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Research Paper, Case Study, Workshop or Visual Paper Title
If your title does not fit onto one line, then you can use the subtitle line
This document is the template to format your Blind Paper, Case Study, Workshop or Visual
Paper copy contribution for the LxD.2021. Submissions are due by 30 March 2021. Submit
your contribution on the conference review system at
https://www.conftool.com/learnxdesign2021/ The abstract should be no more than 170
words. Please use Styles provided in this document to format the text. You can select to
view the Styles pane while you insert your text into this document using either Microsoft
Word, LibreOffice or Apache OpenOffice. There you will see the available styles for para-
graphs, headings, quotes, etc. If you paste text from another document, make sure you
paste it as ‘Paste’ > ‘Keep text only’ or ‘Paste special’ > ‘Unformatted Text’, and format the
text after it has been inserted. Edit your document carefully in order to keep the formatting
tidy. The aim is to produce the conference proceedings using a consistent style. Please try
to have your paper title to fit onto one line only. Style: Abstract
Keywords: contribution template; key word; five maximum; style: Keywords
Introduction – Style: Heading 1
Shandong University of Art & Design will be the host of the LEARNxDESIGN 2021: 6th International Confer-
ence for Design Education Researchers (LxD.2021). The conference overall theme is Engaging with Challenges
in Design Education. Shandong University of Art & Design conference venue is located in Jinan. Jinan is situ-
ated at the northeast of China with over 8 million inhabitants. The city has a long history of more than 3000
years and it is the ‘home’ of Confucius. – style: Standard/Normal
Context – Style: Heading 2
There are over 2000 design schools in China. Shandong University of Art & Design (SUAD) is amongst the top
ten design schools in China. It has over 7000 students and close to 700 staff members. The university offers 53
bachelor’s degree and 20 master’s degree programmes. In 2018 SUAD received 75 000 student applications, of
these 1600 students have been accepted.
In 2016 the Chinese Ministry of Education has included the design discipline to the “Special Catalogue of Gen-
eral Colleges and Universities” with the aim to scale up design education. Since 2016, more than 2000 institu-
tions have been delivering design programmes. Every year more than 540 000 students enrol into design pro-
grammes.
The number of students studying design and related majors in the school now exceeds 2 million. The design
discipline has become the most prominent one in more than 140 first-level disciplines and more than 90 un-
dergraduate majors in China.
Professor Xu, a scholar in design education, stated that under the current economic and social development
situation in China, scale of design education will increase in the future. Thus, design researcher educators will
have a profound impact on the future of China's design discipline development. Especially now that countries
around the world generally emphasise the innovation-driven. Therefore, the discipline of design should be
based on the needs of social development and conceive a knowledge prospect that is forward-looking and re-
alistically connected in the future. This is a key issue that cannot be avoided by design education today.
The following 2021 overall conference theme aims to engage with the outlined context:
«Engaging with Challenges in Design Education»
This work is licensed under a
Creative Commons Attribution-NonCommercial-Share Alike 4.0 International License.
https://creativecommons.org/licenses/by-nc-sa/4.0/
This template was updated on 16 March 2021 and it precedes the template updated on 02 February 2021 and 12 December 2020
Invited leading international scholars articulated the following eleven track themes which form the backbone
for the LxD.2021 Call for Contributions.
