Design on Tap 2025: A Summer Kickoff to Remember

Posted on by Drew Bonsu

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!

 

Resume Writing: Guidance for Designers

Posted on by Jonathan Silberman

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

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

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

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

Clarity before Writing

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

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

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

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

Will the ATS kick me out?

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

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

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

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

General Resume Advice

Formatting:

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

Content:

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

Additional Tips:

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

Insights from Design Leaders

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

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

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

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

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

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

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

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

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

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

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

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

Wrapping up

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

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

About the writer

Kelli Hrivnak

LinkedIn | Website

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

Meet the Designers Behind the Ink & Pixels Branding 2022

Posted on by Krystal Carpintieri

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

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

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

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

How did you meet and start working together?

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

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

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

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

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

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

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

What’s your favorite part about designing branding?

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

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

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

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

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

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

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

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

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

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

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

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

Meet the Designer: Paige Olsen | Ink & Pixels 2021

Posted on by Krystal Carpintieri

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

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

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

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

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

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

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

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

What’s your favorite part about designing branding?

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

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

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

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

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

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

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

Finding Your Creative Communities

Posted on by AIGA Baltimore

National and Local Professional Organizations

 

AIGA The Professional Association for Design logo
AIGA: The Professional Association for Design | National
AIGA Baltimore | @aigabaltimore
AIGA advances design as a professional craft, strategic advantage, and vital cultural force. As the largest community of design advocates, we bring together practitioners, enthusiasts, and patrons to amplify the voice of design and create the vision for a collective future. We define global standards and ethical practices, guide design education, enhance professional development, and make powerful tools and resources accessible to all.

AAFB: American Advertising Federation Baltimore logo
AAF: American Advertising Federation | National
AAF Baltimore | @aafbaltimore
The American Advertising Federation of Baltimore (AAFB) traces its roots back to 1918, originally established as the women’s auxiliary to the men’s Advertising Club. In 1920, the women formed their own organization, naming it the Women’s Advertising Club of Baltimore. It was affiliated with the Associated Advertising Clubs of the World, the predecessor to the modern-day American Advertising Federation.

AGI Alliance Graphique Internationale
AGI: Alliance Graphique Internationale | @agigraphic
Alliance Graphique Internationale [AGI] is, as its name suggests, a member-based association of professionals, united by working in the field of graphic design and drawn from across the globe.

AMA American Marketing Association logo
AMA: American Marketing Association | National
AMA Baltimore | @amabaltimore
The American Marketing Association Baltimore Chapter is Maryland’s leading provider of networking, educational programming, and resources for marketing professionals. AMA Baltimore provides extensive opportunities for marketers to expand their networks, grow professionally, and learn about current industry trends.

Creative Mornings logo
Creative Mornings | National
Creative Mornings Baltimore | @CreativeMorningsBaltimore
CreativeMornings/Baltimore is a FREE monthly breakfast lecture series based on the two core principles that everyone is creative and everyone is invited. CM/Bal is one of over 200 chapters around the world meeting each month. Every month, all chapters organize talks based on the same theme. CreativeMornings is fueled by an engine of generosity and is 100% volunteer-run, partnering with great local businesses and organizations. If you’re interested in volunteering, please complete this form.

Baltimore Creative Community

BOPA: Baltimore Office of Promotion & the Arts
@promoandarts
As Baltimore City’s arts council, The Baltimore Office of Promotion & The Arts provides resources and opportunities to artists and artist organizations to continue to make Baltimore a city for the arts.

BCAN
@baltimorecreates
The Baltimore Creatives Acceleration Network (BCAN) is a 10-year, city-wide initiative providing both strategic and as-needed, just-in-time entrepreneurship support for Baltimore creatives of all disciplines and backgrounds. At BCAN, we define artists, creatives, and entrepreneurs the same way: visionaries who create something new from raw and often limited resources.

