Design Incubation Writing Groups

Two groups, based on scheduling preferences and project type, are open to academics, researchers, and writers working in the field of communication design.

Design Incubation is pleased to announce a Writing Group program for the 2020–21 academic year.

Scholarly writing is an integral part of many design faculty’s research agenda. As designers and writers, we know it can be daunting to sit down in front of a blank screen. Participating in a writing group provides structure, support and feedback. It’s also a way to build accountability into your writing practice.

For a writing group to work, it requires a serious, regular commitment from each member. For this inaugural program, Design Incubation will assemble two groups based on scheduling preferences and project type. Details on the structure and varying levels of commitment for each of the two groups are outlined below. Groups are open to academics, researchers, and writers working in the field of communication design. We will give preference to full-time faculty. (At this time we are not accepting graduate students.) The cost is $55 for the year. Ten spots are available for the 2020/21 academic year.

Each group will have a participant who is the designated Coordinator, responsible for light administrative work, including scheduling meetings; maintaining group accountability goals; and communicating with the Writing Group program DI Chairs to provide updates on group progress and ongoing feedback on the program. Design Incubation will recognize the Coordinators on their website and the position can be used to demonstrate service to an organization at a national level.

Applications will be considered immediately upon submission and they can be submitted through August 5th, 2020 (Due to an overwhelming response, we have closed applications early). Design Incubation will provide official letters of acceptance to allow attendees to request funding from their institutions.

2020–21 Pilot Launch Groups

Each group will set a regular day and time to meet throughout the semester. A fixed meeting time reinforces the notion that your writing practice takes priority and promotes accountability.

Weekly Writing Accountability 

Best for: Faculty, writers, or researchers looking for accountability to establish a writing practice.

Description: The weekly accountability Writing Group will provide a support network for establishing a regular writing practice and help group members set and achieve goals related to writing and/or research. In addition to participating in weekly video conference meetings, members will be responsible for presenting a writing/research plan, maintaining a writing log, and completing readings related to writing. 

1-hour video conference call every week from August 2020–May 2021

Responsibilities:

  • Create a research/writing plan that details your project(s) and timeline(s)
  • Maintain a writing log including dates, times, and activity
  • Complete group-related assignments that may include readings, podcast episodes, or writing exercises

Bi-Weekly Writing Accountability 

Best for: Faculty, writers, or researchers looking for accountability to establish a writing practice but who cannot accommodate weekly meetings.

Description: The bi-weekly accountability Writing Group will provide a support network for establishing a regular writing practice and help group members set and achieve goals related to writing and/or research. In addition to participating in bi-weekly video conference meetings, members will be responsible for presenting a writing/research plan, maintaining a writing log, and completing readings related to writing. 

1-hour video conference call every other week from August 2020–May 2021

Responsibilities:

  • Create a research/writing plan that details your project(s) and timeline(s)
  • Maintain a writing log including dates, times, and activity
  • Complete group-related assignments that may include readings, podcast episodes, or writing exercises

Proviso: If you don’t show up for three meetings in a row, you may be dropped from the group. 

Design Incubation Fellowship 2020

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

Introducing the Abstract Writing Wizard of Design Incubation!

A tool to facilitate the writing of an academic abstract.

Do you struggle with composing an academic abstract? Have a great idea for a conference, paper, or other academic submission, but find that you don’t know where to start, or how best to structure your abstract?

Try out the Design Incubation Academic Abstract Outline Wizard. It doesn’t compose a final abstract, but will help you break your ideas down into key components, and it will email you your draft, so you can return to it later, for further development.

Please let us know what you think!

A Day of Writing

Come spend an uninterrupted day working on a writing project.

Quinnipiac University
School of Communications
Room CCE140

October 6th 2019
10:00am –4:00pm

Design Incubation is proud to be able to partner with Quinnipiac University in Hamden, Connecticut to offer a Day of Writing. Join long-time author Robin Landa and spend an uninterrupted day working on a writing project of your choice. This event will be held the day after the Design Incubation Colloquium at Quinnipiac University.