The list of the LxD.2021 committees is available on the conference website at:
http://learnxdesign.net/lxd2021/about/committees/
Table 1. The list of track themes and the chairs – style: Caption
No Track Themes Track’s Chair
Design Thinking to Improve Creative Problem-solving
Track 01 From Kindergarten to Higher Education Úrsula Bravo
http://learnxdesign.net/lxd2021/#track-01
Empowering Critical Design Literacy
Exploring Practices, Discourses and Implications in and Across Design Education
Track 02 Eva Lutnæs
from Kindergarten to PhD
http://learnxdesign.net/lxd2021/#track-02
Alternative Problem Framing in Design Education
Track 03 Moving Beyond 'Pain-Points' Lesley-Ann Noel
http://learnxdesign.net/lxd2021/#track-03
Collaboration in Design Education
Theoretical and Methodological Frameworks for Learning Through and From
Track 04 Naz A.G.Z. Börekçi
Partnerships
http://learnxdesign.net/lxd2021/#track-04
Co-creation of Interdisciplinary Design Educations
Track 05 Arild Berg
http://learnxdesign.net/lxd2021/#track-05
Learning Through Materiality and Making
Track 06 Juha Hartvik
http://learnxdesign.net/lxd2021/#track-06
Sketching & Drawing Education and Knowledge
Track 07 Bryan Howell
http://learnxdesign.net/lxd2021/#track-07
Educating Data-driven Design Innovation
Track 08 Roland M. Mueller
http://learnxdesign.net/lxd2021/#track-08
Design Learning Environments
Track 09 Exploring the Role of Physical, Virtual, and Hybrid Spaces for Design Education Katja Thoring
http://learnxdesign.net/lxd2021/#track-09
Futures of Design Education
Track 10 Beyond Time & Space Yashar Kardar
http://learnxdesign.net/lxd2021/#track-10
Design Educators as Change Agents
Track 11 Yang Zhang
http://learnxdesign.net/lxd2021/#track-11
NB: before embarking on formulating and subsequently submitting your contribution, please familiarise your-
self with each of the tracks’ scope and which of these specific submission categories: Research Paper, Case
Study, Workshop, and Visual Paper; is applicable for each of the tracks. You can access the information on the
LxD.2021 website: http://learnxdesign.net/lxd2021/
If you like, you can always contact the LxD.2021 International Organising Committee or one of the listed Track
Chairs by emailing to lxd2021@learnxdesign.net
Please include LxD.2021 in the email subject and if your email is related to a specific track, then include the
track number too, as this will help us directing your email to the appropriate person.
Submitting Your Contribution
To submit your contribution please created and account on the LxD.2021 conference management system by
following this link https://www.conftool.com/learnxdesign2021/
You will need to submit your blind copy contribution saved in PDF using this template.
Note that, if you are a single author, then you can submit only ONE contribution. If a paper is co-authored,
then you can submit as many contributions as you have the co-authors. A lead presenter will need to change
for each of the different accepted contributions. For example, a paper titled “Research Paper Adam & Bob”,
2
co-authored by Author Adam, has been accepted, as well as Author Adam’s single authored case study titled
“Case Study Adam”. Then Author Bob will lead the presentation on the paper titled “Research Paper Adam &
Bob” and Author Adam will present the case study titled “Case Study Adam”.
If you require the paper template saved in a previous version of the Microsoft Word Document (.docx) or the
OpenDocument Text (.odt) file format, please contact us via this email address: lxd2021@learnxdesign.net
This document is available as:
.doxc https://learnxdesign.net/lxd2021/wp-content/uploads/sites/2/2020/12/LxD2021_BlindSubmissions.docx
.odt https://learnxdesign.net/lxd2021/wp-content/uploads/sites/2/2021/02/LxD2021_BlindSubmissions.odt
.pdf https://learnxdesign.net/lxd2021/wp-content/uploads/sites/2/2021/02/LxD2021_BlindSubmissions.pdf
Review Process
All submissions for LxD.2021 will be selected through a double-blind review process conducted by an interna-
tional review panel.
Irrespective of the range and stage of your research, we expect high standards of scholarship and clarity in
terms of establishing context, explicating methods of inquiry, and reporting results. If English is not your first
language, please ensure that a fluent speaker proofreads your paper or use a proof-reading service such as
Scribendi (http://www.scribendi.com).
Abstract
The abstract should be no more than 170 words in length. The abstracts should summarise the paper and for
the blind submission should not provide any identifying information about the author(s).
You might like to structure your abstract as per Kamler’s and Thomson’s (2013) suggestions:
Locate: This means placing the paper in the context of the discourse community and the field in general.
Larger issues and debates are named and potentially problematized. In naming the location, the writer is cre-
ating a warrant for their contribution and its significance, as well as informing an international community of
its relevance outside of its specific place of origin.
Focus: This means identifying the questions, issues or kinds of problems that the paper will explore, examine
and/or investigate.
Report: This means outlining the research, sample, method of analysis in order to assure readers that the pa-
per is credible and trustworthy, as well as the major findings that are pertinent to the argument to be made.
Argue: This means opening out the specific argument through offering an analysis. This will move beyond de-
scription and may well include a theorisation in order to explain findings. It may offer speculations, but will al-
ways have a point of view and take a stance. It returns to the opening Locate in order to demonstrate the spe-
cific contribution that was promised at the outset. It answers the “So what?” and the “Now what?” questions.
