Extra Bold: A Feminist, Inclusive, Anti-Racist, Non-Binary Field Guide for Graphic Designers
The Black Experience in Design
The Black Experience in Design: Identity, Reflection & Expression presents writings by 70 designers, artists, curators, educators, students, and researchers who represent a cross-section of Black diasporic identities and multi-disciplinary practices. Forewords by Emory Douglas and Ruha Benjamin frame the book in an historical and socio-political context, and an Afterword by Eddie Opara offers an intimate, spiritual coda. My essay is titled “Beyond the Universal: Positionality and Promise in an HBCU Classroom.” Support us in ensuring equitable compensation for all contributors, and to make sure this book gets to educators, designers, and students everywhere by supporting our Kickstarter Campaign! Editorial team: Anne H. Berry (Managing Editor), Kelly Walters (Creative Director), Jennifer Rittner (Development Editor), Lesley-Ann Noel, Penina Laker, and Kareem Collie. With book design by Renald Louissaint and copyediting by Jamie McGhee.
Black, Brown + LatinX Design Educators
Season 10: The Design of Business | The Business of Design
Excerpt from Extra Bold
Perspectives and Reflections: Thoughts on Identity, Race, and Design Education
(Print Magazine) The Black Experience in Graphic Design: 1968 and 2020
Revision Path Interview
Interview with Maurice Cherry of Revision Path: "One of the things I love most about Revision Path is talking shop with design educators like Kaleena Sales. Kaleena is an illustrator, a design educator at Tennessee State University, and the author of Extra Bold: A Feminist, Inclusive, Anti-Racist, Non-Binary Field Guild for Graphic Designers. Kaleena is one of many Black design educators that are helping make the design canon more elastic for students by allowing Black culture and aesthetics to be a part of the conversation. We talked about teaching design virtually at an HBCU, and Kaleena talked about growing up in Nashville and how she thought about pursuing a career as a fine artist before putting in time working in the advertising industry. She also spoke about what drew her back to her alma mater, as well as the many ways that she has seen design education change since she started teaching. Kaleena is also active with AIGA Nashville, and even shared some info about her upcoming book! With educators like Kaleena, I think the future is in good hands."
Curriculum map of the Department of Art & Design, displayed as 8 colors representing the 8 semesters of a student's average tenure in our program. The placement of the concentric circles represented whether a class was a general education requirement, art foundation, concentration course, or elective.
Beyond the Bauhaus
Much of what has informed graphic design education comes from the Western world, with a heavy emphasis on principles and practices from movements like the Bauhaus, Constructivism, and the International Typographic Style. This narrowed lens ignores design contributions from many parts of the world and perpetuates a narrative that “good” design must be derived from these specific origins. At what point are we, as design educators, responsible for challenging this narrative? The content featured in Beyond the Bauhaus aims to highlight design contributions from underrepresented cultural and social groups that do not have roots in modernist or Bauhaus methods. The goal is not to deny the contributions of the Western world, but to broaden the scope of what we teach and discuss in the classroom, while providing ideas toward practical applications of the referenced work. Submissions from readers are encouraged. Contact me (email@example.com) to submit a feature. These articles were written for AIGA's Design Educators Community, and available to read at: educators.aiga.org
AIGA Design Conference 2019 - Education Symposium
Principles of Design Visual Guide
3D Visualization / Kinetic Learning
(Transforming "visual" weight into the "physical" helps some students see the impact of "heavier" images and colors within a composition.) Students studying graphic design can benefit from 3-dimensional learning tools when learning to apply foundation design principles to their work, as physical tools may help in understanding spacial relationships between forms, encourage problem-solving skills, and more. Additionally, providing a sense of “play” that maintains attention reinforces foundation design principles like scale, hierarchical relationships, balance, and repetition; and becomes an effective and powerful resource for graphic design students who struggle with applying these principles to their design and typographic work.