Pragmatic Design Pedagogy Interventions for Climate Resilience
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The Methods Deck
I will be designing a complementary web experience that provides more detail and context for the (eventually physical) cards. Please only review the content; the graphic design is in-process. Think about how these methods could be incorporated into your pedagogy. Note any questions that arise. Please take the closing survey when you are ready to provide feedback.
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Thank you for being a part of my MDes design research study. Your input and experience as a visual communications design educator are appreciated and critical as I finalize my thesis prototype. My name is Cindy Raspiller, and I am an MDes student at San José State University in San José, CA. If you have any questions or would like to chat more, please don’t hesitate to contact me at cynthia.raspiller@sjsu.edu.
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This deck is intended to help postsecondary design educators prepare undergraduate visual communications design students to design for a rapidly changing planet by integrating practical strategies for climate resilience into their existing project plans.
The cards contain methods for climate resilient visual communication design that can be incorporated into a project plan without making large changes to the curriculum. Each card lists something that can be done to encourage a mindset of climate resilience and sustainability, describes why the practice is important for climate resilience, and provides a learning outcome that states what students should know and be able to do as a result of incorporating this method into their project.
The cards are sorted into Mindsets for Climate Resilient Design, which are described on the backs of the cards. There are seven mindsets; not all are present in this sampling. The cards are also organized by level, which corresponds to The 5 Levels of Sustainability Pedagogy in Postsecondary Design Education. You can read more about the mindsets and levels I’ve developed at the bottom of this page, where they are displayed for your reference.
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Beyond Human-Centered
Identifying Nonhuman Participants
WHY Recognizing the true participants and actants in our work can help us understand the degree to which everything is interconnected. Recognizing plants and animals as participants is probably the least-complex nonhuman group to start with. Students could also think about technologies as participants, such as AI technologies, or considering human laborers as participants in a design. The plants that make up our paper, the people that collect our garbage, and the animals displaced in an urban environment are all affected by design. Being able to de-center our design from solely human values will be a huge asset for a climate resilient future.
OUTCOME Students will identify and justify nonhuman participants in the context of their design project.
Level 1 2 3 4 5
Beyond Human-Centered
To de-center the human in the design process is to acknowledge that the welfare of humanity depends on the welfare of all life on Earth. Students develop a holistic view of the context of their work, and are prepared to design in a way that considers and nurtures the interdependence of all life. Students incorporate empathy for living beings and ecosystems into their design processes and learn actionable strategies for broadening the definition of “user” to include all nonhuman participants in their design projects. They consider the needs of technologies as an integral part of the context of their work that has a measurable effect on natural ecosystems and well-being.
Beyond Human-Centered
Developing Nonhuman Personas
WHY A nonhuman participant could include: people affected indirectly by the design, such as laborers, organizations, and communities; animals, including domesticated, livestock, and wild; and plants, trees, and fungi. When creating a persona for a nonhuman, the process must be based in science and fact. This is different from a typical user persona, which tends to be based on market research. Students have to use sources that are as bias-free as possible and reputable, such as environmental agencies, traditional and indigenous ecological knowledge, and governmental bodies. Understanding the full context of our impact across all life can help us make design decisions that support the resilience of our local habitats and communities.
OUTCOME Students will choose credible, relevant research sources to support the development of nonhuman personas, and use these sources to articulate a nonhuman’s needs and challenges. Students evaluate design decisions based on the needs of nonhuman personas.
Level 1 2 3 4 5
Beyond Human-Centered
To de-center the human in the design process is to acknowledge that the welfare of humanity depends on the welfare of all life on Earth. Students develop a holistic view of the context of their work, and are prepared to design in a way that considers and nurtures the interdependence of all life. Students incorporate empathy for living beings and ecosystems into their design processes and learn actionable strategies for broadening the definition of “user” to include all nonhuman participants in their design projects. They consider the needs of technologies as an integral part of the context of their work that has a measurable effect on natural ecosystems and well-being.
