Design Educators Conference

The RGD invites design educators and researchers from across the country to attend our annual Design Educators Conference, which will take place in Toronto on October 3.

Organized in collaboration with George Brown College, the 2025 conference theme is ShiftShaping.

This year's Design Educator Conference represents our commitment to transformation—viewing uncertainty as a canvas for innovation, failure as a stepping stone for learning and bold experimentation as the pathway to evolution.

Join us as we explore design’s potential to adapt, flourish and influence through a mindset rooted in curiosity, resilience and the courage to challenge the norms.

The conference takes place immediately after the RGD's DesignThinkers conference on October 1 and 2.

Keynote speakers for the conference:

• Opening keynote by Danah Abdulla:

Danah Abdulla is a designer, researcher and educator whose work explores new narratives and practices that challenge traditional disciplinary boundaries in design. She is a Reader in Anti/Post/Decolonial Histories, Theories, Praxes at the Decolonising the Arts Institute, University of the Arts London. Danah is the author of Designerly Ways of Knowing and Design Otherwise: Transforming Design Education in the Arab Region, and is a founding member of the Decolonising Design platform. She also founded , a publication dedicated to Arab thought and culture. Danah will also be speaking at DesignThinkers Toronto.

• Closing keynote by Lesley-Ann Noel:

Lesley-Ann Noel is a designer, researcher and author of Design Social Change, known for her equity-centred approach to design. Now Dean of Design at OCAD University, her work focuses on inclusive, community-led practices in education, public health and social innovation.

Info: Over the past 15 years, the world has faced a series of severe disruptions—including economic recessions, the COVID-19 pandemic, natural disasters such as floods and earthquakes, ongoing wars, widespread wildfires, industrial accidents and the unfolding climate crisis. Although the design field has responded to these challenges with new discourse and has broadened the discipline’s focus, meaningful structural change remains limited; efforts to adapt often appear superficial and cosmetic rather than substantive.
Trapped in a world that no longer exists, design education is fearful of change, producing 20th century solutions to 21st century problems. What are the possibilities of transformation in design education to ensure its relevance in the world we live in today? In this talk, Danah uses pessoptimistic thinking – teetering between hope and despair – to outline the issues faced by design education and presents possibilities for visions that are legitimate and viable.

Info: Concurrent Session 1: Option A – Equity & Intercultural Pedagogies | Option B – Making, Language & Type | Option C – Workshop 1: Assessing with Autonomy, Mastery and Purpose

Info: Concurrent Session 2: Option A – Assessment & Motivation| Option B – Story, Media & Co-Design | Option C – Workshop 2: Disrupting the Format

Info: Concurrent Session 3: Option A – Practice-Based Learning | Option B – Critical Provocations in Design Education | Option C – Workshop 3: Foundations of Form

Info: Designing the worlds we need right now! A designer’s responsibility to create social change. What kind of worlds do we need right now? Creating social change requires time, determination and unwavering commitment. Abilities that most designers use every single day. Lesley-Ann shares the backstory, key ideas and activities from her book, Design Social Change, emphasizing ways in which designers can lead a wave of social change.

Info: In this presentation, Jananda and Nadine share a case study for design education that is grounded in relationality based on their experience of teaching in the Master’s programme at OCAD U and their lived experiences of collaborating with marginalized communities. They present their process for developing this framework (including the impasses that got them there), the key principles within this framework (collaborative, embodied, pluriversal and equitable), techniques and tools to apply it and feedback from learners. Our hope is that the audience will be inspired to experiment with underexplored ways of “teaching” and practising design.

