Author: Design Incubation

Colloquium 5.2: CAA Conference 2019 Call for Submissions

Deadline for abstract submissions: August 6, 2018.

Session Chairs:

Liz DeLuna
Associate Professor
St John’s University		 Robin Landa
Distinguished Professor
Michael Graves College
Kean University

Hosted by CAA Affiliated Society, Design Incubation.

We invite designers—practitioners and educators—to submit abstracts of design research.  Presentations are limited to 6 minutes, preferably Pecha Kucha style. A moderated discussion of the research will follow.

Design Incubation Colloquium 5.2: CAA 2019 New York City
February 13–16, 2019
Hilton Hotel, Midtown Manhattan

Date, time, and location to be determined.

We are accepting abstracts for presentations now until August 6, 2018.
For details visit the Colloquium Overview description, and online Colloquium Abstract Submission form.

Questions can be directed to info@designincubation.com.

Colloquium 5.1: DePaul University, Call for Submissions

DePaul University, the School of Design Talks, and Heather Quinn will be hosting a Design Incubation Colloquium. Abstract submission deadline Saturday, August 25, 2018.

DePaul University, the School of Design Talks, and Heather Quinn will be hosting a Design Incubation Colloquium on Saturday, October 27, 2018, 10:30am-4:30pm. All are welcome to attend. Details and agenda can be found on the Colloquium 5.1: DePaul University.

We are accepting abstract submissions for presentations. Abstract submission Saturday, August 25, 2018.

We invite designers—practitioners and educators—to submit abstracts of design research. Presentations format is Pecha Kucha.

For more details, see the colloquia details and description. Abstracts can be submitted online for peer review.

Design Incubation Colloquium 5.1: DePaul University

Design Incubation Colloquium 5.1 (#DI2018oct) will be held at DePaul University, College of Computing and Digital Media on Saturday, October 27, 2018. 10:30AM-5:00PM

Design Incubation Colloquium 5.1 (#DI2018oct) will be held at DePaul University, College of Computing and Digital Media on Saturday, October 27, 2018. 10:30AM-5:00PM

Hosted by Heather Quinn and the School of Design Talks. This event is open to all interested in Communication Design research.

DePaul University
Richard M. and Maggie C. Daley Building
14 E Jackson Blvd.
Chicago, IL 60604
Lower Level Theatre

For details visit the Colloquia Overview and  Online Submission Form. Submission deadline: Saturday, August 25, 2018.

For visiting presenters and attendees, you can find hotel recommendations on the DePaul website here:

https://resources.depaul.edu/demon-discounts/travel/Pages/hotels.aspx

DePaul Colloquium After Party

Attendees and presenters are invited to join Design Incubation and Haddon Avenue Writing Institute for a reception and tour of the facilities from 6-8pm. Drinks and refreshments will be provided. Please rsvp@designincubation.com if you plan to attend.

October 27th, 2018
6-8pm
Haddon Avenue Writing Institute
2009 W. Haddon Ave, Chicago Illinois

Featured Presentation

Storytelling: Balancing the Head, Heart, and Gut
Kelly Bishop
VP, Product & Design
The Onion
Fusion Media Group

Moderators

Liz DeLuna
Associate Professor
St. John’s University

Robin Landa
Distinguished Professor
Michael Graves College
Kean University

DesignEdu.Today
Gary Rozanc will be attending and documenting this event for his series.

