Tag: graphic design

Making History: Teaching Design History Methods in Studio

Learning outcomes emphasized gathering information, examining sources, interpreting evidence, connecting design to social contexts, and crafting historical narratives in text and image

Aggie Toppins
Associate Professor
Washington University in St. Louis

In Spring 2023, Toppins introduced a new course called “Making History” in which students had the opportunity to learn historical research methods and use them in their studio work. At the time, WashU had only one design history course, an elective survey of graphic design, which one student in my class had taken. An ungraded quiz on the first day of class showed that most students had no sense of what was (or was not) considered canonical. None were familiar with prevailing themes in graphic design history. Unlike a survey course, which tasks students with absorbing a broad scope of historical content, this course focused on making inquiries into the past. Learning outcomes emphasized gathering information, examining sources, interpreting evidence, connecting design to social contexts, and crafting historical narratives in text and image. 

Toppins’ teaching methods were hands-on and high-impact. Having secured a $2500 Sam Fox School teaching grant, she was able to bring in a number of guest speakers and take students on field trips. Students visited local archives, museums, and historical sites. They listened to scholars and designers with diverse backgrounds discuss their research methods and outcomes. They got to physically handle historical objects from cuneiform tablets to mid-century paste-ups. Students also read historical texts, critical essays, and watched documentaries to prepare for in-class discussions and debates. After each of these activities, students responded to prompts in a provided sketchbook. The sketchbook served as the “field notes” component of the course, in which students recorded their ongoing reflections and took notes on research. In most cases, the sketchbook helped students locate the topic for their final, self-guided project. Throughout the semester, leading up to this project, students engaged in four workshops that instilled specific methods. Each workshop resulted in a short outcome, like a zine or broadside, that kept students connecting the dots between making historical inquiries and making graphic design. The final project asked students to pursue a topic of their own interest. Students became primary investigators, forming their own questions and mapping out their own research approaches.

Student work from this class was strong in terms of formal design and critical positioning. Students could articulate their goals, match appropriate research methods to their questions, and translate their findings into criteria for design projects. They also became familiar with graphic design history’s prevailing themes by thinking critically about historiography and methodology.  Another important outcome of this course is that it gave Toppins the chance to test exercises and content for her forthcoming book, Thinking Through Graphic Design History. Some student work from this class will be published in the book, which will reach market in 2025.

MakingHistory_OutcomesDownload

This project was the 2023 Design Incubation Educators Awards winner recipient in the category of Teaching.

Aggie Toppins is an Associate Professor of Communication Design and Chair of Design at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. She combines studio practice and critical writing to explore the social life of graphics. Aggie’s creative work has been internationally exhibited and garnered national design awards including the Type Director’s Club ‘Certificate of Typographic Excellence,’ and the SECAC Outstanding Achievement in Graphic Design award. Her recent writing has been published by Design and Culture, Design Issues, Diseña, Slanted, Eye, and AIGA Eye on Design. She has written essays for Briar Levit’s book Baseline Shift: Untold Stories of Women in Graphic Design History and Ali Place’s recent volume, Feminist Designer. Her first book Thinking Through Graphic Design History will be published by Bloomsbury in 2025.

Co-Creating Compassion: Engaging the Alzheimer’s Community in Social Robotics for Caregiving

A robot for individuals grappling with Alzheimer’s disease that offers companionship, support, and aid in various caregiving tasks

Kimberly Mitchell
Assistant Professor
University of Tennessee-Knoxville

By 2025, the number of people aged 65 and older with Alzheimer’s + dementia is projected to reach 7.2 million — an 11% increase from those affected right now. By 2060, this number is projected to reach 13.8 million. This deeply affects our caregivers – In 2021, family members and friends provided more than 271 billion dollars of unpaid care to people living with Alzheimer’s and other dementias. While technology will never replace human touch and person-centered care–technology can enhance caregiving–especially with routine tasks like organizing appointments, and medication reminders. 

