Made during research visits at university libraries in Texas and California, hubs of the Chicano movement.
Joshua Duttweiler Assistant Professor Texas A&M University-Corpus Christi
Alexandria Victoria Canchola Assistant Professor Texas A&M University-Corpus Christi
We demonstrate how the design of Chicano independent publication mastheads from the 1960’s and 1970’s in the United States used the visual language of the Chicano community to engage directly with their audience. In publication design, mastheads serve as the reader’s first indication as to a publication’s purpose and credibility. Our analysis of these independent publications is based on observations made during research visits at university libraries in Texas and California, hubs of the Chicano movement. Based on our research, the mastheads used typography, icons, and organization symbols to attract readers in service to the publication’s goals of raising awareness on local issues such as labor inequality and racial violence. The efforts made by these publications not only mobilized their audience to fight for social justice but utilized visual means as a way of uniting their readers toward a cause.
These Chicano publications, not typically referenced in the traditional white graphic design canon, provide an opportunity to learn from past designers in a parallel time of societal unrest and analyze their successful methods of advocacy and activism. The political climate of the time cultivated diverse printing practitioners; far different than the editorial staffs we see today. Activists, many without formal design training, worked to combine text and images into design that would speak to their audience. By observing the evolution of masthead design throughout the Chicano movement we can observe the progress of the publication designers’ skill as they sought to increase their audience and ability to communicate.
By understanding the role and unity of the visual language of independent Chicano newspapers, we encourage designers, historians, and students to further investigate the design semiotics of community-focused publications both within its historical context and contemporary practice.
Throughout the nineteenth and twentieth centuries.
Nathan Matteson Associate Professor DePaul University
This project looks at the changes in the meaning of the word ‘design’ throughout the nineteenth and twentieth centuries. ‘Design’ and its cultural impact have changed significantly between the advent of typographic printing and the 21st century. Understanding these transitions is compelling in its own right, and may allow us to anticipate future developments.
This investigation relies on ‘word embedding’, which has become widespread in the field of natural language processing. Word embeddings convert texts into quantities with each word represented by a multidimensional vector of real numbers. They have seen use in a range of applications including sentiment analysis, language translation, and, happily, investigating semantic change of words over time.
A comparison of the changes among the semantic neighbors of ‘design’—the words that are ‘close’ to design in this multi-dimensional vector space—provides insight into what we mean when we say ‘design’. Early results suggest that two significant shifts have occurred.
During the late 19th century, design’s semantic neighborhood moved away from words like ‘plan’, ‘arrangement’, and ‘interpretation’ towards ‘mechanism’, ‘device’, and ‘apparatus’.
The neighborhood was further displaced during the mid-20th century by the likes of ‘model’, ‘construct’, and ‘prototype’.
What might be behind these supposed changes in meaning? Perhaps it suggests that design reinvents itself in response to disruptive technological changes, if one assumes these time periods correspond, respectively, to the industrial revolution and the nascent digital age. More investigation is required—performing analyses over other words and corpora—before any useful conclusions can be drawn.
The relationship between design and culture in the Chinese and Chinese American community
Mary Y Yang Assistant Professor Boston University
Radical Characters is a study group and curatorial project that explores the relationship between design and culture in the Chinese and Chinese American community. Each project seeks to decentralize the design canon and to co-build history and community by initiating dialogues through educational experiences. Looking beyond Western design pedagogy, Radical Characters studies Hanzi as a point of inquiry to learn, innovate, and study graphic design from a non-linear approach. Radical Characters looks to projects such as Decolonising Design and the People’s Graphic Design Archive that model methods for challenging practice, pedagogy, and contributions to the design field. The first project was “Radical Return,” an exhibition that draws inspiration from the Chinese character 回 hui, which means to return, to turn around, to circle or to reply. An international call for submissions prompted participants to use 回 as a grid—visually and conceptually—to consider a path they seek to retrace as Chinese or Chinese American designers. Thirty-six Chinese and Chinese American artists and graphic designers were selected to exhibit their graphic work simultaneously at Boston University Art Galleries and IS A GALLERY. The designers’ work accompanied with statements and additional commissioned essays were published in a bilingual catalog. The exhibition opened up a collective space for designers to explore the concept of return through language, typography, cultural traditions, identity, and design history. Radical Characters acknowledges that the works by no means form a complete picture of the multifaceted and complex narratives experienced by Chinese and Chinese American designers, but rather shape an in-progress collection site for building knowledge through the exchange of graphic design and culture. The exhibition presents a framework for a design curatorial process that instigates cultural dialogue among the participants and offers alternative ways for exhibition-making and the exhibition design process.
