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  1. 4 points
    This is a great idea Robin. I am joining the conversation late; so, I am not sure where you or DI is in the process of putting together the list. I would be happy to add my name to it and to serve the design community this way.
  2. 4 points
    Works in Process Works In Process is a podcast series exploring the evolution and techniques behind the lastest/ongoing projects of creative individuals by designer and educator, George Garrastegui, Jr. — This podcast is a way to discover, and uncover the creative process that goes behind the work that creatives do. I speak to designers, artists, writers, and other types of creative individuals to discuss their process. Through hopeful candid conversations, I want to highlight the guests that I talk to and possibly demystifying their creative process.
  3. 3 points
    Kia ora Michele, How your MS is assessed is entirely up to the institution that wants to hire you! Different institutions will have different expectations or requirements. Same with how much value is placed on your professional experience. In the United States it is entirely up to each institution and its hiring processes. This is not true in other countries, where there are clear national standards for those lecturing in tertiary education and clear national standards for postgraduate levels of study. I once served on a promotion committee for a US candidate that did not have a terminal degree, but instead had a letter from his Provost citing an equivalency based on his professional experience and international standing. In the context of that institution, this was not something that could be challenged. While NASAD has guidelines, you would never see an institution get written up over one or two of its faculty not having terminal degrees. If it was across the board in a program, you might see a mention in the report, but individuals would never be singled out. The key issue here is what defines a "terminal degree", a term used in the United States but -- as I have discovered -- not anywhere else. To be "terminal" means that it is the highest degree awarded in a given field. This is not university specific, but is based upon professional standards within a discipline. For art and design in the United States, this is the MFA and has been since the mid-80s. In theory, the MFA is separated from the MS or MA by a significant amount of studio practice and independently-led research. In practice, these programmes can overlap in terms of curriculum and expectations. But it is the distinction (MFA) that is considered terminal, not the programme, so those who hold alternate masters degrees often struggle from the issue you describe. When facing a hiring committee assessing you in the United States, the onus would be on you to show that your master's education was roughly equivalent to an MFA in terms of being research-led so they can be sure that you are adequately prepared to undertake independent academic research / scholarship outside of professional practice. No matter how much professional experience a candidate has, if they will be assessed and promoted through an academic lens (such as journal publications) it is unfair to drop someone into that environment if they do not have some foundation within it. But, again, its all about the expectations of the school and their expectations for teaching, research and scholarship. The funny thing about this whole discussion is that most other countries no longer consider the MFA as terminal. A PhD is required to teach in Europe, Australia and many other countries. That last sentence in the NASAD standards is an opinion and a position -- "Unreasonable" is a strong word -- and I honestly wonder how long this will last with so many programmes around the world cranking out new design Masters and PhDs. Apologies for this long post! I oversee BDes, MDes, MFA and PhD programmes in Design, so I am quite fascinated by the topic of academic leveling and progression. Do you need to pursue another degree? Not until someone makes you! It is not uncommon to hire candidates with the stipulation that they complete a specific academic degree within a certain time-frame. However, if I was to build a requirement to achive an MFA or a PhD into a faculty contract, I would also expect to pay for it, as it is a condition of employment!
  4. 2 points
    Some colleges and universities require external reviewers when candidates apply for tenure and promotion. Perhaps we can maintain a list here or find another way to aid those who need to find external reviewers at specific ranks.