Mitchell Mitchell is a graphic designer with a background in gerontology who is co-leading a multi-year, multidisciplinary project aimed at developing a social robot for Alzheimer’s caregiving by harnessing the collective expertise of undergraduate and graduate students spanning diverse fields such as engineering, computer science, architecture, and graphic design. Together, they are collaborating with the local Alzheimer’s community to conceptualize and co-design a friendly robot. This innovative project aims to develop a socially interactive robot tailored to assist in easing the challenges of dementia caregiving.

Mitchell’s design expertise bridges the gap between technical functionalities and user experience. She ensures that the technology developed aligns with the needs and expectations of the Alzheimer’s community. Mitchell’s additional expertise in gerontology enables a deeper understanding of the needs, behaviors, and limitations of Alzheimer’s patients. This insight informs the design process, ensuring that the robot’s interface, visuals, and interactions are tailored to the specific needs of the end-users. 

Originating from a collaborative endeavor between faculty members in biomedical engineering and design, Mitchell assumed the role of project oversight. Her responsibilities encompassed the development and leadership of two Institutional Review Board (IRB) studies. These studies incorporate user testing methodologies and participatory focus groups to glean invaluable insights directly from the Alzheimer’s community.

By leveraging this diverse pool of talent and engaging directly with the end-users, Mitchell and her team aspire to create a socially adept robot. This robot aims to offer companionship, support, and aid in various caregiving tasks for individuals grappling with Alzheimer’s disease. The inclusive and collaborative nature of this project underscores its commitment to addressing the real needs of those affected by dementia, empowering them through innovative technological solutions.

By involving the local Alzheimer’s community in all aspects of the project, the team ensures that the robot’s development is grounded in real-world scenarios and feedback. This participatory approach fosters empathy-driven design, making the technology more relevant and impactful for end-users.

The project’s outcomes, such as award-winning publications, peer-reviewed funding, undergraduate research awards, and acceptance in the local Alzheimer community showcase the effectiveness of integrating a gerontology-informed graphic design approach within a multidisciplinary context. 

The unique perspective Mitchell brings as a graphic designer with a gerontology background enriches the project by emphasizing user-centered design, ensuring that the social robot developed for Alzheimer’s caregiving is not just technically proficient but also deeply empathetic and effective in meeting the complex needs of the patients and caregivers.

Direct Outcomes

Mitchell, her students, and her research partner, Dr. Xiaopeng Zhao, have co-authored three peer-reviewed international publications – two of which she was the lead author on, and both received awards for “best paper” and “honorary mention.” Additionally, the project has had exposure nationally and internationally, where she has presented different facets of the project at 4 national and 2 international conferences. Finally, one of her undergraduate graphic design student researchers received first place at the University of Tennessee’s “Exhibition of Undergraduate Research and Creative Achievement” (EuRECA) competition.

