I spent one summer as a graphic design intern at Mile High United Way in Denver. Ten weeks. Hybrid. About 18 hours a week. Paid hourly. I was nervous on day one. I left with ink on my fingers and a folder full of real work.
If this sounds like your kind of summer, peek at the current openings on Mile High United Way’s careers page to see where your design chops might fit.
For another perspective on the experience, you can skim through my honest take on a United Way graphic design internship that another designer wrote up—the overlap (and the differences) are pretty eye-opening.
Quick snapshot
- Schedule: 3 days a week, some in-office, some at home
- Pay: hourly, not huge, but fair for a nonprofit
- Tools: Adobe Illustrator, InDesign, Photoshop, Canva, Figma
- Team: small comms crew, kind, very mission-first
- Main work: social posts, flyers, event signs, donor one-pagers
Because my schedule mixed office days with at-home design sprints, I brushed up against many of the same pros and cons remote interns mention. If you’re weighing a fully online role, this overview of the benefits and challenges of virtual internships lays out what to expect.
You know what? It felt grown-up. But still warm.
What I actually did (for real)
The first week, my manager handed me the brand guide. It had the “LIVE UNITED” lockup, colors, and rules. The blue had a set hex and CMYK. I made a swatch set in Adobe. I built paragraph styles in InDesign. Boring? A little. Helpful? Very.
Then the real work hit.
- I built Instagram carousels for “Stuff the Bus,” the school supply drive. I set big type, high contrast, alt text for screen readers, and added a simple pencil icon.
- I laid out a 2-page donor handout for the 2-1-1 helpline. Clean charts. Short copy blocks. Icons with enough space.
- I made a flyer for “Day of Caring.” The print file had a 0.125" bleed. CMYK, not RGB. The local print shop thanked me for sending a press-ready PDF. I felt weirdly proud.
- I mocked a banner for a partner bank. Their logo had strict clear space. I checked it with rulers and guides so it didn’t crowd ours.
- I refreshed a Canva template for quick social posts. I locked the brand fonts so folks wouldn’t go wild when I was off.
I used Slack for quick notes. Asana for tasks. Google Drive for version control. I named files like “UW_StuffTheBus_Flyer_v06_FINAL_finalForReal.pdf.” Yes, I know. But it saved us once when copy changed after “final.” Seeing how each app handles interface cues nudged me to keep an eye on design choices outside the nonprofit bubble—even in corners you might not expect. For instance, this candid Arousr app review unpacks how an adult chat platform courts user attention through bold color strategy, onboarding flows, and conversational UI. Peeking at it can give you fresh ideas about engagement hooks and monetization cues that any designer can remix in a more PG environment.
Similarly, community-based dating hubs have their own visual tone and trust signals. A quick scroll through the Santee Swingers group reveals how event listings, playful typography, and carefully curated imagery balance discretion with excitement—worth a look if you’re studying how branding shifts when privacy and inclusivity are top priorities.
Little wins that made me grin
Two moments stuck.
- They hung my “Stuff the Bus” poster at the drop-off site. Seeing families roll up with backpacks while my colors popped in the sun? That hit me right in the chest.
- One carousel I made got almost 3 × the usual reach. Nothing viral. But the comments were kind. A teacher wrote, “This helps.” I screenshotted it. I still have it.
Stuff I loved
- Clear brand rules. At first they felt tight. Then they felt like a safety net.
- Real feedback. We had a half-hour design critique each Thursday. Notes were direct but gentle. I grew fast.
- Purpose. You’re not pushing a sale. You’re trying to feed a family, or get a kid a backpack. It changes how you kern.
That rhythm of weekly critiques actually reminded me of studio classes over at SDSU’s graphic design program (here’s a hands-on review)—only this time the client was a real family counting on the final file.
The office had that mix of coffee and printer toner. Volunteers in “LIVE UNITED” shirts buzzed in and out. Some days were quiet. Some had a hum. I liked both.
What bugged me (and how I dealt with it)
- Slow approvals: Many eyes had to sign off. Comms, a program lead, sometimes a sponsor. My fix? I sent two rounds: one rough for concept, one tight for polish. That cut rework.
- Last-minute copy changes: A stat would shift. A date moved. I learned to keep text styles linked, so changes took minutes, not hours.
- Limited creative freedom: The brand is the brand. I itched to try wild type. But I got clever inside the rules—texture, scale, white space. Small moves, big feel.
I won’t lie. A few nights I stared at a blue square and felt stuck. I took a walk. I came back. The layout clicked.
Tools and tiny tricks that saved me
- Illustrator for icons and vector shapes
- InDesign for anything multi-page
- Photoshop only for photo clean-up
- Canva for fast team edits when I was off
- Figma for quick mocks the team could comment on
If you're hunting for fresh layouts or clever nonprofit design ideas, take a spin through Moon and Back Graphics — I bookmarked a few of their templates for fast inspiration. And if you’re eyeing your next career leap, this honest look at graphic design jobs in Austin, TX breaks down pay, studio culture, and where the creative energy is buzzing lately.
Nerd notes: I set master pages, used character and paragraph styles, and built a basic icon grid so line weights matched. I checked color contrast for accessibility. Big type. Simple charts. Real alt text, not just “image.”
Real examples from my portfolio
- “Stuff the Bus” poster series: 11×17 print, CMYK, with bleed, two colorways for different stores
- Instagram carousel: 7 slides, “How to donate,” with step numbers and icons
- Donor one-pager for 2-1-1: two columns, pull quote, simple bar chart
- Event banner for Day of Caring: 8-foot vinyl with grommets, safe area marked
- Volunteer badge set: name badge and lanyard card, double-sided, easy to read at 6 feet
If you print badges, make sure the first name is huge. People smile more when they can see it.
What surprised me
The stories. A grandma called 2-1-1 and found rent help. A teen showed up shy, picked a bright backpack, and stood taller. I didn’t design those moments. But my layout helped people find the door. That mattered to me.
Tips I wish I knew on day one
- Learn InDesign styles. They save your life.
- Keep a “brand parts” file: logos, colors, textures, approved photos.
- Ask for copy early. Push for word counts.
- Build a version naming system and stick to it.
- Check accessibility: contrast, font size, alt text.
- Bring snacks. Long edits feel shorter when you have almonds.
Still choosing a program? This ground-level tour of the best schools for graphic design can help you figure out where to invest those tuition dollars before you ever step foot on campus.
So…was it worth it?
Yes. Four and a half stars from me. I walked out with skills I use now and work I can show. It wasn’t fancy. It was better. It was useful.
If you want loud, edgy art, this may feel tight. If you want to learn real production, teamwork, and clear, kind design, United Way is a good fit. I came for a line on my resume. I left caring more about the people in the photos than the photos themselves. Funny how that happens.
Would I do it again? Honestly, yeah. I still keep that poster file handy. Just in case someone needs a bus stuffed with pencils—fast.