This panel discusses how to balance the need to deliver crafted design content with the need to build resilient and resourceful designers for an ever-changing industry. The webinar will be structured in the following format: The moderator will start with questions for each of the panelists, then we move to an open forum and finally take questions from the audience. The webinar will be about 1 hour in length.
Our panelists will answer the following questions:
What does modern-day resiliency look like?
How do employers know they are getting a flexible, adaptable designer who can change and mold with the times?
Defining why we need resilient designers. Why does this matter just as much as their portfolio?
How do we prepare designers for complete shifts in the working experience and changes in delivery and content?
How do we both deliver and challenge the students to be resourceful and self sufficient?
Panelists
Gail Anderson, Chair of BFA Design & BFA Advertising at the School of Visual Arts in NYC & Creative Director at Visual Arts Press at SVA
Design and Culture Call for Editorial Board Members: Associate Editors, Reviews Editors, Social Media Editor
Design and Culture, the official journal of the Design Studies Forum, is seeking scholars with an established record in the scholarship of design to join its international editorial board. The Editorial Board, headed by the journal’s three editors-in-chief, is responsible for the operation of the journal. The journal is currently published three times a year by Taylor and Francis.
Associate Editors Associate Editors will participate in bi-annual or ad hoc internet meetings about the journal’s operation and strategic vision. They will actively promote the journal in their networks, will encourage the submission of high quality papers aligned to the journal’s vision, and will solicit special issues on emerging subjects of interest in the field. Associate Editors will guide the various stages of the -review process in accordance to the journal’s suggested timeline (they will be assigned 3-5 papers per year). They will be responsible for selecting and contacting peer reviewers, communicating with authors and reviewers, leading the revision and re-submission process, and producing recommendations to the editors-in-chief. Associate Editors are also expected to act as peer-reviewers per the request of other Associate Editors or the editors-in-chief. Associate Editors members should expect to dedicate a few days per month to the journal, and the initial appointment will be for three years. There is no remuneration for the position.
Reviews Editors Reviews editors will work as a team of four under Reviews Editor-in-chief guidance, a position currently held by Maggie Taft. Reviews will include books, exhibitions and media, and each editor would likely be responsible for working on approximately six reviews per year. This would involve two annual e-meetings with the other review editors (i.e. email correspondence chains) to identify books, exhibitions, and media. Editors will interface with potential authors, distribute reviewer guidelines, set schedules for submission, and edit reviews through the revision process. Once complete, reviews are submitted to the journal’s editorial team at large. Review Editors will participate in additional bi-annual or ad hoc internet meetings about the journal’s operation and strategic vision. They will actively promote the journal in their networks. Review Editors should expect to dedicate a few days per month to the journal, and the initial appointment will be for three years. There is no remuneration for the position.
Social Media Editor Social Media Editor will be responsible for the strategy and day-to-day operations of the journal’s social media presence across multiple platforms. We are looking for an academic or graduate student with both knowledge of design scholarship and experience in running social media platforms. Social Media Editor will participate in bi-annual or ad hoc internet meetings about the journal’s operation and strategic vision, and will be in contact with the editors-in-chief as needed. There is no remuneration for the position.
In your letter of interest please describe your scholarly expertise, and your experience with editorial or social media work. To apply please email your letter of interest and CV to Laura McGuire at mcguirel@hawaii.edu by June 30, 2020, with the subject line DC_Associate Editor , DC_Reviews Editor, or DC_Social Media Editor depending on the position you are applying for.
Here are the Type Directors Club’s upcoming June TDC Virtual Salon line-up, which is open for registration:
They still have room for you to join us on May 28, when writer/journalist Anne Quito and design legend Walter Bernard will discuss an epic period of magazine design as told in their book with Milton Glaser, Mag Men: Fifty Years of Making Magazines.
Next on June 4, take a trip to the Herb Lubalin Study Center of Design and Typography with its curator, Alexander Tochilovsky, who will give you an overview of this amazing graphic-design resource in New York City and show you recent acquisitions of Japanese ephemera.
Next, on June 9th, they will join author, illustrator, and designer Ross MacDonald as they tour his studio and letterpress shop in Connecticut. On view will be Ross’ extensive collection of wood type, dating back to some of the earliest cut by hand, as well as examples of period props that he has made, printed, and designed for over 90 movies and television series.
