Tag: collaboration

Pedagogical Workshops and Collaboration

Engaging with dialogue, risks, intuitive creativity, and happy accidents.

Chen Luo
Lecturer
Boston University

My research is centered on pedagogical workshops and embodied publishing that encourage cultural exchange through collective practicing and community building.

I believe the pedagogical workshop as an interrogative exercise is a place where practice has no preconceived outcomes, but engages with dialogue, risks, intuitive creativity, and happy accidents. The workshops bridge making and thinking, focusing the process rather than the final results. They serve as a tool to gather individuals who want to practice together without hierarchy and institutional pressure.

The programs and writers, such as Typography Summer School, Workshop Project, Vilém Flusser, etc. inspired me to think about workshops as a place to gather discussion and craft on the need for today’s graphic design curriculum, and the relevance of typography in design history and the part it plays in today’s society. Etc. A workshop I designed with designer Chuck Gonzales, we asked students to list vocabulary related to their identity, culture, love/hate, methodology and previous work. Then they connect any two listed words into a final deliverable which is not disciplined in a certain format, but visually and sensorly engaging. The goal is to build connections among one’s beliefs and interests by considering materials, languages, performance, identity, scales, spaces at a fast pace. There are workshops that transform research into collective visual experiments. My methodology begins with trust-building exercises and instructional constraints, allowing unexpected possibilities to happen during the process. In the “Pen+Pen-Pen” workshop, hosted in multiple Art Book Fairs, Designer Bella Tuo and I made a set of creative pen tools that provide variable lengths and multiple participants to hold a pen at once. By using the pens to experiment with symmetrical typography patterns, we questioned how to create sustainable tools built upon the existing art material, and what exchange would affect in a group practice. The prompt was inspired by artist Job Wouters’ methodology.

Through transforming participants’ responsive creation into performative and installation typography through the process of writing, sharing, and moving. We explored the boundaries between bodies and language, typography and space, the individual and the communal. In “Embodied Making as Collective Publishing: The Body and Hanzi”, hosted in Boston Art Book Fair 2022. Mary Yang and I designed this workshop to explore embodied making and publishing. During this workshop, we explored the relationship between the body and Hanzi (Chinese characters) through a series of hands-on exercises to create collaborative, large-scale wearable posters. With participants who have/have no Chinese background, we proposed questions including what does collective publishing look like through collaborative labor in a shared space and time and how can this workshop create a space for cultural exchange and expression. The workshop was not only a typography experimentation, but also more lively with posing, collective moving, dancing, and photography. I have enjoyed practicing the phonetics and hieroglyphics of Hanzi through letterform writing. My aim is to create a new interplay of workshops by activating the body and traditional graphic design mediums. It fosters a sequence of processes, discourse, culture expression, and prolongs the conversation after the completion of a project.

This design research is presented at Design Incubation Colloquium 11.1: Boston University on Friday, October 25, 2024.

Drawn Together: Exploring the Intersection of Image-Making and Community-Building

The Center was “founded” in response to a lack of design student cohesion and camaraderie.

Grace Preston
Professor
Texas State University

My paper recounts a collaborative initiative between myself and a cohort of undergraduate design students that we named the Center for Drawn Togetherness. The Center was “founded” in response to a lack of design student cohesion and camaraderie as our institution transitioned back to a fully in-person model post-pandemic. To address these issues, we conceptualized a series of interlocking illustration events that culminated in an exhibition. Each event asked participants to work together, challenging the idea that drawing is a solitary activity and exploring how drawing together could strengthen bonds among participants.

In the first event, a risograph workshop, participants collaboratively designed and printed an official “currency” for the Center. The second event allowed participants to earn “money” by contributing to a collaborative mural, asking them to respond to prompts that could be completed with a partner. The culminating event allowed participants to spend their “money” in a student-run illustration pop-up shop. All happenings were housed in an exhibition that doubled as a gathering space for design students, with student collaborators facilitating the events.

Event planning sessions emphasized Sasha Constanza-Chock’s principles of Design Justice, particularly their assertion that communities should co-lead and control design projects intended to benefit them (2020). Since I was concurrently teaching my student collaborators, planning sessions also challenged the traditional roles of teachers and students, proposing that we can operate as equals.

The workshops received positive feedback from participants, which was gathered through surveys and interviews after the events concluded. The Center plans to use this feedback to develop new initiatives in this upcoming school year. We will continue to investigate how in-person drawing events can potentially promote empathy among students, advocate more collaborative relationships between teachers and students, and encourage young designers to feel ownership over their educational experience.

This design research is presented at Design Incubation Colloquium 11.1: Boston University on Friday, October 25, 2024.

