Author: Design Incubation

The Bayou at y.our Doorstep: Integrating Environmental Education in Graphic Design

The role Houston’s waterways play in the community

Natacha Poggio
Associate Professor
University of Houston Downtown

Houston’s vast network of 22 bayous and river systems is central to the city’s identity, influencing both its geography and culture. The University of Houston-Downtown (UHD) sits at the intersection of two key waterways, White Oak and Buffalo Bayous, offering students a direct connection to the natural environment that shapes their urban experience. These bayous, which embody both tranquility and the destructive potential of floods, also highlight the impact of human activity on Houston’s green spaces.

In an introductory graphic design course, students were tasked with visualizing the environmental, emotional, and developmental importance of Houston’s bayous for community well-being. Through this service-learning project, they collected observations and interviewed community members to apply their storytelling and visual design skills to create illustrations that reflect the role Houston’s waterways play in the community, while also addressing the negative effects of pollution.

The project culminated in a public exhibition at Earth Day Houston, in partnership with Discovery Green. With over 31,000 attendees, the displays aimed to raise awareness and educate about the importance of reducing pollution, particularly single-use plastics, as part of a larger goal to achieve a waste-free celebration. UHD Recycling Ambassadors played a significant role in this effort, collecting and sorting 3,800 pounds of garbage, with less than 9% ending up in a landfill.

This case study demonstrates the power of integrating environmental education into design curricula, engaging students in creating relevant real-world solutions through service-learning and empowering community members alongside the students’ learning experience.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

Workshop on Writing an Academic Abstract

An Affiliated Society Meeting at the CAA 113th Annual Conference

Affiliated Society Meeting at the CAA 113th Annual Conference, New York City

Friday, February 14, 2025
1:00 PM – 2:00 PM
New York Hilton Midtown – 2nd Floor – Murray Hill West

This is a hybrid event. Attendance is free to anyone in person. (No conference fee is required.) To attend virtually, complete the form below to receive details for the virtual login.

Join Design Incubation for a workshop on Writing an Academic Abstract. We will provide examples, recommendations, best practices, and ideas on crafting a written synopsis of your communication design research for submission to conferences, journals, invited lectures, grant and book proposals.

Please complete the form and let us know how we can facilitate your academic abstract writing efforts. This event is suited for junior faculty new to research and publication. It is also an opportunity for senior faculty to discover community and feedback on their scholarly endeavors.

Form: https://designincubation.com/abstract-writing-workshop/

Enhancing Design Education: Students Skill Development through Technology in Blended Learning Environments

Strong positive correlations between students’ comfort with technology, its perceived importance for skill development, and overall satisfaction with the learning environment.

Danilo Bojić
Associate Professor
Winona State University

This proposal examines the effects of technology integration on skill development and student satisfaction in undergraduate design education, guided by the Technology Acceptance Model (TAM) and the Diffusion of Innovation Theory (DoIT). It aims to clarify how digital tools enhance design competencies and learning experiences.

Two primary research questions were explored:

1) How does comfort with technology correlate with its perceived importance among design students in blended environments?

2) How does technology integration affect students’ satisfaction with their learning environment? The study utilized a quantitative, exploratory, correlational design, surveying 288 undergraduate design students from public liberal arts colleges in [name anonymized for peer-review] using a structured Qualtrics questionnaire.

The analysis found strong positive correlations between students’ comfort with technology, its perceived importance for skill development, and overall satisfaction with the learning environment. These results emphasize the essential role of technology in design education and highlight the need for strategies that enhance technological proficiency and effectively integrate digital tools.

The findings are significant for educators, curriculum developers, and educational policymakers, stressing the importance of innovative pedagogical approaches that leverage technology to meet the evolving needs of the design profession. This research contributes valuable insights into the integration of technology in design education, enhancing both theoretical discussions and practical teaching approaches.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

Service Design for Digital Tours: The Rixing Type Foundry Case

A traditional Chinese lead type manufacturer turned museum.

Ting Han Chen
Adjunct Associate Professor
Yuan-Ze University, Taiwan
Play Design Lab

Traditional manufacturing factories transitioning into cultural attractions often face difficulties in providing consistent, high-quality guided tours, as these tours are labor-intensive and challenging to standardize. Digital technology presents a compelling solution through self-guided tours, yet many existing systems focus solely on website or information system design, failing to seamlessly integrate physical and digital experiences.

This study proposes a service design approach for a more user-centric digital tour system, exemplified by the author’s design for Rixing Type Foundry, a traditional Chinese lead type manufacturer turned museum. The system enhances visitor engagement by combining digital content—such as visual aids, audio guides, and contextual information—with physical exhibits, allowing visitors to use their mobile devices for self-guided tours.

Rather than replacing human guides, the project enhances their roles by integrating digital tools, allowing them to focus on more meaningful in-person interactions. By shifting detailed content delivery to digital videos, the system achieves a balance between automation and human engagement, preserving the educational and cultural value of the tours while enriching the visitor experience.

