How can we solve the Design Education challenges of today in a practical/applicable/direct way? Join the discussion at Valencia Design Education Forum 2020 (virtually).
This question among other discussions on design and design education is the focus of this year’s Valencia Design Education Forum 2020( #VDEF2020 ), organised on 5-6 November 2020, by the team of the New Art School, Glug Valencia and EASDV. Originally planned to take place in Valencia, due to COVID19, the event is going to be held virtually, via Zoom.
This year’s event, following the success of last year’s Alicante Design Education Forum 2019(ADEF19), brings specialists from all over the world, to share their teaching experience and their similarities and differences in teaching Art and Design at an international level, while rediscovering the common language of visual communication, and proposing creative, direct and applicable solutions to the many challenges that affect design education today.
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Valencia Design Education Forum 2020
#VDEF 2020 Day 1- 5th of November 2020
Start: 15:30 CET – Central European Time
16:00 Keynote Speech
Karel has led design worldwide at IBM for most of his three decades with the company. For the past eight years in IBM’s Design Program Office, Karel introduced Enterprise Design Thinking to each of the business units of the company globally and to hundreds of other companies. He is currently responsible for IBM’s Design Leadership Programs as well as the company’s Global Academic Programs for Design. Karel also serves as the head of IBM Studios Canada, is the IBM Innovation Corps executive for Canada, and is Industry Professor at McMaster University. He blogs on design, technology, and optimising the human experience at karelvredenburg.com and transformed his within company mentoring into a popular podcast “Life Habits Mentoring” which is available on all podcast apps. He did undergraduate, masters, and doctoral studies at the University of Toronto initially in cognitive science and clinical psychology which later led to research, specialisation, and his life-long passion for, practice of, and leadership in design. https://www.karelvredenburg.com
This presentation will present and address some of the case studies used enlightening Visual Communication Design students to symbolic violence, the role of cultural capital and the designerly knowing embedded within coalescing theoretical and studio practice. The process of addressing colonisation and its transition into the 21st Century has interrupted, or should be interrupting, our ‘picture’ or signified mental concept of the way Higher Education operates. No longer can we disregard the ‘tipping point’ of interest and scope in our constantly moving; post-human, meta-modern, discussion of diversity, accessibility and sexuality, within the ‘New-normalcy’ world and what it entails for learners. Not only do we need to instil critical thinking into cultivating critical life-long learners, but one’s that address the complex futures of evaluating the past and its speculative design impacts.
Dr Ari Chand is a Designer/Illustrator and practice-based researcher with experience in Secondary and Tertiary Education, Illustration Theory and Practice, Natural History Illustration, Drawing theory and Practice, Character Design and Concept Art, Design History and Theory, design research, to key areas of core teaching in Visual Communication Design and Creative Industries Education.
His research focuses on understanding the complex way a socio-cultural framework for understanding Design into the 21st century is relevant to how humanity will undertake the complex issues of our time. Research is practice-based at the University of Newcastle and looks at the development of a theoretical framework based on the combination of seminal concepts, habitus (Pierre Bourdieu) and tacit knowledge (Michael Polanyi), to interrogate and scope out the nature of style and design process within design practice. Future key focuses include creativity research, visuospatial cognition, and decolonising design. In 2020 He has been funded alongside Dr Andrew Howells, Dr Jane Shadbolt, Dr Caelli Jo Brooker, Mr Carl Morgan and Mr Alex Barnes-Keoghan to set up a ‘Drawing Education Network’.
https://open.spotify.com/album/0gNUOYnIaNi2kbw3OwIm23 https://www.creativeresearchhub.com/chen
www.arichand.com
https://www.newcastle.edu.au/profile/ari-chand
Twitter: @byarichand
The canon is not exclusionary. It is the consolidation of what is judged to be transformative and historically momentous. The canon is not an award ceremony, but a veneration of those who have illuminated and revolutionised design in relation to society. It is an educational beacon for all. This presentation will look at the recent and growing calls to ‘decolonise’ the canon. Positioning it as merely the latest in a long line of attacks on the historic role of graphic design, by the design elite. Of course, the canon should be the subject of debate and contestation, but the call to decolonise it, is neither of these. I will argue that it is part of a wholesale rejection of the canon, graphic design history, judgement, and the materiality of graphic design in society.
Alex Cameron is a graphic designer, lecturer, and design critic. He holds an MA in Design Writing and Criticism from the London College of Communication. He has art directed and redesigned numerous magazines in the travel, music, politics, architecture, education, and transport sectors. Alex has lectured at East London University and Plymouth University and has organised design conferences and exhibitions. Alex writes or has written for, Blueprint, Design Observer, Design Week, Eye, Future Cities Project, I love Typography and Spiked. He is now based in Madrid.