  5. 2 points
    I have done a few of them but just sort of winged it, based off of the requirements of their institution. It would be great to have a punch list. On another note, I just got promoted to Associate Professor with Tenure. So if anyone needs a review at that level, I am willing to help out. Thanks, Mitch
  6. 2 points
    For those who teach User Experience or Interaction Design courses, we have limited desk copies of our UX Methods book to give out.Link to fill out the form:https://docs.google.com/forms/d/e/1FAIpQLSd8QUDDFz-meKLJqWaKA2nQIg-N-SzYkr2cuomfZuB9lVPlFA/viewformIf you don't teach those types of courses just ignore this post as it costs to mail out each copy.Thanks, James and Patrick
  7. 2 points
    If anyone is already teaching this material, they should apply for a grant from Teach Access. I'm attaching the call for applications but they have ten slots open for college professors teaching in New York City: Teach Access will be awarding 20 grants of $5,000 each to faculty at institutions of higher education to develop modules, presentations, exercises, or curriculum enhancements or syllabus changes that infuse the fundamental concepts and skills of accessible design and development into existing technology- and design-focused courses. These awards will be made to full-time, part-time, or adjunct faculty in computer science, design, user experience research, human-computer interaction, and related fields at higher education institutions in the U.S. (with ten reserved for faculty at New York City-based colleges and universities). Today the Awards Overview and Call for Proposals went live on our site and we will be accepting submissions through June 4 at 5pm ET, with awardees to be announced in late June for courses to be taught from the Fall of 2018 through the Spring of 2019. Please consider applying if you meet the eligibility requirements, or share this announcement with faculty members who may be interested in including the teaching of accessibility principles in their courses. Please also share the Call for Proposals link on your social media accounts to help us get the word out! Teach Access Curriculum grant.pdf
  8. 2 points
    https://www.ucda.com/events/25/ Good Design Works seeks to spotlight all aspects of purpose-driven graphic and interactive design that are having an influential, positive impact on the world. The ability of the designer to create meaningful social change through visual communications that celebrate, criticize, educate, or advocate—begins in the classroom. Included in the summit are keynote speakers, panel discussions, workshops, and paper and poster presentations selected from abstracts submitted through a peer reviewed process. UCDA is famous for providing professional development in a relaxed atmosphere. The faculty will share ideas and welcome your participation in an ongoing dialogue about the critical issues facing the design education community. This two day summit is open to UCDA members and non-members, design educators and practitioners, and students.
  9. 2 points
    Have you ever wondered where to publish design writing? We put together the a list of publishers, academic journals and some trade magazines for the Design Incubation Fellows and wanted to share it out. The journals on the list aren't ranked so some might be better than others for tenure and promotion. The good news is that if your work gets accepted, there are so many venues you could publish in a different journal every month for a couple years! Please help grow the list by posting suggestions for new additions. 2017_Journals_Publishers.pdf Art, Design and Communication in Higher Education Curriculum and Instruction Design Issues Design and Culture Design Philosophy Papers Design Principles and Practices Design and Technology Education Eye [crossover with trade] FORMakademisk Info Design Journal International Journal of Design Iridescent [online only] Journal of Communication Design Journal of Design Research International Journal of Design Education Journal of Design Research Journal of Education through the Arts Journal of Material Thinking The International Journal of Design in Society The International Journal of Visual Design The International Journal of Design Management and Professional Practice International Journal of Design Creativity and Innovation Journal of Design History Leonardo: Art Science and Technology Plot - Parsons Design Studies student journal The Design Journal The Idea Journal TRACEY West 86th: A Journal of Decorative Arts, Design History and Material Culture Word and Image Visible Language Visual Studies Trade: Metropolis, How, Print, Communication Arts, Wallpaper, Interactions, 3x3, Justapoz, Computer Arts, Layers, CMYK, Digital Arts, FORM, Web Designer Art Journal Art Bulletin Bulletins of the Serving Library Interiors: Design/Architecture/Culture Dialectic/ AIGA
  10. 2 points
    I am proud to announced the Call for Participation for MODE Summit 2019, hosted by Massey University in Wellington, New Zealand. The new website is coming soon, but the CFP can be found here: http://www.modesummit.com/cfp/. Please email me questions at gretchen.rinnert@modesummit.com The deadline to submit an abstract is 8 August 2018
  11. 2 points
    I received my MS Degree in 1999 from Pratt Institute in Communications Design. At that time, it was the only terminal degree they offered for design. SVA did not have their program yet. I lived in the NYC, worked as a designer and pursued part of my degree while I worked. Finally, I went full-time, because it was taking to long to finish while working. I never intended to teach with this degree. I only did a Master's for myself and hone my craft. I have been teaching for twelve years now, and would like to pursue other teaching opportunities. I was hired at an R1 University with my current degree, but do not know if this will be the case at other places. Do I need to pursue my MFA? Has anyone else been in this situation? I would appreciate any advice or help other members could offer. Thank you.