Publications
  1. Mitchell Mitchell, Robert Bray, Ella Hosse, Matt Rightsell, Luke Macdougall, Xiaopeng Zhao, “Co-designing a friendly robot to ease dementia,” a peer-reviewed paper accepted in Advances in the Human Side of Service Engineering book, July 2023, Best Paper Award (Honorary Mention), 2023
  2. Mitchell Mitchell, Luke Macdougall, John Hooten,  Robert Bray, Xiaopeng Zhao, “Designing a multi-disciplinary class to create a social robot for Alzheimer’s,” a peer-reviewed paper accepted in Advances in the Human Side of Service Engineering book, pp 33-40, July 2022, *Best Paper Award (2nd place) https://doi.org/10.54941/ahfe1002538
  3. Robert Bray., Luke MacDougall, Cody Blankenship, Mitchell Mitchell, Fei Yuan., Silvia Cerel-Suhl, & Xiaopeng Zhao, (2023, February). “Development and assessment of a friendly robot to ease dementia,” a peer-reviewed paper in Computer Science vol 13818. Springer, Cham (pp. 381-391). https://doi.org/10.1007/978-3-031-24670-8_34
Presentations
  1. “Using design to empower students to be a force of change: designing interdisciplinary experiences to address the needs of ad and dementia patients,” Gerontological Society of America, Indianapolis, Indiana, November 2022, A presentation showing how an interdisciplinary class was created to solve problems related to Alzheimer’s Disease and related dementias.
  2. Designing a multi-disciplinary class to create a social robot for Alzheimer’s,” 13th International Conference on Applied Human Factors and Ergonomics, virtual, July 2022, Presented the collaborative role and responsibilities of undergraduate and graduate students in the design of a social robot.
  3. “Using design to empower students to be a force of change,” Emerging Technologies in Aging & Dementia Conference, Knoxville, TN, June 2022, A presentation showing how to use human-centered design to solve real-world problems related to dementia care.
  4. “Design and validation of a social robot for Alzheimer’s disease,” American Society on Aging, April 2022, Presented initial data on the design and user testing of our prototype robot.
  5. “Designing socially assistive robots for people with Alzheimer’s and related dementia,” Gerontological Society of America 2021 Scientific Meeting, virtual, November 2021, Presented a research paper explaining the demand for additional help in caring for Alzheimer’s and dementia patients.
  6. “Addressing dementia disparities using socially assistive robots,” 2nd Latinos & Alzheimer’s Symposium, virtual, May 2021, Presented collaborative research with the Department of Mechanical, Aerospace, and Biomedical Engineering and the School of Design in the creation of a low-cost social robot.
Awards    
  • Human Side of Service Engineering paper, Honorary mention, 2023 
  • Eureca, 1st place undergraduate researcher in division, 2023 
  • Human Side of Service Engineering paper, 2nd place paper, 2022 
  • Undergraduate Research Funding award, $3,000 (2023), $1,500 (2022)
  • 2023 Alma and Hal Research Award, $10,000
DesignIncubation_Application_kmitchellDownload

This project was the 2023 Design Incubation Educators Awards runner-up recipient in the category of Scholarship: Publication.

Kimberly Mitchell is an Assistant Professor of Graphic Design at the University of Tennessee Knoxville. She holds her BFA and MFA in Graphic Design and a certificate in Gerontology. She is an award-winning designer and researcher who focuses on understanding and improving experiences that support the health and well-being of underserved populations, particularly among older adults. Her multidisciplinary research focuses on the social impact of design, and how by creating awareness, a designer can improve a community’s quality of life. Her work bridges design and gerontology. Her most recent project involves co-designing with the community an AI robot interface as a conversational partner and monitor for individuals with Alzheimer’s Disease and related dementias.

Affiliated Society Business Meeting

Design Incubation’s 10th Anniversary (2014-2024), CAA 112th Annual Conference

Come join us during the CAA 112th Annual Conference to network and celebrate our 10th anniversary.

Thursday, February 15, 2024
1:00 PM – 2:00 PM, Central
Meeting Room: Lake Ontario
Location: Hilton Chicago

This admission-free event welcomes all those who have participated in our past events, conferences, fellowships, awards competitions and anyone new who is passionate about research, scholarship, and education in communication design.

We will discuss some of the activities and events that have shaped the organization from its inception to today, what we have planned for this year and future activities.

If you would like to volunteer, get involved, host a colloquium or other activities, come introduce yourself. Let us know what is missing in your experiences as designers, educators, and researchers. All are welcome.

Please visit the About section of the website to read about those who have helped to form and establish the organization, and our ongoing mission to support academics, educators, and designers.

Uncanny Ways of Seeing: Engaging AI in Design Practice and Pedagogy

A closed-loop approach that yields content that seems familiar and uncanny—alternate realities and speculative futures

Drew Sisk
Assistant Professor
Clemson University

From early technologies in photography and film, to the emergence of the desktop computer as an accessible tool for making creative work, technological advancements have triggered simultaneous trepidation and enthusiasm among artists and designers. We see the same reactions with AI now.

AI is changing the way we approach creative processes, making them more fluid, generative, and fast-paced. More importantly, it is fundamentally altering the way we perceive images and objects of design. In the same way that Dziga Vertov’s Kino-Eye film technique in the 1920s sought to use cinematography and editing as ways to create form that is “inaccessible to the human eye,” AI will continue opening up new forms of perception that we cannot even imagine. In this presentation, I will apply the work of Dziga Vertov, Walter Benjamin, John Berger, and Hito Steyerl to the current discourse on AI and design.