Participants will spend the day writing or conducting preliminary work on a writing project. The Day of Writing is open to design faculty and to those working in related fields.

Using the online registration system (see below), applicants should submit a 150-500 word synopsis of the project they intend to work on along with their title and institutional affiliation. The cost is $30 for the day. A total of 12 seats are available for this event.

Optional Event at 9:00am 

Start the day early and get your creative juices flowing with a short hike on Sleeping Giant Tower Trail. Host, writer and fellow hiker Courtney Marchese will lead the group to the stone tower and overlook (3 miles total). The hike starts directly across from the main QU entrance and is rated as “moderate” and appropriate for all skill levels.

Applications will be considered immediately upon submission and they can be submitted through September 30th, 2019. Official letters of acceptance can be provided to allow attendees to request funding from their institutions.

Parking

Parking is available in either the Admissions Visitor Lot or the School of Communications lot. Security will be notified and can help to direct attendees. Both of these lots are on Mount Carmel Ave. across from Sleeping Giant State Park.

Quinnipiac Day of Writing Application Form

Complete the form below and submit online. Payment will be required upon acceptance to secure the seat.
  • 200–500 word description of the writing project.
  • This field is for validation purposes and should be left unchanged.

The Design Incubation Residency at Haddon Avenue Writing Institute 2019

Rolling acceptances until Sept 30, 2019. Only 14 seats are available for this event.

October 25-27, 2019

Design Incubation is proud to be able to partner with the Haddon Avenue Writing Institute to offer a design-writing residency. This 3-day residency allows researchers and scholars time to work on existing writing projects or to start a new writing project. The residency is open to design faculty and to those working in related fields. It offers participants concentrated time to work on writing projects and the opportunity to take advantage of one-on-one consultations with event facilitator Maggie Taft. Using the online registration system (see below), applicants should submit a CV and a 200-500-word synopsis of the project they intend to work on. The cost is $180 for 3 days. A total of 14 seats are available for this event.

Applications will be considered immediately upon submission and they can be submitted through September 30th, 2019. Official letters of acceptance will be provided to allow attendees to request funding from their institutions.

October 25-27, 2019
Haddon Avenue Writing Institute
2009 W. Haddon Ave, Chicago Illinois

Please note: Housing is not included as part of this residency. Participants are encouraged to stay in Ukrainian Village or a nearby neighborhood though if you choose to stay at a hotel you may have to stay in downtown Chicago as options in the immediate area are limited to Airbnb’s.

The Haddon Avenue Design Writing Residency Schedule:

Friday, October 25th: 10-5

10-11:00: Individual Writing Session

11:00-12:00: Welcome; Goal setting

12:00-1:00: Individual writing session

1:00-2:00: Lunch (bring your own or in the neighborhood)

2:00-5:00: Individual writing session

Saturday, October 26th: 9-5

9-9:30: Goal setting

9:30-12:30: Individual writing session and optional one-on-one strategy sessions by appointment

12:30-1:30: Lunch (bring your own or in the neighborhood)

1:30-2:00: Techniques for overcoming writer’s block, the blinking cursor, and other writing obstacles

2:00-5:00: Individual writing session and optional one-on-one strategy sessions by appointment

Sunday, October 27th: 9-1pm

9-12:00: Individual writing session and optional one-on-one strategy sessions by appointment

12:00-12:30: Group wrap up

12:30-4:00: Open writing (Optional)

CFP — Issue 4: Archives | Full Bleed: A Journal of Art & Design

Deadline: January 1, 2020

CFP Website: https://www.full-bleed.org/submit

Full Bleed, an annual print and online journal of art and design, seeks submissions for its fourth issue, Archives, forthcoming in Spring 2020. In particular, we are looking for submissions that critique, investigate, or rely on archives of various kinds. We seek new writing about artists working with, playing with, re-contextualizing, or elevating archival materials; art/design projects responsive to historical documents; and essays, fictions, and poetry related to the work of archiving.

