For 2022, the branding for Ink & Pixels was designed by Jamie Wheeler of Jelly Creative Co. and Jess Langley of White Coffee Creative.

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.

We recognize the importance and benefits of finding and engaging with supportive creative communities. This curated list of local and global creative associations, Facebook groups, community organizations and job boards was created for use during our 2020 AIGA Baltimore Ink & Pixels Roundtables event and will be updated from time to time.

“Futurism(s)” is a talk with three chapters: Italian Futurism, Afrofuturism, and the Cyborg Manifesto. Here, Ellen Lupton covers the futuristic movements in an effort to tell a more inclusive history of design.

Understand what managers are looking for.

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.

*pauses Netflix & gets off couch*

An Ink & Pixels alumnus discovers what it’s like to be a reviewer after being a reviewee.

While in school, design students learn many things, from design concepts like gestalt, processes from brainstorming to production, and even the technical aspects of software and code. All of that is essential to becoming a designer, but there’s one thing the typical curriculum may not cover: How to give—and receive—a good design critique.