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Imago DEIsign
Imago Dei-sign is a teaching framework that supports a collaborative learning exchange between students and educators. At its core, this framework emphasizes communal storytelling and radical witnessing, using the language and tools of Graphic Design. In this approach, stories are transformed into tangible forms, which are then experienced. The process encourages deliberate and mindful critical reflection, fostering deeper engagement and understanding within the learning exchange.
Saul Bass described Graphic Design as 'thinking made visible.’
Imago DEI-sign can be described as 'people made visible.'
The term "Imago Dei" finds its roots in theology, where it is used to describe the reciprocal connection between God* and the living creation which becomes visible in moments of profound interpersonal resonance. It is seeing the divine essence within another being.
In relational therapy, "Imago therapy" is a practice that serves as a conduit for productive dialogue and attentive listening, as a means of fostering empathy between parties. This augmented empathy and expanded perspective provide a collective and equitable platform for resolving differences. Imago therapy teaches us not only to see, but the power of being seen.
Practitioners are encouraged to embrace their complete selves, to inhabit the design space authentically, and to have the option to share their own narratives without the fear of judgment or risk of marginalization. The Imago Dei-sign space does not require students or teachers to code-switch, or to compartmentalize aspects of self to be a member of the teaching and learning community.
The goal of Imago DEIsign is to increase empathy and cultural competency
within design practice, as well as within the communal learning and
working spaces we occupy and create—as a means of moving culture closer
to collective liberation.
To do this we support the development of self-actualized graphic design practitioners.
These are designers who are recognized for their agency, generosity, cultural literacy,
and their ability to synthesize experiences and witnessing into culturally
responsible and regenerative visual storytelling.
*Feel free to interject your preferred spiritual terminology here
The Imago Dei-sign process values and practices:
A culture of consent.
Extending grace. Recognizing self-acceptance and compassion toward oneself and others as essential elements for creating mutual understanding.
Embracing vulnerability and authenticity. Honoring openness, sincerity, inquisitiveness, and dialectical thinking.
Collaborative community care agreements. These are established to ensure a collective commitment to “do no harm” and to support restorative repair when mistakes are made.
Shifting perspectives. Decentering ideas of what is typical, normal, or average.
A wholehearted and open-minded approach to understanding without judgment or interjection.
Imago Dei-sign learning spaces teaches:
Wooing the subconscious mind first. Engaging in intuitive and instinctual creative making through investigative play.
Using post-rationalization critique techniques to identify the underlying “sense” in the initial work, which informs iteration and refinement.
Dialectical understanding. The ability to hold seemingly disparate ideas as true simultaneously.
The third way. Where the term 'third' represents numerous potential outcomes.
Witnessing and radical witnessing as a means of increasing cultural competency and empathy.
Releasing the false comfort and burden of needing to “embody absolute expertise on all things” as educators, allowing us to enjoy learning from our students.
Critiqueing
Imago DEIsign
A response to questions surrounding the Imago DEIsign teaching and learning framework.
Critical feedback of the Imago DEIsign framework (gathered from Residency, and my Sabbatical Committe) has raised important questions about the framework’s potential for inclusivity for all students.
Specifically, concerns have been voiced about how the framework accommodates those who may not come from historically marginalized backgrounds or who perceive themselves as having less of a “cultural well” to draw from. This feedback suggests that the framework might benefit from clearer language and additional acknowledgments and accommodations to address these concerns. This has me considering the usefulness of including a statement addressing "Who is this for?" and "What does this process serve?" to ensure that the framework is inclusive and relevant to all students (teachers and learners). While the Imago DEIsign framework was inspired by a desire to include the most historically marginalized voices, and funding broader cultural knowledge—it was not designed explicitly for historically marginalized students, the framework does not explicitly name “White People” as being invited to practice—as it also does not name any other race.
The primary goal of the framework is to support the development of self-actualized graphic design practitioners. These are designers who are recognized for their agency, generosity, cultural literacy and ability to synthesize experiencing and listening into culturally responsible and regenerative visual storytelling. The process of becoming the best version of oneself and achieving personal growth and development is a journey available to all humans, however, this process is sometimes valued and practiced more highly in some cultures than in others. In Braiding Sweetgrass, Robin Wall Kimmerer remarks “Isn’t this the purpose of education? To learn the nature of your gifts and how to use them for good in the world?” Her perspective is one rooted in the value system of the Potawatomi Nation she is a member of.