We would be excited to see submissions that address:

  • The construction of narrative through objects and historical documents.
  • Digital archiving as a subject for rumination.
  • New archives under development.
  • The ethics and politics of archival practices.

Published annually by the Maryland Institute College of Art, Full Bleed is committed to cultivating aesthetic experience and progressive design while furthering understanding of contemporary conditions. We favor criticism that emanates personality and experiments with form, as well as ambitious critical essays on cultural phenomena that are of active concern to living artists and designers. Read past issues at Full-bleed.org.

Design Incubation Fellowship 2019

January 10-12, 2019. New York City. A three-day workshop facilitating academic writing and publishing for designers.

The 2019 Design Incubation Fellowship Workshop will be presented by Maggie Taft, Managing Editor of the journal Design and Culture. Events include sessions with Elizabeth Guffey, Professor of Art and Design at SUNY Purchase and author of Posters: A Global History and Retro: The Culture of Revival; Louise Baird-Smith, Commissioning Editor – Design and Photography Bloomsbury Visual Arts; Robin Landa, Distinguished Professor, Kean University; and Brian James, Assistant Professor St. John’s University and as well as guest appearances by a number of authors and publishers. Aaris Sherin is director of the Design Incubation Fellowship program.

2019 Design Incubation Fellowship

January 10 –12, 2019
St. John’s University’s Manhattan campus

Schedule

Day 1—Thursday, January 10th

Introductions with Hosts
9:30am–10:00am

Dan Wong, Co-founder of Design Incubation and Liz DeLuna, Co-chair Design Incubation.

What, Why and How We Write
10am–12:30am
Lunch break
12:30pm–1:30pm
Writing for Journals: Workshop Session
1:30pm–5:30pm

Maggie Taft
Reviews Editor and former Managing Editor
Design and Culture

Day 2—Friday, January 11th

Book Publishing with Bloomsbury Publishing
9:15am–10:00am 

Louise Baird-Smith
Commissioning Editor – Design and Photography Bloomsbury Visual Arts

Break Out Session / Working Groups
10:00am–12:30pm

Facilitated by Maggie Taft, Robin Landa, and Elizabeth Guffey. Participants will work on drafts of their writing in small groups.

Lunch break
12:30pm–1:30pm
Reviews Writing
1:30pm –2:30pm

Brian James
Assistant Professor
St. John’s University

Break Out Session / Working Groups
2:30pm –5:30pm 

Facilitated by Maggie Taft, Robin Landa, and Elizabeth Guffey

Day 3—Saturday January 12th

Break Out Session / Working Groups
9:00am–12:30pm 

Facilitated by Maggie Taft, Robin Landa and Elizabeth Guffey.

Lunch break
12:30pm–1:30pm
Presentations
1:30pm–2:30pm

Robin Landa
Distinguished Professor
Kean University
Author of over twenty books including Nimble: Creative Thinking in the Digital Age.

Elizabeth Guffey
Professor State University of New York
(SUNY) at Purchase
Author of Posters: A Global Perspective, and Retro: The Culture of Revival and founding editor of Design and Culture.

Sharing Session / Wrap Up
3:00pm–5:00pm
Group Dinner (Optional)
6:00pm–8:00pm

Please note: This schedule is tentative and is subject to change.

2019 Design Incubation Fellows

Noopur Agarwal
Assistant Professor
The University of San Francisco

Leon Butler
Lecturer
Dublin Institute of Technology

Anneke Coppoolse
Assistant Professor
The Hong Kong Polytechnic University

Jeanne Criscola
Assistant Professor
Central Connecticut State University

Juan Carlos Rodriguez Rivera
Visiting Faculty
California College of the Arts

Rezan Gassas
Assistant Professor
Imam Abdulrahman Bin Faisal University

Dave Gottwald
Assistant Professor
University of Idaho

Lisa Hammershaimb
Curriculum Designer, Full Time Instructor
Independence University

