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.

Q&A with Crayligraphy Founder, Colin Tierney

Hand lettering and calligraphy are having a major boom today, as seen from logos to magazine covers, and from mass-produced home goods to painstakingly-handwritten wedding invitations.

When looking at work by the likes of Jessica Hische, Lauren Hom, and Jon Contino (just a few of the letterers helping to spread the craft today), it can feel like there’s no way your own hand could do that. Calligraphy, in particular, is intimidating to get into. Choosing and buying tools, and getting over the hurdle of giving up when your first few tries don’t look totally Instagram-worthy.

Crayligraphy was founded in the Summer of 2015 by Colin Tierney in (guess where?) Baltimore, Maryland. Offering in-person workshops, online guides, and a community of other learners, Crayligraphy delivers helpful content for anyone interested in learning. AIGA Baltimore is excited to cohost a workshop right here in Baltimore, so join us on Saturday, May 11th, 2019! Read on to learn more about Colin’s journey in developing this group and resource.

Sign up for the Crayligraphy workshop!

So, what exactly is Crayligraphy?
Colin: It’s a concept I dubbed several years back—a neologism combining the words “crazy” and “calligraphy”—to help people learn the beautiful art of writing through the magical world of those nostalgic, childhood friendly markers. Because let’s be honest, calligraphy with markers is pretty crazy.

Essentially, Crayligraphy is a space for people to try their hand in the ancient art form in the least intimidating way as possible. No longer do you have to spend an arm and a leg on traditional supplies before determining whether or not you enjoy the process. Broad-line markers are cheap, easily accessible and most of all, fun!

Where did the name Crayligraphy come from?

Colin: Crayligraphy began as a way to experiment with calligraphy through a marker. In this particular post, a Crayola marker. Hence the original name “Crayoligraphy,” which yes, I dubbed as well, but that’s a whole other story 🤫🤐

I changed the name to “Crayligraphy” shortly after realizing I wanted to turn this idea into a learning platform. The name not only rolled off the tongue easier, but it didn’t limit people to thinking they had to use Crayola’s brand. There are so many quality broad-line markers out there–– Target’s Up&Up, Crazart, Roseart to name a few—–that it seemed silly to be exclusive to just one brand.

At the time, did you think this would grow to what it is today?

Colin: At the time, I had no idea how big this idea was going to be. I was simply responding to my audience after several years of emails and DMs, requesting that I teach hand lettering and calligraphy.

One year after coming up with the idea of Crayligraphy, I posted this same image announcing the launch. People who were interested in learning how to stylistically write with a marker, were able to sign up to our newsletter, being the first to know when my series of tutorials would begin.

After the first 24 hours, we had 2 thousand people sign up to our newsletter list 😱. Before the announcement, I didn’t know how to teach. I had to better my knowledge and skillset before proclaiming that I was proficient enough to take on that role. Basically, I had to learn to teach.

Originally, you were traveling across the country to host workshops in different cities. How did you balance this along with your family and other work?

Make no mistake: doing all of these workshops solo was no easy task.

We get hundreds of requests to visit different cities all around the world. Back when I started teaching workshops, I was a one-man show on the road. My wife Lindsey organized the events and made sure everything was scheduled and set up so that I could fly into the city on a Friday, wake up the next morning (like a lost puppy in an unfamiliar territory), teach the workshop and hop back on a plane to return home early Sunday (early as in 3 or 4 in the morning early 😩).

I had to do this at the time. I lost my job, my family didn’t have a home (it was on the market when I lost my job) and we were about to welcome a baby boy to the world. We already had 2 girls under the age of 4! Life was a bit Cray to say the least 😐 And while it wasn’t a sustainable living situation, it was necessary.

So after some time passed, I decided I couldn’t go at this alone anymore.

Hiring can sometimes be as daunting as doing all the work yourself. How have you built a team of educators?

Throughout my visits to these cities, I reached out to local artists who have shown interest in Crayligraphy while also having an understanding of the art. I asked these artists if they had any interest in co-hosting a workshop with me in their respective cities. I did this for a few reasons. One, having two instructors to teach a workshop adds so much more value for the attendees. Two, it adds some local flavor that the students can relate to.