A feminist base motivates us to engage questions around power relations, knowledge production, and systems of violence
Becky Nasadowski Assistant Professor University of Tennessee at Chattanooga
In recent years, many universities have embraced “diversity” with oblique statements of support. Related, design educators have rightfully sought strategies for inclusive pedagogy, increasing representation and working toward ensuring the classroom is comfortable. But inclusive is not synonymous with anti-racist, which requires antagonism and a reckoning with the pervasive inequities baked into our different fields and methods, the university, and our social relationships and histories.
In this presentation, I will provide an overview of my studio-seminar course Politics and Ethics of Design, where a feminist base motivates us to engage questions around power relations, knowledge production, and systems of violence. A substantial reading list frames sustained conversations on the politics of race, class, and gender as it relates to the field of design, creating a critical foundation for design practice. Select topics include data feminism and counter cartography, the designer’s role in constructing notions of citizenship, the limits of empathy in design thinking, and the neoliberal entanglement of work and passion.
By providing an anchor through reading and conversation, I ask design students to consider in their studio practice urgent questions: How do we respond to historical omissions? How do we interface with social movements? How do we act with an awareness of history that complicates liberal concepts of empathy as paramount? If we want students to engage power and sincerely explore what an anti-racist practice and education look like, then we need to fully engage in how design has traditionally played—and continues to play—a role in bolstering social inequity.
The experiential pedagogy of engaging physically with objects through observation and reflection.
Claire Elestwani Assistant Professor Lamar University
Virginia Patterson Assistant Professor California State University Fresno
As design educators work to create equitable learning environments, it is imperative we implement pedagogy which centers lived experience and community knowledge production over privileged experience. Traditional pedagogies of design focus on learning through activity such as projects and critique through dialogic exchange. These methods are celebrated for their inclusive nature, yet socioeconomic stratification often shapes inequities in the design learning environment. These strategies can privilege students who already feel comfortable in academic environments or have had access to extracurricular activities such as internships or design conferences, and reinforce a culture of exclusion within our discipline. In these implicitly elitist systems, students who are new to the studio environment tend to remain unengaged within the community of inquirers that is the classroom.
In this presentation, we will explore Object-Based Learning (OBL) as a pedagogy which decenters privileged experiences and recenters student knowledge and lived experience. Object-Based Learning, the experiential pedagogy of engaging physically with objects through observation and reflection, is prevalent in the disciplines of art history, museum education, and archeology. We will focus on OBL phases of concrete experience, questioning, and communal reflection as methods of design research rooted in learner-constructed meaning and student agency. We will also focus on OBL as an activity that can take place in ordinary built environments with objects encountered in everyday life. Rooted in verbal observation and reflection, OBL can offer an equitable landscape for intellectual risk-taking and surprise, both valuable to the learning and design process.
During our presentation, we will share examples of OBL in the design studio, frameworks for implementing OBL in various studio classes, and the benefits of OBL as a design research method. We will also share qualitative reflections from an OBL activity in a Packaging Design course, and its ability to foster voice and agency.
Presentations and discussion in Research and Scholarship in Communication Design at the 111th Annual CAA Conference 2023
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.