Christine Hauck
Design Director and Independent Arts Educator

Szilvia Kadas
Assistant Professor
SUNY Cortland

Amy Papaelias
Associate Professor
SUNY New Paltz

Kathy Mueller
Assistant Professor 
Temple University 

Kelly Murdoch-Kitt
Assistant Professor
University of Michigan

Holly Tienken
Assistant Professor
Kutztown University

Greg Turner-Rahman
Associate Professor
University of Idaho

Local Lunch and Coffee Spots

Starbucks
13-25 Astor Pl, New York, NY 10003

Pret A Manger
1 Astor Pl, New York, NY 10003

Le Petite Parisien – Sandwiches / Baguettes
32 E 7th St
New York, NY 10003

Mamoun’s Falafel – Middle Eastern
30 St Marks Pl
New York, NY 10003

V-Spot – Vegan / with Gluten Free options
12 Saint Marks Pl
New York, NY 10003

Bluestone Lane (coffee shop)
51 Astor Pl, New York, NY 10003
(just downstairs in the same building as SJU)

Chopt Creative Salad Co.
51 Astor Pl, New York, NY 10003
(just downstairs in the same building as SJU)

Many tasty Ramen and Sushi places on St. Marks between 2nd and 3rd Ave.

Quick Start Guide for Writing Abstracts

The following document is a practical quickstart guide for writing an academic research abstract in the field of communication design.

Aaris Sherin, Dan Wong, Jessica Barness

  1. Start by taking notes based on your responses to the questions outlined below.
    1. It is often easiest to start with your own motivation. Why did you think this research was interesting or has a unique perspective? This is the engaging introduction and the way to hook the reader into your own thoughts and perspectives.
    2. Problem Statement/Hypothesis/thesis. What exactly was the thing being investigated in this particular paper, conference proceeding etc.? Why is your topic particularly important? Who will benefit from this work? What makes this work unique? For example: its historical placement, contemporary challenges being solved, unique methodology for investigation or applying existing metrics or methodologies in new ways.
    3. What was your approach / methodology? For example: what were you researching or investigating? What did you do and how did you do it? Was a theoretical, exploratory framework being used? Or was an established scientific method used? If you are working on an experimental or unusual type of investigation be sure to indicate this to your readers.
    4. What were the outcomes of your investigation, area of inquiry or of your project? What do you want the reader/viewer/participant to know about what you found out? What were the most important things the reader/view/participant should take away from the project? For example: what was the outcome of your client project, your student’s participation in the exercise or course etc.? And, what makes this valuable to other scholars/researchers?
    5. Conclusion. What is your conclusion after undertaking this work and what is the last thing you want your reader/viewer/participant to think about in relation to the project or area of investigation? Your conclusion might be a summation of the outcome (either positive or negative), an indication that further investigation or more in depth work is needed in the area by you or other researchers.
  2. Once you have made notes on the points above organize your thoughts into a linear outline using bullet points.
  3. Craft a more formal narrative using complete sentences and paragraphs. In the first paragraph, capture reader attention and introduce the topic. In the middle paragraph(s), provide context for the project, including relevant theory, literature, methods, etc., including the value of the project. The final paragraph should contain the conclusion.
  4. Make sure to include a title, keywords, your thesis statement, approach/methodologies, outcomes, and a strong conclusion. In some cases it may be appropriate or necessary to refer to other researchers or educators work to show precedence and let your audience know you have a broad and deep understanding of your topic.
  5. Once complete, reverse the process. Re-read your draft and make an outline/notes on the narrative of your abstract based only on what is written.
  6. Then compare this new outline to your original notes and ask the following questions: Is any necessary information or relevant points missing and if so should you add anything into the draft? Critically analyze your writing. Would you follow the thesis of the abstract and understand the significance of the research/pedagogy conducted if you weren’t involved in the project? If not, consider revising for clarity.
  7. Does your draft include enough information about the methodology used and a strong conclusion? If not add these into your draft while still maintaining the approved word count of the organization you are applying to.
  8. Once you are happy, put your draft aside for a day (if possible) and then read your abstract aloud and/or have a computer program (screen reader) read it.
  9. Before you submit your draft double check spelling and grammar. Tools like Grammarly are very useful if these skills don’t come naturally.
  10. Ask at least one academically seasoned colleague—ideally one who has a lot of practice writing and reading and evaluating abstracts—to read yours. Then ask them to paraphrase for you what your thesis/claim was, and what your conclusion/contribution was. If they aren’t sure or answer incorrectly, that’s your clue that you need to revise.
  11. You’re done! Submit your abstract for peer review before the deadline.
  12. Every writer/researcher/designer benefits from feedback. Your abstract may be returned with comments and suggestions. Take this feedback the same way you would feedback on any design project. The reviewer might not be correct in what is wrong with your abstract or even with how to fix particular problems but if a reviewer flags a problem in a particular area it is worth going back and reviewing the writing for clarity of purpose and intent and then revising accordingly.

