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.

Exploring the Future of Figma with Mindgrub

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

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

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

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

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

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

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

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

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

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

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

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

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

Audience Q&A

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

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

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

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

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

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

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

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

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

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

Some of our Panelist’s Favorite Figma Plug-ins

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

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.

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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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!

Design_v2021 Panel Recap

Thank you to those who registered and attending our Ink & Pixels panel discussion for 2021! Our panelists from Stevenson University, JP Morgan Chase, Planit, Jones Knowles Ritchie, and Quicken/Rocket Companies had a fantastic discussion about the most important industry shifts designers need to know as they prepare to get hired in a post-COVID world. Watch the recording below to get all kinds of great insights on preparing your portfolio, being interactive on social media, and learning about all of the great tools and resources out there.

Connect with the panelists:

Lori Rubeling, Professor at Stevenson University
Raksa Yin, VP, Visual Designer at JP Morgan Chase
Nikki Bracy, PR & Social Media Account Director at Planit
Taylor Woods, Senior Designer at Jones Knowles Ritchie
Benjamin Guarino, Team Leader, UX Design at Quicken/Rocket Companies (panel moderator)

Quotes from the Chat:

Designers definitely need to be involved early on in the decision-making process for new products—makes a world of difference! Too many teams assume and don’t do the work to gather research from the end-user.
—Valerie Anderson, President, AIGA Baltimore

Keeping social media post simple and effective can be the toughest battle between you and the client. They want to advertise every CTA in one post. This has been a great reminder to not back down from what you know works and use evidence to show why it works.
—Aja McDaniels, Graphic Designer, Aja Mac Designs

Keep a student/learner mindset always, no matter your age or skill level!
—Kim Loper, Education Director, AIGA Baltimore

Watch the Recording!

Great Website Resources/Groups

Tools to Use:

Podcasts:

Free Ebooks & Short Reads:

Books & Longer Reads:

Reconnected: January 2021 Community Meeting Recap

In January, AIGA Baltimore held a virtual Community Meeting to bring more voices into our plans for the year. Community Meetings like this were a bi-monthly occurrence pre-2020, and we plan to bring them back quarterly in 2021. Stay tuned for the next meeting in April and in the meantime, here’s a recap of what happened in January’s meeting.

AIGA Baltimore’s mission, goal, and motto

To kick things off, we shared the main vision, goal, and motto that was shaped by past boards and has driven our chapter over the past few years. No matter what 2021 brings, we will provide value to the Baltimore design community by making new connections between individuals, groups, and ideas. Our goal is to act as cheerleaders for our community and to be a platform for members to take advantage of to lift their skill level, visibility, and voice. Our motto, coined by President Emeritus Joseph Carter-Brown, is that we’re not “AIGA Baltimore,” we’re Baltimore’s AIGA.

AIGA Baltimore's Mission, Goal, and Motto

2020 Year in Review

Valerie Anderson, chapter President, gave a rundown of what AIGA Baltimore accomplished in 2020. Like all of you, the year looked nothing like we had envisioned, and it was a challenging year for a fully volunteer-run group. Nevertheless, we still managed to host 15 virtual events—on top of the 5 in-person events from Q1. One week before the shutdown, some of our board participated in a Bias Training workshop with the AIGA DC board. We partnered with wonderful organizations like Society of Design Arts, Ladies, Wine & Design, Baltimore Womxn in Tech, and the Asheville and Saint Louis AIGA Chapters to combine our powers on collaborative events, and we spread the word about other opportunities and events through our email newsletter.

2020 Q1 AIGA Baltimore events

AIGA Baltimore 2021 Preview

We shared the 3 main goals our board set for the year during our January virtual board retreat sessions:

  • Innovation: Break the barrier of our virtual world to create connections with and among our Baltimore design community.
  • Partnership: Streamline an official process to utilize strategic partnerships to reach new and diverse audiences and bring value to our community.
  • Inclusion: Integrate Diversity, Equity, and Inclusion initiatives to better represent and be inclusive of the Baltimore community.

We then split up into breakout rooms and used Google Jamboard to discuss these topics and brainstorm specific ideas for the year. Our attendees shared that they joined the meeting to connect with other creatives in the area. We left feeling confident with our goal to foster connections, and we are already working on several activities for the Spring.

What type of virtual or socially distanced events do people want

Want to help? Get involved!

We need people like you to make these things happen. We’re currently looking to fill several open board positions, including Diversity, Equity, and Inclusion Chairs; Treasurer; Programming Chairs; Community Partnerships Chair; Communications Chairs; and General Volunteers and Committee Members. If you’re passionate about bringing people together and using design to improve our world, we want to talk with you!

I&P Panel: Your Questions Answered!

If you missed the Ink & Pixels Designer Panel last week, we highly recommend you go back and watch the replay. “If I Knew Then What I Know Now” focused on honest, practical advice for new designers as well as those of us in a career transition, on how to navigate the job market during these uncertain times.

We had a vibrant community-led discussion with three experienced designers, who shared unique insights and tips from different perspectives across the design field. Our panelists opened up and gave us a raw and authentic view into their professional lives, as did members of our community who came together to share resources and provide emotional support.

For those who did make it, thank you for your incredible energy and engaging questions. We wish we could’ve answered them all before our brief time ran out. For those of you hungry for more, here’s the next best thing. Our three expert panelists are back to answer a few more of your most burning questions.

Emilee Beeson, Designer, and Illustrator

emileebeeson.com
Etsy | Instagram

Emilee Beeson is a graphic designer and illustrator with a broad creative skill set, contagious enthusiasm, and relentless drive for growth and learning.