Then on June 11, Angelina Lippert, curator of Poster House, will talk about the history of the PSA (Public Service Announcement) poster. From Tuberculosis to Loose Lips Sink Ships, she’ll explore how information has been disseminated to the public for the greater good. She’ll start her talk with a brief introduction to Poster House, the first museum in the United States dedicated to the art and history of the poster. (In the meantime, check out the museum’s special projects.)
Next, on June 18, designers Brenda McManus and Ned Drew will take you into the process behind their letterpress “labor of love” – a charming ABC book that brought together their family, students, type collection, and passion for printing into one inspiring project.
And on June 25, they invite you to meet Dylan Mulvaney, the head of design for Gretel, one of New York’s most forward-looking design studios, who will talk about typography and culture and how his team looks for resonance between the two. Take a look.
The TDC Virtual Salons are free to members. They encourage all of you to join TDC (check out the various membership options here), and they ask both members and non-members to make a small donation and help them continue this new effort to connect and serve the typography community online.
The recordings of their virtual salons are being prepared and will join the videos of all of their past salons that are on YouTube and their website.
Design Incubation Colloquium 6.3: Fordham University (#DI2020mar)
Virtual Conference May 16, 2020, 1PM EST.
Like all of you, Design Incubation is busy adapting to working from home and online. Please join us for our first Virtual Colloquium!
Learn about the research, creative projects and innovative teaching practices colleagues from around the country are working on. Join the moderated discussion and give the presenters feedback on their projects.
Watch the 10 pre-recorded presentations before the event, when it’s convenient for you.
Join the moderated discussion and Q&A session via Zoom on Saturday, May 16, 2020 at 1pm EST (10am PST.)
We are working to find ways for faculty to continue to publish, present, and receive feedback on their research. This is our pilot program and we hope you will stay connected to the Design Incubation community as we continue to develop additional virtual programming over the summer.
Design Incubation Colloquium 6.3: Fordham University was originally scheduled to be held at Fordham University is Hosted by Abby Goldstein and the Department of Theatre and Visual Arts at Fordham University. This event is open to all interested in Communication Design research.
Thursday, June 4 – Saturday June 6, 2020.
A three-day virtual workshop facilitating academic writing and publishing for designers.
The 2020 Design Incubation Fellowship Workshop will include sessions by Maggie Taft, Founding Director of the Haddon Avenue Writing Institute; Jilly Traganou, PhD, Editor of Design and Culture; Louise Baird-Smith, Commissioning Editor – Design and Photography Bloomsbury Visual Arts; Robin Landa, Distinguished Professor, Kean University; and Andrew Shea, author of Designing for Social Change: Strategies for Community-Based Design. Aaris Sherin is director of the Design Incubation Fellowship program.
Fellows 2020
Erin Beckloff Assistant Professor Miami University Ohio
Diana Duque Independent researcher, Writer, Designer MA Design Studies
Xinyi Li Assistant Professor Pratt Institute
Andrea Marks Professor Oregon State University
Sarah Martin Assistant Professor Indiana University
Kimmie Parker Assistant Professor Oakland University
Ali Place Assistant Professor University of Arkansas
Sarah Rutherford Assistant Professor Cleveland State University
Ruth Schmidt Associate Professor Institute of Design Illinois Institute Technology
Johnathon Strube Assistant Professor University of Nebraska Omaha
Augusta Toppins Associate Professor The University of Tennessee at Chattanooga
Kelly Walters Assistant Professor Parsons School of Design, The New School
Derek Witucki Lecturer University of Tennessee at Chattanooga
Schedule
Day 1 Thursday, June 4, 2020
10:00am–11:00am
Introductions + icebreaker
11:00am–12:00am
Exercise: What, why and how we write
12:00am–12:20pm
Mini Break
12:20pm–1:30pm
Presentation: Where writing meets publishing
Aaris Sherin
1:30pm–2:30pm
Lunch on your own
2:30pm-6:00pm
Workshop: Editing and providing feedback
Maggie Taft
Day 2 Friday June 5, 2020
10:00am–11:00am
Live Q&A: Submitting a Book Proposal/Manuscript
Louise Baird-Smith
Commissioning Editor – Design and Photography Bloomsbury Visual Arts
11:00am–1:30pm
Group Exercise: Review and Feedback: Working drafts
1:30pm–2:30pm
Lunch and Learn: (optional) Tenure and promotion discussion
2:30pm–3:30pm
Presentation: The writing process, feedback and being a creative maker Andrew Shea
3:30pm–4:30pm
Live Q&A: Submitting a Journal Article
Jilly Traganou, PhD Editors of Design and Culture
4:30pm–4:45pm
Mini Break
54:45pm –6:30pm
Group Exercise: Review and Feedback: Working drafts
Day 3 Saturday, June 6, 2020
10:00am–11:00am
Presentation: A Life in Writing: Contracts, Agents and monetary consideration
Robin Landa
Distinguished Professor
Kean University
Author over twenty books
11:00am–1:30pm
Group Exercise: Timelines and next steps
1:30pm–2:30pm
Lunch on your own
2:30pm–3:30pm
Live Q&A with past DI Fellows
4:00pm–5:00pm
Group Exercise: Creating a plan for peer support
5:00pm–6:00pm
Sharing Session / Wrap Up
Please note: This schedule is tentative and is subject to change
Access needs to be core to the design process if we want emerging digital designers to design for the public good.