While testing the universality of his "Hierarchy of Needs," Vladislav Maslow visited the Blackfoot Nation. There, he discovered that his theory—where social hierarchies are maintained by one group's dominance over another, particularly by controlling access to essential needs—did not hold true in Blackfoot society. Instead, he observed a social hierarchy that valued cooperation, shared resources, and a high quality of life, which aligned with what Maslow later described as “self-actualization."
If self-actualization stems from equity, mutual aid, and equal access to life-sustaining resources, it is reasonable to conclude that self-actualization is not aligned with the success of capitalism. Capitalism values private ownership and market competition as the drivers of resource distribution, prioritizing individual success over collective well-being. This system inherently measures success through the equity gaps between the 'haves' (successful) and 'have-nots' (unsuccessful).
The Imago DEIsign framework acknowledges that in America, we live in a capitalistic society where the practice of graphic design is labor-based—a job we do for money in the hopes of securing life-sustaining resources. This framework aims to expand our teaching and learning spaces in ways that welcome those who have been marginalized, inviting them to contribute to cultural expansion and liberation through storytelling and story witnessing. In a capitalist society that actively works against self-actualization, the majority of people are likely to experience some degree of marginalization—this includes White identifying people.
Definitions of Whiteness
Before I begin talking about the relationship between the Imago DEIsign framework and the White identifying student, I believe it is important to define how I think about the word “White” as it pertains to race and how it factually connects to the problem of “White Supremacy.”
I believe that "White" is not a respectful or accurate descriptor of a person’s race, ethnicity, or cultural heritage. Instead, I see it as a tool historically used to erase those distinct attributes, as a means of holding up the structures and power of White Supremacy. In America, every "White" person is descended from ancestors who immigrated from specific geographical regions, each with its own unique culture, language, dialect, food traditions, religious practices, and customs. However, upon their arrival in America, these diverse identities were consolidated under the term "White," with the aim of creating a demographic majority that could be unified as a source of governing power. The idea of a White monolith is the foundation that white supremacy stands on in America.
Like all people who “come to America” (or for whom America came to them) light-skinned immigrants were also forced to pay their entry fee through assimilation. Within just one or two generations, this led to the near-total loss of their original nationality, language, dialect, accents, traditions, foodways, and cultural practices. They were no longer Irish, Scottish, French, or German—they became "White" and "American." It's undeniable that fair-skinned immigrants received a higher return on their investment in assimilation than their counterparts of color. The access to privilege, wealth, and opportunity has historically been significantly greater for "White" people in America.
2020 US Census Data illustrated a continuing decline of a White majority within the American population, with 57.8% of respondents reporting “white alone” as their race. In 1990 that number was 76%. Demographic statisticians predict that the white population will drop below 50% by 2045, transforming the country to a majority-minority in which the combined populations of minority groups outnumber the former White majority. We are witnessing a significant demographic shift, accompanied by changes in culture and a wide range of feelings about Whiteness in America.
One of the strongest arguments against DEI (Diversity, Equity, and Inclusion) in the classroom, particularly from those on the far-right—who often share political space with self-avowed White supremacists—is the claim that learning about "White" history in America will make White schoolchildren feel bad about themselves. This discomfort with discussing historical truths actually reveals an awareness of the oppressive reality of White Supremacy. By making this argument, they acknowledge that White Supremacy is real, rather than just a "race card" played by those who suffer under it. It also suggests an understanding that some of the most significant events in American history are, in fact, narratives of White Supremacy enacted through physical, political, and structural violence. In my opinion, this argument inadvertently underscores the need for an honest recounting of history and emphasizes the importance of separating the American concept of the White race from the individuals labeled as such—favoring instead a focus on ancestral histories and the exchange of supremacy for reclaimed cultural heritage.
The Imago DEIsign Framework offers an invitation for the white student to do what any other student has the opportunity to do—to examine their lineage, to learn from their histories, and to incorporate those values into their practices just as members of the Arts & Crafts movement, and the Bauhaus designers incorporated their temporal and cultural perspectives into their practices.
Definitions of Culture
I will start with a parable from my teaching experience for this section.
My student Felix* brought me some of my most challenging, entertaining, and enriching experiences during my first few years as a Design Professor. Born in Mexico, not far from the US border, he was brought to the United States by his parents as an infant and was a DACA recipient. In one of our afternoon conversations, he shared a story with me about a photography class he was taking.