Writing an Academic Research Abstract: For Communication Design Scholars

The following document is a rationale and analysis for developing an academic research abstract in the field of communication design.

Dan Wong, Aaris Sherin, Carma Gorman, Jessica Barness

Writing abstracts about research, teaching practices, creative work, etc. in Communication/Graphic Design can be challenging because there are no clear accepted or uniform protocols for how these documents must be crafted. Standards for acceptable modes of investigation, methodologies, subjects and preferred writing styles are still developing, especially when compared to the norms of traditional research disciplines. What we describe here are the criteria for judging the quality of abstracts that we ask peer reviewers of Design Incubation Colloquium to use. However, you may also find this information helpful as you draft abstracts to submit to other programs and publications.

The following document is a rationale and analysis for developing an effective academic research abstract in the field of communication design. (PDF version here.)

After reading this paper, try out our academic abstract wizard to create a quick draft of your research.

The Rationale and Analysis of AN Academic Abstract

An abstract is a synopsis or summary of

  • An article or book
  • A presentation or speech
  • A workshop or event
What is the Purpose of an Abstract?
  1. An abstract succinctly articulates an original contribution to the current state of knowledge in a specified field by explaining how the work overturns, challenges, inflects, advances, or confirms that field’s current wisdom on that subject.
  2. An abstract enables researchers who are conducting literature searches/reviews to gauge whether or not a published paper/presentation/session/book is relevant to their own research, and whether it makes a sufficiently significant contribution to merit reading in its entirety.
  3. An abstract allows conference organizers, peer reviewers, and editors to efficiently select from a large pool of submissions the research projects that provide the best thematic “fit” for their session/grant/book/journal and those which advance the most compelling claims. Abstracts are also efficient for authors because they do not need to write the full paper until/unless it has been accepted for presentation or publication. Conferences and journals sometimes use the term proposal instead of abstract but they are usually describing a similar piece of writing.
Elements of an Abstract

(Elements described in full in Anatomy of an Abstract, below.)

