Identify a designer, studio, or collective that is now or has historically participated in design for social impact.
Find examples done well, as well as examples with room for improvement. Comment in your learning log how these might be improved.
Ask questions such as:
What is the design aiming to achieve?
Is the design truly for the public good?
Is it critical?
Is the intention to help or aid a cause?
What is the intention behind the work? For example: Is it purely unbiased information? Is it pushing an agenda or promoting propaganda?
For this research task, I looked into the work of Shepard Fairey, a graphic designer and street artist best known for blending political messages with bold, eye-catching visuals. Through his studio, OBEY GIANT, Fairey has created a wide range of socially and politically charged artwork. His work often challenges authority, sparks public debate, and aims to get people thinking and acting on important issues. Because of this, he’s become a well-known figure in the world of design for social impact (Fairey, 2020).
One of his most iconic pieces is the “Hope” poster from Barack Obama’s 2008 presidential campaign. At a time when the U.S. was facing serious political and economic uncertainty, the poster aimed to inspire a sense of optimism and motivate people to participate in the democratic process. With its bold colours, stylised portrait, and clear message, it quickly became a cultural symbol (Cushing, 2017). It did a great job of engaging the public and encouraging conversation around the election. While its purpose was clearly to support a candidate, it also served a broader purpose by promoting civic engagement. That said, it wasn’t especially critical of the political system as a whole, it was more about uplifting a specific figure than offering a deep, unbiased critique (Miller, 2018).
The Guardian, 2025
A more complex example is Fairey’s long-running “OBEY” campaign, which started back in the 1990s. This project was originally meant to question power structures and challenge how we consume media and authority. It used ironic and propaganda-like visuals to get people to think critically about conformity (Fairey, 2009). While it started off as a bold and thought-provoking statement, the message became less clear over time. As the work became more commercial and entered popular culture, on T-shirts, posters, and merchandise, its original meaning began to fade (Edgar, 2016). The campaign started to feel more like a brand than a call to question authority, raising some tough questions about how easily activist design can be co-opted or misunderstood.
Looking at both examples, it’s clear that strong visuals alone aren’t enough for socially impactful design. The message needs to be clear, consistent, and stay rooted in its original purpose. Fairey’s work shows how design can play a powerful role in shaping public conversation, but it also reminds us how easily that power can be weakened if we’re not careful. This leaves me wondering: Can a design still do good when it becomes a material? And how can designers keep their work meaningful when it reaches a mass audience? These are important questions to ask when thinking about the real impact of design in social change.
This assignment is not meant to be fun. It is a simulation of working with a difficult client. How will you cope?
Part 1
First select your client. Will you be working on a project for:
The bigshot: This client has a huge budget and a huge ego.
The penny-pincher: This client will cut corners and limit spending.
The misinformed: This client doesn’t understand exactly what they need.
The wanna-be-designer: This client wants to art direct your work.
Nowselect one design brief:
Branding. Design the masthead and a selection of spreads for a catalogue of a national travelling exhibition titled ‘Gold of the Incas’. Each location the exhibition visits will also need branded site plans and guides specific to the location.
Information Design. Design a wayfinding system for a transport hub. Create the environmental signage system, this can include dynamic signage (screen displays) and static signage (directional navigation), printed schedules and route maps, vehicle stickers etc.
Type, lettering and printing. Create an innovative calendar for a font foundry to use as a marketing tool. The calendar should demonstrate novel ways of using some of the foundries’ popular typefaces.
Next, you will start the design work. Complete your research, conceptual development, thumbnail sketches, and initial drafts right through to early prototypes or mockups. Prepare 2-3 concepts to share with your client for feedback before proceeding to part 2.
Part 2
You will share your mid-stage design work mockups or prototypes with your difficult client for feedback before you finalise the work. This part requires using your imagination.
Read the feedback you receive from the client you selected:
The bigshot: “I don’t like the way it looks. Can we just replace it with this image I found on the internet?”
The penny-pincher: “We don’t have the budget available. Can we strip away some of the excess?”
The misinformed: “It looks nice, but can you make it more modern by using AI or something?”
The wanna-be-designer: “The colour needs to look more luxurious and the size is all wrong.”
Having heard the feedback you will need to decide how to respond to the client.
Document your response in your learning log. Imagine what it would be like working with the person. Would you refine your work to satisfy the client, get the project done and move on? Would you try to rationalise your design choices and convince them to implement your ideas? Would you try to find a middle ground?
Part 1: Choosing the Client and Brief
Client: The wanna-be-designer
This client thinks they’re a creative director in disguise. They love to micromanage, second-guess, and “sprinkle their genius” over every design decision.
Brief: Branding – Gold of the Incas
Designing the masthead and catalogue spreads for a travelling exhibition with location-specific branded guides is a rich and layered challenge. It invites historical research, aesthetic sensitivity, and practical design thinking – and plenty of opportunities for the wanna-be-designer to try and take over.
Research
I begin by studying Incan iconography, looking at gold artifacts, ancient symbols, and the unique typography rooted in Andean culture. I want the design to feel rich and mysterious, but still clear and engaging for a modern museum audience. I also spend time looking at how other traveling exhibitions, like the Tutankhamun tours, handle their branding, especially how they keep things consistent while adapting to different locations.