Through our Programs—Founder Fellowship, Connect, Help Desk, Mobile, and Pilot (launching in 2020), we’re on a mission to foster a stronger, more equitable creative ecosystem and economy in Baltimore by empowering artists as entrepreneurs!

bfc: Baltimore Freelancers Collective
IG: @bmore_freelancers
FB: @baltimorefreelancers
Whether you own your own business, freelance on the side, work remotely for a large company, or just want to learn more about entrepreneurship—we would love for you to join us at our next event.

Elevate & Cultivate with Illiah
@elevate.cultivate
Nothing combats fear or intimidation like bravery and empathy, so reach out to your competition, ask for a chat—it could change your life! Also, pay attention to when inspiration hits you like a truck, it could be your next big thing. And finally, keep a list of competitors, not to watch, but to reach out to invite them to be your friends and join our community.

The Bmore Creatives
@thebmorecreatives
Hi, welcome to The Bmore Creatives! We are a community platform and a social media brand that celebrates the creatives, the makers, the get sh*t done-ers, the people that make Charm City charming! We promote and connect local artists, small businesses, and avid IGers throughout the city. We want to prove that everyone can be creative when they are open to being inspired by everyday life in our city.

Ladies, Wine & Design
Ladies, Wine and Design Baltimore holds monthly events which are limited to eight creative ladies. We’ll have drinks and casual conversations on a wide variety of topics relating to creativity, business, and life. If you’re a female student or creative and would like to join, please email us. It’s free and reservations are first-come, first-serve. You can follow us on Instagram and Facebook, and if you’d like to host us in your space, teach a workshop, or lead a discussion, please do get in touch.

Made With Love In Baltimore
If you want your product or organization listed, drop a “Made with ♥ in Baltimore” link on your site, and send us an email to hello@madewithloveinbaltimore.org.

Open Works
@open_works_bmore
Our mission is to make tools, technology, and the knowledge to use them accessible to all. We connect you to manufacturing equipment, space, education, and Baltimore’s largest community of maker professionals. With programs for ages eight and up, we can help you make just about anything!

Production Club of Baltimore
@ProductionClub
THE PCB PRINT, PAPER & PRODUCTION SHOW 2020 (Scheduled for October 1)
Join the Production Club of Baltimore, along with hundreds of other local creative and marketing professionals, for an evening of networking and fresh production ideas from the mid-atlantic’s very best printers, paper suppliers, image producers, and technologists. Grow your swatch book collection and samples library. Cultivate new vendor partnerships. Seed your future project timelines with new media. Dig into deeper relationships with fellow creatives by face-to-face networking. This is a time to flourish! Register now!

SoDA | Society of Design Arts
@sodabaltimore
The Society of Design Arts (SoDA) presents a monthly program in Baltimore, Maryland to further attendees’ knowledge of the history of the design arts including graphic design, illustration, architecture, book arts, and photography. Programs are free and open to anyone.

SoDA consists of a planning committee that meets quarterly to discuss future programs. Formerly known as Society for History and Graphics (SHAG), the all-volunteer group has been active since 2007 providing more than 100 programs which have explored such diverse subjects as Bauhaus methodology and practice, Patent Medicine labels, The Real Mad Men of Advertising, Science Fiction illustration, and many others.

Baltimore Cake & Whiskey
Fresh, authentic, purposeful networking events for the modern businesswoman.

Baltimore Graphic Designers
This group is for Baltimore area based graphic designers to create community, ask questions, get advice, share jobs, and plan meet-ups.

Monument Women’s Creative Alliance
@monumentwomen
Our mission is to support women creatives by cultivating a community that enables connection, inspiration, and education.

Baltimore Tech Community

Baltimore Women Techmakers
Calling all Baltimore women that use tech! Whether you are a Product Manager, Designer, Developer, or a tech hobbyist, this group welcomes you! This is the local chapter of Google’s Women Techmakers.

