Designers for Good: A Conversation with Liz Danzico, Creative Director for NPR

Welcome to AIGA Baltimore’s first installment of our Designers for Good interview series, featuring conversations with designers who work in the field of social innovation.

Our first interview is with Liz Danzico – part designer, part educator, and full-time dog owner. She is also creative director for NPR, overseeing and guiding both the visual and user experience across NPR-branded digital platforms and content. Liz is chair and co-founder of the MFA in Interaction Design program at the School of Visual Arts. She has written for design-minded publications, including Eye Magazine, Fortune Magazine, Interactions Magazine, and writes part time at bobulate.com.

 


 

What is your background?

I started out thinking I’d be a writer, but absolutely fell for work in the digital space when those positions first started emerging. Today, I’m creative director for NPR, whose mission is to work in partnership with member stations to create a more informed public. I’m the founding chairperson of the MFA Interaction Design program at the School of Visual Arts, one of the world’s top design schools. On the side, I advise startups, nonprofits, and global companies. Because my background is in writing, I continue that work by writing talks and writing for design-minded publications, and on my own site, bobulate.com. My very first job after college was as an English teacher in Japan, an experience I still think helped me be human-centered in my design practice.

 

You are founding chairperson of the MFA in Interaction Design Program at SVA in addition to advising various startups, nonprofits and global companies. How have your varied interests and experiences informed your role as the first creative director at NPR.

I used to joke that when people asked what I did, I responded in one long run-on sentence with too many commas. I joked because, quite honestly, I was a bit self-conscious about my many side projects across teams and fields. Someone eventually pointed out that perhaps this wasn’t a deficit, but a feature. Perhaps keeping multiple projects in one’s head and lateral thinking was my talent. So I started taking roles that took advantage of that, which required me to do that. This is all to say that being responsible for design across platforms, products, and divisions draws upon that very skill.

 

You may not define yourself as a social designer, but your roles as creative director at NPR, a non-profit whose mission is to create a more informed public, an educator, and consultant to mission-based organizations are contributing to the improvement of society, students and non-profits. How do you think design can work to address social problems or further social causes, and do you see any or all of your roles in this light?

Design has the power to make people’s lives better. If we ask how can we give the people we design for a sense of hope, empowerment, strength, and make their lives a bit better than they were before, then we are using design to address social problems no matter what they scale. This is the kind of work I’ve tried to chase down in my career. Work that helps to improve people’s lives, helps them be more informed, more empowered in their careers, get the basic human services they need, helps improve cities, financials, our government services. Design and its uniquely human-centered approach has the potential to affect and improve everyday life.  

 

Where do you see the field of interactive design moving in the future? (And if you are comfortable answering, how could this apply to the field of social design?)

It used to be that interactive referred to only that sliver of business that wanted a simple website. Over the course of years, it’s now hard to find a thing or a place that isn’t touched by some kind of interactive design. Looking ahead, we’ll start to see more and more complex problem spaces being affected by interactive design.

 

What advice would you give a designer interested entering the interactive design field?

Read the new “LEAP Dialogues: Career Pathways in Design for Social Innovation,” which in full disclosure, I was a co-editor on. In it, 84 practitioners and educators weigh in on the role of social impact design in a changing market and world through interviews conversations, essays, and case studies. Next, read Khoi Vinh’s book, “How They Got There,” which talks about the paths of 14 digital designers. This is important as, for a field that’s still relatively young, the field is still inventing itself. It’s useful to see how some of the most important designers got their start. After reading both, consider where you want to do interactive work. Then, and most importantly, look for great people you can learn from. No matter what field you want to enter, it will be the people who surround you who make your career. Find people who inspire you, and head in their direction.

 

What are your favorite projects and why?

The MFA Interaction Design Program at SVA. Starting this graduate program been one of the more rewarding parts of my career to build a graduate program, which is truly building a community of people, then watching them change the world.