Info: Creative Emergence Through Story and Land: Indigenous pedagogies in transnational design education. “ʻUpu aʻe ke ola” — words give life. This presentation shows how Indigenous pedagogy reorients creativity, curriculum and practice in design education. Drawing on experiences across Canada, Hawai‘i and Aotearoa/New Zealand, it positions Indigenous ways of knowing not as cultural content, but as methodological ground. Central to this framework are Talanoa (dialogue as pedagogy), mo‘olelo and ko‘ihonua (story and genealogy as epistemology), land-based learning (‘āina, whenua) and kinship-based teaching figures that embody accountability and care.
These structures expose the limits of conventional approaches rooted in Western philosophy while generating new practices of continuity, responsibility and creative emergence. Indigenous pedagogy is already reshaping how we imagine design education’s future.

Info: Toronto is often called the most multicultural city in the world, with 45% of residents speaking a non-official language at home (City of Toronto Census 2021). Classrooms at OCAD University reflect this diversity, amplified by international students who bring lived experiences from around the globe.
How can design education embrace such diversity and move beyond a single Eurocentric lens? This presentation examines opportunities and challenges of multiculturalism in the context of decolonising design education. We will share pedagogical approaches centred on multilingualism, practical classroom activities and outputs from the past three years. We will explore two perspectives: the visible form of language through typography, and the verbal, vocal and visual aspects of storytelling across media.
We argue that multicultural pedagogies can shape a more equitable and diverse society, and invite open dialogue with educators in culturally diverse contexts.

Info: This paper presents findings from a two-year pilot study that positions Genre Theory as a dynamic pedagogical scaffold in design education. Rather than treating genre as a static category, the study demonstrates how it can bridge students’ intuitive literacy (from music, film and media) with the disciplinary practices of visual communication design. Attendees will gain a practical framework for introducing genre theory into studio courses, strategies for critique and assessment that reframe failure as insight and insights into how genre awareness lowers barriers to engaging with complex concepts such as semiotics, rhetoric and audience positioning. By reframing genre as a flexible, inclusive and process-driven tool, the session equips educators with actionable approaches for cultivating more reflective, critical and experimental designers.

Info: To serif or sans, that is the question for those who design in English. Yet in 1982, legendary type designer Xu Xuecheng introduced the first Chinese “Sans Serif” typeface, 无饰线体, inspired by the rising popularity of sans serif in the West. Revisiting this work in 2024 raises a question: what might such an appearance-based shift mean for the English and Latin alphabet? Could a concept be reintroduced to its origin, and if so, how would it look? This presentation shares a year-long type design process of revisiting marginalised typefaces, code-switching, and reflecting on technology and human behaviour. It invites audiences to consider a central question in multilingual design: how do we adapt our shapes to present messages appropriately to different audiences?

Info: This presentation shares a case study of an interactive workshop that reimagines how second-year design students engage with analog and pre-digital processes alongside emerging digital tools. Involving 60 students, the workshop encourages risk-taking, tactile experimentation, and unexpected outcomes, challenging reliance on polished digital results. By emphasizing resourcefulness, adaptability, and improvisation, students gain new perspectives on composition, narrative, and design history while blending old and new methods. Results are incorporated into projects, expanding creative approaches and reshaping the studio as a space of experimentation for both students and faculty. Attendees will leave with strategies to prioritize process over product, embrace accidents as part of learning, and spark curiosity through hands-on engagement.

Info: An exploratory workshop with the goal of ideating and sharing new assessment ideas with like-minded educators. ‘Unicorn assessments’ are magical, in that they are fun for the instructor to develop, valuable for students to engage in and (dare I say) enjoyable to grade. They typically involve one, two or all three of Daniel Pink’s motivational framework components of autonomy, mastery and purpose.

Info: Since 2018, Diana has embraced alternative grading to foster collaboration, curiosity and growth. In 2024, co-teaching a course that couldn’t be fully redesigned, she developed hybrid ungrading—a blend of traditional and competency-based assessment. This flexible yet rigorous approach gave students more autonomy and opportunities to improve through feedback and iteration. In this talk, Diana shares how hybrid ungrading was implemented, its benefits and challenges and how it aligns with Universal Design for Learning (UDL). Participants will explore how grading for growth can transform classrooms into inclusive, student-centered spaces that prioritize learning over competition.