The class was taught by a well-meaning but perhaps culturally unaware professor, a cis, white, heterosexual man. With the best of intentions, the professor assigned a photo essay project and invited the students to use the assignment to celebrate their "culture." However, this prompt felt less like an opportunity and more like a form of tokenization. It seemed to Felix that the professor was highlighting demographic differences without providing sufficient context or explanation, reducing his identity to a simplistic notion of ethnicity.
Known for his ability to agitate with wit and intellect, Felix recognized an opportunity to challenge the assignment prompt—and to capture his cultural experience as a surfer. That week, he and some friends met up for a regularly scheduled surf session, and he brought his camera along. He captured shots of a day within his surf community, documenting what his friends looked like, the gear they used, and the eclectic assortment of food they enjoyed as they sat on the beach—scenes that reflected the uniquely resourceful and vibrant culture of young Angeleno surfers in their 20s.
When he submitted the photos, the professor told him that he needed to redo the project, as he had misunderstood the prompt's direction to "celebrate your culture.” Felix pushed back, explaining that his identity as a surfer was just as central to his lived experience as his Mexican identity. He pointed out that the surf community has its own language and social practices—as valid as those belonging to any racial, religious, or ethnic group. The photo professor agreed and graded the assignment.
In Felix’s journey he wasn’t just concerned with completing a class assignment—it was about asserting his right to define his own identity—and to teach his teacher to expand how he was thinking about “culture.” His photo essay also served as a powerful reminder that the stories we tell about ourselves should be broad enough to encompass all aspects of our identity, not just those that fit into neat little boxes.
Within the Imago DEIsign framework, "culture" is understood as an expansive and intersectional concept that encompasses the diverse experiences of each individual, and we welcome all of these experiences to the table.
AI Prompt:
Who does this Framework serve?
The first draft of this text was generated by an AI prompt that asked “What type of student will be best served by the following teaching framework?” and “What type of educator will be best served by the following teaching framework?” The descriptions helped me test if the writing was pointing at the intended demographic and ultimately the response was deeply affirming.
I also found that the resulting text could help me describe, pitch or market the concept clearly and tangibly. I decided to refine the text for greater clarity/intention as well as to maintain my written voice.
The student population best served by the Imago DEIsign teaching framework is diverse and inclusive, welcoming individuals from various cultural, ethnic, and socio-economic backgrounds. This framework is well-suited for students who are open to exploring their identities, sharing personal narratives, and engaging in a collaborative learning community. Here students enjoy opportunities to teach their fellow classmates, as well as their professors.
Students who thrive in this framework:
Seek Authenticity: They are interested in inhabiting educational spaces where they can bring their full, authentic selves without the need to code-switch or compartmentalize their identities. These students appreciate an environment that encourages vulnerability, openness, and the sharing of personal experiences.
Value Empathy and Cultural Competency: The framework is designed for students who are eager to develop their empathy and cultural competency, both in design practice and in their interactions within communal learning spaces. They are drawn to the idea of using design as a tool for fostering understanding and social change.
Are Interested in Storytelling: Students who are passionate about storytelling, particularly in ways that connect deeply with others and reflect diverse perspectives, will find this framework appealing. They are interested in transforming stories into tangible, visual forms and engaging in reflective, mindful critique.
Embrace Collaborative Learning: The framework supports a collaborative exchange between students and educators, making it ideal for those who enjoy working in a community-oriented environment where mutual respect and shared learning are prioritized.
Seek Personal and Professional Growth: This framework is also suited for students who are motivated by the goal of self-actualization. They are looking to grow as graphic design practitioners who are recognized not just for their technical skills, but for their ability to create responsible, and regenerative visual stories.
Welcome Diverse Perspectives: Students who are open-minded and willing to engage with a variety of perspectives—whether through dialectical understanding, radical witnessing, or shifting their views on what is considered "normal" or "average"—will benefit from the inclusive, and expansive approach.
Educators who thrive within this framework are those who:
Prioritize Empathy and Cultural Competency: This framework appeals to teachers who understand the importance of cultural literacy in design and are committed to learning these skills as well as supporting the development of these skills within their students.