Saturday, February 18, 2023 9:00 AM – 10:30 AM EST
CHAIRS
Camila Afanador-Llach Florida Atlantic University
Heather Snyder Quinn University of Washington at St. Louis
DISCUSSANT
Jessica Barness Kent State University
PRESENTATIONS
Slowing Production, Increasing Socio-Political Context: Beyond “Spreading Awareness” in the Design Classroom Becky Nasadowski Assistant Professor University of Tennessee at Chattanooga
Radical Characters: Studying Graphic Design and Typography through Chinese Characters (Hanzi) Mary Y Yang Assistant Professor Boston University
Equitable Design Pedagogy: A Case for Object-Based Learning Claire Elestwani Assistant Professor Lamar University
Virginia Patterson Assistant Professor California State University Fresno
What We Talk About When We Talk About Design: A Diachronic Investigation Into the Word ‘Design’ Nathan Matteson Associate Professor DePaul University
Chicano Independent Publication Masthead Design Joshua Duttweiler Assistant Professor Texas A&M University-Corpus Christi
Alexandria Victoria Canchola Assistant Professor Texas A&M University-Corpus Christi
Graphic Design and Authority: How the Design of Documents and Signage Creates, Endorses, and Authenticates Power Structures Claire Bula Adjunct Professor Boston University
The Limits of Control: Nonhierarchical Modes of Making, Decentering the Designer Christopher Swift Assistant Professor Binghamton University
Sustainable Design Pedagogy: A Fifteen-Week Case Study of Sustainable and Climate Design Methodology and Outcomes Maria Smith Bohannon Assistant Professor Oakland University
Design scholars and researchers discuss various aspects of their research agendas
Friday, January 27, 2023 2PM EST Online ZOOM Event
Designing Your Research Agenda is a panel discussion and open forum for design scholars and researchers to discuss various aspects of their research agendas. We aim to open a dialog regarding multiple challenges of discovering one’s design research inquiry. Design Incubation will also be discussing some of their ongoing work with the mission and focus of supporting design research. Designing Your Research Agenda is an ongoing design research event series.
Some of the questions we will discuss with panelists include:
How did you determine your research agenda (high-level timeline of your career/trajectory)
How do you define research and why do you think it matters/for society, the field, and yourself?
How do your department and institution define and support the work you do?
How would you describe/categorize your department and institution?
If you were going to position your work within a category, would you say your research addresses: design theory, design history, design practice, design research (traditional graphic design, speculative design, UXUI, typography, AR, VR, creative computing, design solutions, etc.), design pedagogy, or something else?
What barriers (if any) exist at your institution or in the field for creating and disseminating your research?
PANELISTS
Kate Hollenbach Assistant Professor of Emergent Digital Practices University of Denver
Lisa Maione Assistant Professor of Graphic Design Kansas City Art Institute
Matthew Wizinsky Associate Professor and Graduate Program Director University of Cincinnati PhD researcher, Carnegie Mellon University
Moderators
Jessica Barness Kent State University
Heather Snyder Quinn Washington University in St. Louis
Biographies
Kate Hollenbach Assistant Professor of Emergent Digital Practices University of Denver
Kate Hollenbach is an artist, programmer, and educator based in Denver, Colorado. She creates video and interactive works examining the language and vocabulary of user interfaces with a focus on user habits, data collection, and surveillance. Her art practice is informed by years of professional experience and as an interface designer and product developer. She has presented and exhibited work in venues across the United States, including the San Francisco Museum of Modern Art, SIGGRAPH, and INST-INT. Kate holds an MFA from UCLA Design Media Arts and a B.S. in Computer Science and Engineering from MIT. She is currently an Assistant Professor of Emergent Digital Practices at University of Denver and serves on the Board of Directors for the Processing Foundation. https://www.katehollenbach.com/
Lisa Maione Assistant Professor of Graphic Design Kansas City Art Institute
Lisa Maione is a designer, artist, and educator based in Kansas City, MO. Her research concerns the nature of the screen as a material agent that affects perceptions of histories, social economy, and the self in relation to others. As an interdisciplinary artist, she is interested in emphasizing the residue of memory through assembling and structuring relationships between objects. As a designer, she is interested in how to activate and enact “graphic design methods” outside of commercial exchange as a primary context. By displacing design-like methods into vulnerable states outside of capital and inside emotional visual vortexes, aberrations and distortions emerge and are made palpable as affective, productive output. Lisa is an Assistant Professor of Graphic Design at the Kansas City Art Institute. https://lisamaione.com/
