Communication Design Faculty Census 2018

We invite faculty, researchers and interested parties to engage with the data collected as part of the Faculty Census 2018 and to use the information gathered here to support their own work and their engagement with institutions in higher education.

Is there any difference between writing a single authored book and a co-authored book?

Question: Is there any difference between writing a single-authored book and a co-authored book? -AB

Answer: While different publishers or series may have set rules on when they will (or won’t) accept co-authored titles, in most cases, there usually isn’t a problem from the publishers’ side on this. 

Sometimes it can actually be a bonus where the book is interdisciplinary or has broad coverage where a single author couldn’t be an expert in all the content. My colleague is publishing a book on climate change in history written by a historian and a climate scientist together – it’s a massive selling point because we can say our book has holistic coverage and the science is valid.   

Something to bear in mind though is how to divide the work, and do you know you can definitely successfully work together over a couple of years? In terms of how you split the work is up to you – maybe you’d each write certain chapters and swap to read/edit the other ones, or you may have certain aspects of the book you’ll research individually, then write up together.  Generally, there would be a lead author, though this isn’t essential.  Saying all that, going above two co-authors can get tricky, so over this number, you’ll need to really consider if multi-authored is the right approach – an edited collection may then make more sense (a different author writing each chapter, with overall editors who commission individual chapters).  Another consideration is that any royalties will be split between the primary authors/editors of the volume, and you will be equally responsible for the delivery of the book.

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

“Ask the Editor” is a Design Incubation series, where design academics, researchers, and practitioners pose their questions to editors of books, journals, conferences and other academic and design trade publishing organizations. If you would like your questions answered by publishing professionals, send your questions to Design Incubation via the “Ask the Editor” form on our website.

Call for Entries: Communication Design Educators Awards 2018

Accepting entries for the Communication Design Educators Awards 2018. The deadline for applications is May 31, 2018.

Design Incubation is delighted to announce we are now accepting entries for the Communication Design Educators Awards 2018. The deadline for applications is May 31, 2018.

The distinguished jurors for 2018 are the following:

Jorge Meza Aguilar
Professor of Strategic Design
Provost for Outreach and Collaboration
Universidad Iberoamericana
Mexico City, Mexico

Ruki Ravikumar
Director of Education
Cooper Hewitt, Smithsonian Design Museum 
New York, NY

Wendy Siuyi Wong
Professor
Graduate Program Director
Department of Design
York University
Toronto, Canada

Steven McCarthy
Professor of Graphic Design
University of Minnesota

Maria Rogal
Professor of Graphic Design
University of Florida

Categories

  • Scholarship: Published Research
  • Scholarship: Creative Work (design research, creative production, and/or professional practice)
  • Teaching
  • Service  (departmental, institutional, community)

For eligibility and criteria, go to the Competition Overview page.

For application process, go to the Awards Application Process page.

The awards will be announced the first week of September 2018.

Communication Design Educators Awards 2018: Design Incubation

2018 Design Incubation Educators Awards competition in 4 categories— Creative Work, Published Research, Teaching, Service.

Recognition of excellence through peer review in scholarship, teaching, and service is fundamental to the professional development of communication design academics. To support this need, Design Incubation established the Communication Design Educators Awards in 2016.

An independent jury of esteemed design educators is invited by the Awards Jury Chair. This year’s jury chair, Maria Rogal, invited these internationally recognized jurors: Jorge Meza Aguilar, Ruki Ravikumar, Wendy Siuyi Wong, and Steven McCarthy. Rogal writes, “this jury reflects the diverse perspectives and experiences that exist in communication design today.”

The awards acknowledge faculty accomplishments in the areas of published research, creative work, teaching, and service. The award processes and procedures are rigorous, transparent, and objective. They reflect Design Incubation’s mission to foster professional development and discourse within the design community.

This year, award entries are open February 1, 2018 – May 31, 2018 via the online application. An overview of the awards program is on our website.

We are excited to announce Bloomsbury Publishing is sponsoring this year’s awards.