Value Authenticity and Vulnerability: They are educators who believe in creating spaces where both they and their students can bring their full, authentic selves. They are willing to learn alongside their students. These teachers recognize the importance of modeling these qualities for their students.
Prioritize Empathy and Cultural Competency: This framework appeals to teachers who are dedicated to increasing empathy and cultural competency in their teaching practice. They see design as a tool for social change and are motivated to use it to foster understanding and inclusion.
Are Passionate about Storytelling: Educators who are drawn to the power of storytelling as a means of connection and education will find this framework particularly rewarding. They are excited about guiding students in transforming their personal and cultural narratives into visual forms, and they value the reflective, critical process that accompanies this work.
Embrace Collaborative and Communal Learning: This framework supports a collaborative exchange between students and educators, making it ideal for teachers who value mutual respect, shared learning, and the creation of a community-oriented classroom environment.
Seek Continuous Personal and Professional Growth: The Imago DEIsign framework is well-suited for educators who are motivated by the desire to grow both personally and professionally. These teachers view their role as a journey of self-actualization, where they, alongside their students, continuously evolve.
Welcome and Encourage Diverse Perspectives: They appreciate the value of dialectical thinking and are comfortable with holding and exploring multiple truths at once. These educators are committed to decentering traditional norms and embracing a more expansive, inclusive understanding of culture and identity.
Imago Essay
Generational Harm
In Art & Design Education
The elephant: Being a great designer or artist does not always translate to being a great educator.
If you’ve ever had a teacher whose methods caused you harm, the memory of that experience remains vivid and deeply felt.
In higher education, particularly in studio courses at the college level, the typical qualifications for faculty positions often include a BFA or MFA (the terminal degree in the field), along with a strong professional portfolio. Professional experience is frequently equated with pedagogical expertise, and there is rarely a requirement for candidates to demonstrate formal teaching preparation. This stands in stark contrast to K-12 educators and faculty in other disciplines, where pedagogical training is more rigorously emphasized.
Art and design faculty traditionally develop their teaching practices through a generational model of mentorship, essentially learning to teach as they were taught. While this method fosters continuity, it also limits exposure to diverse teaching strategies and theoretical frameworks, allowing outdated or harmful practices to persist across generations. It’s akin to learning how to parent from your parents—a cultural cycle that keeps our mental health professionals very busy.
The Bauhaus model, established in 1919, is often cited as the greatest influence on modern design education. It has been widely adopted and adapted by institutions and individual educators alike. In fact, as a design student in 2008, I was told that the curriculum of the program was an echo of the Bauhaus teaching style. While subsequent generations have brought critical challenges and improvements to the classroom, there has been insufficient consideration of how different today’s students are from those of the original Bauhaus era. The Bauhaus model originated from a very specific place and time in history, where it served a student population that was European and predominantly German, with the majority being male and middle class. This cohort was emerging from the trauma of "The Great War."
Gen Alpha, the seventh generation to enter the design learning space since the Bauhaus model was established, represents the most racially and ethnically diverse generation to date. They are growing up in an era of global connectivity, which contributes to a more nuanced understanding of global diversity and multiculturalism.
For a discipline that prides itself on critically analyzing problems and exploring innovative solutions, the challenges of design education itself may be the most significant and least openly explored project we face.
As Robin Wall Kimmerer wisely notes, “The cure lies close to the cause.”
AI Prompt:
Who does this
Framework harm?
I decided to flip my own critical lens of pedagogical harm onto the Imago DEIsign Framework, again using chat GPT to start prompting ideas that would help me see my own blind spots. The following text is unedited, and is used for thinking critically about this work.
The Imago DEIsign teaching framework is designed with inclusive and empathetic principles at its core, but there are certain students who might find it challenging or potentially harmful under specific circumstances:
Students with Trauma or Vulnerable Identities:
Students who have experienced trauma or who belong to vulnerable communities might struggle with the framework’s emphasis on vulnerability and radical witnessing. The process of sharing deeply personal stories, even in a supportive environment, can be retraumatizing or overwhelming. The requirement to engage authentically may feel like an exposure of their most sensitive parts, which they might not be ready or willing to share.
Students Who Prefer Privacy:
Some students value their privacy and may not feel comfortable engaging in a space that encourages deep personal sharing and communal storytelling. Even with a culture of consent, the social pressure to participate in such activities might lead them to feel coerced or alienated if they choose not to share.