Baltimore Womxn in Tech
@BmoreWomenTech
Through networking, mentorship, and collaboration, we aim to empower womxn in our community. No matter your role in our ecosystem, we want you to thrive.

Baltimore UX Meetup
@BaltimoreUX
Calling all those who create excellent user experiences for sites, systems, applications, software, and hardware! From the startup to the enterprise. From user research to implementation. If you’re designing and building great experiences in the Baltimore area, please join us.

Code for Baltimore
@CodeForBaltimore
We are a community of volunteers who develop open-source projects as a Code for America Brigade by focusing on open government, open data, great design, and social good in Baltimore.

Code in the Schools
@CodeintheSchool
We empower Baltimore City youth to thrive in the 21st-century economy by expanding access to quality computer science education and building pathways from school to jobs and higher education. By focusing on youth traditionally under-represented in technology fields, we work to eliminate structural barriers and inequities in education and industry.

Hack Baltimore
@hack Baltimore
Baltimore is a unique and vibrant city, and though there are many reasons why we’re called Charm City, we tend to make the news for our flaws rather than our strengths. And hackathons are a great way to engage the broader community to explore technology as a way to help solve them.

Technical.ly Baltimore
@TechnicallyBMR
Technical.ly Baltimore is a local technology news organization dedicated to how innovation is impacting the region.

Creative Job Boards

AIGA
designjobs.aiga.org

Creative Hot List
www.creativehotlist.com

The Creative Group (TLC) | A Robert Half Company
www.roberthalf.com/employers/creativegroup

Creative Mornings
creativemornings.com/jobs

Working Not Working
workingnotworking.com/search/jobs

Behance
www.behance.net/joblist

If You Could
ifyoucouldjobs.com

Krop
www.krop.com

Talent Zoo
www.talentzoo.com

Media Bistro
www.mediabistro.com

Authentic
authenticjobs.com

Coroflot
www.coroflot.com

Smash
jobs.smashingmagazine.com/jobs

Futurism(s): An Inclusive History of Graphic Design

Posted on by Frances Miller

It is always an honor and a pleasure to have Ellen Lupton present. A huge thank you to Ellen for her generosity in delivering the recent talk on Futurism(s) as well as writing this article, for those who weren’t able to listen live.

On Wednesday, April 22, 2020, Baltimore’s stalwart design history group launched its new identity. Formerly known as SHAG (Society for History and Graphics), the group is now called SoDA, Society of Design Arts. It was my pleasure to deliver a talk called “Futurism(s)” as SoDA’s first event, in collaboration with AIGA Baltimore and Stevenson University. This online event attracted over 200 guests from the Baltimore region and beyond. Thanks to SoDA’s energetic new member Raquel Castedo, many designers from Brazil logged on to hear the talk and participate, as well as people from Utah, Tennessee, and elsewhere.

Below is my short summary of the talk, which was not recorded. —Ellen Lupton

“Futurism(s)” represents an approach to teaching Graphic Design History. At MICA, my colleague Brockett Horne and I are striving to tell a more inclusive history of design than the chronology we learned back when we were students. Most GD History courses include an ode to Italian Futurism. This canonical all-male art movement can be a leaping-off point for discussing other forms of future-leaning art and creativity. “Futurism(s)” is a talk with three chapters: Italian Futurism, Afrofuturism, and the Cyborg Manifesto.

Italian Futurism

Italian Futurism was launched by F. T. Marinetti in 1909. Frankly, it’s hard to find a more patriarchal, exclusionary, white-dominated movement in the history of design-isms. Marinetti expanded our view of the printed page with his innovative typography, but he infused his ideas with hatred and violence. He wrote, “We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom.” He wanted to destroy museums, libraries, and schools in order to make way for a factory-born future.