Most importantly though, I was able to train these local artists to teach the Crayligraphy material. We call them “Educraytors.” So, whenever a city’s interest arises, I am able to call upon an Educraytor who represents that region, to host the workshop. This allows me to focus on Crayligraphy’s bigger picture and spend those precious moments I would otherwise be missing during travel, with my family.

Does Crayligraphy define a specific style of lettering, or does each artist put their own spin on it?

Our team of educraytors is a great example of how you can produce wild results with one simple instrument. Check them out on Instagram! Veronica Ruiz of @veronicaletters is based in Denver, CO. She has a wide range of styles, but you know Vero’s work when you see it scrolling through Instagram because it always stops you in your tracks. Terence Tang of @tinlunstudio comes from Houston, TX, where we hosted a workshop last year with AIGA Houston. He has now integrated what began as a serious hobby into his professional design workflow, where magic markers are now among his go-to tools for designing logos and lifestyle goods.

I’ll be co-hosting Baltimore’s workshop with Natalie Downey of @nataliedowneydesign. She’s one of the best out there when it comes to Crayligraphy. Her fragmented style (broken strokes) is something to watch over and over again while scratching your head in awe of how she does it. We like to call Natalie The Ninja-Wizard ⚔️🧙‍♀️of the team because her strokes are so quick and unbelievably accurate.

What sorts of techniques are taught in a Crayligraphy workshop?

We’ll go through the two different methods to create your letters. We begin with the fragmented method; that’s breaking down each character into basic strokes so that we see the makeup of these letters as shapes and pieces to build upon. So, after each stroke, you lift your marker and place it down where the next stroke needs to be marked.

Some of you will be able to learn a little quicker and if that’s the case, you might be ready for the fluid method. That’s not to say we leave those who don’t learn as quickly in the dust. We just have another option to practice for the people who might have an easier time understanding the fragmented method.

The fluid method entails keeping your marker on the paper and transitioning between thick and thins based on pressure and release through the fingertips. This method allows for a more elegant or smooth aesthetic where the fragmented method is based on broken strokes that appear sharper and quicker.

Sign up for the Crayligraphy workshop!

Can You Teach Yourself How To Be A Graphic Designer?

Looking to learn graphic design? You’re in the right place.

What a time to be alive! The internet is an amazing resource, the likes of which has never before existed in human history. This entire catalog of knowledge, gathered over thousands of years, can now be accessed in a matter of seconds from anywhere in the world.

Information used to be a huge barrier to entry in most professions, design included, but those walls have largely come down. Skillsets which previously could only be gained through an apprenticeship –– or years of study at certain prestigious schools –– are now available to everyone who knows where to look.

Information is cheap. In fact, it’s often free. It’s so freely available that it brings a whole new set of challenges. Just because it’s all out there, doesn’t mean it’s easy to sift through the noise and properly absorb the most important parts. You will still face a steep road ahead to reach your creative and professional goals, but it’s very doable.

Knowledge and information is a huge piece of the puzzle, but it’s not everything. Applying what you have learned consistently, practicing and failing, is the second piece that transforms information into real skills. Many people will fail here. They’ll watch hours upon hours of YouTube videos, get super excited about their newfound passion, but never enter the next phase of applying what they’ve learned.

‘Learning’ can quickly fall into the realm of ‘entertainment’, if you are not taking an active role in getting involved with the material. This isn’t necessarily a bad thing. Considering all the media content that we consume these days, there are certainly less enriching and educational things we can waste our time on. But if your goal is to hone your craft and move closer to your professional goals, it’s important to be honest with yourself and admit when you’re just being a passive spectator.


4 Tips for Self-Taught Designers, From a Self-Taught Designer

teaching yourself graphic design

1. Embrace your unique journey

Unlike a fully structured college syllabus, the road ahead is going to be completely up to you. The good news is that you can cut through a lot of the fluff and focus on the topics and skills that you can apply immediately. The bad news is that nobody will be holding your hand and guiding you. It’s very easy to get lost in the weeds of information overload, distraction, and “shiny object syndrome.”