Cultural Symbolism and Visual Language
Artofit, 2025Mythlok, 2025
Dreamtime, 2025i.pinimh, 2025,
Medium, 2025alamy, 2025
The Incan Trilogy: Condor, Puma, and Serpent
The Incan worldview is encapsulated in the sacred trilogy of animals:
Condor: symbolise the upper world (Hanan Pacha), acting as a messenger between the heavens and earth (Ticket Machu Picchu, n.d.). Puma: Represents the earthly realm (Kay Pacha), embodying strength and intelligence (Valencia Travel Cusco, 2023). Serpent: Denotes the underworld (Ukhu Pacha), associated with wisdom and the cycle of life and death (Kuoda Travel, 2019).
Incorporating these animals into the branding can provide deep cultural resonance.
Chakana (Andean Cross)
The Chakana is a stepped cross symbolising the three realms of existence and the Southern Cross constellation. It serves as a bridge between the earthly and spiritual worlds (Wikipedia, 2025). Utilising the Chakana in design elements can reinforce the exhibition’s connection to Incan cosmology.
Inti – The Sun God
Inti, the sun god, was central to Incan religion, often depicted as a golden disk with a human face. The sun’s significance is also evident in festivals like Inti Raymi, celebrating the winter solstice (Wikipedia, 2025). Gold hues and sun motifs can thus be pivotal in the exhibition’s visual identity.
Design Applications
Masthead Design
Typography: Develop custom typefaces inspired by Incan stone carvings and quipu knot patterns. Iconography: Integrate the Chakana or stylised representations of Inti to anchor the masthead in Incan symbolism.
Catalogue Spreads
Layouts: Employ grid systems reflecting Incan architectural precision, as seen in structures like Sacsayhuamán (Wikipedia, 2025). Imagery: Feature high-resolution images of artifacts, accompanied by narratives explaining their cultural significance.
Location-Specific Guides
Customization: Adapt the core branding to include local elements, such as regional maps overlaid with Incan motifs. Interactive Elements: Incorporate QR codes linking to augmented reality experiences or additional content, enhancing visitor engagement.
Material and Production Considerations
Textures: Use paper stocks that mimic the texture of Incan textiles or stone surfaces. Finishes: Apply gold foil stamping to highlight key elements, reflecting the importance of gold in Incan culture.
Digital Extensions
Website and App: Develop a responsive website and mobile application featuring virtual tours, artifact information, and interactive maps. Social Media: Create shareable content, such as short videos explaining the symbolism of the Incan trilogy or the significance of the Chakana.
Brainstorming
Pinterest board: Gold of the Incas
Pinterest, 2025
Thumbnails
Colour palette
Adobe color, 2025
Sketches
Design process
Final designs – Part 1
Inner Catalogue Spread, size: A3 to be folded in A4
Exhibition Poster, size: 18in x 36inCity-specific Guide/ map, size: 5.5in x 8.5in
Traditional approach
Approach and Coping Strategy
To pursue this brief, I would set some clear boundaries right from the start. That means I’ll explain the thinking behind my design choices, give the client a few carefully chosen options, and try to turn their feedback into something useful. I know that sometimes their frustration just comes from wanting to feel part of the process—so I’ll make sure they feel included, but I won’t let them take over the whole project.
Part 2: Client Feedback and Response
Client Feedback (Wanna-be-designer):
“The colour needs to look more luxurious and the size is all wrong.”
The client’s feedback was vague but assertive, typical of someone trying to impose a personal vision without design expertise. Rather than react defensively, I reframed the feedback: “What do you mean by more luxurious? Do you envision something shinier, deeper, more ornate?” This led to a productive discussion where they admitted they liked the gold but wanted more gloss, which we could explore in print finishes.
As for the “size being wrong,” I asked for specifics. So, I adjusted the size to their required size. I added a grunge texture to the background to add some depth and authenticity also added a gold texture to the gold section to add to the luxurious feel. I also created a side-by-side comparison so the client could “see the luxury” they had in mind.
In the end, I found a middle ground. I kept the core of the design intact but made a few surface tweaks to match what the client was hoping to see. It allowed me to finish the project with a design I was still proud of, while also making sure the client felt listened to and involved.
Final designs – Part 2
Mock-ups
Self-reflection
This project really pushed me, not just creatively, but in how I handle feedback and communicate under pressure. The idea of designing for a “wanna-be-designer” client made the whole process feel a bit unpredictable, which actually turned out to be a valuable part of the experience.
From the beginning, I was excited by the richness of the brief. There’s so much depth in Incan culture: the symbolism, the materials, the history and I wanted to make sure I honored that in the design. I loved diving into the research; learning about the Chakana, the sun god Inti, and the meaning behind gold in Incan society gave me a really strong visual and conceptual foundation. It wasn’t just about making something that looked good; it was about telling a story through design.
One of the biggest challenges was definitely managing the client’s feedback. Playing the role of the “wanna-be-designer” meant dealing with vague or controlling input, which can easily disturb a project. I realises how important it is to create structure in those conversations, offering a few clear options, backing up my design choices, and guiding the client toward decisions that still align with the vision. That helped me stay in control without shutting them out completely.
What I’m most proud of is how the work turned out visually. I managed to blend cultural references with a clean, modern design that could adapt across different locations. What I struggled with was the emotional side, feeling frustrated at times by unrealistic or unclear feedback. But honestly, that’s part of the job, and this assignment reminded me of the importance of patience, flexibility, and keeping a cool head.
Moving forward, I’ll take these lessons with me. Good design is more than just aesthetics, it’s also about communication, empathy, and being able to pursue without compromising your values. And in the end, finding that balance between collaboration and creative control is where the real growth happens.