Futurismo-filippo-tommaso-marinetti

Although Italian Futurism scorned women and embraced fascist ideology, the Futurists explored liberated styles of masculinity. The Futurist painter Giacomo Balla, who published his “Futurist Manifesto of Men’s Clothing” in 1913, dreamed of menswear tailored with interactive fabrics that could be changed at will to represent a man’s shifting moods: “Loving, Arrogant, Persuasive, Diplomatic, Unitonal, Multitonal, Shaded, Polychrome, Perfumed.” Italian Futurism took place in a particular place and time, and many of us reject its politics while admiring its revolutionary aesthetics.

Afrofuturism

Afrofuturism is a movement in music, art, and literature that arose in the 1950s and continues today. (The term was invented by critic Mark Dery in 1994.) Afrofuturism embraces world-building, a creative methodology arising from science-fiction and gaming. World-building emphasizes mythic time rather than historical time. It employs storytelling across many genres, from novels, comic books, and toys to fashion, movies, music, and fan fiction. World-building actively engages an audience in experiencing a world that is both real and imagined.

Afrofuturist artists include the musician Sun Ra (1914–1993), an American jazz composer, bandleader, and poet who claimed to be an alien from Saturn—and always dressed appropriately for his role, building a mythic world around his persona. George Clinton’s funk band Parliament created their own “P-Funk mythology,” generating an elaborate backstory to the music. The Afrofuturist album covers of the 1960s and 70s featured space ships, Egyptian pyramids, and other symbols of cosmic knowledge. Today, a new generation has brought feminist identities to Afrofuturism. Artists including Solange Knowles, Rihanna, and Janelle Monae use sound, performance, fashion, and storytelling to build vivid worlds ruled by warrior queens and rebellious androids.

Billy Graham was the first black art director in the comics industry. In addition to creating a character called Luke Cage, based on Blaxploitation action films, Graham was the main comic artist to work on the Black Panther comic book series, from 1969 through 1976. These comics continue to be published today, with storylines created by renowned Black authors including Ta-Nehisi Coates and Roxane Gay. In 2018 Ryan Coogler directed the international blockbuster film The Black Panther, featuring production design by Hannah Beachler and costumes by Ruth E. Carter. Together, this creative team designed a high-tech civilization that combines aspects of contemporary African urbanism, architecture, and fashion with futuristic details.

Each of these exercises in Afrocentric world-building questions culturally dominant readings of technology. Mainstream representations of the future—whether utopian or dystopian—have pictured technology as a primarily white, male instrument of power, in contrast with subjugated human bodies that are seen as female and/or non-white. These artists have transformed how technology is represented and understood across cultures.

The Cyborg Manifesto

Donna Haraway’s essay “Cyborg Manifesto” (1985) represents a third vein of futurist design and philosophy. Haraway questions the binaries that privilege white, male, human creatures while “othering” countless alternative modes of life. The cyborg is a being who is both biological and mechanical. The cyborg challenges cultural binaries such as male/female, animal/human, and human/machine. According to Haraway, cyborgs don’t appear only in science fiction. The cyborgs have arrived! They are here among us! Examples of cyborg life include A.I., virtual reality, bioengineering, psychoactive drugs, and countless medical technologies, from fertility treatments to cloning and transgender medicine. Fashion has always altered the body, while people with physical differences use wheelchairs, prosthetics, glasses, and hearing aids to expand their mobility and change their sense perceptions.

Designers working in the field of speculative design use techniques such as illustration, model-making, animation, and photo-illustration to imagine new, often dystopian futures. In their project Life Support: Respiratory Dog (2008), Revital Cohen and Tuur van Balen explored whether a dog could breathe for a human being. Living “service animals” help humans overcome many sensory and emotional challenges; the designers ask, why not have service animals augment our essential biological functions as well? The project is intended to be fictional and provocative, not realistic.