The system also tackles operational challenges such as inconsistent guide quality and managing visitor flow. By standardizing content through digital means, it reduces reliance on human resources for repetitive tasks, boosting operational efficiency while maintaining the cultural essence of traditional craftsmanship. This model offers a scalable solution for other manufacturing sites transitioning into cultural attractions, aligning with the broader trends of tourism and digital innovation.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

Collaborative Creativity and Digital Identity: Reimagining Authorship in the Digital Age

Insights into how the adaptability of digital content fosters both individual and collective creativity.

Feixue Mei
Assistant Professor
James Madison University

In the digital era, the continuous reshaping and reinterpretation of content have challenged traditional concepts of authorship, identity, and community, presenting new possibilities for communication design. This project explores how dynamic digital platforms enable collaborative artistic practices and engage communities in co-creating evolving representations of identity.
Drawing on Heather Warren-Crow’s theory of “plastic images,” this research examines how artists, designers, and fan communities leverage the adaptability of digital media to create participatory environments. The case study of virtual pop star Hatsune Miku—whose identity is continually redefined by fan contributions—illustrates how digital communities transform media representations, leading to new forms of collective expression that challenge established norms.

This study is especially relevant in today’s digital landscape, where the roles of creator and audience are increasingly blurred. By analyzing how collaborative digital practices disrupt conventional notions of authorship and originality, the project addresses the ethical and theoretical implications of intellectual property and creative ownership in an age where content is perpetually reinterpreted.

Ultimately, this research offers insights into how the adaptability of digital content fosters both individual and collective creativity, influencing communication design and the broader cultural landscape. Attendees will gain a deeper understanding of how collaborative creativity within digital spaces is reshaping communication design and contributing to cultural and social transformations.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

Design History Data: A Snapshot of US-based Undergraduate Programs

Graduating students may not understand the historical conditions that created their discipline.

Aggie Toppins
Associate Professor
Washington University in St. Louis

Design history is not a firmly established field in the United States. Scholars Grace Lees-Maffei and Rebecca Houze show how in the UK, by contrast, educational reforms in the 1970s mandated that colleges offer subject-specific contextual studies, creating demand for design historians in studio programs and initiating the field’s growth in Europe. Although many early graphic design historians were American educators, most colleges here offer little design history content. Consequently, graduating students may not understand the historical conditions that created their discipline.

NASAD Data Summaries show that enrollment in communication design programs is eclipsing studio art, yet most design students are required to study art history. The author will argue that as design professions contend with new forms of automated labor, skills in historical thinking—described by Andrews and Burke through the “five Cs” of change over time, context, causality, contingency, and complexity—are as useful as analyzing aesthetic objects. Design conferences and journals have recently spotlighted design history pedagogy, questioning its entanglements with connoisseurship and canonicity, and with capitalism and imperialism. How are these trends making an impact on design history education today?

In this presentation, I share insights from data I collected on 345 US-based undergraduate programs in communication design. The data affirms that the survey course is often the only touchpoint graphic design students have with design history. I aggregated information about these courses from academic bulletins, course catalogs, and program websites, and verified facts with faculty. The data contributes evidence for current practices and patterns of change in course titles and descriptions (which indicate common approaches and themes), textbook choices, and faculty training. The data will serve as a useful resource for educators looking to situate their curriculum in current discourse, and for administrators in positions to advocate for faculty hires and curricular revision.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid)

Presentations and discussion in Research and Scholarship in Communication Design at the 113th Annual CAA Conference 2025

Recent research in Communication Design. Presentations of unique, significant creative work, design education, practice of design, case studies, contemporary practice, new technologies, methods, and design research. A moderated discussion will follow the series of presentations.

The colloquium session is open to all conference attendees. Be sure to watch the online video presentations before attending this event.

Friday, February 14, 2025
11:00 AM – 12:30 PM
New York Hilton Midtown – 2nd Floor – Sutton North

CHAIRS

Camila Afanador-Llach
Florida Atlantic University

Heather Snyder Quinn
DePaul University

Discussants

Jessica Barness
Kent State University

Cat Normoyle
East Carolina University

Dan Wong
New York City College of Technology, CUNY

PRESENTATIONS

Design History Data: A Snapshot of US-based Undergraduate Programs
Aggie Toppins
Associate Professor
Washington University in St. Louis

Editorial Infographics: Bridging the Gap Between Complexity and Clarity in Design Education
Teresa Trevino
Professor
University of the Incarnate Word

The Bayou at y.our Doorstep: Integrating Environmental Education in Graphic Design
Natacha Poggio
Associate Professor
University of Houston Downtown

Collaborative Creativity and Digital Identity: Reimagining Authorship in the Digital Age
Feixue Mei
Assistant Professor
James Madison University

Designing Inclusive Engagements in Neighborhood Design Projects
D.J. Trischler
Assistant Professor
University of Cincinnati

Service Design for Digital Tours: The Rixing Type Foundry Case
Ting Han Chen
Adjunct Associate Professor Rank Specialist
Yuan-Ze University, Taiwan

Enhancing Design Education: Students Skill Development through Technology in Blended Learning Environments
Danilo Bojić
Associate Professor
Winona State University

Editorial Infographics: Bridging the Gap Between Complexity and Clarity in Design Education

Students now more effectively understand and display text, images and data.