  12. 2 points
    Jessica, Do workload hours translate to contact hours? Could you possibly e-mail me what your handbook says for your unit? meismont@centralstate.edu. We are both an Ohio Public University and have AAUP, so it would be interesting research for what we are pushing forward to administration. Thanks, Mitch
  13. 2 points
    I've performed 30+ external reviews for tenure and promotion over the past two decades. I have a couple of ideas for how this process can be improved. Requesting institutions should always send the reviewer the department's tenure and promotion guidelines, so that the reviewer has context for the review (requirements, norms, expectations, departmental and collegiate culture, etc.). The faculty member (or chair, or dean, or whomever solicits the review) should try to find a strong fit between the candidate and the reviewer – type of institution, faculty rank, sub-disciplinary affinity, career accomplishments, scholarly emphasis, etc. If invited to review, requesting institutions and promotion candidates must recognize that the reviewer will bring their expertise, judgment and opinions to bear on the assessment – for better or worse it's part objective and part subjective. Finally, the requesting institutions should pay an honorarium to the reviewer. This is not a "pay for positive assessment" condition; it's an acknowledgement of the reviewer's time and effort spent doing service to another institution. Look at it this way from initial hire to tenure decision: search costs (flights, hotel, faculty time, etc.), start up costs to new hire (moving expenses, training, mentoring, research investment, equipment, furniture, etc.), pay and benefits over years until decision (5-6 years' worth of salary, health care, retirement) – this probably equals $500,000! Now does a $250 honorarium sound unreasonable? (In my experience, private universities are more likely to pay honoraria than public institutions.)
  14. 2 points
    Under Education legislation, New Zealand's universities are charged with the responsibility to act as "the critic and conscience of society". We have an obligation towards society, and are expected to work for what we view as the good of that society, even at the cost of passing judgement on it. So, in that context, social activism is an expected action of our researchers and our students.
  15. 2 points
    University of Minnesota design scholarship matrix.pdf This matrix is a useful tool for considering the diverse approaches to scholarship that design faculty engage in. My department has design faculty that are designers, humanists, social scientists, artists and engineers. Besides graphic design, we have programs in interior design, product design and apparel design.
  16. 2 points
    http://www.psc-cuny.org/news-events/teaching-load-reduction-agreement-reached CUNY has a strong union. That, however, is at risk with the movement towards "Right to Work" efforts to break up unions by not requiring dues of all members. That being said, here is my understanding of how things are measured and expected of f/t tenured faculty. (We've included many of these questions in the Design Incubation Census so if people haven't completed the survey, please do so soon. We're going to close this year's survey shortly.) Whether a CUNY f/t tenured faculty member teaches at a Community College (2-year) or Senior College (4-year) will affect what is required and expected of them. Each of the 20+ colleges will vary slightly in how they assess each requirement. Many of the details are described on the union website http://www.psc-cuny.org/ We are paid by the teaching hour. Each course varies in the number of teaching hours. Many COMD courses in our dept have 3 or 4 teaching hours. Some courses have 6 teaching hours. Each course is broken down by credits/lecture hours/lab hours. Lab hours are in-class studio hours. A typical web design course, is 3 credits/2 lecture hours/2 lab hours (i.e., it is a 4-hour course). Reading the article at the top, our union recently negotiated an 18 hour teaching load for f/t faculty at senior (4-year) colleges. So that is approximately 9 hours each semester, so approximately 2–3 courses a semester. Sounds cushy to most non-academics... here's why it's not. CUNY is wildly underfunded. While Gov Cuomo loves to do things to make himself popular, such as offer free tuition, at the same time he does nothing to pay for it. So while we support free education for all, we also need funds to turn on the lights, have working facilities, staff to run the college, but those things are largely underfunded. So in terms of service—on the dept and college level—there is more work to be done than people to do it. Our service contributions get assessed every year during the tenure track process, and for every year through the promotion processes. At my college, we are required to submit a yearly cv (the PARSE) listing our teaching, service, and research efforts for that year. They get assessed yearly by the dept and administration. Typically we do 20 hours of dept/college service hours a week. This includes student advisement, curriculum development, dept administration (observations & evaluations, facilities, committees, recruitment & retention, scheduling, etc.), college administration. I'm sure there's other major things I'm missing... Only a few colleges at CUNY offer graduate programs. So we generally do not have postgraduate teaching and supervision. It also means we don't have TAs to help teach/grade/administer our courses. In terms of research funding, we can seek grants to pay for release time from teaching. I do not know the exact figures, but it would be the teaching salary for one course. I believe we are limited by the number of hours a grant can fund, which is typically 3 teaching hours per semester. In addition, the grant must fund all the administrative costs and benefits associated with those hours (this is measured as a percentage of our hourly salary which is based on union contracted pay scale). This works out best over the summer because we are not required to teach during the summer so grant-funded pay is in addition to our regular salary. Research time is only factored in where it is not explicitly required in our regular contracted teaching/service duties. In other words, we are expected to do research, it is the most important thing (at my senior college) for tenure and promotion. But it is not stated how and when this is supposed to happen. It is third in priority during the teaching periods, and largely expected to happen over the summer. But as most know, research doesn't wait, and most things have to happen on a consistent schedule, largely during the regular working months (Sept–June). New tenure track faculty receive 24 hours of total release from teaching over the first 5 years. This time is meant to be used for research. While there used to be a decent amount of funds to cover research conference travel/presentation costs, that has shrunk considerably over the past few years, thanks to Gov Cuomo. So if we are lucky we might get the cost of one domestic conference travel reimbursed. But that is not guaranteed.