revital-cohen-respiratory-dog-design-futurism

Despite its fictional aims, Respiratory Dog has assumed new relevance today, a time when thousands of patients with severe Covid-19 require artificial life support. Every intubated Covid patient is a cyborg. Devices for respiratory life support are landmarks in the history of design and medicine. The Negative Pressure Ventilator—also known as the “iron lung”—was used to artificially ventilate patients who were paralyzed by polio. An iron lung encloses the user’s body in a negative-pressure chamber. Rhythmic pressure changes inside the chamber cause the person’s lungs to expand and contract. Thousands of these machines were mass-produced for use in homes and care facilities before the discovery of the polio vaccine in 1955. Iron lungs were eventually replaced with positive-pressure ventilators, which force air in and out of the patient’s lungs through the airway rather than exerting pressure against the chest. These modern ventilators require heavy sedation and put tremendous strain on the body. Today, modern versions of the iron lung are being reconsidered as a technology that is less expensive and more humane than a standard ventilator. One such prototype, Exovent, is being developed in the UK (as of April 2020). According to the developers of this old/new medical technology, the Exovent is a simpler, cheaper, and less invasive technology; it allows patients to remain awake, to eat, drink, and take medications on their own, and to talk on their phones.

What is “futurism”? All futurist movements, from Italian Futurism to Afrofuturism and speculative design, are opportunities to challenge the present by picturing what comes next. Designers are imagining the future whenever they question how things look, work, or signify in the current moment. Sometimes, the future arrives on the wings of catastrophe. Sometimes, the future must be created by excavating the past. Design history doesn’t have to be chronological. Like world-building, design history can pursue ideas across simultaneous and overlapping dimensions.

Bibliography

 

  • Reynaldo Anderson, “Afrofuturism 2.0 & the Black Speculative Arts Movement: Notes on a Manifesto,” Obsidian, Vol. 42, No. 1/2, (2016), pp. 228-236
  • Yytasha L. Womack, Afrofuturism: The World of Black Sci-Fi and Fantasy Culture (Chicago Review Press, 2013).
  • Ruth la Ferla, “Afrofuturism: The Next Generation,” New York Times, December 12, 2016, https://www.nytimes.com/2016/12/12/fashion/afrofuturism-the-next-generation.html
  • Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (Cambridge: MIT Press, 2014).
  • Donna J. Haraway, Simians, Cyborgs, and Women: The Reinvention of Nature (New York: Routledge, 1991).
  • Dan Hassler-Forest, “The Politics of World Building: Heteroglossia in Janelle Monáe’s Afrofuturist WondaLand,” World Building, ed. Marta Boni (Amsterdam University Press, 2017).

 

About the Author

Ellen Lupton | Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum in New York City. Her exhibitions include “How Posters Work,” “Beautiful Users,” and “The Senses: Design Beyond Vision.” Lupton is founding director of the Graphic Design MFA Program at MICA in Baltimore, where she has authored numerous books on design processes, including “Thinking with Type,” “Graphic Design Thinking,” and “Graphic Design: The New Basics.” Her recent books “Design Is Storytelling” and “Health Design Thinking” were published by Cooper Hewitt. She is an AIGA Gold Medalist and a Fellow of the American Academy of Arts & Sciences.

Wanna get a design job? Think like a hiring manager.

Posted on by AIGA Baltimore

If my experience at Ink and Pixels taught me anything, it is that young designers continue to face the permission paradox—you can’t get a job without experience, but need a job to gain experience. Each of the five students whose portfolios I reviewed voiced this same set of concerns: Lots of applications are sent, but little-to-no feedback or opportunity exists after hitting send. Just about all students recognized that there was a glut of applications, and thus it’s hard to stand out from the crowd. And while the concerns are valid, I’ve begun to wonder if students fully understand the business side of the equation.

Hiring is a complicated and time-consuming process. To hire a new employee the business has to shell out costs, often in the form of man-hours and marketing costs. In business settings where a Human Resource Department is involved, there is time cost associated with posting, reviewing, and interviewing potential candidates. In addition, there is the time design managers and creative directors have to set aside to review and interview candidates. For a business, this time falls into an un-billable category, and thus represents lost income. A company is willing to put up with this lost income if they can identify and hire the right candidates, who are likely to stick around for a few years.