First, be crystal clear with your short, medium and long-term goals. Actually spend the time to sit down and think about this and write it out. Yes, that means you. No, you can’t skip this step. If you set the right targets, you can catapult yourself up the learning curve and get ‘pretty good’ at a particular skill in a matter of weeks or months. If you have unclear goals about what you want to do in graphic design, you could wander aimlessly for years before giving up… thinking you somehow lacked the innate talent to be a success.

What is your next logical step? Should you be building a portfolio? Are you missing a skill needed at your dream job? Can you learn something new and use it to help someone in your life, for free, to build up your confidence and network of references? These are some examples of excellent targets you can aim your learning journey towards.

learn from other designers

2. Model yourself after the designers and artists that inspire you most.

Figure out who’s doing the work you wish you could do and try to recreate it yourself. No, I’m not saying to plagiarize someone else’s work and pass it off as your own to others… but purely as a learning tool, it’s perfectly ok.

Try to ‘reverse engineer’ every element of their work and understand why they made the creative decisions they did. If you want to showcase this piece in your portfolio, then you will need to put your own spin on it and not blindly copy. However, don’t worry if your work is ‘derivative’ at this stage of the game. Finding your unique creative style is something that comes later, after you’ve learned the fundamentals.

There’s a reason behind Picasso’s classic quote, “Good artists copy, great artists steal.” Don’t take it too literally, but there is a lot of truth in it. Model yourself after those who are successful to help ‘catch up’ in your skill level, before taking it to the next level on your own.

Dedicate a lot of time each week looking at design from experts. Yes, this might make you feel a little bad about your relatively amateurish creations, but it’s something you need to do. This helps you develop ‘good taste’ which is the driving force that will help you close the gap between where you’re currently at and those at the top of their game.

Depending on your specialty, there are several good sites for this. Dribbble is a good example, across the board. For motion design, Vimeo is the industry standard and as a bonus allows you to go through pieces frame-by-frame. Pinterest is another classic source of inspiration for many designers.

aiga design community

3. Join a community. Online is great, in-person is even better.

One hurdle you will run into on this path are ‘gatekeepers’. People who will say you cannot do it, or who make things seem overly difficult to discourage you from even getting started. Often, these people are insecure about their own position, fearing that more competition could cost them their livelihood.

Also, they are afraid that the spread of free information will undermine their own education and experience, rather than seeing the opportunities to enrich their own careers by using these resources to continue their own education.

Don’t be discouraged if you run into a few naysayers. The internet can bring out the worst in people. Keep this in mind, try to develop a thick skin, and keep on moving.

You will also find supportive communities that are welcoming to newcomers and more than willing to help in any way they can. AIGA is one such example. Make sure that you are willing to give back and add value to others, even if all you have to contribute is a positive attitude. Be respectful of others’ time, be humble and willing to learn, and people will point you in the right direction.

Find Your Community With AIGA Baltimore ask for feedback

4. Ask for others to critique your work.

This is a tough one. None of us want our egos bruised, especially when we already feel like imposters and amateurs. But constructive criticism is the best way to refocus your efforts and move up the ladder quickly.


Websites for learning graphic design

youtube

This is obviously everyone’s first go-to when looking for short video tutorials. Surprisingly, there is a lot of high-quality content here… it’s just a matter of sorting through all the junk to find it. Unfortunately, YouTube is full of distractions, misinformation, and worst of all… people trying to sell you something under the guise of free help.

Overall it’s an excellent resource to look up any specific knowledge when you need it. If you’re just starting out however, you may do better with a more structured and well-curated source.

Find Design Tutorials on YouTube skillshare

Skillshare has over 18,000 online classes and continues to grow every year. The classes are project-based, and there is a vibrant community of fellow students to help provide feedback and critique.

The projects are fun, highly relevant to the latest design trends, and taught by some big names that we all know and admire.

Baltimore’s own Ellen Lupton has several classes on the platform. Her typography classes are a great foundation for anyone serious about learning graphic design.

Overall, the course format is a little more bite-sized, than the more intensive format of courses on LinkedIn Learning and others. This is great to hit the ground running on a project after only a few hours of tutorial, but may lack the broad foundation needed by a total newcomer.

AIGA members can receive a free two-month trial.