You can read a selection of his articles at https://alexcamerondesign.wixsite.com/criticism
Cosmosising Design Education aims to unpack notions of tacit knowledge, epistemologies of design, and the social to relook the processes of design education positively impacting on design educators and students. Cosmosisation in this case should be understood as seeing the individual as an observer and interpreter of the cosmos, the concept as a structure in which society is the matrix within which social sciences, politics, the individual and technology co-exist in a network. Insight into the relationships between the elements within this matrix (a kind of gathering point) is crucial. One then thinks of society, therefore, being constituted through/of this dynamic of relationships, and the concept is not limited to refer to a mere numerical collection of people but rather understanding what it is to be human, which is to understand the social/society, where the cosmos includes diverse elements relating to humans, but also the relationships they have with their life-world. So looking at the social paradigm as a network(ing) of relationships, the term ‘cosmos’, in turn, is used here to refer to the ‘common world’, meaning our everyday life, an interplay between human and non-human actors. Situated alongside theories of cosmopolitanism and branching theories of cosmopolitics, it is not beyond politics but that which allows questioning the common world by addressing aspects that relate and co-exist. It is a lens to look at reality from a holistic, relational perspective, and enables a “process of creating reality, cosmosising reality in order to create an environment filled with meaning”. In terms of design, it is important that the field of the philosophy of design unpacks ‘its’ epistemologies to establish the usefulness of the design practice and for each designer. Designers design for people and not things, the emphasis on the individual in design highlights the notion of experientiality. This experientiality signifies the meeting places formed by the relationships between the individual, the social, the cultural, deep social structures, and space. From an experiential design point of view, the epistemology of design currently resides within a predominantly modernist paradigm. This (still) current modernist classification in design practice is more linked to the object than the individual, or to the socio-spatial matrix within which the individual is co-immersed. The field of the philosophy of design has not been investigated from the perspective of cosmopolitics (termed cosmosisation) and the cosmos/common world. Doing so might enrich understanding of the epistemology of design, and consequently, design practice itself. Going back to design education and looking at higher education institutions we can see that there are many schools of design and that centres their education around core design principles and traditions that then later offers more advanced courses where there’s special focus or specialisation of specific aspects of design. The problem is that even with some advanced courses is the epistemology of design still within a modernist classification. Systemic, performance, contextual and global challenges in design that have to be discussed and dealt with in the design curriculum, which I suggest have to be relooked from the spatial or spheres in the social that cannot be shaped without the human component. This means we then are cosmosising these challenges to enable critical thinking together with soft skills, producing global citizen designers. In doing so we are cosmosising design education, going beyond traditional means of educating and understanding the process and application of design that at the end of the day remains tacit knowledge, but rather take the approach of understanding the metacognitive awareness of the epistemology of design, individual involvement, and place within society, experientially part of social dynamics towards shaping not only sensitized individuals and designers but allowing dialogue to be formed. One cannot rely on technology to educate designers about design by means of developing technical skills, soft skills, and theory that all have to interlink with one another in a practical forum. It is at this stage where one is to realise how we will continue the dialogue of a cosmosised design education between the individual, the social, and the design practice to further develop not only the dialogue of design within the design discipline but what the dialogue holds about the social, politics and the space they are in, and with design being political its politics need to be expressed but the foundation has to be set. Wanting to develop sensitised citizen designers, as educators, we will have to sensitise them about a deeper understanding of social issues, human behaviour and new ethical challenges they need to respond to in a global society. We have to make sure that design education allows for an experiential relation towards worldly issues, relooking the context of blended learning to allow the physical doing, the actual practice of design, dialogues being introduced and shaped, experiences expressed and investigated, all within a studio environment amongst other students and designers. The experientiality of design needs to come across in design education by cosmosising it. The design curriculum must move away from how pretty it looks on paper and focus on really establishing strong foundations of, core design skills and knowledge that include traditional drawing and illustration practices, dialogues, critical thinking, human-centredness, cosmologically reformulated epistemologies of design, integration of social and political ties – working processes and networking, practice research, and not be fooled by the showmanship of technology and being online.
Schalk is a Design lecturer at Tshwane University of Technoloy, Faculty of Arts and Design in South Africa. From a young age he has been fascinated by cartoons, comics, illustration, drawing and yes, toys. “I love how these mediums represent and take you away to a different world and re-represent the one we are in, which then is what I pursued to study.” His work, in terms of theory and practical investigates traditions of art and design, and more recently design, and reformulate the foundations to unpack skill and knowledge for the now, for example in some way understanding anatomy and figure drawing to unpack and assist character design. His passion for art and especially design, philosophy and illustration is what I take together in design thinking to ensure students develop creative and innovative solutions to problems enabling them to become global citizens, positively impact on society and be leaders of change and future pioneers.
Rozina Spinnoy is a Design Strategist and Social Entrepreneur running her own NGO and SME’s working across Europe and beyond.
Wearing several hats and using her innovation and design management skills across a variety of sectors from Education, Equality, Inclusion, Women’s issue, Mental Health, Urban Place-making and Civic Participation. An active volunteer and Board member for community organisations, including youth sports and neuro-diversity.
Championing the value of ‘designing’ inclusive communities, with as many diverse, multi-level stakeholders around the table.
Actively networking, with attending and participating in many of the European and global conferences across various sectors and fields from design to the urbanisation of our cities. https://placemaking-europe.eu/listing/rozina-spinoy/
Cai Zhang is an educator, artist and strategist based in London. They investigate the contemporary preoccupation of digitizing corporeality as a philosophical process to find out what it means to be human. Their visual practice embodies lived experience of an unruly and outsider human body. Typically, in the form of performance, installation and drawings, these work contest intellectual conventions of meritocracy to dismantle structures of social privilege for an equitable future for humankind. They are currently teaching Applied Imagination, Graphic Branding Identity and Design Management at Central Saint Martins and London College of Communication. They are currently researching on awarding and attainment gap of PoC students and, pursuing practice-based research on seriousness within contemporary art and design practice and education, in particular, gaming as a site of artist practice and educational development. They also run a branding and marketing consultancy for innovators in auto-mobility.
Cai Zhang – You Got Mail
A video summary of a small-scale action research project exploring the possibilities of teaching practice-based postgraduate art and design course via email. Mail, a technology so ubiquitous and easy-to-use that it is often overlooked as a platform for relationship building and qualifying learning outcomes. Chickering and Gamson (1987) remind us that “learning is not a spectator sport”. Oliver and Trigwell (2005) criticised that current views of blended learning rarely position themselves from the perspective of the learner. Herrington, Reeves and Oliver (2010) explain that ‘for authentic learning to occur, learners must be engaged in an inventive and realistic task that provides opportunities to complex collaborative opportunities.’
This presentation is a summary of a small scale research project looking at sentiments over and the possibility of using email in postgraduate study of practice-based art and design courses.