Presentations

A Taste of Miami: Mentors, Creative Teams, Award Shows 
John Delacruz
Associate Professor of Advertising
School of Journalism and Mass Communications 
San Jose State University

Creativity in Letting Go of Certainties
Dannell MacIlwraith
Assistant Professor
Kutztown University

Body Type
Samantha Flora
Co-Founder and Designer
JAM Studios and Fat Kid Type Foundry

Material Voice: Communicating with Substrates
Meridyth Espindola
Graduate student
Vermont College of Fine Arts
BFA, University of Massachusetts, Dartmouth

90 Years of The Society of Typographic Arts
Sharon Oiga
Associate Professor
University of Illinois at Chicago

Guy Villa Jr
Assistant Professor
Columbia College Chicago

Design for Decentralized Studio Learning
Lisa Hammershaimb
Associate Dean of Curriculum, Graphic Arts
Independence University

Neuron Focus Support – Eliminating Distraction Through Facilitated Goal-Oriented Task Management
Abhinit Parelkar
Graduate student
College of Computing & Digital Media
DePaul University

Gerard Panganiban

Graduate student
College of Computing & Digital Media
DePaul University

Facilitating Justice Through Design Research
Mariam Asad
Graduate student
Georgia Institute of Technology

Social Homelessness on US Campuses
Yeohyun Ahn
Assistant Professor
Art Department
UW Madison

What Can Machine Learning Contribute to Empathy in Design? How to Build a Journey Map Using Big Data and Text Sentiment Analysis
Sarah Pagliaccio
Principal, User Experience Designer
Black Pepper

Design as Performance
A. Marcel
Graduate student
Vermont College of Fine Arts

How AI is Changing Design
Scott Theisen
Executive Creative Director
Deloitte Digital

A Tool for Understanding: Giving Voice to Diverse, Non-traditional and Low-Income Students Through Teaching Letterpress Printing
Vida Sacic
Associate Professor
Northeastern Illinois University

Evolving Graphic Design from Serving Industry to Fulfilling Fundamental Human Needs
Gareth Fry
Assistant Professor
Utah Valley University

Wearable Workshops
LeAnne Wagner
Professional Lecturer
School of Design
DePaul University

Comfort Toys
Benjamin Evjen
Assistant Professor
Utah Valley University

Featured in Chicago Design Week 2018 (Oct 27 – Nov 3)

UXCamp NYC

https://www.eventbrite.com/e/uxcamp-nyc-2018-registration-43266185325?discount=DI#tickets

UXCamp NYC is a one-day event with 24 45-minute sessions and workshops presented by thinkers and doers from all levels of experience. It is a day of gathering for people who are passionate about creating great experiences for people.

Sat, June 9, 2018
9:00 AM – 5:30 PM EDT

General Assembly
902 Broadway
New York, NY 10010

 

PERSONALIZE. COMMUNICATE. SOCIALIZE. LISTEN. PREPARE: Teaching Professional Practices for Designers

“Professional Practices” is designed to help bridge the gap from being a student to becoming a working professional.

Holly Tienken
Assistant Professor
Communication Design
Kutztown University

When completing my BFA in Communication Design in the late 90’s, I felt 100% prepared to enter the professional world. Armed with a meticulously designed portfolio and ample technical skills, I hit the job market eager and willing to do whatever it took to land a job. Unfortunately, I found myself unprepared with necessary practical skill including interview techniques, contract reviews and salary negotiations.

My 20+ years in the industry working in a variety of settings including in-house, at small- and mid- sized agencies, and full-time freelancing have taught me numerous valuable lessons unrelated to pixels and printing. I believe experiencing both success and “failure” are necessary for healthy personal and professional growth—but with insight, many bumps and bruises can be avoided.

The course “Professional Practices” is designed to help bridge the gap from being a student to becoming a working professional. Course structure is varied and diverse including guest lectures from industry professionals; class exercises such as peer-to-peer interview prep and “Battle of the Elevator Pitch”; group discussions on topics such as salary negotiation, and understanding value and worth as a designer; and lectures on topics related to freelancing basics, cost of living, and job hunting strategies.

As the students embark on their career path the tools and knowledge gained will aid in navigating unfamiliar and sometime indimidating situation with more confidence and a defined direction. The objective is not only to help the students secure a job, but ultimately lead to an environment where they will thrive.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.

Thoughtful Social Impact Through Scaffolded Design Methods and Well-Time Fieldwork

A spring 2018 design studio, case study—how to attain that balance of a good quality course and meaningful social design.