Systems & Transitions
Circular Economies
WHY A circular economy is perhaps the most compelling solution to our current linear economy, and a great method for creating environmental sustainability in our economic systems. Many start-ups are prioritizing circular design in their development, and knowing how to design for such an economy is a benefit to students and to the environment. Circular design prioritizes keeping materials in useful circulation, rather than sending material to waste after its useful life is through. Our current economy follows a linear pattern of take/make/waste, which leads to over extraction of resources, overproduction of goods, and environmental harm.
OUTCOME Students define the principles of the circular economy, including reducing waste; designing for reuse, repair, and recycling; and prioritizing regenerative systems.
Level 1 2 3 4 5
Systems & Transitions
Students will be able to apply systems thinking and circular design principles to visual communication design, recognizing and embracing the complexity of the interdependent environmental, economic, social, and technical systems their work is a part of. They will make design decisions based on context, explore circular economies as they relate to design, and understand the consequences of the design field on interrelated ecosystems.
Economy
Carbon Calculators
WHY There are a myriad of carbon calculators available online, and learning to use one and interpret its results can help students be advocates for–and active participants in–resilient design in their future workplaces. Carbon calculators can be used to evaluate printed material, packaging, exhibition-related design, and digital or web-based applications. Getting in the habit of creating carbon footprint reports for design work means designers will always be equipped with data to help make and advocate for sustainable decisions.
OUTCOME Students utilize data from carbon calculators to document their project’s carbon footprint. They critically evaluate their results and make material choices for the purpose of lowering the carbon footprint.
Level 1 2 3 4 5
Economy
Students will be able to manage visual, physical, and digital assets for the purpose of resource sustainability. They will assess and utilize methods for sustainable ink and paper usage, digital and physical carbon footprint measurement, and can justify design solutions based on economy of use and impact.
Engagement with Policy
Sustainable Development Goals
WHY Governmental bodies (some of them) are making pledges to support initiatives of sustainability and climate resilience. Being ignorant of these goals is not in a designer’s best interest, especially as more and more companies and cities are aligning their own goals with the UN’s Sustainable Development Goals. Besides being noble goals for a healthy planet, the SDGs are rich sources of written content and data. Educators can use the UN’s 17 SDGs as content for layout exercises, or have students design a concept around a goal of their choice. This helps design students become aware of global goals of climate resilience, and begin to see their own practice as one that can support these goals.
OUTCOME Students analyze the UN’s Sustainable Development Goals, and determine how their design practice can help impact them in a positive way.
Level 1 2 3 4 5
Engagement with Policy
Students will recognize relationships between design and policy, and advocate for and support environmental and climate policy through design. They will assess how their design practice can align with civic, cultural, and environmental climate goals.
Honesty & Optimism
Bias and Misinformation
WHY In a time of climate disasters, technological advancements, and worsening political divides, it’s necessary for students of design to have a healthy practice of identifying misinformation and bias. Designers are responsible for the messages they convey and the language they use, and must know how to avoid creating instances of misinformation and disinformation. Educators can give students opportunities to review examples of dishonest, biased, and misleading design, and make sure their students are aware of questionable marketing strategies like greenwashing and deceptive patterns.
OUTCOME Students critically analyze design for misinformation and bias, and identify methods for transparency and honesty in their own design practice.
Level 1 2 3 4 5
Honesty & Optimism
Students will practice identifying and avoiding instances of bias, dishonest marketing strategies, and unethical design practices. They develop the ability to identify opportunities for positive change, and reflect on design’s ability to innovatively shape culture and environment.
Beyond Human-Centered
Planning for the End
WHY Having a plan for something when you’re finished with it–an “end of life plan”–is a crucial step towards designing with resilient intention. Being able to articulate this plan is not only useful for resource conservation, but is a great practice for articulating your sustainable intentions to clients and employers. Developing a habit of understanding how a design will contribute to the environment in its “afterlife” is a crucial step towards designing a climate-resilient future.
OUTCOME Students will research effective strategies for regeneration, reuse, and recycling of a project’s physical and digital components. They can present these strategies in a cohesive plan and defend their choices.
Level 1 2 3 4 5
Beyond Human-Centered
To de-center the human in the design process is to acknowledge that the welfare of humanity depends on the welfare of all life on Earth. Students develop a holistic view of the context of their work, and are prepared to design in a way that considers and nurtures the interdependence of all life. Students incorporate empathy for living beings and ecosystems into their design processes and learn actionable strategies for broadening the definition of “user” to include all nonhuman participants in their design projects. They consider the needs of technologies as an integral part of the context of their work that has a measurable effect on natural ecosystems and well-being.