The design studio and classroom have proven to be fruitful spaces to explore AI. In this presentation, I will share some of my own nascent experiments using AI in a closed-loop approach that yields content that seems familiar and uncanny—alternate realities and speculative futures at the same time. I will also share work from my advanced graphic design students, who have been experimenting with AI tools and making speculative work that critically engages with AI. Artificial intelligence presents us with new possibilities for making form, but, more importantly, our work requires us to wrestle with the ethics and consequences of this rapidly expanding technology.

This design research is presented at Design Incubation Colloquium 10.2: Annual CAA Conference 2024 (Hybrid) on Thursday, February 15, 2024.

Assessing Student Learning Outcomes in an Interdisciplinary, Experiential Course

A conceptual model that empirically examines the impact of interdisciplinary studies, participation in experiential learning, and the role demographics on learning outcomes.

Denise Anderson
Assistant Professor
Kean University

This research project is inspired by co-teaching an interdisciplinary, experiential course with three professors and thirty-three students in Graphic Design, Marketing, and Communication, with a partnership with the New York Jets as a client. Using survey data from students in the course and other college students pursuing their undergraduate degree, we develop a conceptual model and empirically examine the impact of interdisciplinary studies, participating in experiential learning, and the role of student demographics on student learning outcomes.

Interdisciplinary studies refer to studies between two or more fields of study and involve students working in an environment transcending disciplinary boundaries. Experiential learning refers to learning through hands-on experiences, where students apply the theories learned in the classroom to real-life situations using higher-order thinking.

Factors that affect student learning outcomes in higher education have been identified as lacking knowledge in other disciplines (Fruchter and Emery, 1999) and working with an actual client (Coker et al., 2017). Other factors include effective team collaborations (Machemer and Crawford, 2007), student engagement (Kuh et al., 2008; Letterman and Dugan, 2004), motivation (Pintrich and DeGroot, 1990; Deci et al, 1999), study habits and strategies (Dunlosky et al, 2013; Kember and Kwan, 2000), to name a few.

The proposed research will support the important role of interdisciplinary studies and experiential learning in achieving favorable student learning outcomes. In addition, it will provide empirical support for Universities to offer more interdisciplinary courses and experiential learning opportunities to retain students and prepare them for professional practice.

This design research was presented at Design Incubation Colloquium 10.2: Annual CAA Conference 2024 (Hybrid) on Thursday, February 15, 2024.

The Black Experience in Design: Identity, Expression, and Reflection 

An anthology centering a range of perspectives, spotlights teaching practices, research, stories, and conversations from a Black/African diasporic lens.

Anne H. Berry
Associate Professor
Cleveland State University

Jennifer Rittner
Visiting Assistant Professor 
Parsons School of Design

Kelly Walters
Assistant Professor of Communication Design 
Parsons School of Design

Lesley-Ann Noel, PhD
Assistant Professor
NC State University

Penina Laker 
Assistant Professor
Washington University in St. Louis

Kareem Collie
User Experience Design Lead
IBM

Excluded from traditional design history and educational canons that heavily favor European modernist influences, the work and experiences of Black designers have been systematically overlooked in the profession for decades. However, given the national focus on diversity, equity, and inclusion in the aftermath of the nationwide Black Lives Matter protests in the United States, educators, practitioners, and students now have the opportunity—as well as the social and political momentum—to make long-term, systemic changes in design education, research, and practice, reclaiming the contributions of Black designers in the process.

The Black Experience in Design: Identity, Expression, and Reflection (BEID), an anthology centering a range of perspectives, spotlights teaching practices, research, stories, and conversations from a Black/African diasporic lens. Through the voices represented, this text exemplifies the inherently collaborative and multidisciplinary nature of design, providing access to ideas and topics for a variety of audiences, meeting people as they are and wherever they are in their knowledge about design. BEID is a reference for students in design, communication, and related areas of study, as well as a reference for diverse audiences, including but not limited to educators and academics from cultural studies, media studies, film, sociology, psychology, history, critical theory, and other social sciences.