The 2018 Jury

Steven McCarthy is Professor of Graphic Design at the University of Minnesota in Minneapolis/St. Paul. He conceived of the Design Incubation Communication Design Educators Awards and chaired the jury in both 2016 and 2017. McCarthy’s teaching, scholarship, and contributions to the discipline include lectures, exhibitions, publications, and grant-funded research on a global scale. His creative work was featured in 125+ exhibitions and he is the author of The Designer As… Author, Producer, Activist, Entrepreneur, Curator and Collaborator: New Models for Communicating (BIS, Amsterdam). From 2014–2017, McCarthy served on the board of directors of the Minnesota Center for Book Arts.

Jorge Meza Aguilar is Professor of Strategic Design and Provost for Outreach and Collaboration at the Universidad Iberoamericana in Mexico City, where he founded the Bachelor in Interactive Design and the Master in Strategic Design and Innovation programs. He is widely recognized as an expert in strategic design and is the founding Director of Estrategas Digitales which focuses on research, strategic design, branding, trend forecasting, branding, Internet, and digital media. Meza is also a consultant and entreprenuer and holds degrees in art, graphic design, and systems engineering. Previously, he studied in and worked as a designer in Poland at Advertising Agency Schulz.

Ruki Ravikumar is Director of Education at the Cooper Hewitt, Smithsonian Design Museum in New York, a position she has held since April 2017. She joined the museum following thirteen years of service at the University of Central Oklahoma, where she held successive positions as professor of graphic design; director of graduate programs; chair of the Department of Design; assistant dean; and most recently, as associate dean of the College of Fine Arts & Design. In addition to her practice as an educator and published researcher in the areas of intersections between graphic design and culture and their impact on design education, she is also an award winning graphic designer. Further, she has served in leadership roles at the local and national levels of AIGA, the professional association for design.

Maria Rogal, Jury Chair, is Professor of Graphic Design, School of Art + Art History at the University of Florida and was Interim Director from 2015–2017. She is the founder of Design for Development (D4D), an award-winning initiative to co-design with indigenous entrepreneurs and subject matter experts to generate sustainable and responsible local outcomes. She has lectured and published about D4D, recently co-authoring “CoDesigning for Development,” which appears in The Routledge Handbook of Sustainable Design. Her research has been funded by AIGA, Sappi, and Fulbright programs, among others, and her creative design work has been featured in national and international juried exhibitions.

Wendy Siuyi Wong is Professor and Graduate Program Director in the Department of Design at the York University, Toronto, Canada. She has established an international reputation as an expert in Chinese graphic design history and Chinese comic art history. She is the author of Hong Kong Comics: A History of Manhua, published by Princeton Architectural Press (2002). She is a contributor to the Phaidon Archive of Graphic Design (2012), The Bloomsbury Encyclopedia of Design (2015), and acts as a regional editor of the Greater China region for the Encyclopedia of East Asian Design to be published by Bloomsbury Publishing. Also, Dr. Wong has served as an editorial board member of Journal of Design History.

How important is it that an author has written a book before?

Question: How important is it that an author has written a book before? Does that improve their chances of you taking on their project and giving them a contract? –MR

Answer: While there is an element of reassurance if an author has already published a book before, everyone has to start somewhere and there will always need to be a ‘first book’ at some point. 

Some big textbook lists/publishers may not sign unpublished authors as the bigger textbook projects have a higher risk factor than an academic monograph might do, but this isn’t the same across the board. 

I’ve worked on subjects where academic scholarship was relatively new, so the pool of previously published authors was very small – getting new voices into the mix was really important to build up the high quality literature in the area.

Equally, if someone has written many books before, it doesn’t mean that they will necessarily be offered a contract for their next book. 

Whether you have tons of experience as an author, or are brand new, the combination of the project itself and your experience in the area (as a researcher, practitioner or teacher, depending on the type of book) along with the feedback from the peer reviews is a more realistic predictor of whether a project would be approved.  If in doubt, just drop the editor/publisher an email and see if it’s worth submitting a proposal.

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

“Ask the Editor” is a Design Incubation series, where design academics, researchers, and practitioners pose their questions to editors of books, journals, conferences and other academic and design trade publishing organizations. If you would like your questions answered by publishing professionals, send your questions to Design Incubation via the “Ask the Editor” form on our website.