Systems & Transitions
Context is Everything
WHY Understanding how the things we design fit within our environment helps students understand the magnitude and complexity of our existing systems. Being able to see ourselves and our work as a part of a larger interconnected whole is a skill for building climate resilience. When students are aware of the real context of their design, they are able to make choices in material, messaging, and lifecycle that will better benefit the relationships of participants and environment. Educators can ask students to make a map that visually represents the environment (natural, man-made, and technological), human and nonhuman participants, and relationships present in the context of a larger design project.
OUTCOME Students design visual representations of their project’s context and define areas for positive intervention. They may justify their interventions with research and participant co-design activities.
Level 1 2 3 4 5
Systems & Transitions
Students will be able to apply systems thinking and circular design principles to visual communication design, recognizing and embracing the complexity of the interdependent environmental, economic, social, and technical systems their work is a part of. They will make design decisions based on context, explore circular economies as they relate to design, and understand the consequences of the design field on interrelated ecosystems.
Economy
Minimalism as a Fundamental Practice
WHY Practicing a minimalist mindset can prime students to think about their ink, paper, and energy use. Visual minimalism is a great starting point for those in graphic design who wish to explore a more sustainable practice. Whether working in print or digital, having a minimalist mindset will get students to think critically about the materials and energy used to convey their intended message.
OUTCOME Students create design solutions that utilize minimal ink and material while still demonstrating creative visual problem solving.
Level 1 2 3 4 5
Economy
Students will be able to manage visual, physical, and digital assets for the purpose of resource sustainability. They will assess and utilize methods for sustainable ink and paper usage, digital and physical carbon footprint measurement, and can justify design solutions based on economy of use and impact.
Economy
Press Sheets
WHY Knowing where designers can make interventions in the print production process can help students build projects that minimize waste. A good place to start is designing the press sheet for anything that is trimmed or die-cut. Designers can make more sustainable choices in their work with awareness of production processes and the places they can use design to make sustainable interventions.
OUTCOME Students plan and optimize their design to best fit on a press sheet for the purpose of generating the least amount of trim waste.
Level 1 2 3 4 5
Economy
Students will be able to manage visual, physical, and digital assets for the purpose of resource sustainability. They will assess and utilize methods for sustainable ink and paper usage, digital and physical carbon footprint measurement, and can justify design solutions based on economy of use and impact.
Engagement with Policy
Climate Resilient Copy
WHY While students may not be actively engaging with the text or utilizing the information to support a design project goal, using climate resilient policy as body copy for design and typography projects brings these ideas to a student’s attention. Requiring students to thoughtfully incorporate these tests into a layout exposes them to both climate resilient policy and the knowledge that governmental bodies–somewhere–are working towards these goals. Inspiration could be drawn from the UN’s 17 Sustainable Development Goals, text from Project Drawdown’s library of climate solutions, or text from local climate resilient policy.
OUTCOME Utilizing text from climate resilient policy, students present judicial use of typographical concepts to create an engaging page layout. Attention is paid to hierarchy, contrast, balance, and alignment.
Level 1 2 3 4 5
Engagement with Policy
Students will recognize relationships between design and policy, and advocate for and support environmental and climate policy through design. They will assess how their design practice can align with civic, cultural, and environmental climate goals.
Interdisciplinarity
Cross-Disciplinary Collaboration
WHY Data visualization and infographics transform the way we communicate complex information. Being well-versed in data visualization can help students understand the complex factors contributing to climate change. Designers of the future will need to collaborate with environmental scientists, engineers, and anthropologists–among many others–to affect change. Getting design students accustomed to working with those in other fields is a crucial step towards interdisciplinarity, and interdisciplinarity is a crucial part of solving large-scale problems. Instead of looking outward for data sources in design projects, consider looking within the university to foster collaboration. Design students can collaborate with students from a scientific discipline, designing an infographic or data visualization based on the study of the science student. Groups collaborate to ensure the visuals are an accurate and engaging representation of the data.