As a discipline, we often focus and reward visual design and aesthetics over, rather than in addition to, usability and accessibility. If we want emerging digital designers to design for the public good, then access needs to be core to their process and their education. Creating a learning environment that makes access a priority both in the way the course is delivered and in the learning objectives impacts who student designers consider as audiences and how they prioritize the needs and desires of those audience members.
Students in four sections of a beginning web design course over three semesters were given a pre-course survey, designed by Teach Access, to measure student perceptions and knowledge of accessibility and disability. Accessibility was regularly discussed throughout the course and was a design requirement on all assignments. Interventions across the three semesters evolved based on results of the prior semester. At the end of the course, students were given a post-course survey, to measure shifts in perception and understanding of accessibility.
In this session, I will share the interventions introduced each semester and the philosophy behind each intervention. In addition, I’ll share the statistically significant results and discuss the successes and failures of each iteration of interventions. As educators, the way we approach access in the classroom influences future generations of designers, therefore it is important to begin to systematically study the impact of the course design decisions we make.
Call for Nominations and Entries for the 2020 Design Incubation Communication Design Awards for Educators and Graduate Students
Design Incubation announces a call for nominations and entries for the 2020 awards for communication design educators and graduate students in the areas of scholarship, teaching, service. The aim of the awards program is to discover and recognize new scholarship (creative work and publications), teaching, and service in our broad and varied discipline. We hope to expand the design record, promote excellence and share knowledge within the field.
This year, the jury also will be considering commendations for work covering the area of diversity, equity, access, and inclusion in communication design. We encourage submissions of work that relate to these areas for consideration.
Nominations
We kindly ask colleagues and mentors to identify outstanding creative work, publications, teaching, and service being done by design educators and graduate students in our field and to nominate these individuals for an award. Nominations will be accepted from April 15 to July 31, 2020.
Title: Description of project and outcomes (not to exceed 500 words)
Supporting Materials (limited to 5-page medium resolution pdf of artwork; web links to websites, videos, other online resources; published documents or visual documents)
Bio of applicant/s (150 words per applicant)
Curriculum vitae of applicant/s
New Initiative for the 2020 Design Incubation Awards: Graduate Student Work
Beginning this year, Design Incubation is accepting entries in a new juried area of Graduate Student Work. The future of communication design education begins with the work of future faculty and researchers in the field of Communication Design. Recognition of graduate student work will be grouped and reviewed in the categories of scholarship, creative projects, and service. Graduate students currently enrolled in graduate design programs are invited to submit scholarship, creative projects, and service projects they completed during graduate study or up to one year after graduation.
2020 Jury
Gail Anderson, School of Visual Arts, United States
Fatima Cassim, University of Pretoria, South Africa
Denise Gonzales Crisp, North Carolina State University, United States
Paul Nini, Ohio State University, United States
Maria Rogal, University of Florida, United States
Teal Triggs (Chair), Royal College of Art, United Kingdom
A Moderated Discussion for Educators
Wednesday, March 25, 2020
1pm EST (10am PST)
Wednesday, March 25, 2020 1pm EST / 10am PST
Hosted by Lisa Hammershaimb Associate Dean of Curriculum Independence University
Are you new to online and remote instruction? Do you have questions or concerns? Join a live Q&A Session with educators who have experience working in both synchronous and asynchronous online learning environments. Ask questions and learn about best practices. Hear about the range of tools these educators use to create engaging online design courses. Join our community and connect with other educators as we discuss the tips, tricks and challenges of working in the online learning environment.