The project finds that conservatively spam emails, including both unwanted and unnecessary emails, cost academia worldwide $1.1 billion and releases 659,393g of carbon dioxide a year. It also discovered students and staff do not find emails as a good point of interaction at their place of work and study. Most studio-base professionals have to communicate through emails to obtain, produce and deliver their work. I see email as a teaching space to provide simulation, grow relationships and test skills. Currently, the use of email at Arts postgraduate courses is both under-utilised and unimaginative.
However, email, just as any technology introduced in learning, can be exclusive and obstructive in teaching and learning. There is no formal emphasis on email etiquettes and best practices within course teams and beyond. There are calls for eliminating emails all together and opt for chat messenger format instead.
It is evident than email is a vital and exciting opportunity for innovations and attention. I am hoping this presentation would give the attendee a fertile ground for exploring email as a site of learning in their unique context after. https://www.linkedin.com/in/caizhang
The research findings behind the documentary film about Women of Graphic Design in America
PurposeThe purpose of this documentary film is to examine the influence of women in graphic design history through the lens of historians, designers, and educators, as well as to aid and acknowledge ongoing efforts to document and publicise women’s successes, challenges, influence, struggles, and involvement in the robust history of graphic design.
Abstract“Graphic design is so much a part of our modern world that it is hard to imagine living without it. And in some ways, we never have: visual communication is about as old as our opposable thumbs, though it’s been a long journey from stone tools to digital tablets. In short, the history of graphic design is a story that spans the entirety of human existence and it has the power to inspire and inform even modern graphic designers. For one thing, knowing where, why and how this industry came about helps designers understand their place alongside history. In more practical terms, stylistic trends are cyclical, and studying the past can inspire some innovative ideas in the present.” [1]
Graphic design hasn’t always had the best reputation for gender equality. It’s discussed as a traditionally male-dominated industry, and most of the best-known designers discussed in articles and books today are men, and mostly European white men to boot. Did you know Carolyn Davidson designed Nike’s Swoosh logo in 1971? Or that Susan Kare designed many of the original Apple Macintosh interface elements? With talent, dedication, and creativity, women are – and always have been – killing it in graphic design for well over a century and a half in America. “However, women have played an equally significant role in shaping graphic design as we know it today.” To celebrate this fact … we’ll look at the influence of women on graphic design, decorative arts and digital illustration over the past 100-150 years. “…at the turn of the 20th century, women were starting to cause ripples socially, and early forms of graphic design played a part in making these ripples expand. Poster design and caricature were practiced by many, mostly male, artists, but in Britain suffragettes quickly realised that they too could use this medium to further their cause for gaining voting equality.” [2] This was also true in America.
There are numerous writings on this topic as well as writings about the amazing women of graphic design. Disappointingly the writings are often brief in length, scattered between many mediums, and distributed between countless sources. Additionally, there is yet to exist a film documenting their legacies, their successes, their struggles, as well as, maybe most importantly, their stories. However, a documentary film — a nonfictional motion picture intended to document reality, primarily for the purposes of instruction, education, or maintaining a historical record — will offer a complete, comprehensive, narrative and visual story to accompany the many writings on women in graphic design history and will become a major resource for cultivating learning of this important topic; one that will survive for decades, perhaps centuries, into the future. Yesterday was the day a documentary film of this kind was needed to raise awareness and to actively engage our society into the discussion. A discussion that can shape the future of our world, inform our society, change perspectives of women’s contributions, and educate. All of this can be done through the medium of entertainment — Redesigning HERstory: Women of Graphic Design in America — a documentary film.
Only one Documentary film on Graphic Design in the United States existed just a decade ago, that film was Helvetica. In 2009 three major documentary films on the design were released, Milton Glaser: To Inform and Delight, Art & Copy (advertising agency focus), and Objectified (an Industrial Design focus). Then again in 2016 Graphic Means (a reflection on graphic design production as technology evolved) the most recent documentary on graphic design was released. Most recently the Netflix series Abstract: The Art of Design has introduced graphic design in an episode in Season 1, Paula Scher: Graphic Design, and one episode in Season 2 related to graphic design, Jonathan Hoefler: Typeface Design. From 2011-2017 a bleak selection of other documentaries directed at the genre of design, and passably aimed at graphic design, were released to ‘inform and delight’ the masses.
Nonetheless, this discussion on the history of design has been evaded. More so!, the discussion on women in graphic design is reasonably absent from the larger discussion within the history of the graphic design landscape in written documentation — and nonexistent in documentary film. With the centennial anniversary of the Nineteenth Amendment and the continued need for the discussion on women in graphic design history — who struggled against the odds in a male dominant profession, in which we labor to celebrate their achievements and contributions to our society, who paved the way for some of the greatest (women) designers of our time — this can be addressed and change can be made. The duty is ours.