Mining for Ideas: Collaborative Collages as Spaces of Opportunity

A method founded in play and inspired by design history

Anna Jordan
Assistant Professor
Rochester Institute of Technology

I will present a method that I designed to help students and practicing designers come up with new and surprising ideas. The method, called “Mining for Ideas,” is grounded in collaboration and experimentation. It can be used in a classroom or design studio setting to effectively generate ideas about both form and concept. Designers begin with a collaborative collage game, involving an enormous selection of unconventional tools and materials, leading to spectacular sculptural creations. Each sculptural collage is altered by each designer, leading to truly collaborative pieces. Next, designers photograph the sculptures to create two-dimensional images that are mined for ideas, similar as to how a miner would chip away at earth to reveal valuable gems. Very quickly, designers generate many surprising ideas, each with corresponding examples of concrete design elements such as typography, grid, texture, color, and image. Then, the raw ideas are expanded into applied pieces of graphic design via a flexible morphology that is structured around these concrete design elements. The method is founded in play and inspired by design history precedent including my personal design practice, the Surrealists’ exquisite corpse drawing game, and Skolos-Wedell’s form-to-content method for designing posters. In this presentation, I will illustrate how the method works with several examples from my classroom, explain how the method could be applied to various design problems, and cite student interviews as evidence proving that the process is successful.

This design research is presented at Design Incubation Colloquium 10.3: Tenth Anniversary, St. John’s University (Hybrid) on Friday, June 7, 2024.

The Limits of Control: Nonhierarchical Modes of Making, Decentering the Designer

Exploring the creative networks between graphic designers and their collaborators — human and non-human.

Christopher Swift
Assistant Professor
Binghamton University

“The Limits of Control” is a body of work exploring the creative networks between graphic designers and their collaborators — human and non-human. Inspired by the work and writing of James Bridle, John Cage and Bruno Latour the project examines how the interplay of control and trust in a designer’s relationship with their network of tools (creative, cultural, technological) can be attended to, challenged, and reimagined allows us to break free of the traditional modes and methodologies and begin to explore new possibilities and new ways of seeing and being as graphic designers.

The black boxes which envelop our tools obscure the complexity and scale of the collaborative space we work in. This work makes the invisible visible and removes the designer from their imagined directive podium to be one among many in a creative and collaborative network of active participants full of agency and potential.

Showcasing case studies that demonstrate the tools of a creative network foregrounds their active participation in co-creation. Through coding in various languages new digital tools are created in which the agency of the tool itself is highlighted. These new tools undertake an intentionally nonhierarchical mode of making, decentering the designer’s role. Each study pushes the designer further away from a mode of control with the intent of asking—if there is collaborative care, respect, and trust in the creative design process then what new solutions, what new insights, what new ways of thinking and being may we discover when we look around from our new perspective.

This design research was presented at Design Incubation Colloquium 9.2: Annual CAA Conference 2023 (Virtual) on Saturday, February 18, 2023.

Gadzooks: An Embellished Connection Between Like-Minded Characters

The College for Creative Studies / BFA Communication Design department began a partnership with The Henry Ford Museum of American Innovation’s Curators and Archivist

Susan LaPorte
Professor
College for Creative Studies

Communication Design and typography have been intertwined from the start, as the urge to express moved from the oral to the written, so has this partnership. Consider the enterprising graphic marks pressed into clay to communicate commerce by Sumerians, hieroglyphs documenting Egyptian rituals, the innovation of movable type first in the east, and then the west, to the typographic alphabet soup from the industry period, and ones/zeros that continue to document our thoughts through the words we write and the typographic expressions we employ to amplify their messages. The shape that typography has taken reflects the taste(s), technology(s), and need(s) of global citizens through time.

The College for Creative Studies / BFA Communication Design department began a partnership with The Henry Ford Museum of American Innovation’s Curators and Archivists. The class was given their vast collections of objects and artifacts as a starting point for their type design inquiry. Each student documented typography/or graphic marks found or embedded within carriages, signage, broadside, machinery, games, as inspiration for a new typeface that expanded the sample and inspired new alphabet of their own vision. Additionally, the goal was for students to see the importance of research around a design can broaden their design practice; that design is not always about serving a client, but also expanding knowledge around our discipline.

A typographic history lecture was shared to broaden their understanding of type, written communication, and the technology that shaped information through the centuries. Students then focused their own critical research, to discover greater relevance of context and meaning to the design of their type specimens. The process of creating were iterative, critical, and resulted expanding the students understanding of design practice and original type designs inspired from the collection.

The results of this class and our partnership with the HFM, and with the financial support of the Ford Fund are a set of publications, entitled Gadzooks: An Embellished Connection Between Like-Minded Characters. It is a documentation of 13 new typefaces, designed by 13 new type designers, expanding our typographic legacy.

This design research was presented at Design Incubation Colloquium 9.1: Kent State University on Saturday, October 15, 2022.