Knowing what you know now, having developed the skills and confidence through your studies and further refined your personal design process, how might you approach an earlier exercise differently? Revisit any of the work you have completed at level 1. This might be a book cover design, a brochure or some of your first experiments with typography. Try to select an exercise where you have a complete learning log entry and access to your working files and process work. You may select an exercise you really enjoyed, one that you didn’t understand at the time, or you may decide to select an exercise that you would like to improve for your portfolio. Critique your work. Be honest with yourself and also be kind, your early work is not a reflection of your current skills and abilities. The perspective you have gained since you completed the first version of the project will inform how you proceed with this exercise. The goal is to push boundaries, take your work further, and demonstrate how your creative process has matured. Based on your critique, select the option that will best enable you to take creative risks with the work and evolve it beyond what you initially thought possible. Option 1: Scrap it and start over. With this option you go back to the brief and start with a completely new set of ideas, developing the work from the beginning. Option 2: Salvage and refine it. With this option you work with the existing files and continue towards the concept you had initially set out to achieve. You might make adjustments to layouts, colours, or typography but the core idea will remain. Option 3: Pick and choose. With this option you might keep some elements and completely replace others. You may return to a thumbnail sketch that was unfinished or you may dismantle the final layout and keep some elements. Once you have critiqued your work and designed the new, updated, or revised version, compare the exercises side by side. Reflect on how your process has changed and what you have learned since your first attempt at the exercise. Include this reflection in your learning log.
Selecting an Exercise to Revisit
I started by selecting a project from level 1 that I found challenging or less satisfying upon reflection, Magazine illustration. For this project, I didn’t fully understand at the time would be particularly interesting because I could now apply more developed insights to enhance it.
Critiquing the Original Work
Looking back at this magazine illustration project, I can see there were a few things that worked and a lot I could improve. I think I got the theme across quite clearly, the chaos of a child’s messy room as a “disaster at home”, and I liked using Procreate and experimenting with different textures and colour palettes inspired by real natural disasters. Including the character from my previous exercise gave the piece some continuity, and I enjoyed developing that part. However, I really struggled with the composition; it felt too busy and overwhelming, and I don’t think the final piece was very visually strong or creative. The character’s reaction sometimes got lost in all the mess, she looked like she was just stuck on top rather than part of the scene. I also felt limited by the concept, I went for a literal take on “disaster” and wish I had pushed myself to explore more unusual or metaphorical interpretations. Next time, I’d like to simplify the scene, focus more on the storytelling, and not be afraid to experiment with different ideas right from the start.
With my current skills and confidence, I would consider how I now approach design: I feel that the project’s core concept needs a complete overhaul, I would start from scratch, keeping the brief in mind but aiming to develop a fresh set of ideas. This would give me the freedom to explore new creative directions without being constrained by the initial design.
By redoing this exercise, I want to take everything I’ve learned so far and create a piece that feels more honest, refined, and true to where I am now creatively. I’m hoping to move beyond the struggles I had the first time and make something that really reflects how much I’ve grown, both in terms of my skills and how I express ideas visually.
Brief
A magazine wants an illustration on one of the following topics: Lost – Disaster – Discovery – Guilty secret They want an illustration based on a still life. You have the freedom to select the items for the still life and are given creative free rein. The rest of the content, the method you use to produce it and the colours you use are all for you to decide. What to do Working at a maximum A3 size, produce a well-observed, objective drawing of your set up. Consider the materials to use and do thumbnail alternative compositions to explore variations and formats. Allow yourself to distort your drawing to convey the essence of the word. Each decision you make – choice of subject, arrangement of subject, placing of subject in the frame, choice of media – should contribute to the overall description of the theme you have chosen. Either trace, scan or photocopy this drawing and then do a tonal version of it. You may choose to totally eliminate the line from the drawing or to build tone around it. At this stage you may wish to introduce a character or be more specific about a location to suggest a narrative. Alternatively you may continue to work with and modify your original still life. Create a line visual that should communicate clearly the final artwork. Take this visual through to final artwork.
Choosing the Theme
After reflecting on the potential of each theme, I chose “Lost” for its narrative potential. I could choose objects that tell a story of someone who’s been missing or searching, like pieces of a forgotten life or memory.
Setting up the Still Life
Lost in Time
Pocket watch, sand watch, old calendar pages, dusty book, broken clock, faded photo, old hat, candle, old glasses, key, flower
Google images, 2025
Inspiration: Surrealism
Pinterest, 2025
Thumbnail
Drawing the Still Life
Introducing a Narrative Element
This still life tells the story of a man who was lost during war, someone who left home full of purpose, but never returned and his fate left unknown. The melting pocket watch once belonged to him, now warped by time and memory, symbolising how the truth of what happened has eroded over the years. The torn calendar page, frozen on the 13th, marks the day he was last heard from, a letter that never came, a knock that never followed. His photograph, faded and cracked, is one of the only things his family kept close, while the worn book represents the journal he carried, its final pages empty, stories never written, a life interrupted. I imagined these objects floating on the edge of a swirling void, representing how war not only takes lives, but also leaves behind unanswered questions and emotional absences. With this image, I wanted to reflect on how time doesn’t heal all wounds, sometimes, it just buries them deeper, leaving loved ones to piece together fragments of someone who was never truly found.