Students From Non-Expressive Cultures:
Students from cultural backgrounds where self-expression, especially in a public or communal setting, is less emphasized may find the framework difficult. These students might feel out of place or pressured to conform to a mode of learning and interaction that doesn’t align with their cultural norms.
Students With Cognitive or Communication Differences:
Students who struggle with communication, whether due to cognitive differences, language barriers, or social anxiety, might find it hard to engage with a framework that emphasizes dialectical understanding, communal storytelling, and collaboration. They may feel misunderstood or unable to contribute in the way the framework expects, which could lead to feelings of exclusion or inadequacy.
Students Who Resist or Reject Theological or Spiritual Concepts:
The framework’s use of theological language, even with the option to substitute preferred spiritual terminology, might alienate students who are secular, atheist, or uncomfortable with religious concepts. While the framework’s intentions are inclusive, the spiritual undertones might still feel exclusionary or irrelevant to some students.
Students Who Value Structured, Traditional Learning:
Students who thrive in structured, traditional learning environments might struggle with the more fluid, exploratory, and intuitive aspects of Imago DEIsign. The focus on investigative play, post-rationalization critique, and the rejection of absolute expertise might feel disorienting or frustrating for those who prefer clear guidelines and conventional educational approaches.
Prompt: How can this framework be applied by a teacher in harmful ways?
While the Imago DEIsign framework is designed with positive intentions, a teacher could apply it in harmful ways if they fail to consider the diverse needs and boundaries of their students. Here are some potential pitfalls:
Pressure to Participate in Vulnerability:
A teacher might unintentionally pressure students to share personal stories or engage in radical witnessing, even if they are uncomfortable or unwilling. This can lead to students feeling coerced into revealing more than they are ready to, which could be emotionally harmful, particularly for those with past trauma or vulnerable identities.
Ignoring Cultural Differences:
If a teacher doesn't adequately recognize and respect cultural differences, they might inadvertently impose a mode of expression that is alien or uncomfortable for some students. For example, students from cultures that value privacy and restraint might feel marginalized or misunderstood if the teacher expects everyone to participate in the same way.
Inadequate Support for Emotional Responses:
The framework encourages deep emotional engagement, which can evoke strong reactions from students. If a teacher isn't equipped to handle these emotions or fails to provide appropriate support, students might be left feeling isolated or distressed. This could particularly impact students who are already dealing with emotional or psychological challenges.
Overemphasis on Spiritual or Theological Concepts:
The framework’s use of concepts like "Imago Dei" might alienate or exclude students who are secular, atheist, or uncomfortable with religious language. A teacher who overly emphasizes these aspects without offering secular alternatives could make students feel that their personal beliefs are being disregarded or invalidated.
Lack of Sensitivity to Consent:
If a teacher assumes consent without explicitly obtaining it—either by not making it clear that students can opt out of certain activities or by subtly pressuring students to conform—they could inadvertently violate students' boundaries. This is particularly harmful in a framework that emphasizes personal and often sensitive storytelling.
Failure to Provide Alternatives for Introverted or Anxious Students:
Not all students are comfortable with public speaking or group discussions, especially in emotionally charged or deeply personal contexts. A teacher who does not offer alternative ways for these students to participate, such as through written reflections or one-on-one discussions, may marginalize them, leading to feelings of exclusion or anxiety.
Assuming Uniform Emotional Readiness:
The framework requires a certain level of emotional readiness and maturity from students. If a teacher assumes all students are equally prepared to engage in deep self-reflection and sharing, they might overlook those who need more time, support, or a different approach to engage meaningfully.
Rigid Application Without Flexibility:
A teacher who rigidly adheres to the framework without adapting it to the needs of the students could cause harm. For example, insisting on a particular method of storytelling or critique could stifle students who think or express themselves differently. Flexibility is key to ensuring that the framework is inclusive and accessible to all students.
Neglecting Restorative Practices:
While the framework encourages a culture of consent and restorative repair, a teacher who neglects these practices—especially after a harmful incident—could exacerbate the harm. Students might feel that their concerns are not taken seriously, leading to a breakdown in trust and a negative learning environment.
Tokenization of Cultural Identity:
A teacher might unintentionally tokenize students by asking them to represent or speak on behalf of their cultural or social identities. This could happen if the teacher uses the framework to highlight diversity without recognizing the individuality and autonomy of each student, leading to feelings of objectification or exploitation.