HR and the design team members eliminate candidates quickly—they have to—and they do so without prejudice. As a young designer, it is crucial to show (or tell) potential employers exactly what benefit, what problem they can solve when they are applying and interviewing. Sure, this is a gross over-simplification, and there are no absolute ways to achieve that goal. But as young designers often throw a lot of different types of work out to be reviewed (and I definitely believe this is a good thing), they should tailor their work to the needs of the potential employers. If the job is print heavy, show some print work first. If the job leans more towards a digital space, show some digital work first.

The importance of events like Ink and Pixels shouldn’t be overlooked. While not every reviewer or panelist will have jobs to hand out, talking to pro’s in this setting is a very structured form of networking. One-on-one time with a handful of design professionals can only help young designers understand the difference and challenges in each unique design environment. Talking to the attendees at Ink and Pixels was the highlight of my weekend (I mean, I live in a house with two toddlers), and I commend AIGA Baltimore for once again putting on this event.

About the Author:

RobMaguire_HeadshotRob Maguire has over 15 years’ experience providing graphic design and marketing services to businesses of all sizes. After changing gigs each time his wife switched jobs and cities, Rob decided to begin his role as an independent creative. His experience working as an agency art director, and later as an in-house senior package designer has cultivated a knack for understanding the unique needs of each client. Today, Rob works and lives in Maryland with his wife, kids, and dogs.

About Ink & Pixels:

Ink & Pixels is one of AIGA Baltimore’s largest events focused on helping designers prepare for a career or career shift. This year’s Ink & Pixels event was held on Saturday, April 13th at Stevenson University.

More about Ink & Pixels

What I Learned About Being A Creative

Posted on by AIGA Baltimore

What I learned about being a creative, after breaking through 30 years of stifled creativity

“I suck at art.”

I can’t remember the exact age when that thought crystallized in my head, probably around first or second grade. It was a toxic seed that I unwittingly planted in myself. As I grew, so did that seed. Until it completely cut me off from the creative instinct inside of me. Luckily, that drive to create always bubbled right beneath the surface, and after several decades of my life I have been able to reconnect with something that I thought I lost long ago.

Nobody is born a talented artist; every child produces some level of messy scribble when they first try to draw or paint or create anything from their imagination. But I felt like my scrawl was especially bad. Maybe I just lacked the fine motor skills. I couldn’t keep my coloring inside the lines, and I certainly couldn’t recreate any person, animal or object. I was hopeless.

I have this one distinct memory where I had a full spectrum of crayons in front of me, but for some reason chose to use my pencil to color a picture of a duck. “Why did you do that?” I remember the teacher asking… wondering why I had chosen pencil-gray instead of yellow or some other sensible duck color. I didn’t have a good answer for her. Maybe I preferred the sharp precision of the pencil. Maybe it was just what was closest to my reach. Whatever it was, I came away that day feeling like I had made the “wrong” choice creatively.

I came away that day feeling like I had made the “wrong” choice creatively.

There were many similar instances where I tried to express myself artistically and was left with disappointing results. Before long, other kids’ work began to outshine my own, and instead of striving to improve I just decided art was not for me.

Creative answers aren’t right or wrong

It took me many years to realize that it was my own belief system that caused me to give up on my artistic ability so early. The truth is that I couldn’t deal with the threat of criticism or ridicule. I couldn’t deal with making mistakes.

By comparison, it’s a lot easier to focus on learning something where the answers are concrete and unambiguous. There’s only one correct solution to a math problem, and I could learn how to repeat the same steps to arrive at that same answer every time.

But art, or any other creative pursuit, is not like that. The ‘solutions’ to any particular project can be infinite, which creates uncertainty that used to drive me crazy.

Before long, I had cut myself off from my inner creativity so much that I forgot that part of me ever existed. “I just don’t have any good ideas”, I’d tell myself. I admired others who were able to create inspired pieces of art, music, storytelling, but thought they had some magical source of inspiration that I somehow lacked.