Design process
Freepik, 2025
Final Design
Self-reflection
This piece, “Lost in Time,” is my attempt to express the surreal and abstract feeling of time slipping away. I wanted the melting pocket watch to be the central symbol, representing the distortion and fragility of time, and the torn calendar page marked with the number 13 adds an uneasy, unlucky feeling that ties into the theme of lost moments. The swirling black void in the background was meant to create a sense of being pulled into the unknown, as if time is collapsing or disappearing altogether. I tried to guide the viewer’s eye through the piece, starting with the large watch and moving down through the smaller objects, an old book, a worn photograph, and another watch, all of which I chose to represent memory and things left behind. I used warm, cracked textures and a muted palette to give everything an aged, almost forgotten quality. If I were to develop this further, I think including a more personal element, like a handwritten letter or a child’s drawing, could make the piece feel more emotionally connected. Overall, I’m proud of how this artwork turned out, it feels much more intentional and aligned with my creative vision compared to my earlier work.
Resources
Freepik (2024). Damaged grunge texture. [Image] Available at: https://www.freepik.com/free-photo/damaged-grunge-texture background_160868982.htm#fromView=search&page=1&position=12&uuid=f562e391-1a07-454b-b244-411ff17c501a&query=cracked+texture (Accessed: 15 May 2025).
Having had a chance to reflect on your proposal ideas, now is the time to write a 500 word outline – this is a summary of the potential contents of your Critical Review. If you have continued to read and research your idea, you will have started to collect your thoughts, maybe some key quotes, links to subject content, and finding a way to put those thoughts into an outline structure will bring some form to your writing process. One way you could do this is by breaking down the 500-word count into sections or chapters. For instance, it could look like this:
Title (Your question)
Introduction (75 words)
Chapter 1 – Visual Communicator A and their ideas (100 words)
Chapter 2 – Visual Communicator B and their ideas (100 words)
Chapter 3 – Areas of comparison between A and B (150 words)
Conclusion (75 words)
Bibliography
Now you could use this structure to insert chapter titles and short paragraphs in each section to describe the proposed content. You may have another structure in mind and that is fine. As you are still in the early stages of drafting your review, you may not know what all the content will be, but use this process to help make some of those decisions. You could also see this as writing yourself a brief that you can check back on as your critical review progresses. Be rigorous in your referencing, citing names, dates, etc., after quotes and putting the complete reference in your bibliography. Remember that you need to reference images and material from the internet as well as information from books and research papers. Always use the Harvard system of referencing. See the guide to Harvard referencing to brush up on it. Academic writing is a style of writing used for essays, journals, books and other academic material. It addresses the topic in hand in a direct way, without being too informal; it’s factual and critical, and tries to build arguments that answer research questions. You may not have had much experience of academic writing, but that should not put you off. A good starting point is to look carefully at how some of your secondary source material has been written; you will soon get the idea. There is also some useful guidance in the ‘Writing for University’ resource of the OU Library.
Title:
How does the appropriation of cultural symbols in contemporary graphic design impact the authenticity of visual communication?
Introduction: (75words)
With design becoming more global and visual media moving faster than ever, it’s common for designers to pull from a wide range of cultural influences. But this raises important questions: are these references adding depth and meaning, or are they crossing ethical lines? In this review, I’ll explore how cultural appropriation affects the authenticity of visual messages and what responsibilities designers have when working with symbols from cultures beyond their own.
Chapter 1: Theory and Context(100 words)
To start, I’ll look at what cultural appropriation actually means in the context of design, and how it differs from cultural appreciation. I’ll draw on key thinkers like Stuart Hall (1997), who explores how meaning is constructed through representation, and bell hooks (1992), who critiques how marginalised cultures are often commodified by the mainstream. This section sets up the ethical and cultural issues that shape the rest of the discussion.
Chapter 2: Shepard Fairey Case Study(100 words)
In this chapter, I’ll focus on Shepard Fairey’s iconic work, like Obey Giant and the Hope poster, to examine how he uses political and cultural imagery from around the world. I’ll explore whether his work shows genuine solidarity with global struggles or whether it risks oversimplifying and repackaging cultural symbols for Western audiences. I’ll also consider how critics and Fairey himself have responded to these debates.
Chapter 3: Indigenous Motifs in Branding(100 words)
Next, I’ll explore how native designs are used in commercial branding, often without permission. One example is Urban Outfitters’ use of Navajo-inspired patterns, which led to legal action. This chapter looks at how fashion and lifestyle brands profit from these designs while ignoring their cultural significance. I’ll include perspectives from Indigenous creators and scholars who are challenging these practices and advocating for change.
Chapter 4: Comparison and Discussion(100 words)
This section brings both case studies together, comparing the motivations, cultural contexts, and public reactions. While Fairey’s work is rooted in activism, commercial use of native motifs is often purely aesthetic and profit-driven. I’ll draw on writers like Mattern (2013) and Root (1996) to reflect on how design choices impact the authenticity of visual communication and explore more respectful alternatives like collaboration, attribution, and community involvement.
Conclusion:(75 words)
To finish, I’ll reflect on how cultural borrowing in design walks a fine line between appreciation and misuse. While it can open doors to dialogue and connection, it can also flatten meaning and silence original voices. Authentic design, I’ll argue, comes from respect, context, and real engagement with the cultures being represented.
Bibliography (Harvard style):
This will include full citations of all books, articles, visuals, and online sources used throughout the review, following Harvard referencing guidelines.