Resources
[1] https://99designs.com/blog/design-history-movements/history-graphic-design/ Matt Ellis
[2] https://design.tutsplus.com/articles/the-influence-of-women-on-graphic-design-over-
the-last-100-years–cms-30617, Grace Fussell
Women Of Design: Influence And Inspiration From The Original Trailblazers To The New Groundbreakers, Bryony Gomez-Palacio, Armin Vit https://books.google.com/books?id=L80xAQAAIAAJ&q=%22graphic+design+history%22+women&dq=%22graphic+design+history%22+women&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjJjImN46nnAhUCSa0KHXS9B2oQ6AEwAXoECAIQAg
Peter Bella
I am an Assistant Professor of Art and Graphic Design at the University of Central Arkansas (UCA). I have taught a variety of design curriculum over the last decade ranging from Graphic Design History to Concept & Symbolism; from Typography to Packaging Design, including Digital Media and art foundations. Additionally I have accrued more than twenty-five years as a professional designer encompassing advertising, branding, public relations, marketing, publication design, editorial, digital media, and video production. My approach to academics, creativity, design, and leadership as a cohesive profession with intellectual talents and interests, and a thirst to think, research and write, as well as to teach. With assertion I remain professional and committed to the ideals of creativity through the exchange of innovative ideas, resourceful information, and a holistic design pedagogy. Fresh and new solutions along with team/group collaboration (even taking a risk when appropriate), together creating concise, thoughtful, well-planned results with each new challenge is always a main objective. Communication is a powerful tool. http://petebella.com/ https://www.linkedin.com/in/petebellajr/
Amanda (Mandy) Horton holds a BFA in Graphic Design from Oklahoma State University and an MFA in Design from The University of Central Oklahoma. Mandy teaches graduate and undergraduate courses in design technology, design studio and history of graphic design. Mandy’s specialty is in design history and she has developed multiple courses for UCO on this subject, including an award winning History of Graphic Design online course and is director of the Design History minor at UCO. Her present interests include researching the history of information design, design theory and criticism as well as women and their place in design history. She is an active member of AIGA, has been featured on the CAA podcast discussing teaching design history, and was most recently published in the International Journal of Visual Design. https://www3.uco.edu/centraldirectory/profiles/590730
Sanmitra is an AIM mentor and a member of National Committee of Design at CII. She currently holds talks with people from Design Strategy, Design Management, Sustainability and Innovation on Instagram – handle – strategyndesign
Sanmitra is an Optimistic Futuristic Design thinker and believes that design is the differentiator for any product/ service/ institution under the sun. She is a Polymath. She is good at various subjects to the level of 9 on 10. She has an experience of 19+ years in Design, Design thinking, innovation capacity building, business creation and Design Management. Now moved to academics, Sanmitra has also set up her own design studio in partnership, working in Graphic Design, branding and Exhibition space before joining Strategic Design Management in National Institute of Design.
She has diverse education and believes in multidisciplinary education as a base for holistic knowledge.
Her education ranges from Pharmacy, Animation, Graphic Design, Design Management, Innovation capacity building and Service Design and is currently an IIM research scholar.
She is a trained ZMET (Zaltman’s Metaphor Elicitation Technique) Interviewer and Analyser. This training has helped her get that edge of believing in the human power of intuition. This intuitive power helps in great design insights needed for any kind of problem solving and design solutions. She believes in women empowerment via education and self help.
She believes Design Management is the next best Education in Management sector, looking at the fact that Design is now becoming the core of future technologies. She clearly defines Design Management as Design Facilitation. She is a domestic violence survivor and would like to tell her story and give all the assurance about standing tall and building from zero despite the odds of being in that arena irrespective of the strong education and career background. linkedin.com/in/sanmitra
Technology and design have been in a symbiotic relationship, and the demand for the typography with 3D printing has already arrived. 3D printing is one of the emerging technologies which can bring groundbreaking impacts in many industries. As 3D printing has become more refined, efficient, and accessible, what will happen to the field of graphic design, specifically typography? Typography has always evolved with technologies and creative processes as new technologies, processes, and materials fused new ideas and creative design solutions.
This research started as an experimental research project to investigate the possibility of implementing 3D printing in typography to enable new typographic experience using emerging technology. Various conventional and unconventional materials in 3D printing such as Polylactic acid (PLA), Thermoplastic polyurethane (TPU), Nylon, Stainless steel, and even Ceramics have used. Notably, 3D printing can allow text to be printed/materialized in the physical world, and this will change how we experience typography and the notion of printed text. The tangible type does not lie on the static surface or live on-screen as a mirrored image. The letterforms are convergent and still provides artistic visual expression but tactile experience in the physical realm. Thus, these letters acquire new characteristics such as texture, structure, volume, dimension, and even interactivity with their physical tangibility.
3D printed tangible type amplified visual and physical interactions. Digital fabrication techniques play a crucial role in turning intangible ideas into tangible design products, also become an agent to build a strong connection between analog and digital environments. Tangible Type I is the first part of the more significant research project, and more investigations will follow. This project could be inspirational for both professional practices and educational settings, such as typography, graphic design, and digital fabrication courses.
Taekyeom Lee is an educator, maker, and designer using the artist’s material and artistic sensibility. He is currently an Assistant professor of Graphic Design at Illinois State University in Normal, IL. He received an MFA degree in Graphic Design from the University of Illinois at Urbana-Champaign.
Recently, his research draws attention nationally and internationally. He exhibited his work and provided workshops and lectures across the country and abroad. He presented through national and international conferences including ATypI(Association Typographique Internationale), ISEA (International Symposium on Electronic Art), TypeCon, AIGA DEC(Design Educators Community), and NCECA (National Council on Education for the Ceramic Arts). His work has been featured by various media including Communication Arts, Make Magazine, Now This News, Core 77, Art Insider, and New York magazine.
My research explores unconventional materials and digital methods to graphic design to create 3D type, graphics, and even designed objects. This research began with two questions: Where does typography belong in the post-digital age? How do we bridge digital and physical experiences? Post-digital typography is engaged with tangible experience assisted and/or created with various digital controls. For the post-digital typography, the cutting-edge digital techniques play a crucial role in turning intangible ideas into tangible design products with physical substance, also combined with augmented reality to build the strong connection between analog and digital realms. In response to this movement, my research actively adapts digital design and various fabrication methods, specifically 3D printing and CAD design. In a broad sense, my research is aiming to develop, test, and find the place of the emerging technologies in the design process and creative practices.