Info: As society faces complex challenges—from socio-economic stratification to climate change and AI in creative industries—intentional design is more vital than ever. This begins in the classroom, by empowering students to question their curriculum and shape their learning.
This case study explores a co-design approach to course development. In the first week, students joined a workshop to assess their interests, set goals, and build consensus on what topics to cover. Involving them in this process turns abstract ideas into tangible experience, giving learners first-hand practice with primary research while engaging them deeply with course structure.
Each student brings unique knowledge to the classroom. Can we design courses that meet them where they are and inspire them to take risks, make mistakes and embrace the messiness of learning?

Info: What happens when the tools we rely on for creative work stop working for us—and start working against us? In an age of subscriptions and gated ecosystems, creative workers are paying a kind of “rent” just to make. This session uncovers the hidden costs of digital dependency: what’s gained, what’s lost, and how these structures shape creative agency.
Through an introduction to The Anti-Subscription Catalogue, Chris offers practical strategies for loosening tech monopolies’ grip, reducing reliance on proprietary tools, and empowering students, educators, and practitioners to reclaim control of their creative practices. Attendees will explore ways to integrate open resources and collaborative approaches into classrooms and studios, build cross-disciplinary bridges, and advocate for digital sovereignty in design education and beyond.

Info: This presentation shares the results of a 16-week classroom experiment in which students used news headlines and articles as raw material, generating images through AI tools. Without step-by-step instructions, they explored independently and developed their own approaches to turning text into visuals.
Beyond a technical exercise, the project raised fundamental questions: Can an algorithm capture urgency, tragedy or hope? Who is the true author of an image—the human, the machine or the news source? Through making and reflecting, students confronted these questions, navigating the space where creative potential meets ethical responsibility in the age of AI.

Info: As design challenges grow more complex, designers are expected to expand their research toolkit. This presentation shares how Greg, a Bachelor of Design student, used Affinity Mapping to shape design requirements for his 3D modelling and packaging project. Originating in anthropology through Jiro Kawakita, Affinity Mapping is now widely used in UX to understand user needs, behaviours and preferences. It enables students to assess literature and graphic objects, identify themes and translate them into design directions. Rupsha, Greg’s studio instructor, will introduce the research method before Greg explains how it guided his design explorations and outcomes. Attendees will gain insight into how students can use Affinity Mapping to structure research, frame explorations and refine design solutions.

Info: What happens when educators dare to break the rules? Rafael shares how shaking up conventional teaching methods can spark creativity, ignite student engagement and even lead to top-tier industry recognition. From redesigning assignments to rethinking an entire program, he shows how taking smart risks transformed Mohawk College’s Advertising Program into one of Canada’s best, with students winning globally competitive awards. This session is full of stories, insights and practical ideas for making learning immersive, dynamic and meaningful. Attendees will leave inspired to challenge the status quo, experiment with new approaches in the classroom and discover how bold moves in education can pay off in unexpected and exciting ways.

Info: Dominic challenges the idea that a design thesis must fit a neat, conventional format. This session explores how thesis work can be experiential, ephemeral, edible, awkward or even ritualistic, pushing students to rethink how their ideas exist in the world. Through rapid prototyping, sensory prompts and speculative exercises, Dominic will show how to guide students in creating outcomes that are unexpected, resonant and deeply connected to their intended context. Attendees will leave with strategies for encouraging experimentation, supporting bold approaches to communication and helping students craft work that surprises, engages and truly reflects the potential of their ideas.