  17. 1 point
    Howdy All, Forgive me if this topic has been covered. My question is how to do you tackle student internships? Specifically I would say unpaid internships. I am constantly getting contact for internships that are unpaid. Teaching at an HBCU my students don't have the luxury to take unpaid internships. The ones I reject right away, are the ones that have no educational value for the student. Example. A company once wanted a graphic design intern, but didn't have a graphic designer or art director on staff. Basically they just wanted a free graphic designer. Is this a problem in your area? How do you tackled this? Thanks, Mitch
  18. 1 point
  19. 1 point
    @RJ Thompson Can you please share what grants you are applying for and where you look for them? Are they for creative work or scholarly writing? I'm making an effort to start writing grant proposals and trying to learn the ropes. I have written 3 so far: Creative Capital (LOI only--I didn't advance to the full proposal), local artist grant (rejected), and one internal university grant (awarded! yay!) FYI, I have creative projects in mind. I would love any advice on how to get started.
  20. 1 point
    Hi everyone! I try to write between 4-6 grants per year of varying budgets and purposes. Most of the grants I write directly enhance my scholarship, teaching, and service areas – either individually or sometimes all together. I enjoy the writing – I like to use words to create convincing arguments. It's fun. Recently, my university's office of research notified myself, my Chair, and my Dean that I'm the only person in my entire college (containing schools of art, music, communications, and theater) that I'm the only one doing grant writing. This was both inspiring and troubling for me to hear. Inspiring because my efforts are recognized. Troubling because no one else in my entire college is doing this. Consequently, I have a specific reputation for only going solo on grants and not including others...even despite when I ask others to participate, I get shot down. So, my first question is – why are so many people not pursuing grants? I was interviewed the other day by my university's marketing department for a booklet the put out called 'New Frontiers', which is all about research. One of the questions was "YSU faculty universally agree that the internal University Research Council (URC) grants are harder to win than a massive federal grant. Would you agree with this statement?" I do agree with it...and my agreement with it is punctuated with the fact that I was a recipient of one...which at this point in my career was after receiving other high-value grants. I determined that the URC grants, while specifically designed to kickstart research for junior faculty, are more likely to be awarded when the applicant has previous award experience – which is counter-intuitive and frustrating. Anyway....I've tried to create partnerships with grants between myself and peer educators in my Department. None are interested. So, consequently, I look outside of the university – to the local and regional community and to my community of design peers...where collaborating is immediately embraced. I've found that when people partner on grants – in some way or another, everyone wins. So this past year I've spent a lot of time cultivating conversations with peer educators inside and outside of the design discipline to see if there is potential for partnership development. I believe certain partnerships enrich the quality of a project and the respective research agendas of the partners involved. The geographic locations of all involved, I think pose a benefit as opposed to a loss or risk, especially if a project can occur online or be implemented in two different locations following similar or exact research protocols. I welcome your thoughts on how to develop quality partnerships with grant proposed projects. I'm hoping the forum will provide some opportunity to create those opportunities. Thanks RJ
  21. 1 point
    Kia ora all, Earlier this year I invited Philip Fierlinger to join us as a Visiting Professor. Phillip is co-founder and design director of Xero, one of those mythical "unicorn" startups that have reached a valuation of over a billion dollars. One of Philip's projects with us is a podcast on design-led business. While it has a NZ focus, he is keen to make this podcast resonate with design students. He is currently working with our third years to better understand their needs and fears about entering the design workforce. While very much in beta, he has posted a few episodes for feedback. If you have a spare few minutes, give it a listen and post some feedback: https://www.alchemypodcasts.com
  22. 1 point
    Congrats George! Yes, I’m going to be there as well. I’m going to be presenting a poster. I’m excited to hear other people’s ideas on design research.