Of particular note is the role of Sylvia Harris’ seminal 1998 essay “Searching for a Black Aesthetic in American Graphic Design” as a foundational piece for the text. In publishing this book, the editors have responded to her call to “contribute to [the existing] body of knowledge and support a generation of designers hungry to see their people and experience reflected in the mirror of our profession.” At least a portion of the wide range of work and research undertaken by Black designers has been codified in this text that we as design educators, practitioners, and former students wish we previously had in our collections and need for our own teaching, scholarship, and practice.

At the time the book was conceived and published, moreover, it was the first of its kind. The editorial team was inspired by a number of books on related topics, yet no other text captured both the diversity and breadth of Black contributions to design history and creative practice—past, present, and future—in one resource/anthology. Ultimately, The Black Experience in Design serves as both inspiration and a catalyst for the next generation of creative minds tasked with imagining, shaping, and designing our future. As author and critic Steven Heller noted, The Black Experience in Design is “A long time coming.”

The Writing/Publication Process

The publication of The Black Experience in Design began and ended in the midst of the 2019 Coronavirus pandemic. The entirety of the editorial team process and book production, consequently, was conducted via email and Zoom meetings across three time zones and with the aid of Slack and Miro applications.

The starting point for the project was a special issue journal focused on Black designers. However, as a result of editorial team conversations, discussions shifted away from a particular venue or format to focus more squarely on our collective goals, i.e., what we hoped to achieve through our efforts. Namely, reaching a diverse creative audience and covering a wide range of topics. A book provided the flexibility needed, and we subsequently developed a table of contents that spoke to the range of subjects we aimed to address.

BEID grew from approximately 50 contributors to 70, nearly doubling the size of the manuscript. Yet, the outcome reflects only a portion of the month of outreach undertaken, including interviews and rounds of feedback and editing. Importantly, we strived to build connections among contributors and editors during a period of cultural, social, and political upheaval; by meeting with contributors within our respective chapters and hosting writing sessions, we provided support and promoted a sense of community.

The Design Process

The initial illustration concept stemmed from the idea of Black designers being trapped within a box. No matter how hard we try to reshape or reform that box, it still remains present. The goal, subsequently, was to demonstrate this concept visually; the illustrations represent variations of reclaiming or breaking free from the aforementioned box. Each chapter has its own themes and related motifs that accompany introductions and individual essays within each chapter.

The typography of the book was thoroughly researched and considered to meet the needs of a massive, complex system. The moments of dialogue leave ample space to pause and reflect on the words and mimic the feeling of an actual conversation. The chapter introductions use a large, lean serif that dances around the illustrations. All components work together as a system to help the reader digest the information and enjoy the experience.

Impact + Outcomes

  • The retail store Target pre-ordered 8,000 copies.
  • The School of Visual Arts (NY, NY) donated $2,000 to help cover publication costs.
  • We launched a Kickstarter campaign that garnered nearly 300 backers and raised over $21,000, exceeding our $15k goal.
  • BEID has been acquired by colleagues at the following institutions and organizations: California College of the Arts, Cleveland State University, The College of New Jersey, CUNY College of Technology, Drexel University, East Tennessee State University, Inneract Project, Kansas City Art Institute, Kent State University, Lesley University, Maryland Institute College of Art, National Museum of African American History and Culture, University of Notre Dame, North Carolina State University, Parsons School of Design, Penn State University, Pentagram, Princeton University, Rhode Island School of Design, San Francisco State University, Tennessee State University, University Arts London, University of Connecticut, University of Michigan, the University of Texas at Austin, Virginia Tech, Washington University in St. Louis, Yale University
  • Via Kickstarter, BEID has been shared in the following countries internationally: Australia, Canada, Germany, Greece, Great Britain, Kenya, Netherlands, New Zealand, Portugal, South Africa, Spain, and Sweden.
  • As of mid-October 2022, BEID has sold approximately 5,000 copies.
  • An audiobook version of The Black Experience in Design is currently in production.
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Biography

Anne H. Berry is a writer, designer, and design educator at Cleveland State University. Her published writing includes “The Virtual Design Classroom” for Communication Arts magazine and “The Black Designer’s Identity” for the inaugural issue of the Recognize anthology featuring commentary from Indigenous people and people of color. She is also co-creator of the award-winning project Ongoing Matter: Democracy, Design, and the Mueller Report and managing editor of The Black Experience in Design: Identity, Expression, and Reflection.