An Affinity Diagram is a tool used to organise ideas, opinions, and issues into groupings or themes based on their natural relationships.The Affinity process is used in many fields, from marketing to UX, it is a recognised process in business settings and works well with teams of people to align team members. It can also be used independently to group together ideas generated by Brainstorming. Theprocess starts with a problem statement. For this exercise you will start to identify:
What past experiences and skills will contribute to my future design practice?
The basic steps (adapted from the The Memory Jogger Plus) to create an Affinity Diagram are:
1. Generate ideas. This is the brainstorming process, it involves generating as many ideas as possible. In this case consider things that you have learned and skills you acquired which may both help and hinder your future design practice.
2. Display ideas. Use post-it notes on a large surface or a virtual white board to write down your ideas. You should be able to move each idea around independently.
3. Sort ideas into groups. Try to find similarities among the ideas, move the post-it notes or text boxes into groups.
4. Create headers. Look at each group and identify a word or phrase that captures the essential link or common theme among the ideas contained in a group. Write it down.
5. Draw your finished diagram. The final version of the diagram should clearly identify the themes or headers and include the problem statement. Typically the layout is arranged in columns under each header, like this:
Once you have completed your Affinity Diagram, reflect on the themes you have identified. Where you might need to further develop your skills?
Did any of the ideas or themes surprise you? How might you share the skills you identified with a potential employer or client? Would you be able to demonstrate in a CV or portfolio the skills and experiences you bring to a design project?
The Affinity process is a good way to encourage new patterns of thinking independently and with a team. What other problems might you be able to tackle with affinity diagrams?
Affinity Diagram: Skills and Experiences for Future Design Practice
Reflection
I’m looking to get better at coding and prototyping, and I also want to feel more confident explaining complex ideas to people who aren’t in design.
I’ll show this in my portfolio with real project work, behind-the-scenes process, and case studies. On my CV, I’ll highlight both soft and technical skills, with clear examples that show the impact I’ve made.
When you invite a new client into your future studio space what is the first thing you would like them to know about you? What message would you like to put in front of them before they decide to work with you? For the purpose of this exercise, imagine that this hypothetical client has not heard of you and they have not seen your work online. They are passing by your studio or office space in the real physical world. Design the welcome mat at the entrance to your studio or office space. You might communicate your personal brand with a simple logo, you might explore hand lettering a word or meaningful phrase, you might include colours, symbols and illustrations. Research ‘custom welcome mat printing ‘ to explore the possibilities of colours, textures, and substrates available. In your learning log provide the rationale for your design choices and reflect how accurately it captures the values and vision of your design practice.
Welcome Mat Design Concept
When someone walks up to my future studio, I want them to feel an instant sense of welcome and curiosity, like they’re about to step into a space where ideas grow and stories come to life. That’s the intention behind my welcome mat design: simple, thoughtful, and full of personality.
Thumbnails
Typography
At the heart of the mat is a phrase that sums up what I believe design is all about: “Create Your Story.”
It’s not just a slogan: it’s an invitation. I see design as a collaborative process, where every client brings something unique, and my job is to help shape and express their vision. I want the phrase to be hand-lettered in a warm, organic style that feels personal and approachable, like something made just for them, not pulled from a template.
Colour Palette
For my mat, I want earthy, grounded tones: terracotta, mustard yellow, and muted green, set against a soft beige background. These colours feel warm and inviting but still have creative energy. Terracotta speaks to artistry and groundedness, mustard adds brightness and optimism, and green brings in a sense of balance and growth—all values I try to embody in my work.
Illustration
For my design I want a few abstract shapes and soft lines, to show creativity in motion, like the ideas that shift and take shape in the design process. There’s also a small pencil or brush icon to represent the tools I use every day. It’s subtle, but it helps tell the story of the space before a word is even spoken.
Design process
Final design
Mock-up
Self-Reflection
This mat is a small but honest expression of who I am and what I care about as a designer. I didn’t just want it to look nice; I wanted it to feel like an invitation. The colours, the words, even the texture all come together to say: you’re welcome here.
The hand-drawn lettering and soft shapes reflect the way I approach my work: creative, personal, and a little bit imperfect in the best way. The warm, earthy tones make the space feel grounded and open, and the simple message, Create Your Story, really sums up how I see design. It’s not just about making things look good; it’s about building something meaningful with people, not just for them.
At the end of the day, it’s about first impressions. And I want mine to say: this is a place where ideas matter, where stories take shape, and where you’re part of the process from the moment you walk in.
To complete this assignment you will transform the visual identity of one of the subjects in List 1. Inform your design process by drawing upon one of the influences in List 2.
List 1: Subjects
Standard Post Box and postage stamp (from any country)
Ambulance service or police force vehicles (from any country/district)
Your Local Football Club (you can choose an alternative sport – just make sure it is local)
You are required to re-imagine and redefine your chosen subject (list 1) and produce a range of suitable graphic materials (choose at least two), which might include (but are not limited to):
Think about the purpose, provenance and present state of your subject from List 1. Analyse this research and decide how you will change your subject’s visual appearance, identity, and reason/purpose. Aim to challenge convention.
Opposites Attract:
Think around the concept of unlikely alliances / opposites in harmony / change through surprise / turning the world on its head / challenging convention — all the qualities that have made design progress.
Invent and Innovate:
By using an inventive alliance of contrasting subjects and influences, your thinking can develop in a non-linear and individual-yet-practical way.
Initial experimentation:
Your initial development work should be in any media whatsoever, be that photography, drawing, sculpture, Play-Doh, Lego, found objects, calligraphy, performance, sound or whatever you feel is worthwhile experimenting with – to change things.