Matthew Wizinsky Associate Professor and Graduate Program Director University of Cincinnati, and PhD Researcher Carnegie Mellon University
Matthew Wizinsky is a designer, researcher, educator, and author on contemporary issues in design practice and research. He has over 20 years of professional experience in graphic, interactive, exhibition, and experiential design. He is an Associate Professor & Graduate Program Director in the Ullman School of Design at the University of Cincinnati, PhD researcher in Transition Design at Carnegie Mellon University, and Associate Editor for the oldest peer-reviewed design journal, Visible Language. He is the author of Design after Capitalism (MIT Press, 2022). https://mwizinsky.net/
Developing stakeholder-informed visuals to improve mental health awareness and decrease stigma
Penina Laker Assistant Professor Washington University in St Louis
Children in Sub-Saharan Africa (SSA) comprise 50% of the total regional population, yet current mental health services are severely under-equipped to meet their needs. Uganda, an SSA country, reports 12 to 29% of children presenting mental health symptoms when screened in primary care clinics. There are widespread misconceptions towards mental illness as well as stigmatization of people with mental illnesses in Sub-Saharan Africa countries like Uganda which reports 12 to 29% of children presenting mental health symptoms when screened in primary care clinics. Common misconceptions include fears of contagion as well as perceptions that people are responsible for their illness and are dangerous.
Furthermore, young people are particularly worried about being seen as “crazy” or “mad” by their friends and significant others, which results in little or no intention to seek help. While Ugandan schools use visual messaging and signage to bring awareness about sexual risk behavior and HIV/AIDS knowledge and prevention, no such strategies have been adopted to address mental health related stigma. Since the early 19th century, images have had a deep history that is closely linked to perpetuating stereotypes associated with the portrayal and treatment of mental health related issues. However, when closely developed with the primary audience, images are capable of educating and bringing awareness to complex narratives associated with mental health related challenges.
This interdisciplinary pilot research study explores a three-phased collaborative process involving focus groups and extensive co-creation workshops with children and teachers working in a public primary school in the Masaka region of Uganda to develop culturally relevant visual solutions addressing mental health stigma. This collaboration combines social work’s commitment to mental health intervention research in low-resource communities with communication design’s strength in using design research techniques to address social problems, with the goal of developing stakeholder-informed visuals through a participatory process to improve mental health awareness and decrease stigma.
22 cassette taped interviews with Black residents of Pontiac, Michigan from the mid-1970s
Kimmie Parker Assistant Professor Oakland University
The Pontiac Oral History Archive, housed in Oakland University’s Kresge Library, contains 22 cassette taped interviews with Black residents of Pontiac, Michigan from the mid-1970s. To date, this archive has been largely inaccessible, available only to those who can come to our campus to listen to the cassettes. My collaborator, [name anonymized for peer-review], and I see immense value in this archive and have been working to create a public website to house the recordings, historical photographs, and other related artifacts.
For decades, Pontiac was a vibrant city with one of the largest populations of working-class Black Americans in the US; after the auto industry moved much of its operations away from the city, an already disenfranchised population struggled to move forward. Society then, as today, grappled with racism, racial inequality, socio-economic inequality, and police brutality. The stories on these tapes range from first-hand accounts of the Great Migration to industrial working conditions to racist encounters to social and family life in the 1970s. The voices of everyday people, particularly people of color, often go unheard. The preservation of and accessibility to these important historical accounts are critical as we work towards a more just society.
Since fall of 2021, we have worked on this project in collaboration with members of the Pontiac community and colleagues across our campus. We have obtained funding for the digitization and transcription of the cassette tapes, introduced students and community members to the archive, obtained permissions and made connections with living relatives, and began designing an online archival website. This interdisciplinary and wide-ranging process has become much more than a design project: this work lives at the intersection of design, community activism, historical preservation, and digital humanities. I look forward to sharing our work-in-progress as we strive to equalize access to these important voices.
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.