  23. 1 point
    I am going to this, I was recently accepted to participate and awarded an Equity Scholarship. Who else will be making it out there?
  24. 1 point
    My design research blog looks at the diversity of the way people live and how that changes at different life stages. It asks: what matters to them about their home. Maybe design matters - maybe not.... It reflects people's life experience and changing attitudes to the home, captured as a moment in time. My PhD ( 1998) was based on Hong Kong high density housing. My current work is set in a very different spatial /design scenario, in Northern Ireland. Now that I am no longer working within the constraints of academia I am exploring visual storytelling - and loving it. Please check it out: www.anyoneathome.com best wishes Nuala
  25. 1 point
    Artist as Activist Funding from the The Robert Rauschenberg Foundation Artist as Activist provides game-changing resources to artists of all disciplines– including visual and performing arts, new media, design, and other creative professions–who address important global challenges through their creative practice. The program is comprised of three distinct grant opportunities: Individual fellowships to U.S.-based artists and art collectives with a demonstrated commitment to applying their creative work toward a social or political action Travel & research grants for similarly focused artists General operating support to organizations that have been exemplars in supporting artists who work at the intersection of art and social justice.
  26. 1 point
    For all of you who now have time on your hands and are looking for some fun design facts to spice up your summer - check out... Design Facts http://www.designfacts.org/
  27. 1 point
    James, I just received my copy and passed one over to Andre! Thank you for your generosity. This is a lovely book and a great resource to undergraduates.
  28. 1 point
    Self-publishing has really come into its own. In the past self-publishing has sometimes gotten a bad name because of lack of editorial oversight and not all P&T committees will count self-published writing for tenure. But lulu, blurb, and amazon and other print-on-demand services mean that anyone can get their ideas out to readers. In my experience, self-publishing is ideal for topics and writing that are unusual and/or not immediately relatable to traditional publishers. I've published a few books but always traditional channels where they've been accepted through the editorial process and/or peer-review. I'd love to learn more about self-publishing! Please share information about the nuts and bolts of how its done as well as why one might choose to self-publish design writing and creative work. I'm including images of two of my favorite self-published books and magazines and hopefully their authors, James Panafino and Garth Walker will tell us more about their creative and editorial process. BTW - Pannafino has sold as many or more of his book Interaction Design: A Visual Guide than any of my own books. And Walker's Ijusi never fails to keep me interested with wacky graphics and on-point content.
  29. 1 point
    It's going to be a great one! :-) We are recording podcasts!
  30. 1 point
    http://jessicabarness.com/ Jessica Barness' research resides at the intersection of design, humanistic inquiry, and interactive technologies, investigated through a critical, practice-based approach. Further, she is involved in ongoing projects connecting sound studies and design.
  31. 1 point
    http://mauricio-mejia.com/info/ G. Mauricio Mejía is a design-oriented researcher and a research-oriented designer. He is an associate professor at the Department of Design, Faculty of Arts and Humanities, at the University of Caldas, Colombia. He is currently the program director of the PhD in Design and Creation. He received his PhD in Design from the University of Minnesota and his Master of Design degree from the University of Cincinnati, USA. His design and research work focuses on interaction design, visual communication, behavior change, and strategic design.
  32. 1 point
    https://catnormoyle.com/ Assistant Professor of Graphic Design at Memphis College of Art, Normoyle is a Boston-native designer, artist, and educator. Her research and creative works explore the intersections of design and art in public spaces and the role of creative intervention in social contexts. Especially interested in the human experience and social dynamics of place, Normoyle considers how interventions can impact underdeveloped communities and inspire placemaking. Specific areas of interest include typography, technology, speculative theory, whole systems thinking, and the ongoing pursuit of design shifts in practice, pedagogy, and academia.
  33. 1 point
    hi Mitch, we did sophomore (and junior!) reviews for many years and recently decided to end that practice. Instead, we're implementing minimum grade benchmarks throughout the foundation-level courses (i.e., B or B- to continue in the program) starting AY 2018-19. I don't know if one way is better than the other – I think it depends on the program, degree paths, and culture within the program.