Cynthia Lawson
Associate Professor of Integrated Design
Parsons, The New School

Alik Mikaelian
MFA Transdisciplinary Design Candidate
DEED Lab Research Fellow
Parsons, The New School

Devanshi Sihare
Design Strategist

Megan Willy
MFA Transdisciplinary Design Candidate
Parsons, The New School

The past decade has seen an explosion of interest from the design academy in running projects and courses on design and social impact. The challenge remains, however, to have students get enough exposure on relevant competencies in the 15-week semester.

This presentation discusses a spring 2018 design studio as a case study in how to attain that balance of a good quality course and meaningful social design. Specific methods of both course development and delivery as well as conducting design research are discussed. The ultimate stakeholders of this course’s projects were in a different country and not easily accessible, adding a particular complexity.

The first part of the semester included exercises such as an Ecosystem Map and the Business Model Canvas. Students developed a Theory of Change placing special emphasis on the assumptions they were making about their stakeholders, which were clarified during the fieldwork research which took place in Guatemala over Spring Break.

The second part of the semester included expert interviews and guest visits, to support each project in becoming  as realistic as possible.

We argue that while the design process is often used as the central point of discussion for studios, there are, in fact, other variables such as the weekly structure, the timing of fieldwork, and the explicit scaffolding of learning, which can yield more effective social impact design. The key is getting enough exposure on relevant competencies dealing with social impact design into the 15 week semester.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.

Urban Abstract Design of Modern Architecture in Bauhaus

Designers must delve beneath the obvious principles of Bauhaus purity and minimalism to comprehend how human memory and sense perception contribute to our experience

Min K. Pak
Assistant Professor of Graphic Design
Art & Design
University of Southern Indiana

Photography reflects memory, allows us to ponder our past thinking and past experiences in our environments. At the boundaries between graphic design and photography, we can observe patterns in urban environments and associate these patterns with recalled sounds and human emotions.

In 1923, Lucia Moholy (1894-1989) sought to capture a futuristic vision in Bauhaus architecture. Her photographs balance the clarity, simplicity, and asymmetry that represent Bauhaus’s spirit of utopian zest and vitality and openness of spirit. Indeed, Moholy’s extreme verticals, tilted frames, and abstract forms emphasize the simple, clean, beautiful lines characterizing Bauhaus architecture.

Since each building employs its own architectural language, I identify the words for these urban shapes, for their forms and structures—freeing these buildings from their specific spatial contexts so that we observe them individually, seeing beauty even in marginal details of everyday city life.

Beyond merely documenting discoveries in Moholy’s photographs, I explicate her new ways of seeing this geometric, abstract architecture as a response to reading the world’s simplicity and organic autonomy. I contend that we designers must delve beneath the obvious principles of Bauhaus purity and minimalism to comprehend how human memory and sense perception contribute to our experience with both photography and Bauhaus.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.

Power in the Dark

Through the elimination of fear, women will be free to wander the darkened streets.

Nina Cooke John
Assistant Professor
Parsons, The New School for Design

We women are especially supposed to be afraid of the night… For a woman to walk on the street at night is not only to risk abuse, but also…to ask for it. The woman who transgresses the boundaries of night is an outlaw who breaks an elementary rule of civilized behavior: a decent woman does not go out…at night….freedom of movement is a precondition for freedom of anything else…

Andrea Dworkin, “The Night and Danger”, 1979 from Letters From a War Zone

Purposeless walking at night in the city is particularly magical, opening up a portal into the present and connection to the urban environment.

How might we, using urban design strategies, create an intervention that will empower women to walk at night?

People in New York City, the city that never sleeps, walk through the streets at night purposefully for many reasons; whether walking home after partying, or after work as a nurse, doctor, store clerk, bartender, streetwalker, or taxi driver. Even they, perhaps, can lose themselves, even briefly, in the otherworldly aura of the city at night.