Distinct Development:
Process your experimentation through Adobe Creative Suite and any relevant media to make it fit for purpose.
Target Audience:
Identify the target audience by researching your subject. Essentially, you need to convince the audience or client that this is how their world should look, according to your own individual design aesthetic and process.
Final Outcomes:
The final outcome should employ digital media to visually render your design ‘in situ’, i.e. presented in a real world situation: e.g. your designs Photoshopped into a photographic image of an actual existing premises or location, or on a 3-D model. Upload to your log and include your reflection on the process and outcome.
Respond to the brief
I chose Megan’s Restaurant because it’s a place I’ve returned to time and time again not just for the food, but for the feeling it creates. There’s something genuinely comforting and familiar about the space: the soft lighting, the mix of antique-looking furniture, and the Mediterranean-inspired dishes that feel both indulgent and wholesome. I’ve always had a deep appreciation for Mediterranean cuisine, the freshness of ingredients, the warmth of shared plates, and the cultural richness behind every recipe. Megan’s captures a small part of that, and I’ve often thought about how its visual identity could go even deeper into that world. As someone passionate about design, food, and storytelling, I saw this as the perfect opportunity to combine all three: to visually elevate a place I already love and connect it more boldly to the cultural influences it draws from.
I chose William Morris as my influencer because I really admire how he combined beauty with functionality. His work had such a huge impact on the Arts and Crafts Movement, and I love how his intricate, nature-inspired patterns still feel timeless today. There’s something about the way he mixed art, design, and everyday life that still resonates and feels inspiring.
Megan’s already has that cozy, Instagrammable feel, but right now it leans a bit too much into a pretty typical boho vibe. With this project, I want to give Megan’s a fresh new identity by taking inspiration from William Morris. By mixing his rich, detailed Victorian style with Megan’s warm Mediterranean colours and relaxed atmosphere, I’m aiming to create a space that feels much more distinctive and full of character, something that still feels true to Megan’s spirit, but stands out in a much more memorable way.
I want to take Megan’s from just being “nice” to feeling truly iconic, by fully embracing print, pattern, and craftsmanship. Instead of following the usual minimalist look we see in a lot of restaurants, this approach pushes Megan’s into something much more bold and artistic, a place that feels like a cultural space, not just a backdrop for Instagram photos.
Megan’s restaurant, Google images, 2025
Pinterest
Pinterest board (William Morris), 2025
Thumbnails
Design process
Final Design
Signage Menu
Mock-ups
Original images
Self-reflection
Looking back at my final design for Megan’s rebrand, I’m really happy with how it turned out. I wanted to move away from the quite generic boho style it had before and bring in something that feels a lot more unique and full of character. Inspired by William Morris, I leaned into a hand-crafted, detailed look that feels much richer and a bit more special. The colour palette ,soft terracotta pinks mixed with deeper, earthy tones, gives off a warm, Mediterranean vibe, which ties back nicely to the original feel of Megan’s but makes it feel a bit more elevated.
To give the brand a much more personal, organic feel, and really capture that idea of craft and care that Morris was all about, I conducted a hand-drawn typeface. It’s slightly imperfect in a way that makes it feel alive, not just another polished, corporate logo. The pattern I created, inspired by Morris’s botanical work, adds texture without being too much, and it flows nicely across the signage, aprons and menus. Overall, I think the new identity feels way more thoughtful and inviting, it still has that cozy charm people love about Megan’s, but now it tells a much richer story.
If I were to physically print the menus or aprons, I would want to make them feel even more special, maybe by using a slightly textured, natural-feeling paper, or aprons with a hand-dyed look. I believe that paying attention to the real-world materials would help the brand feel even more crafted and thoughtful.
I know my design could have been stronger if I’d had more time to try out different techniques and approaches. But with the tight deadline for this project, I just didn’t get the chance to explore as much as I wanted to.
Throughout this unit so far, you have explored different forms of visual communications, begun to produce work for a range of contexts and undertaken research in response to a variety of research tasks. The work you will produce will demonstrate your creative abilities, your analytical and creative thinking skills, and show your understanding of a range of graphic design practice. The critical review is intended to demonstrate your awareness and understanding of how your own and other creative practitioners’ work and ideas relate to the wider cultural picture. It should demonstrate a critical and contextual understanding of how your work fits within a broader framework of creative practices and explore some of the ideas that underpin them. Your critical review is an opportunity to:
explore in greater depth a topic or theme that could inform your journey throughout this course, for example the work or ideas of a particular graphic designer, an area of illustration practice, or a body of work that demonstrates certain ways of working and thinking.
demonstrate how you have developed academically as well as creatively.
Think of your Critical Review as an extension of your creative practice – exploring the same research questions, but this time answering them through your written work. Your tutor will not expect you to impart encyclopaedic knowledge on the subject of graphic design, but rather to show an informed engagement with – and an understanding of – some of the ideas that underpin this unit and your practice.
Your critical review should provide evidence of your ability to:
understand significant issues
use research skills competently
analyse source material
articulate your own ideas at an appropriate level
I’ve always been fascinated by the power of visuals to tell stories, but I’ve also noticed how often designers, sometimes unknowingly, borrow cultural elements without fully understanding their origins. This made me question how these choices affect the honesty and integrity of the messages being communicated. I wanted to explore whether using cultural symbols out of context adds richness or if it risks diluting meaning and promoting stereotypes. For this reason my chosen title will be “How does the appropriation of cultural symbols in contemporary graphic design impact the authenticity of visual communication?”