Teresa Trevino
Professor
University of the Incarnate Word

Francesco Franchi, graphic journalist, described infographics as “impossibility in its purest form,” using the Penrose triangle to illustrate the complex coexistence of content, design, and data. This reflects the challenges that information designers face when aiming to inform and engage overstimulated audiences.

These challenges resonated in our Information Design studio course. While students begin the semester with enthusiasm, a shift occurs when transitioning from research to design. Confusion often sets in as they struggle to create effective visualization. Observing this recurring pattern over the years, I recently implemented a subtle yet significant change that led to improved outcomes.

An original 5-week Infographic assignment became the current 8-week “Editorial Infographics” project. Students begin researching and gathering information for a newsletter. The revised assignment required students to design all pages including an infographic as the central spread. Despite the complexity added by merging Editorial and Information design as a unit, students now more effectively understand and display text, images and data.

References such as Franchi’s work for La Repubblica and Intelligent Lifestyle Magazine, along with Manuel Lima’s The Book of Trees: Visualizing Branches of Knowledge, and Nigel Holmes’ Map of Infographia and Infographic Design were instrumental.

The extended project introduced a learning curve, with some resistance to the longer assignments. However, most students reported increased confidence and have incorporated these skills into other projects, with some receiving recognition at design competitions and publications.

I will continue refining this project to enhance students’ information design skills and better prepare them for future challenges.

This design research is presented at Design Incubation Colloquium 11.2: Annual CAA Conference 2025 (Hybrid) on Friday, February 14, 2025.

CFP: 2024 Design Incubation Communication Design Educators Awards

Call for Nominations and Entries for the 2024 Design Incubation Educators Awards Competition. DEADLINE EXTENDED!

Design Incubation announces a call for nominations and entries for the 2024 awards for communication design educators 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.

Nominations and Entries

We ask colleagues and mentors to identify outstanding creative work, publications, teaching, and service being created by design educators in the field communication design and to nominate these individuals for an award. Nominations will be accepted until December 15, 2024 January 15, 2025.

Entry Guidelines

Entries will be accepted until (December 31, 2024) January 15, 2025. Nominations are not required to enter in this scholarly competition. Complete the online entry form (https://designincubation.com/design-incubation-awards-competition-entry-form/) with the following:

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.)
Biography of applicant/s (150 words per applicant.)
Curriculum vitae of applicant/s.
Entry fee: $20.

2024 JURY

Steven McCarthy (Chair)
University of Minnesota

Douglas Kearney
University of Minnesota

Doug Barrett
University of Alabama at Birmingham

Basma Hamdy
Virginia Commonweath University—Qatar

Kali Nikitas
University of Southern California in Los Angeles

Douglas Kearney is an acclaimed poet, librettist, performer and book designer. His work is widely awarded and anthologized, and his book Sho was a finalist for the National Book Award in poetry. He is a professor of creative writing at the University of Minnesota–Twin Cities where he is a McKnight Presidential Fellow. Kearney earned a BA from Howard University and an MFA from CalArts. 

https://www.douglaskearney.com

Doug Barrett is a professor of graphic design at the University of Alabama at Birmingham who has over 20 years of professional graphic design experience. His practice combines client-oriented commercial work, community-focused “design for good,” and experimental design authorship. Barrett has received an Alabama State Arts Fellowship in Design and a Sappi: Ideas That Matter grant. He has an MFA from the University of Florida.

https://www.dougbarrett.com

Basma Hamdy is a professor of graphic design at Virginia Commonwealth University–Qatar campus where she teaches across the undergraduate and graduate curricula. Her scholarship ranges from visual documentation of socio-political activism in Egypt to exploring Arabic typography and calligraphy. Hamdy has an MFA from MICA and is currently a candidate for a PhD at Leiden University and The Royal Academy of Art in The Netherlands. 

https://qatar.vcu.edu/news/our-faculty/basma-hamdy/

Kali Nikitas serves as MFA Design Academic Program Manager at the University of Southern California in Los Angeles. She is a former Associate Professor at the School of the Art Institute of Chicago, Minneapolis College of Art and Design, Northeastern University and Otis College of Art and Design. Kali served as the Chair of the design departments at MCAD, NEU, and Otis making administration her main focus. Her designs and curatorial projects have been widely awarded and published. In addition to her academic role, she is a “Curator of Moments” designing happenings and events in the creative sector. Kali received an MFA in graphic design from CalArts and a BFA in graphic design from the University of Illinois, Chicago. 

https://www.tumblr.com/kali-nikitas

Steven McCarthy is a professor emeritus of graphic design at the University of Minnesota. His scholarship has led to lectures, exhibits, publications and grant-funded research on six continents. McCarthy has published in the field’s leading academic journals and he has been in over 135 juried and invitational exhibits. He has an MFA in design from Stanford University and a BFA in art from Bradley University. 

http://stevenmccarthy.design