  1. Title
  2. Keywords
  3. Motivation/Problem and/or Opportuntiy
  4. Thesis
  5. Approach/Methodology
  6. Results/Outcomes/Analysis
  7. Conclusion
An Abstract is:
  • Is a synopsis of ideas specific to an article, presentation, workshop or event etc.
  • Requires a one-sentence thesis or claim that ideally is easy for even non-specialists to identify and understand.
  • Contains a clear, concise statement explaining the original contribution that the work makes to a specific field or discipline.
  • Includes facts which are clearly stated directly.
  • Includes findings, outcomes, and conclusions.
An Abstract is not:
  • Is not a teaser. It is not suggestive, hidden, or allusory, nor is it text written in an overly opaque or verbose narrative.
  • Is not primarily for marketing the work/practice/project/research.
  • Is not difficult to read, follow, or understand. Researchers/scholars often read the abstracts of papers to determine the relevance to their own work, and they may pull the details from the abstract, or reference it, without reading the entire paper. Peer reviewers use the abstract for a base-line evaluation of the work.
  • Is not a document that has references or citations.
Anatomy of an Abstract
Title
  • “Good research paper titles (typically 10–12 words long) use descriptive terms and phrases that accurately highlight the core content of the paper.” (editage.com)
  • Like the abstract itself, the title should not be a teaser. Instead it should state the facts plainly and directly.
  • The goal is to convey information and relevance, therefore overly casual titles are generally not appropriate in an academic setting. But intriguing titles may help draw an audience to your presentation if your abstract is for a conference presentation. Journals may shy away from funny/clever or casual titles and these may be more appropriate for industry/marketing-articles/conferences/events.
  • The title should be compelling, so as to encourage the reader to read further.
  • The title should contain as many intuitive or “natural-language” terms and phrases as possible, to increase the odds that search engines and indexes will facilitate discovery of your paper based upon natural-language searches. (See also keywords, below.)
Keywords
  • Keywords aid researchers in their search for papers and other text on a specific topic. Often, authors are required to select all or most of their keywords from a pre-existing authority list. Keywords can be more formal or technical than general usage words, which is why it’s important to make sure that natural-language terms are used in the title (see above).
  • Research databases index articles and books based on the abstract title, the words within an abstract, and the keywords assigned to it.
  • In most cases, keywords should not be brand names or proper nouns. They should be words selected from an appropriate taxonomic structure or topic list and should include general topics and specific topics.
  • It is appropriate to designate multiple keywords which is often limited in number by the publication/venue. Keywords are often phrases containing multiple words.
  • When listed, keywords should be arranged alphabetically.
Motivation/Context/Problem Statement (one sentence)
  • The abstract is often introduced with the motivation, background context, or problem, that frames the circumstances in which the research and article will be discussed.
  • Examples: “Most historians of design have argued that a postwar shift in the size and nature of corporations is the reason why the field of visual identity design flourished in the USA after World War II, but not before.”
  • “Although the US printing industries had shifted en masse to using the subtractive CMY(K) primaries by the mid-1940s, by which point the color photography, color film, and even the fledgling television industry had already adopted the additive RGB primaries, many of the faculty teaching art-and-design foundations courses continue to teach subtractive color mixing using the centuries-outdated RYB color wheel.”
Thesis (one sentence)
    • A strong thesis is key to a successful abstract, and that which makes it worthy of acceptance for publishing. Peer reviewers and/or an editor will ask, is the thesis statement clear and unique/original? Is it grounded within an established discipline or area of study?
    • A thesis is an original argument made about a specific topic which you claim to have knowledge of or expertise in because of the research you conducted prior to presenting or writing about the topic.
    • No topic is completely new. It is expected that you frame your original contribution as a response to the current state of knowledge in the field. To convincingly claim that your work is an original contribution to the field, you must first explain what the common wisdom currently is, which usually involves acknowledging the most influential and widely accepted claims that previous scholars have made. Establishing that frame of reference allows you to demonstrate how your own work builds upon and also challenges or inflects that previous work/understanding. (See references and citations.)
    • A helpful resources for use in drafting a thesis is the University of Illinois at Urbana-Champaign Center for Writing Studies who publishes useful information on how to craft a thesis.
Approach/Methodology (one to two sentences):
  • The approach/methodology is the meat and potatoes “what I did, the why and how” section of the work.
  • Descriptions of this aspect of a project may be repeated across papers/abstracts. (Since stringent protocols don’t exist in our field, the methodology itself could be included in the thesis if the approach is innovative.)
  • The methodology should focus on the problem statement/hypothesis and how the author went about investigating their area of research. It may include information about what makes this approach unique or how existing methodologies are being used to investigate a new subject area.
Results/Outcomes (one sentence):
  • This section is only applicable to abstracts if you are working on a project or research with clear outcomes. You would begin by telling your reader what the results were of the project or investigation.
  • This section may include raw results and/or artifacts that come from the execution of the methodology or approach. For example: you may describe a finished design and how and where it was used.
  • It is also appropriate to present the initial analysis of the results and commentary on the methodology and/or the final outcomes.
  • Note about outcomes: Often, outcomes reveal unexpected results which may be byproducts found during the methodology/execution of the research. Typically research would be restructured and replicated to verify the outcomes. But due to funding or schedules, initial surprising outcomes might be presented. This is completely acceptable as long as the “results/conclusions” are not overstated.
Conclusion (one to two sentences):
  • The conclusion explains the significance of the work or project for the field, calling attention to generalizable knowledge or principles that others might be able to use successfully in similar situations.
  • The conclusion not only reiterates the thesis/claim, but also explains how and why the thesis/claim might be useful to others in the field.
  • It may also suggest ideas for further on what research might follow this work and why the work is worthy of presenting to an audience and/or to readers.
References and Citations:

References and citations recognize work that has already been done in the field, and is similar in topic, concept, and content. Though not included in the abstract, references and citations are expected and/or required in a manuscript of a full conference paper, journal article, book proposal or manuscript.

This exclusion is largely because abstracts should be concise, and referencing and citing other’s work simply takes up too much space. (The Writing Center at UNC Chapel Hill)

Notes about originality and duplication in multiple publications/venues.

In the purest form of academic publishing, research is published once, in one place. Then any reference to that idea/paper will be cited in subsequent publications both by the same author and by other researchers. However, it is acceptable to write multiple papers on a single research effort/investigation. It’s basically pulling apart the research, and focusing on all the possible elements/ideas/theses/results that were investigated or discovered. This reuse of results from one research effort is done in many disciplines.

In our field, researchers often get asked to present the same content or paper at multiple venues. For example, someone might see a presentation you made at a conference and then ask you to come and make the same presentation at their institution or to another group whom may benefit from the knowledge you are sharing.

How often it is acceptable to repeat conference presentations focused on the same project or content, and in what context it is appropriate to do so, is still being negotiated. How you choose to navigate this issue may depend on criteria indicated by the Promotions and Tenure committee at your institution.

In the very least, you may be asked to change the title of your presentation when you present the same content at a different venue. At some institutions it may be frowned upon to present the same material at multiple venues.

Academic and trade journals usually have rigorous specifications about when and where materials from your writing can be republished and in what form(s) are acceptable. In these instances we suggest you check with the editor for more information about each publishers criteria and also find out who holds copyright to the work and/or the ideas after the work is published.

Appendix/References/Bibliography

The structure may be adjusted depending on context, discipline and the requirements of particular organizations or publishers.

Some of the standard academic writing style formats are:

Modern Language Association (https://style.mla.org/formatting-papers/)

Chicago Style (https://www.chicagomanualofstyle.org/tools_citationguide.html)

American Psychological Association (http://www.apastyle.org/)

Academic Sources

University of North Carolina at Chapel Hill
(https://writingcenter.unc.edu/tips-and-tools/abstracts/)

University of Illinios at Urbana Champaign (writing resources: writer resources)
(http://www.cws.illinois.edu/workshop/writers/tips/thesis/)

USC Libraries: Organizing Your Social Sciences Research Paper: 3. The Abstract
(http://libguides.usc.edu/writingguide/abstract)

Articles

How to write an effective title and abstract and choose appropriate keywords
(https://www.editage.com/insights/how-to-write-an-effective-title-and-abstract-and-choose-appropriate-keywords)

3 Basic tips on writing a good research paper title
(https://www.editage.com/insights/3-basic-tips-on-writing-a-good-research-paper-title)

Springer Title, Abstract and Keywords
(https://www.springer.com/gp/authors-editors/authorandreviewertutorials/writing-a-journal-manuscript/title-abstract-and-keywords/10285522)

How to Write an Abstract
(https://users.ece.cmu.edu/~koopman/essays/abstract.html)

Books

A Manual For Writers of Research Papers, Theses, and Dissertations
(https://press.uchicago.edu/ucp/books/book/chicago/M/bo27847540.html)

Stylish Academic Writing
(http://www.hup.harvard.edu/catalog.php?isbn=9780674064485)

Guide to Publishing in Psychology Journals
(https://www.cambridge.org/core/books/guide-to-publishing-in-psychology-journals/DD1F7119040A76CE996FC683C23E2F25#)

The Elements of Style Fourth Edition
(https://www.pearson.com/us/higher-education/program/Strunk-Elements-of-Style-The-4th-Edition/PGM258483.html)

The Design Incubation Residency at Haddon Avenue Writing Institute

Rolling acceptances until Sept 30, 2018. Only 12 seats are available for this event.