In summary, the potential for harm arises when the Imago DEIsign framework is applied without sensitivity to the diverse needs, boundaries, and comfort levels of students. Teachers must be vigilant in ensuring that the framework is used in a way that is genuinely inclusive, supportive, and adaptable to the unique dynamics of their classroom.
There is much to consider here. My initial self-suggestion is to include definitions of “Consent” and “Vulnerability” alongside the existing descriptions of “Whiteness & White Supremacy” and “Culture.”
I’m carefully considering whether this framework should be integrated into general design courses or developed into a specialized curriculum with courses such as “Cultural Literacy for Graphic Design Practitioners” or “Radical Empathy in Design Storytelling.”
Additionally, the framework should address the potential for misapplication or unintended harm caused by practitioners who have not engaged in sufficient professional development, particularly in areas such as trauma-informed teaching practices. The card deck could be expanded to include a broader set of concepts that encourage professional growth. Cards featuring phrases like "Time Poverty" and "Code-Switching" could provide pedagogical context and direct educators to further resources.
I’ve also been reflecting on the concept of Hospitality in teaching and learning spaces. I believe that incorporating hospitality could support the creation of a healthy and safe environment in which this framework can be effectively taught.
Imago Essay
TIME POVERTY
Many students contribute to their household income, are self-supported, and/or serve as family caretakers. When combined with a full course load, these responsibilities can impose nearly impossible restrictions on their available time. When someone lacks sufficient time to complete essential tasks, meet basic needs, and get adequate rest, they experience "time poverty." In the classroom, this often manifests as students arriving late, tired, or underprepared.
Unfortunately, many educators misinterpret these behaviors as "poor time management" or a "lack of self-discipline" and respond based on these assumptions. This leads to the enforcement of punitive policies or the offering of advice that is out of touch with the realities of students' lives. What these educators fail to recognize is that these students genuinely want to be on time and prepared, and they are often distressed by their inability to do so. They frequently self-blame and apologize excessively, driven by a deep desire to succeed and escape their current circumstances.
Instead of meeting these students with empathy, they are often given outdated advice like, “Quit the job, tell your parents you can’t take your sister to school, and focus on your priorities.”
Such responses fail to acknowledge the realities of late-stage capitalism and the modern burdens placed on college-aged students.
Here’s the reality:
Telling a student to quit their job is unrealistic, inequitable, classist, and, I would argue, cruel. Their job is not optional—it’s their lifeline.
Completing their education increases a student's chances of securing a job with a higher financial return on their labor, ultimately alleviating their time poverty.
As college educators, we have the privilege of creating new practices that remove barriers without compromising the quality of education or eroding academic integrity. Alternatively, we can choose to uphold outdated practices that maintain these barriers and perpetuate systemic oppression.
Faculty who tell students to “pick one” between their job and their studies are putting their own profession at risk—the immediate need for food and shelter, which the job provides, is essential. The immediate needs of the family are essential. What immediate need is your class providing? How is your class essential to their immediate survival?
For those teaching within disciplines that require higher cognitive functions such as problem-solving, pattern recognition, creativity, and empathy—Maslow’s Hierarchy of Needs reminds us that when basic needs are not met, individuals become so stressed that they develop "tunnel vision." In this state, the amygdala (the fight, flight, freeze part of the brain) is overactive, diverting all resources to survival. In this state, it is nearly impossible for a person to access their prefrontal cortex—where higher cognitive skills reside.
Ultimately, contributing unnecessarily to a student’s stress level is bad pedagogy.
Imago Assignment
Semiotic Play
Making meaning and building your
creative process through experimentation.
Foreword: Through a series of reflective and hands-on exercises, you will challenge your creative instincts, expand your technical skills, and develop a more empathetic and culturally sensitive design practice. The overarching goal is to empower you to create work that resonates authentically with diverse audiences while refining your unique design voice.
Self-Reflection Exercise
Generate a list of words that describe your design style.
After generating your list, reflect on the following questions:
What themes or trends do you notice across your projects?
Reflect on how you developed this style—was there a specific point of inspiration?
Did you experience a positive response or feeling when making these stylistic decisions?
Consider which software and formats you feel most comfortable using.
Finally, ask yourself: What areas of comfort are you ready to challenge? Write your answers down on an index card.