  34. 1 point
    Hi Mitchell, I know some schools do have a block program such as this. Students who do not make it have to repeat the entire first year and then re-apply the again. I taught many students who went through the system a couple of times and then left the program they were at. It became quite political. We (the entire faculty) review each class at the end of every semester. They are given their assessments with comments. If anyone is graded a C- or below by one of their professors they go on probation. If they are on probation twice, they may then be asked to leave the program. If they fail a class, they have to repeat the entire semester, meaning they would not graduate with their class. I don't know if this is helpful, but this is what I have encountered thus far. best, Michele
  35. 1 point
    When I first fell into teaching a decade ago, the idea of a PhD program for graphic design seemed quite nonsensical. I truly believed that graphic design/communication design was solely a professional degree where we were tasked to educate students for industry... My opinion continues to change. Initially my definition of communication design was an activity that required a client—that it couldn't stand alone, and that there was some sort of goal or challenge that needed to be solved and executed professionally. But then our college raised the bar and moved the goalposts, and they no longer recognized commercial design work as a scholarly activity in our field. So three-quarters of the way through my tenure track, I had to quickly reassess and refocus. There are may articles found that showcase tech founders who's beginnings were in design: https://www.hongkiat.com/blog/tech-founders-began-as-designers/ https://www.webpagefx.com/blog/web-design/startups-founded-by-designers/ https://www.forbes.com/sites/ilyapozin/2016/01/12/the-designers-turned-founders-behind-5-successful-startups/#73f9ef33619d This made me rethink the notion that communication design activity required a client. As such, the notion of a PhD program in communication design became understandable with these type of research investigations and outcomes as potential goals. I still think at this point requiring a PhD for a tenured position is a stretch, because at this point in history, industry is the cutting edge in our field more so than research in the academy. That could change in the future. But 10+ years in industry is just as rigorous as pursuing a PhD in design.
  36. 1 point
    Great list! Just FYI the Journal of Communication Design moved to T&F - Bloomsbury no longer have any journals (https://www.tandfonline.com/loi/rfcd20)
  37. 1 point
    In going for NASAD accreditation, our design department discussed changing our program to offer a BFA. We also considered offering a BDes, but apparently we could not because NYS must approve the degrees and a BDes is not currently recognized in New York. Does anyone have further details or understand of the requirements of the BDes, and what the process is across the country?
  38. 1 point
    great to see this posted as well from the journal list, Dialectic should be included.
  39. 1 point
    Please pardon my ignorance if this topic has already been explored on the forum. I'm interested in creating a topic area or discussion thread about mentorship that was inspired by external reviewers for people going through tenure and promotion. I feel like DI has done something like this before? At my university, external reviewers aren't necessary – which, in a sense, disincentivizes the need for mentors or even to an extent suppresses the necessity for networking. It's weird. SECAC has a mentorship program that is a nice feature of membership but not entirely effective, though I have been able to make some great connections out of it, they didn't entirely turn into mentorship roles [either me as mentee or as mentor.] For example, I sign up for the mentorship program every year but typically cannot be matched. I am aware of the diverse audience of SECAC. Does CAA offer something similar? As a result of the void, myself and a few colleagues maintain close contact and always share stories, resources, etc. - the problem is that for the most part, we are either newly tenured or junior faculty status, which in effect turns the group into a support group (Neil, Kelly, Rion, Shannon) without that strong mentorship component. Our close-connectedness also enhances our scholarship by creating partnerships, research and grant opps, etc. I'd like to know people's thoughts on what a quality mentorship looks like, what both the mentee and mentors are looking for out of the exchange, and how we can hopefully use this forum to identify folks that are interested in creating this type of engagement. Thanks
  40. 1 point
    @Mitchell Eismont Yes, workload hours translate to teaching contact hours – will email you!
  41. 1 point
    Mitch, Most faculty at our university teach 4 x 4 each year and around 10 some contact hours. In our Art and Design department, we teach 3 x 3 but have 15 contact hours. We have NASAD accreditation which allows us to argue for the different time frame/structure of courses. We only are required to hold 5 office hours, but I am there way more. To get to your greater point on real workload, it's a lot for sure. If it was just about teaching in class life would be beautiful, but it's much more. It's all about pacing yourself, avoiding burnout is key. Best of luck, James
  42. 1 point
    http://www.alphabettes.org/ Alphabettes.org is a showcase for work, commentary, and research on lettering, typography, and type design. Our loose network is here to support and promote the work of all women in our fields. This blog was originally assembled on a whim in August 2015 by Amy Papaelias and Indra Kupferschmid. One year later, the site underwent a refresh, thanks in huge part to Nicole Dotin.