Creativity, in the purest sense, cannot be taught or learned. However, it already exists naturally in every human being. What differs between us is the degree to which we self-criticize and suppress the ideas that are constantly being born within our minds. After a while, this suppression becomes second nature and we don’t even notice we’re doing it. All we’re left with is a blank slate when we try to access our mind for an original idea. This creative blockage comes from years of saying ‘no’ to all of the tangential and creative thinking that our brains naturally produce. When we set the bar too high for what constitutes a good idea, we close ourselves off to the source of all ideas.

This kind of flawed perfectionist thinking comes from childhood experiences. It’s not our fault, but it is our responsibility to correct if we want to reach our full potential. Many of us did not have the proper nourishment or encouragement to launch us into our best lives. Some of us were told directly that we did not have what it took, or that art was a dead-end path. For others, it might have been more subtle than that. Maybe we just weren’t in an environment where we felt like it was ok to make mistakes, and where we learned the important lesson that failure was the path to growth.

It took me until near middle-age to realize that the ‘safe’ path in my life was not safe at all. It was absolutely soul-crushing to work in a field I had no interest or passion in, just because I thought it was the most logical career path and the path that was expected of me by society, family, etc.

‘Staying inside the lines’ career-wise was a defense mechanism that I thought would keep me safe from criticism… it didn’t. Even within the confined, predefined spaces of corporate life you will still make mistakes and have to stand behind them constantly. But at the core of it, I didn’t believe in any of that work in the first place. I felt completely incongruent and therefore lacked any power or conviction to be proud of what I did.

Here’s the good news…

I wasn’t that special. I can’t believe how liberating those words are. It seems so obvious now, but it took me over 30 years to realize that. I’d rather take the risk of being a creative with “no talent” than being stuck in a career focused on conformity and rigidity.

Perhaps I wasn’t destined to be an illustrator or fine artist, but there are so many other mediums through which I can express myself to the world. And expressing myself authentically is non-negotiable. I cannot happily live my life without the opportunity to do so.

Creativity is in all of us.

It’s a combination of our life experience and a multitude of other intangible factors. It’s just a matter of the extent which we nurture that natural creative instinct. Creation is more of a process of getting out of your own way than trying to force ‘good ideas’.

My new path has been a series of these revelations. It has been a process of unburdening. Questioning my limiting beliefs about why I couldn’t succeed. Asking myself if I really do lack some fundamental ability that other, ‘real’ artists possess.

Ultimately, success as a creative professional comes from cultivating certainty.

When a client hires you to make creative decisions, you must back them up with certainty. You alone are the expert in whatever you do. If you were brought into a project in any role, you must believe that the client chose you because you are the best at what you do.

This kind of confidence and self-certainty doesn’t happen overnight, it takes time to build, but it can only come from within. You need to be comfortable making difficult creative decisions and being courageous enough to put your work out there even when you feel most vulnerable.

The biggest piece to all of this is just giving yourself permission.

If you don’t value the work you do, nobody else will.

It comes down to an inner choice, although ‘flipping the switch’ in your head to believe that you and your work are enough is much easier said than done.

It’s a lifelong journey, that never ends until you give up or decide to move onto to something else. There’s always room for improvement in terms of honing your craft and sharpening your skills. But in my experience, the biggest piece to all of this is just giving yourself permission. Believe that you are enough, right now. You are not an imposter, there is real value to what you do. If you can feel your heart calling you to do this work, then nobody can ever take that away from you.

Stay strong.

Never give up.

About the author:

Vaibhav Sharma headshot

Vaibhav Sharma

Vaibhav is an NJ native, who has called Baltimore home since 2013. He loves motion design, cooking, cats… and most of all, being a dad. Vaibhav is an introvert but loves to make new friends. Feel free to say ‘Hi!’ on Facebook, Dribbble, or in a comment below this article.