PART 1: Type Jam
Objective: Explore typography as a tool for visual storytelling.
Instructions:
Select a quote (qo words or less) from a song lyric, movie quote, speech, book or from your own writing that resonates with you, or that you find meaningful.
Create a typographic composition on an 11" x 17" artboard or sheet of paper using media of your choice.
Print your poster and hang it on the crit wall
The Rules:
Your composition cannot be:
All top-to-bottom
All left-to-right
All the same size
All the same typeface
All the same color
All on the same baseline
Note: It can have some of these elements, but not all of them.
Notice: This exercise invites you to step outside the boundaries of conventional typography, focusing on creating a design that resonates with both the content and the emotions behind the text. Rather than prioritizing perfect legibility, consider how choices like size, placement, and orientation contribute to conveying the message as well.
Reflect:
Communal Lens
Is there a poster on the wall that you connect to, and see yourself as an intended audience to its message?
What in this poster feels like it is “hitting” or strongly resonates with you? What missed opportunities are you seeing to further refine or elevate the message?
Individual Lens
How did you balance legibility with emotional resonance or expression in your composition?
Which design choices felt intuitive or instinctive, and how do these choices align with the emotions you wished to convey?
Part 2: Color Story
Objective: Use color as a primary language to convey a memory captured in a photograph that you took yourself, using colors from the photo itself.
Instructions:
Open the provided Illustrator document and place your chosen photo onto the artboard.
Follow the demo directions to "live trace" your images to generate custom color swatches
(video tutorials are available in Project #1 Resources).Refine your color palette to reflect the narrative or “feel” of your image.
Use your custom-built color palette to fill each square of the grid with the Paint Bucket tool.
Print your color grid and hang it to the crit wall.
The Rules:
Avoid creating a recognizable image—keep it non-objective.
Think of this as an essay where each square is a word in that story.
Notice: This repetitive practice serves as a meditative process, helping to woo your subconscious thoughts and instincts. Listen to what your mind is saying as you work. Notice your comfort level at various stages of the doing. Reflect on how these colors support your narrative.\
Reflect:
Communal lens
What words or ideas do you associate with each person’s color grid?
Did another person’s description of your grid connect with the narrative of your original photo?
Which grids have the most similar color stories? Which two are very different from each other?
Individual lens
How did you balance personal expression with the non-objective rule of the exercise?
What did you learn about your own creative instincts and biases through this exercise?
PART 3: Synthesize and Reflect
Objective: Integrate your learnings and insights from the previous exercises to create a refined poster telling a visual story rich with meaning and symbolism.
Instructions: As you worked on these exercises, you may have noticed your instincts guiding your creative decisions. Reflect on how these instincts helped you visually convey meaning (semiotics). You might have found the process more engaging when you created certain rules, or perhaps the absence of rules was most liberating. Any resistance or discomfort you felt could signal growth as a visual storyteller. Use these insights as you move forward into the final stage.
Rules:
Create your final poster on an 11 x 17” artboard, in portrait mode. Ensure your artwork remains within a 10.5 x 16.5 "safe zone." (You can use the provided template if using .AI)
Revisit your identified comfort zones from the beginning of the project and push yourself to explore something new, unconventional, or uncomfortable in this last round of refinement.
Use the entire page, and consider how principles of design such as layering and repetition can enhance your message.
Notice:
Document your process of refining and reflecting on your work.
Write down your thoughts, being honest about what worked, what didn’t, and what you’re learning.
Avoid critiquing while you create. Only pause for critical reflection when your work feels close to completion or if you feel stuck.
Points to Consider:
Cultural Symbols, Colors, and Typography: What choices did you make, and are they appropriate within the cultural context you’re representing?
Audience: Remember, your audience is someone specific, not everyone. Who might they be? How can your design excite them, make them feel seen, or grab their interest?
Process Investment: How does your engagement with this design process show a willingness to learn and adapt? Consider how you have iterated on your work or how you might continue to do so in response to critical reflection.
Final Deliverables:
Poster: Print in full color, full bleed, with white edges trimmed off.
Written Reflection: Print on 8.5 x 11 paper. There is no word limit or specific format. This can be a stream of consciousness or a bulleted list of things you noticed.
Final Reflection:
Communal Lens
Which posters seem like they could be in dialogue with each other?
In what ways does your peers' work inspire or challenge your understanding of visual storytelling?