OUTCOME Students develop cross-disciplinary collaboration skills by working directly with peers in other disciplines to transform complex data into clear, engaging visual narratives that enhance viewer’s understanding of critical issues.
Level 1 2 3 4 5
Interdisciplinarity
Students of design collaborate and communicate across disciplines, integrating innovative scientific, environmental, and sociological research and diverse perspectives into their design processes. They will approach complex challenges with a multidisciplinary mindset, leveraging methodologies such as co-design and participatory design to co-create impactful and sustainable visual communication solutions.
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Mindsets for Climate Resilient Design
Beyond Human-Centered
To de-center the human in the design process is to acknowledge that the welfare of humanity depends on the welfare of all life on Earth. Students develop a holistic view of the context of their work, and are prepared to design in a way that considers and nurtures the interdependence of all life. Students incorporate empathy for living beings and ecosystems into their design processes and learn actionable strategies for broadening the definition of “user” to include all nonhuman participants in their design projects. They consider the needs of technologies as an integral part of the context of their work that has a measurable effect on natural ecosystems and well-being.
Systems & Transitions
Students will be able to apply systems thinking and circular design principles to visual communication design, recognizing and embracing the complexity of the interdependent environmental, economic, social, and technical systems their work is a part of. They will make design decisions based on context, explore circular economies as they relate to design, and understand the consequences of the design field on interrelated ecosystems.
Economy
Students will be able to manage visual, physical, and digital assets for the purpose of resource sustainability. They will assess and utilize methods for sustainable ink and paper usage, digital and physical carbon footprint measurement, and can justify design solutions based on economy of use and impact.
Engagement with Policy
Students will recognize relationships between design and policy, and advocate for and support environmental and climate policy through design. They will assess how their design practice can align with civic, cultural, and environmental climate goals.
Honesty & Optimism
Students will practice identifying and avoiding instances of bias, dishonest marketing strategies, and unethical design practices. They develop the ability to identify opportunities for positive change, and reflect on design’s ability to innovatively shape culture and environment.
Interdisciplinarity
Students of design collaborate and communicate across disciplines, integrating innovative scientific, environmental, and sociological research and diverse perspectives into their design processes. They will approach complex challenges with a multidisciplinary mindset, leveraging methodologies such as co-design and participatory design to co-create impactful and sustainable visual communication solutions.
Hyper-Localization
Students have a practice of and appreciation for meeting the design needs of their local community. They understand that the biggest impact they can make in climate resilience is in their immediate community, and so are familiar with the local environment, community, indigenous practices, waste management, and supply chain. Living sustainably during climate change will require adaptations to particular places and ways of being that may not scale or travel well.
5 Levels of Sustainability Pedagogy in Postsecondary Design Education
Level 1: Sustainability as passive content
When teaching design concepts such as typographic hierarchy or layout, professors may choose to provide students with content that speaks directly to the climate crises or other sustainability issues. This passively brings the content to the student’s attention, but doesn’t necessarily invite any further consideration.
Level 2: Sustainability as message
Students may be asked to design a project that delivers a message about ecological sustainability–this is usually a data visualization, poster, or awareness campaign. Some students feel a disconnect between the urgency of the sustainability movement and the lack of measurable action their own project takes.
Level 3: Sustainability as material concern
Students learn about sustainable production practices such as using alternative papers, eco-friendly inks, and alternative finishes. They learn about local recycling requirements and limitations, and may explore concepts of carbon footprints. This comes with an understanding that digital does not equal sustainable–our digital artifacts require massive amounts of energy to exist. Students may learn how to optimize images for digital use and understand sustainable web design best-practices.
Level 4: Sustainability as a lens for understanding complexity
Understanding how the systems that support us are interconnected, and working to transition those systems towards more sustainable and equitable goals, are often cited as key strategies for addressing global issues such as climate change. Design priorities at this level might include concepts like Lifecycle Assessments and Cradle-to-Cradle thinking.
Level 5: Sustainability as critical inquiry
Professors may dive deeper into sustainable inquiry, exploring abstract concepts, processes, and aesthetics related to sustainability and visual communication.
Critical thought experiments might use design to question the status quo, explore methods of reuse and regeneration, and explore personal and societal values.