What’s one non-design job you had that taught you something important? What did it teach you?
In the summers before I graduated from college I would work as much as I could to pay for my apartment and other expenses during the school year. At one point I was working three jobs. I started at 4 am at a gym smoothie stand, then had a shift at Chipotle, and in the evenings I worked at Coldstone Creamery. While it’s not a unique experience it makes me so grateful to have found a place in the design world. Having a good-paying job that aligns with your passions is such a privilege and it really helps me to find joy in my work when things get tough.

How can we use design for advocacy and social justice initiatives?
I am sure there is a bigger picture answer to this but I want to speak to the actionable side of it. Design is incredibly expensive so your skills can be a huge asset to organizations that can’t afford it. Social justice organizations and advocacy groups need logos, T-shirts, posters, print materials, websites, and social media assets just like any other group or business. A small and actionable way to use design is to volunteer your time and skills to these groups. Reach out to them and see how you can help. There are also a few events locally that you can participate in like the MICA Grassroots Design Fest and Make-A-Mark Baltimore.

As a job candidate, what is the appropriate amount of follow up, and how can you stand out and stay memorable among other applicants?
Unfortunately, there is no magic formula for the amount of follow up you should do. It’s awkward no matter what and each job situation is different. The reality is that your entire world might be hinging on that response and theirs probably isn’t. I personally think a phone call is a bad idea but a quick email doesn’t hurt if a considerable amount of time has passed.

I have found a good way to stand out is to have a leave behind for your interview. For me, that means a small package with my business card, resume, art prints, zines, and stickers. You are usually being interviewed by other designers/creatives that geek out about the same stuff you do. Giving them something physical that might hang around the office is a good way to stand out. I have also been on the receiving end of these leave-behinds and they are always a total delight. Make sure you bring extra in case someone wasn’t able to make it to your interview.

Perry Sweeper, Design Strategist

www.psweeper.com

Perry Sweeper is a 2020 doctoral candidate at the University of Baltimore, studying Information and Interaction Design.

What was your first step after graduation?
My first step after graduation was to take a comprehensive look at the classes that I completed and inventory the knowledge/skill-set that I gained during matriculation. I wanted to get a good understanding of the skills I acquired and the work that I produced. Then I could effectively communicate my experience to seek out the right next career steps. It was very important to me to be able to view my career in a multidimensional way: past, present, and then future.

What’s one non-design job you had that taught you something important? What did it teach you?
The non-design job that taught me something important was working as a shoe salesman. There was a mother that came into the store with her son who was looking for new shoes to wear to an important job interview. To help them I had to deal with many competing needs. The mother primarily sought a presentable shoe, at a good price point, that would make him look professional and would work for him later once he got the job.  But for the son, his main concern was to find shoes that were cool and that his friends would like. Because I knew the product well, I helped them find the right shoe in a sea of options and provided them with complimentary items like the right belt, socks, and shoe care. I also met my sales goals for the day and followed the company standards. When you do your job well in sales,  you increase the possibility that a customer will come back for a second, third, or fourth pair. It is also possible that their family will become lifetime customers and ambassadors for your brand. If you do enough of this, you could get even get a company bonus.

Design jobs require the uncanny ability to please multiple stakeholders, be detail-oriented, use effective communication, creativity, and sometimes serve angry customers. Much like retail and customer service jobs. Retail can be tough, especially during the holiday season. At the least, it can be a motivator to one day quit and move into that coveted design job you desire 😉

What kind of professional development should I be pursuing while in graduate school? Is it better to just focus on grad school until graduation?
In my opinion, it is important to focus on school while you are enrolled. School can require an incredible investment of time, energy, and money. It is in one’s best interest to do well. However, I believe in the value of experiential learning opportunities during academic breaks. They provide a way to apply all that one has learned during the semester in a real-life scenario. The right combination of theory and practice can lead to growth and career progression.

Alex Reynolds, Sr. Recruiter

cargocollective.com/alexanderreynolds
Instagram

Alexander is a Sr. Recruiter with Robert Half and Specializes in placing candidates that concentrate in the technology and creative fields.

What kind of professional development should I be pursuing while in graduate school? Is it better to just focus on grad school until graduation?
It entirely depends on the type of position you are looking to pursue. The easiest way to find out what kind of professional development that can assist in your job search is to look at job descriptions from industries/companies you would want to work for. They list the various software, certifications, or applications they find desirable in their candidates. – I would also seek to develop your professional network by going to Meet-Up Groups, Webinars, or Social Events. If you are more unsure about the kind of positions you are interested especially in the design/marketing space the main focuses (in a more general sense) tend to be Adobe Photoshop/Illustrator/InDesign, Social Media Management Tools, Email Management Tools, and Microsoft Office/Google Suite.

As a job candidate, what is the appropriate amount of follow up, and how can you stand out and stay memorable among other applicants?
The appropriate amount of follow up for a position you applied for is generally around 1 week if you haven’t heard any feedback – unless they have told you a specific time/date. The best way to stand out is to make sure your resume is able to speak to your skillset and experience and tie it back to a metric or result. Keep your resume to the point (bullet points tend to work best) because recruiters and hiring managers have to sort through a lot of resumes (sometimes in the hundreds) A lot of times hiring managers will just CTRL-F (Find Keywords highlighted in your resume). Make sure you are able to talk about how you have used a software, programming language, or tool and provide an example. A simple list at the bottom of the software you’ve used with no context is not enough.

How important do you feel a Masters’s degree is in the design field these days? Should I pursue it after graduation, or should I focus on looking for jobs and/or clients?
I think a Masters’s Degree tends to be more important if you are interested in teaching – or if you are looking at a specific field that requires one. Most design positions tend to look at a Bachelor’s degree or years of equivalent experience along with a solid portfolio and experience.