Contribution Title
The contribution’s title should be concise, and it should fit on one line. If you need to expand the title, then use
the subtitle line.
Keywords
Please use up to 5 keywords, which should be separated by a comma ,
Body Text
For the body text use style: Standard, which is a default style. If you are importing your text from a document
with customised styles, then please paste the text as a plain text and then format the text using styles in this
template.
Do not place extra lines (paragraphs) after any of the titles, subtitle, abstracts, keywords, headings, images,
captions and the body text. The only time you will need to place a new line is after a table.
Contributions
This template can be used to format all four types of submission contributions: Research Paper, Case Study,
Workshop Proposal and Visual Paper. Instructions for each are provided below and Table 2 on page 5 provides
a quick overview of which submissions categorises are available for each of the tracks.
3Research Paper
Full research papers should be between 3500 and 6000 words in length, excluding abstract and references.
We welcome any research approach or type of paper including conceptual, empirical and critical literature re-
views. However, we expect high standards of scholarship within the papers, in terms of establishing context,
explicating the methods of inquiry, and reporting results that may aid other researchers.
Full research papers need to follow the APA 7 reference formatting style.
Case Study
Case studies aim to provide a platform for sharing a reflective account of a project. Therefore, it is expected for
case studies to provide an actionable outcome(s) from the insights outlined in the text.
Case studies should be between 1500 and 3000 words in length.
Submissions for case studies will be selected based on:
• Alignment with the selected track’s theme;
• Clearly established, credible and relevant context;
• Visual and/or empirical evidence/support;
• Immediacy, applicability and transferability of key insights.
Full case studies need to follow the APA 7 reference formatting style.
Workshop Proposal
We would like you to consider to facilitated delivered of the workshop both in person and online. The work-
shops are an opportunity to explore new and emerging research topics, facilitate debates, gather data and test
on-going research. Practitioners can benefit from opportunities to showcase their work, seed projects in col-
laboration with design researchers, and/or gather insights on their relevant issues. The work-shop proposal
should be no more than 1500 words, and it should cover the following points:
• Workshop title;
• Specific workshop aim(s);
• Workshop outline that clearly describes how you envision to run the workshop activities in two deliv-
ery modes: (a) physically in person and (b) online virtually (the proposed format and schedule needs
to fit into dedicated 90 minutes time slot of running the workshop, this should account for introduc-
tion and warp-up activities);
• Expected outcomes of the workshop;
• Minimum and maximum numbers of participants;
• How the workshop will benefit the participants;
• How the workshop is relevant to the selected track’s aims;
• Workshop proposals will be selected based on: clarity, experimentation with new formats of work-
shops, and relevance to the specific track’s themes.
Workshop proposals will be selected based on: clarity, experimentation with new formats of workshops, and
relevance to the specific track’s themes.
Workshops proposals need to follow the APA 7 reference formatting style.
4Visual Paper
Visual papers use sketched images to communicate the primary information while text plays a supporting role.
Visual papers should contribute new knowledge and have educational or research interest for the LxD.2021
community. Visual papers may utilise colour, have flexible layouts and overall lengths, and enable new types of
communication.
• The proceedings paper format is as per this template, which is B5, portrait mode.
• File size is limited to less than 10 MB.
• Text can be either hand printed, or font based, Calibri (or standard similar font) but should be con-
sistent in size and spacing on all pages.
• The title, keywords and references must use the conference type size and style and cannot be hand-
written.
• Contributions can be between 10 and 20 pages long.
Visual papers need to follow the APA 7 reference formatting style.
Table 2. An overview of submissions types available for each of the tracks
No Title Full Research Case Studies Workshops Visual Papers
Papers
01 Design Thinking to Improve Creative o o o
Problem-Solving
02 Empowering Critical o o o
Design Literacy
03 Alternative Problem Framing o o o o
in Design Education
04 Collaboration o o o o
in Design Education
05 Co-creation of Interdisciplinary o o o o
Design Educations
06 Learning Through Materiality o o o
and Making
07 Sketching & Drawing Education o o o o
and Knowledge
08 Educating Data-driven o o o o
Design Innovation
09 Design Learning o o o o
Environments
10 Futures of Design o o o o
Education
11 Design Educators o o o
as Change Agents
How Your Contribution Will Be Published
All papers will be published in the online proceedings which will have ISSN and ISBN numbers and be made ac-
cessible from the LxD.2021 website prior to the conference. The conference papers will be given a doi refer-
ence to ensure they are picked up in scholarly web-searches. We aim to produce conference proceedings of a
professional and consistent quality, and appreciate you carefully following the instructions outlined in this
guide. Please note that papers not following paper formatting conference template guidelines may be ex-
cluded from the conference proceedings.