Jennifer Rittner is a writer and educator currently serving as Visiting Assistant Professor at Parsons School of Design. She has been published in the New York Times, DMI: Journal, and AIGA Eye on Design; and in 2021 served as guest editor for a special issue on design & policing for Design Museum magazine. A daughter of women, Jennifer centers the voices of her near ancestors Bernadette, Aurea, and Dianqui in her practices.

Kelly Walters is a designer, educator and founder of the multidisciplinary design studio Bright Polka Dot. Her ongoing design research interrogates the complexities of identity formation, systems of value, and the shared vernacular in and around Black visual culture. She is the author of Black, Brown + Latinx Design Educators: Conversations on Design and Race published by Princeton Architectural Press and a coeditor of The Black Experience in Design. Kelly is an Assistant Professor of Communication Design at Parsons School of Design at The New School in New York.

Dr. Lesley-Ann Noel focuses on equity, social justice, and the experiences of people who are often excluded from design education, research and practice. She promotes greater critical awareness among designers and design students by introducing critical theory concepts and vocabulary into the design studio e.g. through The Designer’s Critical Alphabet and the Positionality Wheel.

Penina Laker is a designer, researcher, and educator at Washington University in St. Louis. Her practice and research is centered around investigating and applying methodologies that utilize a human-centered approach to solving social problems, locally and internationally. She is currently broadening the scope and access of design education to young people in Uganda through her DesignEd workshops and My African Aesthetic, a podcast she cohosts.

Kareem Collie is a designer, strategist, and educator specializing in collaborative and human-centered design approaches to capture, reveal, and produce visual narratives and user experiences. He is the former Director of Design and Creativity at the Rick and Susan Sontag Center for Collaborative Creativity at The Claremont Colleges and is now a Global Design Lead at IBM Consulting.

Sustainable Design Pedagogy: A Fifteen-Week Case Study of Sustainable and Climate Design Methodology and Outcomes

A look at foundational systems thinking.

Maria Smith Bohannon
Assistant Professor
Oakland University

Graphic design as a profession often perpetuates rampant consumerism through the art of persuasion, which is directly at odds with working toward sustainable and ecological discourse. To explore the possibilities of sustainable capitalism and foundational sustainable and environmental design themes, I developed a special topics course to understand and investigate the designer’s role as a climate design activist and sustainable designer. The emphasis of this course will focus on sustainable design thinking, praxis, and ideation with the investigation of green or recycled materials as part of the prototyping process—both print and digital—all in the pursuit of reimagined design futures. 

 This course study will look at foundational systems thinking from environmental design pioneers, cross-disciplinary collaboration, and how designers can successfully implement sustainable methodologies and utilize environmentally friendly materials to craft sustainable solutions today. By identifying and framing complex problems plaguing the world, we can examine the possibilities and challenges in addressing these issues broadly or within local communities. 

As sustainability and eco-friendly solutions are imperative for future generations’ ability to prosper, sustainable pedagogy must become foundational in graphic design education. By adopting sustainable design pedagogies, educators provide future designers with the tools—and understanding of sustainable design history, process, methodologies, and materials—to question capitalist tendencies and develop sustainable solutions.

This design research was presented at Design Incubation Colloquium 9.2: Annual CAA Conference 2023 (Virtual) on Saturday, February 18, 2023.

Graphic Design and Authority: How the Design of Documents and Signage Creates, Endorses, and Authenticates Power Structures

Visual authority can be used to validate any endeavor.

Claire Bula
Adjunct Professor
Boston University

The visual design of all legal and political documents, such as deeds, permits, identification & maps, employ a specific visual language enhancing their power. Design choices relating to layout, typefaces, symbols, embellishments, impressions, white space, signatures/certifications, and materials amalgamate to display power purely through visual appearance.