NPR One. Working on this storytelling platform has been one of the more challenging and broadly influential projects in my career, and I’ve learned more deeply what it means to do product design.

Bobulate. This is my personal site and a place where I get to be entirely myself through writing.

 

What is a surprise you have encountered over the course of your career?

People who are top of their field are generally the ones who are most willing to help and/or the first to respond to your request, no matter who you are.

 

What are 1-3 challenges you have encountered over the course of your career?

I’ve always had a problem saying no. But over the course of years, I’ve learned to be grateful that I have so many opportunities to say no to! So it’s a challenge, but a welcome one. Perhaps relatedly, I have worked to maintain balance in my life. Balance between work and play; between travel and home; between impactful work and work that pays the bills. But the truth is: there is no “between.” Once I realized that it’s all part of my life, rather than thinking about it as some intricate balancing game, it all started coming together. But it’s a lifetime of learning.

 


 

DesignForGood

About Design for Good

Design for Good is a platform to build and sustain the implementation of design thinking for social change. This platform creates opportunities for designers to build their practice, their network, and their visibility. Design for Good recognizes the wide range of designers’ work and leadership in social change which benefits the world, our country and our communities.

Design for Good supports and sustains designers who play a catalytic role in communities through projects that create positive social impact. By connecting and empowering designers through online networking tools, inspirational stories, chapter events, training, national advocacy and promotion, Design for Good serves as a powerful resource for designers who wish to work in this area and a beacon for designers leading the charge.

BMORE Inspired by The Painted Ladies of Charles Village

When you hear the term “painted ladies”, do you think of Baltimore architecture? Inspired by the brightly colored homes of San Francisco, the Victorian style row homes of Baltimore’s own Charles Village neighborhood certainly live up to the name.

In the late 90s, the neighborhood of Charles Village had a contest, challenging residents to paint and decorate the fronts of their rowhomes in order to revitalize and show pride in their neighborhood. With cash prizes for best door, porch and front facade, residents took the challenge and ran with it. With an array of colors and styles ranging from vibrant pinks, greens, and yellows, stripes and solids, even almost 20 years later these rowhomes show how bold and spunky the city of Baltimore can be. Although the last contest took place in 2003, some of the houses have been repainted in the past few years, and there are efforts to bring back the competition. For a taste of some true Baltimore charm, the painted ladies of Charles Village are well worth driving—or walking—by to see.

Credit: <a href="https://www.flickr.com/photos/question_everything/">Let Ideas Compete</a>
Credit: Let Ideas Compete
Credit: <a href="https://commons.wikimedia.org/wiki/File:Guilford.jpg">Wikipedia</a>
Credit: Wikipedia
Credit: <a href="https://www.flickr.com/photos/sidereal/">Jack Lyons</a>
Credit: Jack Lyons
Credit: <a href="https://www.flickr.com/photos/ms_sarahbgibson/">cinderellasg</a>
Credit: cinderellasg

This post is part 5 of our “Bmore Inspired in Baltimore” series. See part 1, part 2, part 3 and part 4 here.


Image Credit: Zack Weinberg

Shannon Crabill is an 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.

Two AIGA Innovate Awards Granted to AIGA Baltimore

Every great success story starts at the first chapter, and we are thrilled to be starting two books at once.

AIGA Baltimore is proud to announce that we have received not one but two AIGA Innovate grants for special projects that are poised to have a lasting impact on the design community in Baltimore and at large.

Within the next year board members and a committee of volunteers will work to produce an EntreprenU Design Business Toolkit, a collection of tools and content aimed at helping designers and AIGA chapters become more business savvy, and a Design Legislation Wiki, an online resource for established and in-progress legislation related to design and design education across the United States.

Read more about these two projects and about AIGA Innovate below.

 

AIGA Innovate

AIGA Innovate is a grant program developed to encourage and empower chapters to boldly face the future. The program funds game-changing projects at AIGA chapters across the country, which improve the AIGA member experience, impact the wider community, are scalable to other chapters, and are sustainable after the initial grant period.