This title reflects a genuine curiosity about where the line is between inspiration and appropriation, and how that balance shapes what we see and feel through design today.
In this critical review, I’ll be looking into how cultural symbols are used in contemporary graphic design and what that means for authenticity, ethics, and communication. I’m interested in how different designers, myself included, engage with these symbols, and what the impact of that engagement might be. To do this, I’ll compare my own creative practice and thinking with the work of visual communicators like Shepard Fairey and the design studio Formafantasma, who both approach cultural references in very different ways.
I will explore interviews and talks with Shepard Fairey to gain insight into his perspectives on appropriation, activism, and remix culture, particularly through iconic works like the Obey Giant campaign and the Hope poster. Also, examine Studio Formafantasma’s official website and exhibition catalogues, which highlight their innovative projects centered on design systems and materials grounded in cultural heritage. Additionally, resources such as the Design Matters podcast and Eye on Design articles offer valuable opportunities to hear designers articulate their views on ethics, cultural influence, and creative practice in their own words.
As a visual communicator, I often find myself caught between the excitement of creative freedom and the responsibility that comes with it. In a world where design trends and cultural references travel fast, I’ve noticed how easy it is to borrow from other cultures without fully understanding their meaning. This has made me reflect on my own design choices and how they’re influenced by what I see around me. The topic of cultural appropriation feels especially relevant, it raises important questions about where we draw the line between inspiration and exploitation, and how we can stay respectful while still being creative. Through this review, I want to explore how using cultural symbols can either add depth to a design or strip it of its authenticity, depending on how we approach it.
From my own perspective, my approach to design has been shaped by my education and practice, where there’s a strong emphasis on being thoughtful about where ideas come from and making sure there’s real meaning behind the visuals I create. I’ve been especially interested in how other designers handle this balance. For example, Shepard Fairey is known for reworking political imagery and propaganda, while the duo behind Formafantasma often explore materials and systems through a cultural and critical lens. Looking at their work alongside my own has made me think more deeply about a tricky question: where do we draw the line between being inspired by something and simply taking from it? And how can we, as designers, create work that feels authentic and respectful, even in a world that’s so visually connected?
I’ll wrap up the review by thinking about how all of this shapes the kind of designer I want to become someone who creates with intention, stays curious about context, and tries to balance creativity with a genuine respect for the cultures I’m drawing from.
Through this review, I want to show that I’ve taken the time to really understand the complexities around cultural appropriation in visual communication. I’ve used research and critical thinking to explore different viewpoints, drawing comparisons between designers and the theories that inform their work. Most importantly, I’ve tried to clearly express where I stand on the issue, backing up my perspective with thoughtful examples and evidence.
Possible Resources
Design Matters. (2025) Podcast series by Debbie Millman. [podcast] Available at: https://designmattersmedia.com (Accessed: [date]). Eye on Design. (n.d.) Articles on ethics, culture, and visual communication. [online] Available at: https://eyeondesign.aiga.org (Accessed: 15 April 2025). Fairey, S. (2025) Interviews and talks on appropriation, activism, and remix culture. Available at: https://obeygiant.com (Accessed: 15 April 2025). Studio Formafantasma. (2025) Official website and exhibition catalogues. [online] Available at: https://formafantasma.com (Accessed: 15 April 2025).
Using your research into a global language we would like you to design a set of visual touch points for a duty free store, located in an international port. The aim of this exercise is to celebrate cultural diversity. We want you to explore and champion national visual culture through ideas and themes that touch on lifestyle, attitudes and distinctive language. Duty free stores are usually airside or beyond security and often a first or last chance to purchase a momento from your travels. This brief provides you with an opportunity to design a distinctive identity that resonates with the diverse travellers passing through the airport and also captures the unique cultural identity of the country in which the duty free store is located. Firstly, list 4-6 countries other than your country of birth or residence. Once you have a list, strike off any country from the list where the primary spoken language is the same as your native language. For example, if you are from the UK, then strike off the USA. Next, research the major cities with international airports in each of the remaining countries. Select the one where your duty free store will be located. You can give your store a name. The name of the duty free store is up to you and this need not be in English. Next, develop ideas in your sketchbook on the touchpoints listed below and then record these on your learning log. The set of touchpoints are a follows: A duty free store sign: for this you will need to determine the appropriate text – is it just the store name? Do you include a message for passing travellers? What language(s) does the text need to be written in? Also consider the size, determine if it is static or digital and ensure the sign is visible to the passing travellers. A duty free carrier bag: you will decide the size (or range of sizes) and material. Ensure it can easily accommodate a bottle of the local tipple and some celebrated foodstuff or condiment. The reverse side of a printed till receipt: for this component you are limited to two colours. The length is also variable, so consider that the receipt is on a roll and therefore will be torn off at different points. Finally work up your final designs and present them as mock-ups and in situ.
I began this exercise by listing six countries that English is not their main language and I researched about their major cities and airports.
Japan
Google images, 2025
Morocco
Google images, 2025
Mexico
Google images, 2025
Turkey
Google images, 2025
China
Google images, 2025
South Korea
Google images, 2025
My choice will be Istanbul Airport (IST); Turkey is an ideal location for a duty-free store because it serves as a major global transit hub, uniquely positioned at the crossroads of Europe and Asia. The cultural richness of Turkey reflected in its intricate patterns, vibrant colours, and harmonious blend of modern and traditional design, which offers a visually compelling foundation for creating a memorable retail experience. It’s the perfect setting for a store that provides travelers with distinctive and meaningful souvenirs before they depart.