Learn Design Skills on Skillshare lynda

Lynda has a smaller catalog of courses than Skillshare, but they are far more intensive. Where a Skillshare course can be 3-5 hours of learning material, Lynda might be 20-40 hours. The potential downside is the time commitment, and the possibility to lose focus and enthusiasm, especially if a large portion of the course is reviewing the basics.

However, Lynda’s deep dives can get you up and running on the latest technology and trends in your industry even if you’re coming in as a blank slate. If you dive in and treat these with the same commitment as you would a college course, you will be rewarded with a solid foundation of knowledge.

This is also a monthly paid subscription, with a free trial that allows you full access to all of the courses.

Expand Your Skillset With LinkedIn Learning adobe

If you’re serious about Graphic Design, there’s a good chance that you are already using Adobe’s suite of products. With yearly updates, the software is constantly changing. Luckily, Adobe provides a large library of free tutorials that will help you find your way around the basics in all of these programs.

These tutorials are generally pretty short, so if you want to learn about every facet and feature of the latest Photoshop, for example, the above-mentioned Lynda might be a better choice.

Explore Design Tutorials With Creative Cloud pluralsight

Like Skillshare, with a smaller library of short-format courses. I’d probably check out the others first, then consider a free trial here to see if there’s some particular topic or teacher that interest you and isn’t on the other sites.

Check it out on Pluralsight udemy

Here you will find a similar deep-dive format as Lynda, but instead of an unlimited access monthly subscription, you pay by the course. This might make sense if there is only one particular course that interests you, or if it will take you several months to complete since there is no time limit once you’ve bought the course. Unlike some of the other sites, you won’t automatically be billed monthly regardless of your progress.

Learn More on Udemy

Online Design Programs & Courses

If you feel like you’ve gotten everything you can out of all of these sources, and you want to further hone your craft with an advanced level of online education, there is another tier (price-wise) of courses that exist.

For motion design, the two most prominent examples are School of Motion and Mograph Mentor. SoM’s courses start at around $1k, and MM at about $2k. There are other similar companies for other specializations.  These big-ticket courses are a long way from the ‘free’ information on YouTube.

Are they worth it? Maybe… To be honest, most of the information itself that is presented in these courses is probably available elsewhere, but they offer a higher level of personalized attention. These are 6-10 week ‘bootcamp’ intensity courses, usually focused on one large project that can be used as a showcase portfolio piece.

If you’re already 90% of the way there, the personalized feedback and coaching through every phase on the project could take your skill level from advanced to elite. If you’re still a hopeless newbie, you’re probably not going to get that much out of it. You will not be magically transformed from someone with no knowledge to an expert just because you shelled out a lot of money for a course.

Feedback and mentorship can be had for free elsewhere if you ask nicely and respect peoples’ time. And the amount you can actually learn and absorb in 6 weeks is limited. If you have the money to spend, and you feel like putting serious cash down will motivate you to work harder, go for it.

Education is a lifelong road, not a finish line that you cross once.

Education is a lifelong road, not a finish line that you cross once. Those who stop learning risk falling behind and stalling out in their careers. This is especially relevant now as technology advances as an accelerating pace. If you’re not learning something new every year, you’re probably already behind where the industry is headed. 

The good news is that where there were once walls, there are now an endless number of ladders. You don’t have to feel stuck doing something that doesn’t excite you. Life’s too short, and you’re never too old to change directions or decide you want to try something new. You can make a lot of progress in learning something new, in a relatively short amount of time, if you know how to sort through the information overload and focus clearly on your desired destination.

Can you teach yourself to be a graphic designer? Absolutely.



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.



Top 7 Takeaways from Baltimore Design Week 2015

Top 7 Takeaways from Baltimore Design Week 2015

This past October, AIGA Baltimore celebrated design by kicking off its 4th annual design week. With over a half dozen events between Oct 16th-23rd, it was one of our best registered and attended design weeks to date. For those who missed it or just want a recap of the week’s events to tide you over until Baltimore Design Week 2016, here is a list of our top seven takeaways from 2015.