Technology and design have been in a symbiotic relationship. The exciting and rapidly changing digital manufacturing methods have influenced many fields of art and design including, but not limited to graphic design, product design, sculpture, printmaking, and architecture. These new technologies have introduced new tools for pushing the boundaries of the medium both in terms of concept and materiality. As we have been using digital tools more and more, there are few ongoing discourses regarding the term post-digital, and there are mixtures of hopes and concerns between being human or being digital. There are practice-based researches regarding post-digital; however, no one can authoritatively decide how to define the term, and more theoretical discourses and publications are required. The discourse should focus on the exploration of new avenues and possible ways to bridge digital and physical environments with the emerging technologies. For last decades, many analog and physical objects has been digitized, simulated, and transferred into the digital realm. In my opinion, many things that exist as digital data could be translated into physical or combined into physical space in the post-digital age to bridge the gap between digital and analog worlds.
Designers have worked with the merits and demerits brought with the new technological era while the technological innovations yield influences. Typography has always evolved with technologies and creative processes as new technologies, processes, and materials enable new possibilities. More importantly, they fused new ideas and creative design solutions in graphic design like the digital revolution with the introduction of personal computers caused radical changes. The digitization of type in the digital age reshaped our visual culture and how we experience typography. As a consequence, today, we are mainly consuming letters on the static surface of a page or a screen. The text is living on screen as mirrored image and it could be disappear in a second with no trace. Ironically, however, the new digital technologies naturally redirected the digital experience toward the physical world. It became an agent not only to bridge digital and physical realms, but also to enhance visual and tangible interactions with physical and virtual objects using cutting-edge technologies.
https://www.instagram.com/taekyeom/
https://portfolio.taekyeom.com
Description: Typographic Selfie + CODE is a series of generative typography as self-portrait photographs by Yeohyun Ahn in response to her sense of invisibility as a woman of colour and as an academic stranger in professional areas of American society. She started taking her generative selfie in 2015 to raise awareness of Asian female faculty being isolated and marginalised in a predominantly white institution in America. Typography is regarded as a form of art to make written language expressive. Based on the type choices, different emotions and moods can be visually delivered through the generative selfies. The typographic selfie + CODE uses diverse typefaces to convey feelings and thoughts in the generative selfie. It shows possibilities to use the own personality of each typeface to be expressive and visually appealing in the generative selfies.
Yeohyun Ahn is an award-winning typographer, interactive visual designer, and educator. Her works have been featured through Washington Post, PRINT, New York Times Magazine, Letter Arts Review, Creator’s Project, Designboom.com, etc. Her works have been published in the books, Graphic Design: the Basics, Type on Screen, and Data-Driven Graphic Design. Her TYPE + CODE series, http://www.typeandcode.com, have been published through Leonardo, a top journal for Art and Technology, by MIT Press, EVA London, IEEE VIS Arts, and presented at ISEA, AIGA, SEGD (Society of Experiential Graphic Design), Alicante Design Education Forum in Spain, TypeCon, etc. Her new project, Social Homelessness on US Campuses, http://www.socialhomelessness.com, is a multidisciplinary art and design project to bring awareness of Asian female faculty in America by using generative selfies. It has been published and presented through ISEA, ARTECH, IEEE GEM, etc. She received Graduate Fellowship from Maryland Institute College of Art in 2009. She worked as a freelance graphic artist in the New York Times Magazine. She taught at the School of the Art Institute of Chicago, Chicago State University, and Valparaiso University. Now she is an assistant professor in the Art department at the University of Wisconsin Madison. Having immigrated as a designer in America brings her to be aware of social inequity, discrimination, and marginality. Currently, she explores computational graphic art for social homelessness being isolated and marginal in professional areas of American society with the project, Selfie + CODE,
http://www.selfieandcode.com.
www.yeoahn.com
www.typeandcode.com
http://www.socialhomelessness.com
#VDEF 2020 Day 2 – 6th of November 2020
Phil Cleaver is an established and multi award-winning heavyweight in the graphic design world. Protege of Anthony Froshaug, Phil honed his design and typographic skills under Alan Fletcher at Pentagram, Wim Crouwel at TD in Holland, and Michael Wolff at Wolff Olins. In 1984 Allied International Designers recruited Phil as creative director of branding. In 1987 he established CleaverLandor, a specialist design consultancy, whose success led to such rapid growth that Phil found himself increasingly paper-pushing and decreasingly pencil-pushing, so he set up design consultancy et al, in 1992; a tight-knit consortium of like-minded design professionals.