Why Design Educators Should Embrace Collaborative (Group) Work in the Design Classroom 

Students apply for a specific role that was provided with a list of job responsibilities

Abby Guido
Assistant Professor
Tyler School of Art and Architecture

While the design industry has shifted from the individual designer creating work in a silo to a more collaborative approach, relying on both diversity of thought and expertise, design education is falling behind, where the focus is often on the individual and the iterative process of incorporating feedback, design students are missing a key component to becoming a successful designer today: learning how to be strong team members, how to generate diverse ideas, how to be thoughtful leaders, among other soft skills. As the design industry continues to embrace collaboration, design educators should explore how to better expose students to group design work in their curriculum. 

In the past, I have assigned group projects that allowed the students to select their roles and responsibilities with their teammates. While this has sometimes worked, more often it did not and I found myself spending most of my time helping the team push through personal issues, rather than focusing on the work itself. In response, I changed my approach in a course during the spring of 2020 called, “Event Design.” I had my students apply for a specific role that was provided with a list of job responsibilities, on a specific project team for a given event we would be designing for. This approach was much more successful, the students embraced their roles, created beautiful work, and were able to seamlessly pivot when our project and course had to majorly adjust due to the coronavirus and the cancelation of the in-person events we were designing for. 

The students in this course shared that their experience collaborating allowed them to learn new skills they had not considered needing to know. I witnessed a huge change in all of the students, and an opportunity to help better prepare our students for their careers. 

This research was presented at the Design Incubation Colloquium 7.1: Oakland University, MI on October 17, 2020.

Teaching Design Team Collaboration Through Group Projects

Two case studies will be shown that demonstrate embedding best practices for team collaboration in the classroom.

Christine Lhowe
Assistant Professor
Seton Hall University

At the introduction of group projects in my undergraduate graphic design courses, students in various levels of their education often ask if they will be able to present the project in their portfolio to potential employers. Being that it was conceptualized as a team and multiple designers participated in the outcome, they express concern in presenting work that doesn’t exclusively belong to them. However, the design profession is largely collaborative and creatives often work on projects in teams. This presentation will showcase how I’ve utilized group projects to foster understanding of the collaborative nature of the design industry to intermediate and advanced graphic design students in a liberal arts University. 

I have embedded two learning outcomes within the course material. The first is team conceptualization. Creative teams commonly work together in developing original concepts in brainstorming sessions. The purpose of the sessions are to collectively generate ideas where value is placed in working together.Ownership of a concept may become ambiguous as some may be merged together or built on by team members. The second is entering a creative project post conceptualization. Designers are often asked to develop new creative assets while upholding an existing aesthetic for a brand, which raises the question, “was this my idea?”

Two case studies will be shown that demonstrate embedding best practices for team collaboration in the classroom. In the first, students worked together in an advanced Brand Evolution course to develop and maintain a brand across multiple digital and physical touch points. Secondly, in an intermediate Web Design course, students implemented a design system to collectively create the user interface of a large scale website. 

This research was presented at the Design Incubation Colloquium 6.3: Fordham University on May 16, 2019.

Strategy + Creative: Cross-Disciplinary Collaboration

Simulating the working relationship between strategists and creatives.

Kathy Mueller
Assistant Professor
Temple University

Jennifer Freeman
Assistant Professor of Instruction
Temple University

This presentation will provide case studies for design educators to imagine collaborative interdisciplinary projects with their colleagues in media, communication, and business. It will include an overview of project structure, process, and outcomes. The presentation will also examine the advantages and drawbacks to the variety of approaches the presenting professors have taken to this collaboration. It will illuminate the challenge of fulfilling the needs of two different student groups.

Examples will be pulled from seven years of collaboration between an Art Direction class and an Advertising Account Planning class. Projects were structured to simulate the working relationship between strategists and creatives—cultivating teamwork and mutual respect among students using experiential learning. Art Direction students learned the value of market research and strategy insights. Account Planning students gained an appreciation for the creative process.

The professors have experimented with modifications to the assignment, to varying degrees of success. In addition to discussing collaboration techniques, this presentation will examine the learnings from teaching with a variety of client approaches—theoretical client assignments; partnerships with student entrepreneur clients through a campus incubator; partnerships with external clients, such as Urban Outfitters Inc.; and most recently, in partnership with a design studio specialized in the non-profit sector.

This research was presented at the Design Incubation Colloquium 6.2: CAA 2020 Conference Chicago on February 14, 2020.

Disrupting Genius: A Dialogical Approach to Design Pedagogy

Disruptive making methods to teach collaboration, discourage individual bias, and support understanding and connection amongst design students.