This template document itself uses the same formatting as required for the conference so your full paper
should appear visually similar. You can access formatting styles for headings, paragraphs, and other styles di-
rectly from the Styles pane, or from the Quick Style menu that is part of the Home menu in the Microsoft
Word (2007 and above). You can either write directly into this document or paste your finished text into it and
select to ‘Paste’ > ‘Keep text only’ or ‘Paste special’ > ‘Unformatted Text’. Do not change the predefined for-
mat settings in this document (such as paper size, orientation, margins, typeface, size, indents, spacing, etc.).
5Completing Your Paper Submission
Any of the headings (e.g. heading 1 or heading 2) should always be followed by a text and never by another
subheading. The reason is that the section following the heading needs to be introduced like in the example
below.
This section provides instructions on general guidelines which include: table formatting, headings, bullets, lists
and referencing.
General Guidelines – Style: Heading 2
The sections of your paper should be separated by appropriate headings. Though do not go deeper than three
subheadings (i.e. heading 3 is fine but heading 4 is not). All full stops should have only one space following
them. With the exception of the abstract, all paragraph text is not justified. Please do not insert an extra line
after a text paragraph.
Table Formatting
Tables should be formatted as Table 1: left aligned text in the first column and centred text thereafter, if possi-
ble. Only horizontal table grid lines should be used. Add one empty paragraph line following a table.
Alternatively, complex tables can be inserted as images to ensure their consistency while the proceedings are
assembled.
For clarity please consider how best to format the Tables elements, such as its headers, rows or columns (com-
pare this table’s formatting with Table 1 on page 2 and Table 2 on page 5 and Table 3 below). The table cap-
tions are placed above the tables whereas for images the captions are placed below the images.
Table 3. Table layout, captions for tables are placed above and for the table headers use ‘Table Header’ and for the text in
the cells use the ‘No Spacing’ style
Table heading Table heading Table heading
First Row 1 1
Second Row 2 2
Third Row 3 3
Numbered or Bullet Lists
For lists of material, you can either use a bulleted list – style: List Paragraph:
• Design
• Innovation
• Management
Or a numbered list:
1 Research
2 Perspectives
3 Transformations
Please try to position the list so that it is not split across two pages. For complex lists or tables, we recommend
constructing these outsides of this document and importing them as images to keep the desired formatting
structure. Although, the tables constructed this way are inserted as images, you will still need to place the cap-
tion above the table.
Use of Visual Material
Please think carefully about the presentation of any visual material. As the proceedings will be published in
digital form you have the opportunity to include good quality colour images or other media files that help to
present your research and its context. It is your responsibility to ensure that you have rights and permission
to use all the images in your paper.
6Where possible please make images:
• large enough to see clearly
• of good resolution (at least 200dpi)
• optimised
• cropped appropriately
If you are using diagrams, info graphics, or other schematics please ensure that:
• you present information clearly
• you use the Calibri font
• all text is legible (i.e. appropriate size and not cropped)
After you insert an image into your document, select it and use the style named Image. Images need a caption
with figures numbered sequentially – Figure 1., Figure 2., etc. Ensure that your caption adequately describes
what you want your reader to see in the picture, highlighting any areas that they should focus on. Relation-
ships that you might want readers to see need to be outlined in the body text. If the image is not yours, you
will need to acknowledge/cite its source following the caption as indicated below.
Figure 1. Captions for images are placed under the images/pictures. source: ©Katja Thorning 2020
After you have inserted an image into the document, select the image and apply style ‘Image’, see point 1 in
Figure 2. Then, check in image the ‘Layout Option’ the ‘In Line with text’ is selected as in the point 2 in the
same figure below. Note there are no extra paragraph marks before or after the image.