Because the visual design of a document can confer authority regardless of authenticity, It is important to analyze how visual appearance alone can be interpreted. A visual language of power exists and can instill feelings of hesitation, dominance, or fear leading individuals into subservience or subordination. Visual authority can be employed by true legal sources of power or used as a device to deceive or invalidly show power. Visual authority can be used to validate any endeavor, whether its intent is beneficial and egalitarian or manipulative and oppressive. Designers should be aware of how the use of visually authoritative means have been used throughout history to control, intimidate, and outright steal basic human rights and dignities.

Through multidisciplinary research across history, philosophy, political science, and sociology, I studied the means by which power and authority have been constructed in the United States. In addition, reading design texts and conducting visual surveys of documents employing elements of visual authority led to the creation of a diagram of design elements that create the library for visual language of authority.

In response, I authored a visual essay, designed a poster illustrating visual authority’s form language via personal documents, and printed risograph signage subverting authoritative signage through type and color. This body of work serves to document my research and surfaces questions about how visual authority was developed and how it is employed today.

This design research was presented at Design Incubation Colloquium 9.2: Annual CAA Conference 2023 (Virtual) on Saturday, February 18, 2023.

Designing with Power: Drawing Parallels Between Design Pedagogy and Writing Workshops

Graphic design has become affiliated with practices far afield from aesthetic foundations

Joshua Korenblat
Associate Professor
State University of New York at New Paltz

As described in his classic book Writing with Power: Techniques for Mastering the Writing Process (published in 1981), a more reliable method includes strategies for students to iterate and see their work from fresh perspectives. With these methods, graphic design students instead get the right idea before getting the idea right, to paraphrase designer Bill Buxton. In my course, writing workshops adapted for a graphic design intent included: Freewriting, the Loop Writing Process, Metaphor Priming, and haiku poetry reframed as comics. Cut-and-Paste Revising and the Collage also become essential at the end of the semester. By the end of the course, students reported an increased awareness of their decision-making, discernment of intentions and intuition, and mindfulness of audience and medium. Their final work shows appropriate graphic design decisions within a real-world context. At the same time, their work retains an authentic personal voice—a legacy of the handmade thinking from the earlier workshops.

In contrast to art studio pedagogy, which emphasizes visual products, writing workshops help writers develop an articulate voice for self and audience, emphasizing practice over vivid outcomes. Today, methods devised by Professor Elbow that seem most relevant for graphic design students—no matter the course they are in—include Freewriting for ideation and the Collage for editing and prototyping. These methods help graphic designers move discovery work from the art studio to a communication context. As designer Dave Gray notes, designers work with a visual language that supports the same purpose as verbal language. Gray cites Using Language, a book by Stanford linguistics professor Herbert H. Clark: designers use visual language to think, converse, communicate, collaborate, and co-create. Writing workshop strategies span prose and poetry; by adapting them for graphic design purposes, educators crystallize the everyday activities carried about by language and formalize them in design practice.

Most college graphic design programs operate in Art Departments in the United States. A legacy of the Bauhaus, this structure creates an implicit aesthetic foundation for visual communication. However, graphic design has become part of practices far afield from these aesthetic foundations. These practices have emerged as people inexperienced with visual communication can produce compelling graphics using intuitive apps. This change puts more emphasis on conceptual thinking and empathy in emergent fields of graphic design—skills that might not be taught in studio art academies, which democratize who can become a professional designer. Significant emergent fields of graphic design practice include user experience design, which draws upon ethnography and psychology, and data visualization, which converges data analytics with storytelling. Yet even classic practices, such as Art Direction, can benefit from the reframing of design with writing workshops. Students become more empowered to find their authentic voice and the practice of design becomes more democratic.

This design research was presented at Design Incubation Colloquium 9.1: Kent State University on Saturday, October 15, 2022.

Semiotics Studio

Course outcomes connect the study of form to the political dimensions of designing, specifically how systems of representation bear on social realities

Design Teaching Award Runner-Up

Aggie Toppins
Associate Professor, Design
Sam Fox School of Design and Visual Arts
Washington University in St. Louis

Semiotics Studio is a new communication design course in the Sam Fox School at Washington University in St. Louis. Students learn the fundamentals of semiotic theory (the philosophical study of signs and systems of representation) and apply its concepts to studio practice. Students construct pictogrammatic signs for public contexts, shape experimental readings in motion graphics, and create critical interventions through an open design project. Learning outcomes for this class connect the study of form to the political dimensions of designing, specifically how systems of representation bear on social realities. Through exercises, projects, readings, and class discussions, students explore the world of meaning-making including categories of signs, the possibilities of interpretation, and how signs work to normalize cultural practices and perceptions of truth.