  1. Failure isn’t the end of the world
    Alyson Beaton told us about her experiences with failure while developing her company, Lille Huset. Failure, as she says, teaches you when to let go, and when something needs to change.
  2. Personal projects—projects just for you—are important
    Not only do personal projects give you the opportunity to explore ideas or concepts outside of your day-to-day, but it can also be therapeutic. Daniel Danger spoke on how creating personal work helped him cope with complex emotions at the opening art talk for the National Poster Retrospecticus.21784967734_c759d5f1b9_o
  3. Inspiration can be anywhere. Even graveyards.
    While touring graveyards in Southwest England, Paul Barnes of Commercial Type was inspired by the worn, eroded tombstone lettering. This prompted him to create Dala Floda, an elegant stencil typeface that looks anything but military.showcase-dala-floda
  4. A-N-A-C-I-N
    Considered one of the oldest pain relief brands in the United States, Anacin made waves with their advertising strategy. Anacin television and radio ads were “designed to irritate” with their continually repeated unique selling proposition. One of the original television spots cost only $800 to create and generated $86 million in media buy revenue.Screen Shot 2015-12-21 at 5.47.55 PM
  5. Don Norman and the Norman Door
    In its simplest terms, a Norman Door is a door that at first glance does not quickly convey how it should be opened—pushed or pulled. Named after Donald Norman, it represents one of the key principles of user experience design: To empathize with the user.
  6. Mad Men was 90% accurate
    Thin ties aside, the 1960s marked the “age of the creative team”. Copywriters and art directors started working on advertising concepts together to share with the account executives, the true “Mad Men” of the era.SHAG: Mad Men: Myth vs Reality
  7. What do you do when your client hates the one concept you had to show them?
    Get back to the drawing board. Fast. Commercial Type experienced this exact moment of panic while showing lettering concepts to Puma for their sponsored teams in the Africa Cup of Nations. They scrambled to come up with a new concept, Crepello, which ended up being a winner for them and the client.
    crepello_specimen

Check back soon for more design week recaps. Who’s ready for Baltimore Design Week 2016?


Illustration by Niko Kwiatkowski

Shannon Crabill is a HTML Email Developer at T. Rowe Price. Outside of the Internet you can find her riding her motorcycle and binge-watching home improvement shows on HGTV. Tweet her at @shannon_crabill.

3 Reasons Why You Should Register for the Charm City Type Race

1) You don’t have to be a designer to have a great time. Bring your friends!

2) It’s good for you and the environment. Motorized vehicles are prohibited. Get outside and get active, while discovering new ways to look at our surroundings.

3) PRIZES! PRIZES! PRIZES! Did we mention that we’re giving away prizes?

Join us on October 20th for a a typography scavenger hunt through Charm City.

Touring Baltimore Print Studios

On Tuesday, August 6, thirty AIGA Baltimore members and friends stopped in to Baltimore Print Studios on North Avenue ready to put ink to paper. Each attendee was given opportunities for some hands-on tasks, including hand pressing coasters, running off posters on an antique machine, and even putting together a cut-and-assemble mini Vandercook press.

Kim and Kyle, the proprietors of Baltimore Print Studios, were on hand to give demos, talk about background history, and answer attendees’ questions. While they do offer printing services, the studio also teaches classes in both printmaking and screen-printing and is open to the public to rent by the hour. Featuring four 75-year-old presses, screen-printing materials, and drawers (and drawers) of woodblock type, they definitely cater to the do-it-yourself designer!

Did you miss the event? AIGA Baltimore members Justin and Giordana were gracious enough to take a video demonstrating how to use the Vandercook press.

Be sure to check out baltimoreprintstudios.com for their operating hours, their class schedule, and prints for sale. Make sure you follow them on Twitter @baltimoreprints and Instragram, too.

Want to see more pics? We’ve got more on our NEW Instagram site!

Greg Jericho spends an awfully lot of time designing for clients that do not exist at his equally fake company, Myopic! Studio.

Kate Lawless often daydreams about how she can make a full-time job out of what she does for AIGA Baltimore. When her head isn’t in the clouds, you can find her designing communications, digital signs, documentation, and online software demonstrations and interactive elearning for the operations department of a large healthcare company in Baltimore.

Nominate your favorite Baltimore Logo Designer!

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

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

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

DEADLINE FOR SUBMISSIONS: September 20, 2013.