Design Incubation is proud to be able to partner with the Haddon Avenue Writing Institute to offer a design-writing residency. This 2-3 day residency allows researchers and scholars time to work on existing writing projects or to start a new writing project. The residency is open to design faculty and to those working in related fields. It offers participants concentrated time to work on writing projects and the opportunity to take advantage of one-on-one consultations with event facilitators Maggie Taft and Aaris Sherin. Using the online registration system (see below), applicants should submit a CV and a 200-500-word synopsis of the project they intend to work on. The cost is $100 for 2 days and $150 for 3 days. Participants may choose to attend either 2 or 3 days. A total of 12 seats are available for this event.

Applications will be considered immediately upon submission and they can be submitted through September 30th, 2018. Official letters of acceptance will be provided to allow attendees to request funding from their institutions.

Location:

Haddon Avenue Writing Institute
2009 W. Haddon Ave, Chicago Illinois

Please note: Housing is not included as part of this residency. Participants are encouraged to stay in Ukrainian Village or a nearby neighborhood though if you choose to stay at a hotel you may have to stay in downtown Chicago as options in the immediate area are limited to Airbnb’s.

REsidents:

Meaghan Barry
Assistant Professor of Graphic Design
Oakland University

Anne Berry
Assistant Professor of Graphic Design
Cleveland State University

Lilian Crum
Assistant Professor of Graphic Design
Lawrence Technological University

Sherry Freyermuth
Assistant Professor
Lamar University

Kimberly Hopkins
Assistant Professor
Towson University

Jessica Jacobs
Assistant Professor
Business & Entrepreneurship
Columbia College Chicago

Pouya Jahanshahi
Assistant Professor of Graphic Design
Oklahoma State University

Sarah Rutherford
Assistant Professor of Graphic Design
Cleveland State University

Ruth Schmidt
Visiting Industry Professor
Institute of Design (IIT)

Dimitry Tetin
Assistant Professor
State University of New York, New Paltz

Jennifer Vokoun
Associate Professor of Graphic Design
Director of the Food Design Institute
Walsh University

Penina Acayo Laker
Assistant Professor, Communication Design
Sam Fox School of Design and Visual Arts
Washington University in St. Louis

 

Dates:

October 26-28, 2018

The Haddon Avenue Design Writing Residency Schedule:

Friday, October 26th: 10-5

Facilitators: Maggie Taft and Aaris Sherin

10-12:30: Individual writing session

12:30-1:30: Lunch

1:30-5:00: Individual writing session

 

Saturday, October 27th: 9-5, 6-8 (optional reception)

Facilitator: Maggie Taft

9-9:30: Welcome; Goal setting

9:30-12:30: Individual writing session

12:30-1:30: Lunch (bring your own or in the neighborhood)

1:30-2:00: Techniques for overcoming writer’s block, the blinking cursor, and other writing obstacles

2:00-5:00: Individual writing session

5:00-6:00: Break

6:00-8:00: Reception (optional)

 

Sunday, October 28th: 9-4:30

Facilitators: Maggie Taft and Aaris Sherin

9-12: Individual writing session and optional one-on-one strategy sessions by appointment

12-1: Lunch (bring your own or in the neighborhood)

1-3:30: Individual writing session and optional one-on-one strategy sessions by appointment

3:30-4:30: Group wrap up

DePaul Colloquium After Party

Attendees and presenters of the Design Incubation Colloquium 5.1: DePaul University, and the Design Incubation Writing Residents will come together at the Haddon Avenue Writing Institute for a reception and tour of the facilities from 6-8pm. Drinks and refreshments will be provided.

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

Contact information:

Questions can be sent to Aaris Sherin, Director of Fellowships at Design Incubation