There are three studio projects in this course. At the beginning of the semester, projects come with multiple constraints but these gradually loosen so that by the end of the semester, students determine the scope of their own project. The first project is a pictogram assignment in which students learn to systemically construct signs on a formal level while applying basic semiotic concepts from Saussure, Peirce, and Barthes including models of signification, sign modes (icon, index, symbol), and the principles of denotation and connotation. Next is a motion graphics project in which students explore Barthes’ idea of “double articulation,” his twin concepts of anchorage and relay, as well as his critique of authorship. The latter is connected to Michael Rock’s writings on graphic authorship. The third and last project introduces students to poststructuralism including the relationship of signs to theories of power from Foucault, Deleuze & Guattari, and Baudrillard. Students are asked to choose an artifact or system of design, mind-map the semiotic domain that surrounds this artifact or system, and then design a critical intervention through a project of their own choosing.

In addition to these studio projects, students read challenging texts and write five reading responses. The texts are a combination of primary philosophical works, secondary texts, podcasts, and design criticism. Readings are applicable to studio projects and intended to exercise the student’s capacity for critical thinking.

My teaching methods are informed by emancipatory pedagogy, such as those espoused by Paolo Freire and bell hooks. I offer my students learning goals but my assignments do not have preconceived “right” or “wrong” answers. Assignments present students with opportunities to center their experiences and connect their personal interests to the field of communication design. Class time is spent on skill-building workshops, discussions in which students and teachers bring relevant examples (no lecturing to docile listeners), opportunities to workshop research, various forms of critique, and open work sessions.

Although we are in a classroom and we are reading texts and making speculative projects, I teach from the perspective that design has import. Together, we are co-investigating problems in the world (which is to say, many worlds). Semiotics is a theoretical trajectory that begins in Europe and the United States. I contextualize this in the classroom while relating the ideas to design in global contexts. We problematize Western thought by including critical perspectives on colonialism, modernism, and capitalism. My goal is to help students adopt design as a language for critical thinking so that they are equipped not just to take a position in the field, but to potentially transform it.

The Sam Fox School provides students with a robust form-based education. I developed this elective course to address the lack of curricular opportunities for students to engage critical and social theories in design. Additionally, I successfully applied to Wash U’s Gephardt Center to support an embedded librarian, Jenny Akins, to be present in our classroom community. My collaboration with Jenny allowed for the integration of information literacy learning outcomes simultaneously with semiotics and design. Every studio project was informed by a research phase. Having an embedded librarian created a mechanism for supporting students in adopting strong research habits in and out of the classroom.

Students responded well to the course and my teaching evaluations were entirely positive. In the final reviews, one student commented that they appreciated the community we built together and felt they had a lot of room to explore. Another student commented, “I understand what I’m doing now when I make design decisions.” In reflecting on the course, I was pleased with the diversity of responses to project prompts as well as the quality of the students’ work. Considering the challenges of remote learning and the mental and physical toll of the COVID-19 pandemic on our students, I was impressed by and grateful for the high level of energy that my students brought all semester. I look forward to teaching this class in the future and evolving the curriculum over time.

Aggie Toppins is an Associate Professor and Chair of Design at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. Before joining the faculty at Wash U, Aggie taught for eight years at the University of Tennessee at Chattanooga where she served for two years as the first female Department Head in Art. Aggie works at the intersections of studio practice and critical writing to explore the ways that visual communication bears on social realities. She is interested in the appraisal of history, the negotiability of meaning-making, and in using these critical orientations to decouple design from universalist narratives of capital. Her recent writing has been published by AIGA Eye on Design, Slanted, and in Briar Levit’s forthcoming book Baseline Shift: Untold Stories of Women in Graphic Design History (Princeton Architectural Press).