Insectile Indices, Los Angeles 2027

Yeawon Kim
Graduate student
Media Design Practices
Art Center College of Design

Yeawon Kim
Graduate student
Media Design Practices
Art Center College of Design

Crime prediction technology – we have all seen it in the movies, but what has in the past been pure fiction is now quickly becoming a reality.  Predpol, HunchLab and ComStat are different types of relatively new crime prediction software, or “predicative policing” software, that demonstrate how algorithms and other technologies can be used within urban infrastructures to predict crime.  However, utilizing these technologies and algorithms to collect data to predict crime, which is invariably subject to and tainted by human perception and use, can lead to a number of adverse ethical consequences – such as the amplification of existing biases against certain types of individuals based on race, gender or otherwise. On the other hand, if data can be gathered by some artificial intelligence (AI) means – thereby removing the human component from such data collection, can doing so result in more efficient and accurate crime prediction?  Furthermore, will we in doing so also reshape the aesthetic of urban landscapes, especially when one takes into account the constant evolution of AI?

Insectile Indices is therefore a speculative design project that considers how electronically augmented insects could be trained to act as sophisticated data sensors, working in groups, as part of a neighborhood crime predicative policing initiative in the city of Los Angeles, 2027.  This project is not only an investigation into the ethics of this controversial idea, but an aesthetic exploration into the deliberate alteration to a natural wildlife ecosystem of insects and the potential reshaping of an urban landscape.

In 2007, the Defense Advanced Research Projects Agency (DARPA) asked American scientists to submit proposals to develop technology to create insect-cyborgs, the results of which led to a plethora of troubling and worrisome commentary.  Rather than build off of a frightening narrative that discusses the potential sinister militaristic use of such technology, this project does the opposite and imagines instead an aesthetically pleasing utopia where these insect-cyborgs have social utility and work towards the public good of humanity.  Insectile indices also plays with the idea of aesthetics in our future techno-driven world by addressing whether we are more apt to silently “turn the other cheek” to more pervasive surveillance if these insect-cyborgs, or the urban landscapes they have the potential to reshape, become more aesthetically pleasing to the eye.

In this session, I plan to share the process of researching and creating the visual representation of this speculative fiction.

Research for Designers

Meredith James
Assistant Professor
Graphic Design

Portland State University

There are a number of textbooks on the market for research strategies used by designers, from A Designer’s Research Manual by O’Grady and O’Grady, to Visual Research by Bestley and Noble, to Design Research by Laurel and Lunenfeld. These texts offer a range of approaches, from marketing strategies used by designers, to more academic case studies. However, what is missing from the marketplace is a simple “how-to” guide that introduces basic primary and secondary research techniques to students.

This presentation will provide a literature review of tactics every designer and educator should know, and then present a practical research guide created for designers that fills the gap in existing literature. This pocket guide is being used in design classes at both foundational and advanced levels. Our students work has advanced to be more culturally and critically aware due to the implementation of these techniques. 

Typographic Landscape Ecologies

Joshua Singer
Associate Professor
San Francisco State University

Typographic Landscape Ecologies is an ongoing design research project that documents, maps, and visualizes typographic artifacts in the urban landscape as a way to explore cultural forces in the constructed world. The project presuppose a model of a semiotic landscape; a complex multi‐dimensional text or collection of texts in geographic space; the landscape as a collection of symbolically mediated phenomena understood only through representation. The typographic elements of the urban landscape form, through their invisible connections to the greater world of meaning, an ecology of meaning that constructs geographic space as real as its material forms.

Typographic Landscape Ecologies uses conventional research as a means to authoritatively document the landscape in an attempt to reveal patterns and relationships. The project uses experimental methods as a foil to the authority of conventional research as a way to generate speculative conclusions. Imprecise and questionable associations generate new semantic connections and new forms of thinking and knowledge. The illumination of new knowledge is the ultimate goal of research giving subjective and illegitimate conclusions value by revealing something not yet known. The work of the radical architecture groups Superstudio and Archigram, the design fictions of Anthony Dunne and Fiona Raby, the iconoclastic maps of Denis Woods, and the imaginary science of ‘Pataphysics offer examples of the ability of working data into new syntaxes, into alternative and speculative narratives, that can offer glimpses of other potentialities. In Typographic Landscape Ecologies this is demonstrated by the visual cross-referencing of aesthetic ecologies and cultural vectors, their overlay onto three dimensional virtual environments comprised of layers of historical maps that encourage us to read between the lines or layers of a cultural-semiotic space. This does not offer concrete answers, but rather poses new and unexpected questions.