Mood board
Google images, 2025
Colour palette
Thumbnails
Design process
Based on my research, I chose to incorporate a tulip into my design, as it is the national flower of Turkey and carries deep cultural and historical significance. For the typeface, I hand wrote the name to evoke a sense of warmth and individuality, reflecting the personal connection and emotional depth often associated with traditional Turkish art and symbolism.
Original images used for mock-ups
Freepik, 2025
Freepik, 2025
Freepik, 2025
Final design
Mock-ups
Self-reflection
For this brief, I chose Istanbul as the location for my duty free concept, drawing inspiration from its rich cultural heritage and role as a bridge between East and West. My chosen name for the store is simply “Istanbul Duty Free”, a direct yet resonant title that is recognisable to international travelers.
My design centres around handwritten typography and a stylised tulip illustration, both of which play significant roles in Turkish visual culture. The tulip, an iconic symbol often associated with the Ottoman Empire, represents beauty and cultural pride. By integrating this motif in a loose, expressive style, I aimed to blend traditional elements with a contemporary, globally accessible aesthetic. The use of handwritten text further reflects a human, artisanal quality that suggests care, personal experience, and authenticity, important characteristics for souvenirs and final memories of a journey.
Through research, I explored how visuals can act as a global language. Travellers from around the world pass through Istanbul’s airports, and my goal was to create a brand touchpoint that resonates emotionally and aesthetically, regardless of the viewer’s background. The handwriting mimics a personal touch, perhaps even a signature, reinforcing the idea of taking home a unique, meaningful piece of the place.
This project also made me think deeply about how identity can be communicated non-verbally. The design avoids clutter and embraces simplicity, allowing key cultural icons to take center stage while maintaining universal legibility and appeal.
Overall, this process helped me understand how to create visual languages that celebrate cultural diversity while still maintaining clarity and function in a global, commercial space like a duty free store.
The ethics process asks you to consider how you approach exploring other people’s cultural identities, to identify any risks in this undertaking, and plan to put measures in place to remedy them. In doing this, it is worth acknowledging your own cultural identities and values, and establishing ways to engage with gathering information that respects other viewpoints, heritages, and cultures.
Visit the ethics section of the Enterprise Hub for more details on the ethical considerations and a holistic approach to considering equality, diversity, and inclusion across your project work, research, or your practice more broadly. Also take a look at two very different companies, Benetton and Absolut who for many years have put cultural identity at the centre of their campaigns. Once you have done this list and reflect on some key findings onto your learning log.
As part of my research into ethical engagement with cultural identities, I have looked at the ethics guidelines of the Enterprise Hub and researched the campaign strategies of Benetton and Absolut, both of which have utilised cultural identities as the central theme of their brand story.
My cultural identity & values:
I acknowledge that my own cultural heritage, values, and experiences will always shape the way I view, interpret, and engage with the cultural identities of others. I have a Middle Eastern background that shapes my world perspective, and I must remain aware of unconscious bias, privilege, and assumptions that may arise in my research or work.
Ethical risks considered:
Cultural Appropriation: There is the risk of misrepresenting, oversimplifying, or profiting from elements of someone else’s culture without permission or sufficient understanding.
Stereotyping: Reducing culture to clichés or assumptions rather than addressing the diversity and richness of it.
Power Imbalances: Neglecting the power dynamics of the relationship between the practitioner/researcher and the participant, especially with historically disempowered communities.
Harmful Representation: Likelihood of causing offence, discomfort, or emotional distress to individuals if cultural identities are misrepresented or handled insensitively.
Inadequate Informed Consent: Recruiting people without informing them how the cultural identity will be used in the project, or failing to give them control over the story told about them.
Learning from Benetton and Absolut:
Benetton used bold, controversial imagery to bring social and cultural issues to the public eye, but sometimes attracted criticism for the exploitation of social issues for business purposes. Absolut has long championed diversity and inclusion, working regularly with communities and artists directly, with the intent of empowerment and authentic representation. The main distinction is that Benetton assumed an external, editorial approach, at times without collaboration, whereas Absolut’s efforts have tended to be more participatory and communal.
Precautions to avoid risks:
Inclusive Consultation: Work with the people or communities I am researching, making them the co-authors of the story and not the subject of the story.
Active Listening & Learning: Approach cultural research with humility and inquisitiveness, acknowledging that I am outside of much cultural experience.
Informed Consent & Transparency: Always disclose the purpose, potential outcomes, and risks to participants before involving them.
Ongoing reflexivity: Reflect my own positionality, privileges, and biases on a regular basis during the research or project.
Respect for Cultural Protocols: Be respectful and abide by cultural values, norms, and permissions when engaging with cultural content.
Diverse Collaboration: Involve diverse cultural voices in the design, delivery, and dissemination of the project to avoid the domination of one story.
Sensitivity in Representation: Honor the difference between celebration and commodity; avoid the superficial or context-free use of cultural symbols.
Ethical cultural engagement requires ongoing self-awareness, respect, and meaningful dialogue. There isn’t any ‘objective’ or ‘neutral’ perspective – my own upbringing and my own identity shape the way I engage with people. Successful and responsible campaigns are founded on cooperation, consensus, and honest storytelling rather than sensationalism or reductionism.
Maryam: OCA Graphic Design 