How I Landed My Dream Design Job Right Out Of College

Posted on by AIGA Baltimore

An Ink & Pixels Testimonial

Hi all! My name is Sammy Smith. A recent graduate of Stevenson University (Spring 2018), I majored in Visual Communication Design. I am currently a Junior Designer at Design B&B, a design and branding agency with locations in Baltimore & Chicago. I was fortunate enough to be offered an internship the summer before my senior year, and was ecstatic when it turned into a full-time job offer after graduation.

But how did I land this amazing internship and job? Well, I have Ink & Pixels to thank for that.

Ink & Pixels is an amazing event to get your portfolio reviewed by working design professionals, work on interview skills, and network. Being very active and even President of Stevenson’s AIGA student group, I made it a point to attend this event every year. (Even though I’m a slight introvert, and would rather stay home and watch Netflix.) I knew the value of this event, that there was no debate about whether to attend or not. It was a definite “okkk, fiiinne.” pauses Netflix & gets off couch

*pauses Netflix & gets off couch*

Ink & Pixels 2017

During Ink & Pixels my junior year, I had the pleasure of sitting and meeting with Shelly Boggs, a Principal of Design B&B. We had a fantastic conversation and review, which ultimately led to an internship offer. She told me that they don’t usually hire junior year college students as interns, but made an exception for me because she was so impressed with my portfolio. Woww, flattered! I interned at Design B&B that summer and they even kept me on throughout my senior year.

Two months before graduation, when all seniors are frantically looking for jobs, Shelly offered me a full-time position. I was so humbled and grateful for this opportunity to continue with such an amazing company and TO HAVE A JOB OUT OF COLLEGE! Whoooo!

Ink & Pixels 2018

So, take my advice.

Pause Netflix.

Get yourself and your work out there. NOW! You won’t regret it. Now, obviously, it is not a guarantee that if you attend Ink & Pixels, you will be offered an internship or a job. I was just lucky, I guess. But who knows; you won’t find out unless you try.

Sign Up For Ink & Pixels Today!

Q&A With Charlotte James: Comms Specialist, Creative Entrepreneur, Baltimore Badass

Posted on by AIGA Baltimore

Charlotte James is a digital communications strategist and entrepreneur originally from Philadelphia. She came to Baltimore to study at Johns Hopkins University and decided to stay! And we’re so glad she’s here.

She currently serves as the Director of Outreach and Communications for Common Curriculum, a local ed-tech startup. She is a former Baltimore Corps Fellow and current Baltimore Creatives Acceleration Network Founder Fellow with her nail art business, Power Decals.

Charlotte James Baltimore

Where do you draw inspiration from?
My business partner – she’s an incredible designer and helps me hone my aesthetic.

Favorite creative hobby, outside of design?
A friend recently got me back into sculpey clay so probably going to keep playing around with that.

What advice would you give to your 20-something self?
I’m still in my 20’s so if anyone has any advice, hook a sister up! Just kidding but for real, I always tell anyone younger than me that it’s totally cool to not know exactly what you want to do or who you want to be, as long as you’re always hustling towards something.

it’s totally cool to not know exactly what you want to do or who you want to be, as long as you’re always hustling towards something.

Charlotte James is the Co-Owner of Power Decals

Power Decals is a line of vibrant, statement-making nail decals that celebrate culture and powerful women. The Baltimore business is shaking up your handshake, as seen in Baltimore Magazine. But founders Charlotte and her partner Valentina Fiamma Ziino Colanino want more than amazing nail art. They create their decal designs based culturally diverse patterns and even feature inspiring women throughout history.

Meet Charlotte at AIGA Baltimore’s Ink & Pixels 2018

Join us at Ink & Pixels on September 29th to get to know her in person! Charlotte will be moderating the panel and town hall discussions on issues relevant to the emerging designer.

Register for Ink & Pixels – 9/29/2018