Phil is a fellow of the Chartered Society of Designers, a founding trustee of The Monotype Museum, a Fellow of the Royal Society of Arts, and Professor in the Creative Industries in the School of Art and Design at Middlesex University. He lectures worldwide on design, and his early typographical work is archived in St Bride’s Printing Library. His book design is in the permanent collection of the V&A Museum’s National Art Library. In 2012, Phil was invited by renowned creative director David Holmes to collaborate as typographer and book designer alongside Sir Peter Blake, godfather of British Pop Art, and four other master artists, to create a box of treasures celebrating eight decades in the life of Sir Peter Blake and The Macallan. Phil also wrote and designed, What They Didn’t Teach You In Design School, published by Ilex Press, distributed by Thames & Hudson. https://www.instagram.com/phil.cleaver/ https://philcleaver.com/the-man.html
Michał Piekarski was born in Warsaw. Since 1974 he has designed quite a big number of books, albums, posters, exhibition catalogues, post stamps, fonts and magazines. He has cooperated with many Polish publishers. He graduated from the Academy of Fine Arts in Warsaw, Graphic Design department in prof. Maciej Urbaniec’s class with a diploma in Poster. From 1980 to 1984 I he was Art Director in SGGW-AR Publishing House where he designed 300-400 covers of students‘ books. From 1984 to 1989 he was Art Director in Murator monthly Magazine – the first private company in Poland in communist time. At that time he often went to the Netherlands where he worked as a graphic designer in NOB – Dutch television. In 1992 he started cooperating with Twój STYL Publishing House and in 1993 he became Art Director of the first in Poland luxury monthly magazine for women and Art Director responsible of the whole publishing house. From 2002 to 2003 he was Creative Director in Edipresse Publishing House. At that time, every year (8 times) he went to New York to FOLIO conferences organised by Magazine Publishers of America. From 2003 to 2006 he was Creative Director in Gruner und Jahre Publishing House. He was responsible for all the titles in the house. In 2006 he started cooperating with Burda Media Publishing House. From 2007 to 2011 he was Art Director of TopGear -polish edition. From 2012 to 2014 he was Art Director of ELLE – polish edition – a fashion magazine for women. From 2011 until now he is Art Director of Gala – polish edition – a people magazine. In 2010 he founded the company Piekarski Design and runs it to this day. In 2010 he started teaching graphic design at Warsaw School of Information Technology (WIT). In 2019 he got his PhD degree at Academy of Fine Arts in Warsaw for defending his doctoral thesis ‘Dress Code secrets of male elegance’. Awards: Main Prize at the Poster Biennale in Lahti Finland – 1979, Most Beautiful Book of the World in Leipzig (Germany) 1997 and several times the Most Beautiful Book of the Year in Poland. www.michalpiekarski.com.pl
Jenny Theolin – About the Design Education community
Jenny Theolin is an experienced designer and educator creating events and learning experiences for individuals, schools and businesses within areas such as technology, design thinking, communication, innovation, culture and entrepreneurship. With nearly two decades experience working in the design industry, Jenny can now be found working with some of the world’s leading schools, as well as helping corporate companies become learning organisations through co-designing internal processes and programs. Jenny is specialised in creating events and experiences promoting human interaction, learning and serendipitous moments. Building and leading remote teams since 2009.
www.designeducation.co www.twitter.com/designeducation
www.instagram.com/designeducation.co http://www.studiotheolin.com/
In the mid 20th century, radical groups of European artists and activists proposed psychogeography – a type of playful and critical urban walking – as a way of disrupting modes of thought and life. This presentation explores how some of their techniques – such as the dérive and creative cartography – can be used within the context of design education today, both in a physical and virtual sense. Ally Standing is a Birmingham-based visual artist and lecturer, with an interdisciplinary practice exploring ideas surrounding the built environment. Psychogeography, post-war architecture, and public art are some of my main areas of interest. I see the city as a stage for learning; this is key to my practice, both in terms of my creative output and my teaching. Insta: @allystanding Twitter: @allystanding LinkedIn: Ally Standing www.allystanding.com
11:00 CET Panel Discussion: Breaking the Bauhaus; rebooting art and design education
Richard Adams, Prof. Min Wang, Prof. Phil Cleaver, Kadine James, Lefteris Heretakis
Breaking the Bauhaus; rebooting art and design education
Discussion, panel and interaction | 6th of November 2020 | Time: TBC
Current western art and design education has a lot of its roots in the Bauhaus approach. That model emerged from the era of mass production. In the age of science and AI now emerging, we need a different paradigm that addresses the new norms head on.
Introduction
The Bauhaus approach to design education emerged from the fire of the age of mass production, but we are now in the foothills of a new landscape dominated and shaped by science, technology, neuroscience, biotech, push button tools and unnatural intelligence. Already our students are working with basic narrow AI inside packages but very soon and within their lifetimes they will be working with real unnatural intelligences. They will also be working in a landscape that exploits neuroscience, biotech, deep gaming, live always-on design, push button art and design and more. Current western art and design curriculum, the basis of most western creative education, was a product of the age of mass production. Pioneered a hundred or so years ago by The Bauhaus, Marion Richardson (human centred) and others, it was firmly a product of its time, reflecting the spirit of its age.
Gropius himself said that their purpose was “to reimagine the material world to reflect the unity of all the arts as he saw them”.
“Gropius explained this vision in the Proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living.”
A hundred or so years later, society finds itself on the edge of a new era, one of unnatural intelligence, of neuroscience and play, of high skills and low push button tech, where employees will carve out careers working alongside ever smarter machines making use of narrow AI, and corporations and government starting to use neuroscientific approaches to the way they handle people and behaviour. Computers and the Internet started to open new avenues enabling people to display creativity in wholly new ways, chief among them being games and advances in neuroscience are similarly potentially unlocking new ways of looking at things critically. Most creative education hasn’t kept up with these seismic changes, it’s trying but there’s no unifying vision, nor any apparent willingness/ability to reboot the sector like the Bauhaus did. It is time for a new approach to creativity and art in education to reflect these new pillars of societal structure.
Objectives
Discussion/workshop around the following questions.
- So what is the “new system of living” for 2050
- How do we teach creativity in this new society? What are the aesthetics that we need to address?
- What is design education in the coming era?
- “What does a curriculum need to look like to develop designers who can unlock the potential of this technology?”
- What form should courses take?
- What do educators need to look for to prepare their students to work creatively with AI, networks, neuroscience and more?
- Do design educators need to be techies first?
- Should we disband what we have, embrace revolution, and start again with a new model?
Panel
Richard Adams FRSA is the panel coordinator. Richard has successfully juggled parallel careers in education and emerging technology, living omni-disciplinary approaches to everything. For him, discrete disciplines are just something other people follow. Richard is a Visiting senior Fellow at the University of Lincoln, held a Visiting Professorship, founded a university Digital Arts department and worked with Marc Lewis to found the UK’s most successful new college of creativity. He has also managed to design curriculum and teach at every level of the UK system and held down a parallel career in emerging technology, games and entertainment (at Microsoft Xbox, Aviva, BBC, BSkyB, the RSC, Proximus and others), in which he is currently a Principal Architect.