AIGA Innovate is a four-year fund with up to $250,000 to be awarded each year. AIGA members, in collaboration with their chapter board leaders, can apply for AIGA Innovate funds by submitting a formal application detailing their project. To ensure that projects meet the high standards set for all AIGA Innovate projects, there is an eight-person selection committee that reviews the projects through a rigorous two-round review process before awarding the finalists.

The first group of projects was funded in 2015. In 2016, three projects were funded; AIGA Baltimore received two grants: the EntreprenU Design Business Toolkit and the Design Legislation Wiki, and AIGA Arizona received a grant for their project, Empowering the Underserved DesignKit.

Read more about AIGA Innovate on AIGA.org.

 

AIGA Baltimore’s Innovate projects

 

EntreprenU Design Business Toolkit

This toolkit will consist of articles, templates, tutorial videos, and other content to help designers start their own business. Content will relate to business plan development, tax filing, how to talk about the value of design to non-designers, and variety of administrative considerations.

The toolkit will also cover on soft-skills and research-assisted data, giving design entrepreneurs a primer in making a pitch, business writing, effectively presenting work, and managing clients.

 

Design Legislation Wiki

The value of design and design thinking is more important than ever for businesses and communities. However, there is a disconnect between local design policy and legislation and the communities they are meant to serve.

This online resource will be a searchable, visual database of established and in-process legislation for design at the professional level, and in education, especially K-12. Searchable by zip code or state, users will be able to see not only what is going on in their community, but what other communities across the country have implemented.

Additionally, the website will include a toolkit with examples of good design legislation and STEAM education policy that communities can use as templates for their own proposals. It will also include forms that can be customized to contact local representatives about the importance of, and interest in, specific design legislation.

 

Project Progress and Next Steps

AIGA Baltimore board members are currently nailing down project details, milestones, and timelines so that these projects are set up for success and can be fully developed within the next year.

Our next steps will be to to develop RFPs for the design and development of each project and assemble a committee of volunteers to drive execution.

A talented project manager, web developer, and content expert is needed for each project—these volunteers will be critical for the success of the initiatives, and for our board to be able to continue producing and improving our ongoing events and design programming.

Know anyone who wants to make an impact and might be a good fit for one of these roles? Sit tight! We’ll have more project details, committee position descriptions, and a link for you to apply your talent (or nominate someone else’s) to these special projects. In the meantime, you can contact us at socialdesign@baltimore.aiga.org if you have questions or comments.

We look forward to bringing these initiatives to the Baltimore community, and beyond.

Skillshare Subscriptions Giveaways (& MORE!) to Student Ink & Pixels Attendees

UPDATE: Anyone registered for the Ink & Pixles Student Design Conference will not only be eligible for one of four one-year Skillshare subscriptions (see below), but also:

Register Now!


We’re giving away four one-year Skillshare subscriptions to Student Ink & Pixels attendees, and registrants will have many opportunities to win a prize:

  • The first 25 registrants are already entered to win one of the four prizes!
  • The next 25 people to register for Ink & Pixels will be entered to win a Skillshare subscription. Tell your friends and fellow design students!
  • Snap a photo of your recent sketches, comps, or completed design work and post it on Facebook, in the Facebook event, on Twitter, or on Instagram* using the hashtag #inknpix15 and you’ll be entered to win a Skillshare subscription. Triple your chances and post up to 3 photos!
  • Everyone who registers for Ink & Pixels will be entered to win a Skillshare subscription.

All four Skillshare prizes will be selected during Ink & Pixels 2015! Only one prize will be given per winner, and you must be registered for Ink & Pixels to win.

*Your privacy settings on Facebook, Twitter, and/or Instagram must allow the AIGA Baltimore accounts to see your photos.

And don’t forget to RSVP to the event on Facebook to get the latest #inknpix15 updates!

An INside look at Baltimore magazine

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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