  43. 1 point
    With all of the turmoil that seems to be going on in the world today, and with politics and morality being conflated when discussing emotionally charged topics, when are designers responsible for the outcomes of their work? Such examples would include gun control, people's rights to their own bodies, immigration, outside influences in politics. Should educators only be teaching methodologies to assess the veracity of the sources? Is it okay for educators to take a stance, as they did in the 1960s?
  44. 1 point
    There is some gray area here. I think a good start would be to look at the AAUP academic freedom statement. Academic Freedom Statement When I introduce controversial topics into the classroom it has to follow the curriculum of course. So for instance when I taught a section on advertising design, during the last election, I did want to make the students think about who they were going to vote for. So we turned it into a debate about propaganda. They first had to take a test to see who they sided with during the election, then create a pro campaign poster for their candidate. The very day they turned in their poster, I gave them the second part of the assignment, which was to design a pro campaign poster for the person that didn't side with their beliefs. Not sure if we need to take a stance, if we can get our students to make educated decisions.
  45. 1 point
  46. 1 point
    Just attended a Cranbrook alumni event here at CAA 2018. They announced they are starting a new program in 4D! My first thought was, isn’t that our realm? But then I thought, they separate 2D and 3D. Why not 4D?
  47. 1 point
    Most higher-ed design faculty can look at a student’s graphic design solution and quickly measure its success in solving the design problem. As practiced designers and educators, many of us can assign a grade at first glance—we know when a solution is outstanding, meets expectations, or does not meet expectations, and so on. Since I’ve been employing a rubric, a scoring guide used to articulate expectations and assess components of an assignment, my students have a much better understanding of my expectations and how I evaluate their work. If you’re lucky enough to have a TA, a rubric clarifies expectations for the TA, as well. The benefits of a rubric are numerous. For students, a rubric provides a window into your method of assessment. Often, students will better understand the components of an assignment, as well. They may become more aware of their progress in building specific conceptual and creative skills. Because students become aware of how design solutions are judged for efficacy and merit, they then can use the rubric to critique their own work. Rubrics help instructors: · Clarify expectations and components of an assignment · Assess assignments consistently from one student to another · Clarify assignments and instructional goals I include notes with the rubric evaluation to narrate what the students need to do to improve their critical thinking and design. Usually my rubrics, although somewhat tailored specifically to each assignment, have the following categories, each worth 25 points adding up to 100 points (use any scale to calculate): Design Concept (Plus a narrative of exactly what I’m looking for here.) Composition: Use of design principles including visual hierarchy, balance, unity (with variety), and rhythm. Type/Image Synergy (Plus a narrative of exactly what I’m looking for here.) Visual Communication and Impact (Plus a narrative of exactly what I’m looking for here.) Looking forward to your thoughts. Best wishes for happy grading!
  48. 1 point
    If you're interested in reviewing a journal article or book (at 3 different stages: proposal, manuscript, published book), many publishers offer opportunities on their websites, e.g., John Wiley & Sons. https://authorservices.wiley.com/Reviewers/book-reviewers/index.html
  49. 1 point
    Developments in machine learning and artificial intelligence bring possibilities of radical disruptions in design practice. As an example, this post on the Netflix technology blog documents how machine learning was combined with A/B testing to create personalised visuals for every user of the service: https://medium.com/netflix-techblog/artwork-personalization-c589f074ad76 How are you preparing your students for data-driven design? Are your students or colleagues doing substantive research in this space?
  50. 1 point
    Nancy Duarte offers good advice on shaping a presentation in her book, Resonate, and in her TED Talk, https://www.ted.com/talks/nancy_duarte_the_secret_structure_of_great_talks What I learned from Duarte is that in your set up, you want to prove to the audience why they need to go on this journey with you. At the start, you set up a need. Other tips: · Use a slide to prompt what you want to say. (I don't appreciate when presenters read the bulleted points on their slides.) Or have the slide highlight what you're going to say. · Use images to complement what you say. · Don't include too much on one slide. · Remember that your slides will be projected so they have to carry across the room. · Create contrast between the type and background color to make text readable. · Use big images; a compilation of small images won’t carry. · Ask about the aspect ratio of the specific screen. I've seen all types of presentations at design (and other) conferences. I'd say the best ones have a clear purpose and take the audience through the journey as you would an article, with a structure of claim, evidence, warrant, counterclaim, and conclusion. Years ago, when I first started presenting to large audiences, a colleague suggested writing a pithy opening line for each slide—that really helped.
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