Bree McMahon 
Assistant Professor 
University of Arkansas

Rachael L. Paine 
Adjunct Professor
North Carolina State University

We are interested in examining the theme of ego and idea hoarding in student studios and design culture, methods for disrupting the existing monological status quo approach to design pedagogy, and opportunities for future culture shifts. During a short presentation, we will examine these themes and the outcomes of a classroom workshop case study which employed disruptive making methods to teach collaboration, discourage individual bias, and support understanding and connection amongst design students.

Dr. Philip Plowright criticizes the culture of design which aims to keep design unknowable (Plowright, personal communication, October 24, 2018). The conceptual foundations of design practice claim to be “indescribable and personal” (Plowright, 2017), with designers clinging to assertions that methods are idiosyncratic, steeped in personal genius. A genius instructor, fearful of sharing knowable, repeatable methods, must surely produce students who further promote this broken culture. When a designer’s goal is to be the smartest person in the room, the ego runs wild, idea hoarding takes over, creativity dwindles, and conversation suffocates.

During a collaborative design charette, students responded to questions about design authorship, origination, and agency. Using rapid prototyping, iterative processes, design dialogue, and making methods, students created multiple compositions reflecting their insights. Disruptive prompts were introduced throughout the workshop. A formal discussion followed the charette and participants engaged in a conversation.

Students explored complex topics in design culture and also learned methods for collaboration, which allowed for free knowledge exchange, design critique, and creative innovation. Challenging the traditional studio model provides a learning space for addressing new challenges or “wicked problems” while also learning skills for reaching agreements, coordinating actions, discussing specific goals, and exploring new modes of discovery (Dubberly & Pangaro, 2017).

Adopting a pedagogical approach that disrupts the idiosyncratic design culture keeps the ego in check, generates collaboration, fosters creativity, and encourages conversation. In the case of this workshop, participants began to see themselves as a smaller part of the collective whole, rather than an individual genius seeking personal gratification and recognition.

CITATIONS:

Dubberly, H., & Pangaro, P. (2017). Distinguishing between control and collaboration—and communication and conversation. She Ji: The Journal of Design, Economics, and Innovation. 2. 116-118. 10.1016/j.sheji.2016.12.002.

Dubberly, H., & Pangaro, P. “What is conversation? How can we design for effective conversation?” Dubberly Design Office, 1 May 2009, Retrieved from www.dubberly.com/articles/what-is-conversation.html.

Pask, G. (1976). Conversation theory: Applications in education and epistemology. Elsevier Publishing Company, New York, NY, USA.

Plowright, P. (2017). Update – Project Goal. The cognitive structure of design methods (architecture). Retrieved from https://www.researchgate.net/project/The-cognitive-structure-of-design-methods-architecture

This research was presented at the Design Incubation Colloquium 5.3: Merrimack College on March 30, 2019.

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

Visual communication skills provide a backbone for participation in a shared cultural exchange. Yet, universities often fail to offer tangible ways to foster long term accessibility and inclusion.

Northeastern Illinois University is among the nation’s leaders at graduating students with the least debt while serving the most diverse group of students in the Midwest.*

In the span of last eight years, we have formed a program in Graphic Design tailored to students who come from racially, ethnically, culturally, and linguistically diverse families and communities of lower socioeconomic status.**

Students often define success as the ability to use design skills to earn a living following graduation. Self-expression builds our students’ confidence and assertiveness as designers. For this reason, storytelling organically became a focus of the program. As it became evident that diverse students achieve most favorable learning outcomes in collaborative spaces where they can interact face-to-face, the heart of our program became our letterpress printing class.

Our growing letterpress type shop houses digital and analog tools. Students are required to collaborate with class members and beyond to complete projects, thereby practicing cultural sensitivity and interpersonal communication skills. The experimental nature of print and mechanics offers students an ability to slow down and consider their work more carefully, while introducing elements of chance and discovery to their process. This arrangement offers a unique environment to raise 21st century citizen designers and a valuable model for integration practices in design education. This model can be replicated in any makerspace environment that uses high tech to no tech tools.

Beneficial outcomes are evident as increasing amounts of our students are finding employment in the field, applying their skills to relevant positions and using their lived experience as a source of knowledge that can serve as an asset in their applied practice and beyond.

* data by U.S. News & World Report, September 2017

** 38% of Northeastern Illinois University students declare themselves as Hispanic/Latino, 31% Caucasian, 11% African American, 9% Asian, with the rest listed as other.
6% are identified as Non-Residents (including undocumented students).
55% of our students are non-traditional students, defined as postsecondary students who are 25 years old and older. They are contrasted with traditional students, aged 18 -22, who enroll immediately after high school, attend full-time, live on campus, and do not have major work or family responsibilities.
data by www.collegefactual.com

This research was presented at the Design Incubation Colloquium 5.1: DePaul University on October 27, 2018.