Figure 2. Applying formatting to the images in the MS Office Word
Referencing Style to Be Used
Referencing should follow the APA 7th Manual of Style author-date system at http://www.apastyle.org/ Within
the main text, references should be placed in parentheses (Jones, 2012). A work by two authors use the word
"and" between the authors' names within the text and use the ampersand (“&”) in the parentheses. With
7more than two authors (Merry, Mungo & Midegely, 2014) please list all the authors for the first time, and sub-
sequently only the first author followed by ‘et al.’ (Merry et al., 2014). For six or more authors use the first au-
thor's name followed by et al. More examples can be accessed via this link https://apastyle.apa.org/instruc-
tional-aids/concise-guide-formatting-checklist.pdf and https://www.tandf.co.uk//journals/authors/style/refer-
ence/tf_APA.pdf
Short quotations within the text should be marked with double quotation marks and the in-text reference will
need to include the page number: Lawson (2004) also has a broad understanding of design when he mentions:
“Professional designers such as architects, fashion designers and engineers” (p. 5). Longer quotations of more
than 40 or more words should be formatted as a Block Quote as below, but do not use any quotation marks:
More of the goods and services produced for consumer across a range of sectors can be conceived of as
‘cultural’ goods, in that way they are deliberately inscribed with to generate desire for then amongst the
end uses sold to consumers in terms of particular clusters of meaning indicates the increased importance
of ‘culture’ to production circulation of a multitude of goods and services.
(du Gay, Hall, Janes, Mackay, & Negus, 1997, p. 24)
For a long quotation place the period at the end of the quote rather than after the citation. The most changes
introduces in the APA 7 style is what elements are included or excluded when listing references. If you use bib-
liographical software, make sure you have selected APA 7 style and if you have entered the necessary infor-
mation for each of the citation the software will format the references automatically. If you do not use biblio-
graphical software then you can use one of the online citation generators such as
https://www.mybib.com/tools/apa-citation-generator or https://www.citefast.com/?s=APA7 or
https://owl.purdue.edu/owl/research_and_citation/resources.html
Blind Contribution
Author names should NOT be identified in the abstract or the body of the submitted paper. The contributions
must be previously unpublished.
Fair Use of This Format Template
Although this contribution formatting template is publicly available and you are welcome to use it beyond this
event, please let us know by email lxd2021@learnxdesign.net about your event.
Key Conference Dates
The two tables below list the key conference dates.
Table 4. The key LxD.2021 dates as of 16 March 2021
Submission Deadline
:: Full Research Papers
:: Full Visual Papers Tuesday 30 March 2021
:: Full Case-studies
:: Workshop Proposals
Review Outcomes Notification Tuesday 11 May 2021
Deadline for Full Papers with corrections Tuesday 8 June 2021
Review Outcomes Notification for Papers
Tuesday 13 July 2021
requiring Major Revision
Registration of author(s)
Tuesday 3 August 2021
early bird
Table 5. The key LxD.2021 dates as of 30 November 2020
Learn×Design.2021 will take place on the following dates
PhD Pit Stop Thursday 23 September 2021
8Learn×Design.2021 will take place on the following dates
Presentation of the Accepted
:: Research Papers
:: Visual Paper 24–26 September 2021
:: Case-study
:: Workshop
Excursions Monday 27 September 2021
References
du Gay, P., Hall, S., Janes, L., Mackay, H., & Negus, K. (1997). Doing Cultural Studies: The Story of the Sony
Walkman. Sage.
Ghassan, A., & Bohemia, E. (2013). From Tutor-led to Student-led design education: the Global Studio. In J. Be-
ate Reitan, P. Lloyd, E. Bohemia, L. Merete Nielsen, I. Digranes, & E. Lutnæs (Eds.), Proceedings of the 2nd
International Conference for Design Education Researchers: Design Learning for Tomorrow – Design Educa-
tion from Kindergarten to PhD (Vol. 1, pp. 524–536). ABmedia.
Lawson, B. (2004). What Designers Know. Architectural Press.
Kamler, B., & Thomson, P. (2013). Writing for Peer Reviewed Journals: Strategies for Getting Published.
Routledge.
Norman, D. (2010, 20 Jan 2011). Why Design Education Must Change. Core77. Retrieved from
http://www.core77.com/blog/columns/why_design_education_must_change_17993.asp [accessed on 20
Jan 2015]
Rancière, J. (1991). The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (K. Ross, Trans.). Stan-
ford University Press.
Tovey, M., Porter, S., & Newman, R. (2003). Sketching, concept development and automotive design. Design
Studies, 24, 135–153. http://doi.org/10.1016/s0142-694x(02)00035-2
Ulrich, K. T., & Eppinger, S. D. (2004). Product Design and Development (3rd ed.). McGraw-Hill/Irwin.
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