Prof. Min Wang is Professor at China Central Academy of Fine Arts (CAFA) in Beijing, and Vice Chair of CAFA’s Academic Committee. Min Wang was the Dean of School of Design at CAFA from 2003 to 2016, he was appointed by the Ministry of Education as Chang Jiang Scholars Professor in 2007 and he was Chair Professor at School of Design of Hong Kong PolyU in 2013. Min Wang is council member of Creative Economy, World Economic Forum and he is member of AGI (Alliance Graphique Internationale) and was President of AGI China Chapter from 2013 to 2016. Min was the Design Director for Beijing 2008 Olympic Games Committee and the Director of Art Research Center for Olympic Games at CAFA. Under his leadership, the Centre had created the medal, the pictogram, the colour system, the image and identity guidelines, etc. for the Beijing 2008 Olympic Games. Min was Vice President of ICOGRADA (the International Council of Graphic Design Associations). He was the key person for organizing the ICOGRADA World Design Congress 2009. Min Wang is DeTao Master and partner at De Boer & Wang Studio in Shanghai. Min was the Design Director at Square Two Design in San Francisco from 1998 to 2003, he joined Square Two in 1998 after serving 8 years at Adobe as Design Manager, Senior Art Director, Graphic Designer at Adobe Systems. Min received MFA from Yale University in 1988 and he had been a visiting fellow in Germany. In 1989, he began lecturing in graphic design at Yale University, teaching graduate students until 1997. Min’s work has been exhibited internationally and in the collection of Museums. Square Two Design clients include: Adobe, IBM, Intel, Netscape, and Stanford University.
Prof. Phil Cleaver FRSA is an established and multi award-winning heavyweight in the graphic design world. Protege of Anthony Froshaug, Phil honed his design and typographic skills under Alan Fletcher at Pentagram, Wim Crouwel at TD in Holland, and Michael Wolff at Wolff Olins. In 1984 Allied International Designers recruited Phil as creative director of branding. In 1987 he established CleaverLandor, a specialist design consultancy, whose success led to such rapid growth that Phil found himself increasingly paper-pushing and decreasingly pencil-pushing, so he set up design consultancy et al, in 1992; a tight-knit consortium of like-minded design professionals. Phil is a fellow of the Chartered Society of Designers, a founding trustee of The Monotype Museum, a Fellow of the Royal Society of Arts, and Professor in the Creative Industries in the School of Art and Design at Middlesex University. He lectures worldwide on design, and his early typographical work is archived in St Bride’s Printing Library. His book design is in the permanent collection of the V&A Museum’s National Art Library. In 2012, Phil was invited by renowned creative director David Holmes to collaborate as typographer and book designer alongside Sir Peter Blake, godfather of British Pop Art, and four other master artists, to create a box of treasures celebrating eight decades in the life of Sir Peter Blake and The Macallan. Phil also wrote and designed, What They Didn’t Teach You In Design School, published by Ilex Press, distributed by Thames & Hudson
Kadine James CEO Founder Creative Technologist is an Artist, Activist, Digital Curator, Immersive XR producer, Digitalmaker, innovator & emerging technology enthusiast. Kadine is a prominent Tech Evangelist. Combining 10+ years’ experience in 3D Printing, Virtual Reality, Augmented Reality, XR and immersive technology, she’s driven by big ideas, a global mindset and empowering the use of VR/AR/XR & AI across the arts and creative tech industries. Kadine is listed as one of the top most influential women in UK technology (computer weekly). She is the Founder of The Immersive Kind, an Arts and Advanced Technology Organisation and multidisciplinary global collective of artists, designers and creative technologists and sits on the international advisory board at None in Three a research and policy centre which is using gaming technology to tackle gender based violence around the world.
Lefteris Heretakis RCA, FRSA is a designer and a lecturer. He is the founder of The New Art School, Design Education Talks podcast and Valencia Design Education Forum. Since 1996 Lefteris works as an illustrator and designer, collaborating with a wide range of multinational corporations and entrepreneurs. Since 2009 he has taught Visual Communication Design in Higher Education institutions across the world focusing his reflexive/practice based research on the relationship between industry, education and students
House of Imagination provides a range of spaces for children and young people to collaborate with creative professionals. It is a home for improvisation, creativity and innovation and a place to make these visible through research. House of Imagination celebrates an experimental, research-based approach to explore the potential, challenges and opportunities in the area of creative resistance and how this invites a new pedagogical approach.
Dr Penny Hay (FRSA, FHEA) is an artist and educator. Penny is a part-time Reader in Creative Teaching and Learning and Senior Lecturer in Arts Education, School of Education and also Research Fellow, Centre for Cultural and Creative Industries.
Previously Penny was a teacher with responsibility for the arts, advisory teacher for art and lecturer in arts education at Goldsmiths College, the Institute of Education, University of London, Roehampton Institute and the University of the West of England.
Penny has worked extensively in arts education across the UK and co-ordinated the professional development programme for the National Society for Education in Art and Design (NSEAD). She was instrumental in setting up the National Artist Teacher Scheme with Arts Council England and NSEAD that offers teachers the opportunity to develop their own creative practice, culminating in the first summer school at Tate Modern.
Penny coordinated CEDES (Creative Education: Disaffection, Exclusion and Society): a two-year action research project, in collaboration with the Centre for Research in Education and Democracy at the University of the West of England. She was also a Creative Agent for Creativity Culture and Education (CCE) and co-convened the SW Hub for the Cambridge Primary Review Trust, researching the Power of the Arts in Primary Schools.
Penny is a member of the Crafts Council Learning and Development Advisory Group, HundrED Advisory Group, Cultural Learning Alliance Advisory Group, RSA Innovative Education Network, BERA Creativity in Education Special Interest Group and Chair of the Creative Practice Research Group in Bath Spa University’s Centre for Cultural and Creative Industries. Penny is the Strand lead for Creative Pedagogy in Centre for Policy, Pedagogy and Practice and Associate Director of the Centre in Transnational Creativity and Education TRACE. She works internationally with University Autonoma Barcelona and University of Agder, Norway.