Who should attend:
Educators who are transitioning to a fully online learning environment for the first time. Those of you who have taught online or hybrid classes in the past are encouraged to take part and share tips and tricks. Think you may have to start teaching online? Come and hear what others have found to be helpful. All are welcome!
Dr. Lisa Hammershaimb is a visual designer and design educator whose research investigates community, presence, and the porous borders between here/there + digital/physical.A 2018 graduate of the EdD program in Distance Education from Athabasca University, Lisa’s dissertation focused on how design educators use the internet to decentralize and extend studio pedagogy. Through her work, Lisa aspires to inspire design educators to be brave in the face of complexity and to build inclusive structures, where all participants can learn how to navigate and thrive in an increasingly information-abundant world.
Alex Girard
Alex Girard is a graphic designer and design educator who believes in the power of design to connect people to ideas, visually. His recent work focuses on developing meaningful assessment practices that define and help to constructively evolve curriculum, rather than exclusively evaluate it. Throughout his career, he has worked to adopt technology at the forefront of the field, and is currently exploring virtual course management systems and other online tools in an effort to create virtual collaborative spaces. Alex coordinates the Graphic Design program at Southern Connecticut State University, and serves as the Director of Peer Review for Design Incubation.
Aaris Sherin
Aaris Sherin is a design educator, researcher and writer. She is a professor of graphic design at St. John’s University in Queens, New York. Her teaching focuses on using blended hybrid models of instruction in FTF classes as well as teaching courses in a fully online learning environment. Sherin’s newest teaching strategies include adding synchronistic modules to online courses as well as working with course management tools and other software to create innovative frameworks for critique in online studio and lecture style courses.
Mitch Goldstein
Mitch Goldstein is a designer, artist, and educator based in upstate New York, where he is an Associate Professor at Rochester Institute of Technology, teaching in the College of Art and Design. He has a fine arts practice focusing on a variety of digital and analog materials and both writes and speaks about art and design education, pedagogy, and creative practice. His courses frequently mix analog and digital making, as well as using both in-person and online teaching and critique tools and methods. He received his MFA in Design/Visual Communications from Virginia Commonwealth University’s School of the Arts, and his BFA in Graphic Design from Rhode Island School of Design. He is currently pursuing another Master’s Degree in Furniture Design from RIT.
Dennis Cheatham
Dennis Cheatham is the Graduate Director of xdMFA, a transdisciplinary distance-learning MFA in Experience Design at Miami University in Oxford, Ohio. He has been teaching online and hybrid courses in experience design and design research since 2016. Dennis has implemented pedagogical tools to facilitate highly engaged distance learning, including Experience Points, the Risk Bonus, single-point rubrics, Slack, and PACES: A Multiple Intelligences Model for Design Education. Dennis has used his background in web development and audio/video production to develop accessible, responsive templates for Canvas LMS and engaging feedback videos and tutorials to simulate the face-to-face experience for learners.
If you are looking for some tips on how to use Blackboard effectively for design instruction, including structuring your course, and tools for interactive group critiques, check out the videos below.
Here’s a great resources list published by AIGA DEC:
Two case studies will be shown that demonstrate embedding best practices for team collaboration in the classroom.
Christine Lhowe Assistant Professor Seton Hall University
At the introduction of group projects in my undergraduate
graphic design courses, students in various levels of their education often ask
if they will be able to present the project in their portfolio to potential
employers. Being that it was conceptualized as a team and multiple designers
participated in the outcome, they express concern in presenting work that
doesn’t exclusively belong to them. However, the design profession is
largely collaborative and creatives often work on projects in teams. This
presentation will showcase how I’ve utilized group projects to foster
understanding of the collaborative nature of the design industry to
intermediate and advanced graphic design students in a liberal arts
University.
I have embedded two learning outcomes within the course
material. The first is team conceptualization. Creative teams commonly
work together in developing original concepts in brainstorming sessions. The
purpose of the sessions are to collectively generate ideas where value is
placed in working together.Ownership of a concept may become
ambiguous as some may be merged together or built on by team members. The
second is entering a creative project post conceptualization. Designers are
often asked to develop new creative assets while upholding an existing
aesthetic for a brand, which raises the question, “was this my idea?”
Two case studies will be shown that demonstrate embedding best practices for team collaboration in the classroom. In the first, students worked together in an advanced Brand Evolution course to develop and maintain a brand across multiple digital and physical touch points. Secondly, in an intermediate Web Design course, students implemented a design system to collectively create the user interface of a large scale website.