Individual Lens
Did you encounter any moments of discomfort or uncertainty during the design process, and how did you navigate these challenges?
What cultural considerations influenced your design choices, and how did you ensure they were respectfully and accurately represented?
How have your instincts evolved from the start of this project to the final synthesis?
THE BIG ONES
In what ways did the process of refining your poster serve as a mirror?
What does this final work say about your growth as a designer?
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Technical Skills Gained:
Advanced Typographic Skills. Students will develop proficiency in using typography as a tool for visual storytelling. They will learn how to manipulate type in creative ways, experimenting with size, orientation, color, and placement to convey emotion and meaning effectively.
Color Palette Development. Students will learn how to build custom color palettes from reference images, using tools like Illustrator’s Image Trace and Swatch tools. This skill is crucial for creating cohesive and visually appealing designs that communicate specific moods or narratives.
Non-Objective Color Use. The assignment teaches students how to use color abstractly to convey meaning, moving beyond literal representation to explore the emotional and psychological impact of color in design.
Print-Ready Design Creation. Students will learn how to create designs that are ready for print, including understanding bleed areas, safe zones, and full-color printing techniques.
Cultural Competencies Gained:
Understanding Cultural Symbols. Students will learn to identify and respect the cultural significance of symbols, colors, and typography.
Audience-Centered Thinking. This project encourages students to think about their audience as a specific group with unique experiences and perspectives.
Communal Reflection. The reflective prompts in the project encourage students to engage with their peers’ work, fostering a sense of community and collective learning. This communal aspect also helps students appreciate diverse perspectives and understand how their designs might resonate differently across various cultural contexts.
Packet 1 Feedback
The primary goal of the framework is to support the development of self-actualized graphic design practitioners. - great line
Capitalism values private ownership and market competition as the drivers of resource distribution, prioritizing individual success over collective well-being. This system inherently measures success through the equity gaps between the 'haves' (successful) and 'have-nots' (unsuccessful). - does a line like this then make Imago Deisign Marxist?
Much of what is here is influenced by Marxist ideas, but I wouldn’t describe it as exclusively or explicitly Marxist, as those ideas are just one part of a broader DNA of influence. Like Marx, Imago DEIsign recognizes the problems inherent in capitalism but also acknowledges that this is the system we are currently working within—until it changes. Imago DEIsign does not advocate for solving these issues through political revolution. Marx argued that capitalism prevents workers from realizing their full potential by reducing their labor to a commodity. Rather than focusing solely on changing the condition of design as labor/commodity, Imago DEIsign incorporates labor-relevant skills while also creating a space for designers to practice outside of the “work/commodity” framework, where they can fully explore their potential.This framework also incorporates the indigenous values I’ve learned from the first nations of North America, Hawaii, and Mexico. It is informed and influenced by feminism, the civil rights movement, the black panther 10-point plan, anti-ableism, Jungian Psychology, and various other therapy tools. It is inspired by the poetry of people like Kai Cheng Thom, Rupi Kaur, and Alok V Menon. The spirit of countercultural music movements like Hip Hop, Punk Rock and Electronic music have contributed to shaping my view of the world and myself as much as my relationship to "God” and a spiritual self have. And therefore anything that comes from me is carrying all of that with it.
Whiteness - brings up the question of kindness vs. generosity in education
Change of tact - instead of opening it up to “white” students - stake why it’s necessary and how it’s necessity can exist outside of the margins, but has direct results for the marginalized and comes from that disenfranchised state
some of this is just good sense on the part of educators - don’t make assumptions
AI generated response makes me question how much value it will be to use commonly used terminology from a pedagogical background and using your own coined terms, because some Imago Deisign outcomes and goals don’t exist yet
Potential harms - really makes me think about how to address hierarchies in this inclusive setting. It makes me think of the trappings behind “color-blind” thinking towards race, but not as extreme. How can there be an acknowledgement of hierarchy in order to open more respect towards others? Maybe there’s a typography exercise in there? Maybe a physical in-class exercise?
Type Jam Assignment - added discussion about how each student is seeing and perceiving the results against the expected rules would be great as well.
Color Storey - love this approach to abstraction!
Love the shipping - yes, force people to slow down and pay attention on IG
How have the responses been? is there a space you’d like to capture that outside of comments?
Sorry you went through so much physical pain during and post-residency!