Penny is an artist researcher on the Global Challenges Research (AHRC) project in Dharavi Mumbai: ‘Rethinking waste and the logics of disposability’, Compound 13 Lab is an experimental learning space, built on methodological and pedagogical innovation, where issues of work, waste, education and sustainability are explored to develop a ‘living curriculum’ for young people.
Penny integrates her experience in arts and education with participative action research, engaging individuals, institutions and communities. Her doctoral research focused on how as adults we support children’s identity as artists. Penny is a school governor and active in children’s rights. She is an elected Fellow of the RSA and has an award from Action for Children’s Arts for her contribution to arts education. https://www.bathspa.ac.uk/our-people/penny-hay/ http://houseofimagination.org/ http://www.forestofimagination.org.uk/ http://www.schoolwithoutwalls.org.uk/ https://www.compound13.org/
Hello, my name is Jörn. I am a freelance interdisciplinary designer based in Berlin with experience in theater, exhibition design, visual merchandising and fashion retail. In addition I tapped into the expertise of commercial visual design. I am also a lecturer at Izmir University of Economics in the department of fashion and textile design… https://www.jornfrohlich.com/about
Isabelle Wachsmuth is an expert in multi-sectoral institutional and human capacity building with 20 years of experience in an international network promoting and implementing knowledge management and collective intelligence solutions in both high and low income countries. She is leading an innovative project in World Health Organization called Art Impact For Health. Previously she was Director of international advanced technology projects in private sector and specialised in relational skills, collaborative approaches, training and motivating teams. https://www.hifa.org/support/members/isabelle
Barış Atiker is a motion designer and instructor living in Istanbul, Turkey. He has a Proficiency in Art (2009) degree on Motion Graphics Animation and he is currently teaching Motion Typography, 2/3D Motion Design and Interaction Design at Bahcesehir University. With nearly 20 years of design experience in leading and developing creative teams, he has worked for many award-winning international branding, TV and Film Title projects. He is also the founder of a freelance talent network, as well as organising portfolio meetings for creative talents in Istanbul. He also publishes a vlog about motion design, with tutorials and interviews with successful Turkish designers. www.barisatiker.net youtube.com/c/barisatiker https://bahcesehir.academia.edu/BarisAtiker
What’s the biggest rule we can break in education? Alex Barker leads Be More Pirate – a global network and anti-consultancy that supports individuals and organisations to shake up their culture and rewrite the rules. In this short video she poses some big questions to educators, and suggests what we really need to change about education. https://www.bemorepirate.com/
A learning and teaching space where experimental analogue and digital techniques are reimagining traditional graphic design processes contemporary practices. Becky is an experienced educator with 17 years of teaching in design. Printing, Typography and traditional Graphic Design techniques and processes are explored through practice, research practice and teaching inform one another. New work for exhibitions are developed and exhibited nationally and internationally, several times a year. https://www.instagram.com/beckistheprintingtype/ https://www.bcu.ac.uk/visual-communication/about-us/our-expertise/our-staff/becky-howson
The design profession will rapidly change in the years to come, like many other professions. Design tools are becoming easier to use and more accessible, also for non-professionals. Automation of design production tools under the influence of AI is already happening. Soon you don’t have to be a trained designer to use them. How to prepare students for this change? I think we have to gradually shift to design education with more emphasis on the first part of the design process, focusing on; research abilities, critical thinking, and ideation. In my talk, I present six mindsets to boost ideation.
Joost Roozekrans has been working as a designer, creative director, and senior design lecturer. Thirty years in the design profession, with a lot of mileage in designing brand identities, and a passion for education. He is from the Netherlands and worked in the United Kingdom (2 years) and China (10 years). Joost worked for nine different design studios, one newspaper (The Guardian in London), four universities, and co-owned two design studios; NLXL in The Hague and SparkyTiger in Shanghai. Designing the award-winning visual identity for the Dutch national police force was his first project at Studio Dumbar in 1992. Joost is regularly giving design lectures and workshops. At universities, conferences, and companies in the Netherlands, Belgium, Norway, Lithuania, P.R. China, South Korea, Hong Kong, Australia, and the USA. In the summer of 2020, he published a design theory book: How to Create Better Ideas – Connecting the Left and Right Brain in the Design Process. The book divides in two parts. The first part explains the design process as a total, putting ideation in the middle. The second part teaches six methods to create design ideas for young designers and professionals.
https://www.joostroozekrans.com https://www.sparkytiger.com https://www.linkedin.com/in/joostroozekrans https://www.bispublishers.com/how-to-create-better-ideas.html https://item.jd.com/10021214158533.html https://www.bookdepository.com/How-to-Create-Better-Ideas/9789063695866 Graphic novel about the world financial crises 2008 (Free download): https://www.sparkytiger.com/blog/swimming-with-sharks Refection about design education in China: https://www.linkedin.com/pulse/lessons-design-education-china-joost-roozekrans/
Closing
Three online workshops held during #VDEF2020 Times of workshops to be confirmed by workshop hosts.
“To be, or…?” by Laze Tripkovhttps://mailchi.mp/ceb129491362/adef-19-update-4160105
“What should be the design of an Educational Model fit for today’s business and global challenges?” Neville Gaunt/YP2Ghttps://mailchi.mp/cd1fa2c9aa59/adef-19-update-4162277
Mail Art + Pen Friends = Dear You Art Project by Arlene Tuckerhttps://mailchi.mp/0a11a803fd7c/adef-19-update-4161205
We are already planning for “? Design Education Forum 2021” if you have any recommendations on a city that would like to host our forum next year email us at design@newartschool.education
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