Colloquium 4.2: CAA 2018 Conference Los Angeles

Presentations and discussion in Research and Scholarship in Communication Design at the 106th Annual CAA Conference 2018 in LA.

Hosted by CAA Affiliated Society, Design Incubation

Research in Communication Design. Presentation of unique, groundbreaking, significant creative work, practice of design, case studies, contemporary practice and the academic and scholarly review of creative projects. New approaches to design education and pedagogy will also be discussed.

Design Incubation Colloquium 4.2: CAA 2018 Los Angeles
Saturday, February 24, 2018, 2:00–3:30 PM
LA Convention Center: 402A

Abstract submission  deadline: December 21, 2017
Submit abstracts online at Colloquium Abstract Submissions.

The colloquium session is open to all conference attendees.

Co-Moderators

Aaris Sherin
Professor 
Graphic Design
St John’s University

Bruno Ribeiro
Assistant Professor
Graphic Design
Department of Art and Design
California Polytechnic State University

Presentations

Lessons From Mom & Pop on Resourceful Design
Kelly Porter
Assistant Professor
East Tennessee State University

Insectile Indices, Los Angeles 2027
Yeawon Kim
Graduate student
Media Design Practices
Art Center College of Design

Research for Designers
Meredith James
Assistant Professor
Portland State University

Geometries of the Sacred and Profane in Lewerentz’s St Peters
Nathan Matteson
Assistant Professor
DePaul University
College of Computing and Digital Media
School of Design

Guided Experiential Learning for Design Innovators
C.J. Yeh
Professor
Fashion Institute of Technology

Transforming ‘Graduate Students’ Into ‘Competent Designers’
Benson Cheung
Associate Professor
Technological and Higher Education Institute of Hong Kong (THEi)
Faculty of Design and Environment

Leveraging the Smartphone as a Teaching Tool
Heather Snyder-Quinn
Professional Lecturer
DePaul University 
College of Computing and Digital Media 
School of Design

During the conference we will also be holding an Affiliated Society Meeting: Design Incubation Special Program on Typography. The meeting agenda for the meeting will be posted in an upcoming announcement. The meeting is open and free to the public.

María Rogal Will Chair the 2018 Communication Design Educators Awards

Design Incubation’s Communication Design Educators Awards program was established to recognize and showcase faculty accomplishments through peer review. This competition reflects the organization’s mission to foster professional development and discourse within the academic design community. Since 2016, applicants from around the world have entered this awards competition recognizing design excellence and ingenuity in the academic study of communication design, with categories in published research, creative work, teaching, and service. The award processes and procedures are rigorous, transparent, objective and professional. Each year, entries are reviewed and ranked by an independent, renown jury of design educators and researchers across a broad range of design expertise and scholarly accomplishment within the discipline.

After envisioning the academic design awards and chairing the jury, University of Minnesota graphic design professor Steven McCarthy is passing along the role of Chair. We value his continued support and involvement in the program. Design Incubation offers their gratitude for his leadership in the launch of this important effort.

We are excited to announce María Rogal, Professor of Graphic Design in the school of Art + Art History at the University of Florida will chair the 2018 jury. She has had the distinction of being a juror of the awards since its inception. McCarthy writes, “Rogal brings vast experience, great powers of empathy, and astute judgment to the task. Rogal’s disciplinary connections and intellectual network will undoubtedly offer the jury some fresh input as the competition enters its third year.”

Rogal offers McCarthy her greatest respect and appreciation of his leadership over many years, particularly in having recognized the need for professional development and creating a program to support it. Rogal writes, “the diverse submissions I reviewed over the past two years were rewarding and inspiring. But this process also highlighted how important these awards and the application process can be for communication design educators. Through the application and peer review process itself, we also support professional development.”

We thank Bloomsbury Publishing, the sponsor of these awards. The 2018 awards program will follow the same timeline as previous years, with entries due May 31, 2018. An overview of the awards program is on our website. Look for more information on the program in the coming months.

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