on 1 artistic project you’ve had brewing in your head and get started on it. Not for work, just for you.

Volunteer at a career fair for local students or visit your high school art teacher just to say hi.

Rearrange your home office or studio for a fresh look and feel. Throw some junk out.

Start a file on your computer called “dreams” and start putting thoughts, notes, and ideas into it of your artistic visions.

Go the bookstore and browse through the art or design section. Buy something motivational for your coffee table.

Create a guerrilla art project somewhere secretive in public. Tell no one.

Make a really stylish homemade card for the next family member of yours who has a birthday. Work so hard on it that the card itself becomes the gift.

Post some of your favorite motivational quotes on sticky notes and put them in your car/bathroom/kitchen.

Create a motivational quote wall at your home or office and ask your friends to contribute their favorite inspirational quotes to it.

Take a day off from work and go to the beach. There is something deep and real about the ocean that connects with the artistic process. Schedule it now.

Spoof something famous (Mona Lisa, Abbey Road album cover) and post your subversive work around the office.

Take a new route or mode of transportation to work for a week.

Change your schedule drastically for a month, prioritizing your “personal creative time” above everything else.

Start a Facebook group asking your friends to post links to their favorite art and design websites. Call your group “Design Motivations” or something with the word “-licious” in it.

Get in touch with a local non-profit and offer to do a free piece of design work for them.

Commission a piece of artwork from a child you know. Pay them handsomely for it and hang the artwork in your house or office.

Repaint one of your rooms. Single color or mural.

Have an art show for all your friends and family at your house. Call it an “art party” and post up your work on all the walls. Even better: Rent a few cheap hotel rooms and have your show there.

Volunteer at a senior center or hospital to give some free art lessons or do a fun collaborative design project.

Pick an obscure holiday and plan a celebratory office party around it (Potato Day, Thomas Crapper Day, etc.). Go overboard with decorating, contests, activities and food. Pull in your co-workers to conspire with you in the planning.

Take a look at your personal website or online portfolio. Overhaul the content, get it updated, refresh the look. Barter with someone if you need help.