Through the elimination of fear, women will be free to wander the darkened streets. The power to perform this defiant act will come from other women; connected through this intervention.

Light Tower Intervention

  • Towers develop in response to local neighborhood association signage in.
  • Glowing poles illuminate dark crevices in spaces between buildings.
  • Light in sidewalk marks the locations of the installations while lighting the path.
  • The entire installation is activated only as women with the associated app approach.
  • Crowd sourced messages from women are etched into reflective polished steel surfaces and on video screens that activate as women walk by.
  • Women walking by with the app map their movements which can be shared with others.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.

Teaching the Truth About Eric Gill in the Age of #MeToo: A Classroom Case Study

I believe we have a responsibility as educators to provide young people with honest information so that they are empowered to make choices that reflect their values.

Dave Gottwald
Assistant Professor
University of Idaho

When I was in graduate school, it was occasionally remarked that widely revered English artist Eric Gill was “a bit odd.” However, it was not until I had to prep a new History of Typography course that I realized this was a euphemism for “monster.” I knew that his eponymous san serif is essentially the Helvetica of the UK—you can find everywhere from British Rail and the BBC to the Church of England and many children’s books. Gill Sans is the face that advises all to KEEP CALM AND CARRY ON.

The truth is that Eric Gill molested two of his daughters from their teen years onward. He exposed himself to children and to women who worked for him. He maintained a sexual relationship with his sister for most of his life, and he even had carnal relations with the family dog. We know this from Gill’s own journals, which were brought to light in a definitive biography published in 1989. Yet in the two design history texts assigned for my course, one is completely silent about Gill’s crimes, and the other glosses over it.

I believe we have a responsibility as educators to provide young people with honest information so that they are empowered to make choices that reflect their values. Even though I teach at a rural campus in a conservative area, my students were more prepared to hear and talk about Gill’s crimes than I had anticipated. I will present a case study outlining the material presented, including highlights from our lively discussion about what responsibility one has in using a typeface. I will share the posters they designed about the subject, and quote from their written responses—both about Eric Gill and his typefaces, and their assessment of how I delivered the material.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.

Story-Doing Concepts

To create a fundamental shift to what a brand or entity’s story can do for the greater good, we have to think of storytelling in terms of actions.

Robin Landa  
Distinguished Professor
Michael Graves College, Kean University

Underpinning any successful brand or nonprofit is a distinctive story. In today’s global economy, to differentiate a brand, social cause, or organization in people’s minds, storytelling is critical. That story involves brand values and strategy—what a brand or entity stands for and communicates. To create a fundamental shift to what a brand or entity’s story can do for the greater good, we have to think of storytelling in terms of actions. Ty Montague and Rosemarie Ryan, creative directors at co: collective, call this proposition StoryDoing.

Rather than conceiving promotional communication design that merely tells the brand story, I teach students to conceive promotional design concepts that involve beneficial actions on the part of the brand or entity. To conceive story-­‐doing concepts, one needs to restructure the idea generation process to embrace social good. Can the communication design solutions contribute to society in terms of beneficial messaging, a business platform (think Bombas or Warby Parker), or charitable works?

Think of how Dove brand advertising changed the conversation about beauty through their Real Beauty campaigns. Dove listened to the negative messaging women were writing on social media and set out to change the conversation. Partnering with NBA star Kevin Durant, Kind Snacks announced their goal was to “launch a new cultural initiative that aims to challenge deeply rooted stereotypes and redefine cultural perceptions of strength and kindness.” Instead of merely promoting Kind Snacks, their communication design goals included changing the conversation about what it means to be strong.

The story-doing proposition can become an organizing principle for conceiving communication design concepts incorporating socially positive actions on the part of a brand. To shift the brand storytelling paradigm to a story-doing one, students must learn how to conceive brand stories with organic beneficial actions. This presentation will center on teaching students to conceive story-doing design projects.

This research was presented at the Design Incubation Colloquium 4.4: Parsons Integrated Design on Thursday, June 14, 2018.