Info: Design education is shifting from traditional problem-solving to inclusive, inquiry-driven approaches. This session explores a move from “Practice of Theory” to “Theorising of Practice,” where students become researchers of their own interests rather than passive recipients of outcomes. Projects include repositioning children as creativity experts, exploring Indigenous approaches to cultural preservation and developing community-centered healing experiences. Each challenges boundaries between expert and learner, tradition and change, individual and collective care. Students break disciplinary lines to address complex societal challenges, showing that transformative education emerges when student agency and diverse perspectives are honoured. This session outlines pedagogical conditions that support perspective-shifting and boundary-breaking and offers frameworks for fostering agency, inquiry-based learning and inclusive environments while sustaining academic excellence.

Info: Who knew design students would get excited about poop collection? In 2024, NSCAD University partnered with Nova Scotia Health to explore the provincial Colon Cancer Prevention Program. Third-year design students applied systems thinking to reimagine the programme, integrating human-centred design into their process.
Guided by Schultz and deWolf, students first analysed existing products and programmes, mapping key players and interactions, then developed proposals to improve the home test kit and related materials. Their work identified gaps, offered fresh solutions and showed how design can tackle complex health challenges.
Though framed as an academic exercise with no intention for immediate production, the project gained local media attention and gave NSH new perspectives, paving the way for future collaborations.

Info: In today’s fast-changing design world, the path from classroom to practice is rarely linear. While education often emphasises polished outcomes, real client work is unpredictable with tight deadlines, vague feedback, revisions and tricky dynamics. Student-run studios, guided by faculty but led by students, immerse learners in real client work with high stakes, evolving challenges and collaborative problem-solving while fostering leadership, adaptability and entrepreneurial thinking beyond a typical project. This session shares stories from a faculty-mentored studio where chaos is embraced as a learning tool. From miscommunications to scope creep, students learn that failure is essential, gaining experience with contracts, pricing and client relationships while integrating new tools into their workflow. Through workshops, debriefs and check-ins, the studio builds resilience, collaboration and agency, ensuring students grow as designers and leaders.

Info: Design education is shifting from traditional problem-solving to inclusive, inquiry-driven approaches. This session explores a move from “Practice of Theory” to “Theorising of Practice,” where students become researchers of their own interests rather than passive recipients of outcomes. Projects include repositioning children as creativity experts, exploring Indigenous approaches to cultural preservation and developing community-centered healing experiences. Each challenges boundaries between expert and learner, tradition and change, individual and collective care. Students break disciplinary lines to address complex societal challenges, showing that transformative education emerges when student agency and diverse perspectives are honoured. This session outlines pedagogical conditions that support perspective-shifting and boundary-breaking and offers frameworks for fostering agency, inquiry-based learning and inclusive environments while sustaining academic excellence.

Info: Blair brings design education out of the classroom and into an open forum for dialogue, reflection and learning. This session is a fireside-style conversation with current students and recent graduates, exploring what teaching methods resonate, where gaps exist, and how educators can adapt to better support learners. Attendees will hear firsthand insights into what works in today’s design programs and discover strategies for making course material more engaging, accessible and responsive. Through facilitated discussion, Blair encourages educators to listen, reflect and share, uncovering blind spots and uncovering new ideas for teaching. This session offers a unique opportunity to learn directly from students and peers, inspiring approaches that foster meaningful learning experiences, stronger engagement and continual growth in design education.

Info: This workshop introduces the fundamentals of type design through theory and practical exercises that can be integrated into graphic design and typography lessons, helping students explore with clarity and confidence. Drawing on Gerrit Noordzij’s contrast theory in The Stroke, Frank Blokland’s modular letter model for rhythm and harmony and Sofie Beier’s research on legibility, the session highlights critical approaches to type design education.
By focusing on the elemental letterform, design principles are revealed in their raw form, offering students new perspectives on form, space, contrast and balance. Type design, still a niche field, provides a powerful lens to deepen understanding of the typographic rules and design principles taught across the curriculum.
Adapted from a presentation first delivered at ATypI Copenhagen 2025.

Event Venue & Nearby Stays

3 Lower Jarvis St, 3 Lower Jarvis Street, Toronto, Canada