Participatory Graphic Design in Humanitarian Crisis Settings: The Impact of Open Platforms in Empowering Displaced Communities

Prepared by the researche :  Dr. Mohammed Omar Hamdan –  Assistant Professor – Faculty of Fine Arts – Al-Aqsa University

DAC Democratic Arabic Center GmbH

Journal of cultural linguistic and artistic studies : Thirty-seventh Issue – September 2025

A Periodical International Journal published by the “Democratic Arab Center” Germany – Berlin

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Abstract

This paper examines the potential of participatory graphic design (PGD) to transform humanitarian efforts, especially in empowering displaced communities through open platforms. Traditional aid often neglects the importance of self-expression and visual communication for affected populations. This research argues that involving displaced individuals in creating graphic design can amplify their voices, preserve their stories, and strengthen their agency. Using a human-centered design approach, the study looks at Palestinian refugee camps during the Gaza war, exploring how digital and physical open platforms can support PGD initiatives. It reviews current visual communication practices within these communities, highlights challenges and opportunities for adopting PGD, and proposes a framework for creating sustainable and meaningful design interventions. The paper emphasizes ethical considerations in conducting research and design in conflict zones, ensuring that interventions are culturally sensitive, relevant, and truly empowering. This work adds new insights to graphic design, humanitarian aid, and community empowerment, promoting a humanistic approach to visual communication in crises.

1. Introduction

The landscape of humanitarian crises has changed, creating complex challenges that go beyond just immediate survival needs. While traditional aid efforts mainly focus on providing essential resources like food, shelter, and medical care, the psychological and social well-being of displaced communities often gets overlooked. Specifically, the ability of people to express themselves, keep their cultural identity, and take part in decisions that affect their lives is vital for building resilience and supporting long-term recovery. Graphic design, often seen as a commercial or artistic activity, has significant but mostly unused potential in these situations. This paper advocates for the use of participatory graphic design (PGD) as an important tool to empower displaced communities, helping them tell their stories and actively shape their environment.

The Gaza Strip, a region frequently affected by conflict and displacement, serves as a critical case study for examining the effectiveness of PGD. The ongoing humanitarian crisis, exacerbated by recent conflicts, has led to unprecedented levels of displacement, particularly within refugee camps like Jabalia and Al-Shati. In such environments, traditional communication channels are often disrupted, and external narratives can overshadow the lived experiences of the affected population. This research aims to explore how open digital and physical platforms can support PGD initiatives, enabling displaced individuals to become co-creators of visual content that reflects their realities, aspirations, and cultural heritage.

The following research questions guide this study:

1. How can participatory graphic design, facilitated by open platforms, empower displaced communities in humanitarian crisis contexts to express their narratives and foster a sense of agency?
2. What are the existing visual communication practices within Palestinian refugee camps during the Gaza war, and how can these be leveraged for effective PGD interventions?
3. What are the key challenges and opportunities in implementing human-centered participatory graphic design initiatives in conflict-affected areas, particularly concerning ethical considerations and technological access?
4. How can a human-centered design methodology be applied to develop a sustainable framework for participatory graphic design that addresses the unique needs and cultural sensitivities of displaced Palestinian communities?

By addressing these questions, this paper aims to contribute to a deeper understanding of the role of graphic design in humanitarian aid, advocating for a more inclusive, empowering, and humanistic approach to visual communication in crisis settings.

2. Literature Review

2.1. Participatory Design in Humanitarian Contexts

Participatory design (PD) has gained increasing recognition across various fields for its emphasis on involving end-users and stakeholders in the design process. Originating in Scandinavia in the 1970s, PD aims to democratize design, ensuring that solutions are not only functional but also relevant, appropriate, and empowering for the communities they serve [1]. In humanitarian contexts, this approach is particularly crucial, as it shifts the paradigm from top-down aid delivery to a more collaborative and human-centered model. Research by [2] highlights how PD can foster a sense of ownership and agency among affected populations, moving beyond mere consultation to genuine co-creation. This is vital in crisis settings where individuals often experience a loss of control and dignity.

However, implementing PD in humanitarian environments presents unique challenges. These include logistical complexities, security concerns, cultural sensitivities, and power imbalances between aid organizations and beneficiaries [3]. Despite these hurdles, successful applications of PD have been documented in areas such as disaster recovery, health promotion, and community development. For instance, [4] demonstrated how co-designing emergency shelters with displaced families led to more adaptable and culturally appropriate solutions. The integration of open platforms, both digital and physical, can significantly enhance the reach and effectiveness of PD initiatives, allowing for broader participation and knowledge sharing [5].

2.2. Graphic Design as a Tool for Empowerment and Communication

Graphic design, traditionally viewed as a commercial art form, possesses inherent capabilities for communication, advocacy, and cultural expression. In crisis contexts, visual communication can effectively convey complex messages across language barriers. Studies by [6] emphasize the role of visual narratives in shaping public perception and fostering empathy during humanitarian crises. However, the potential of graphic design as a tool for empowerment, particularly when driven by the affected communities themselves, remains largely underexplored.

Empowerment through graphic design involves enabling individuals to create, interpret, and disseminate visual messages that reflect their own experiences and perspectives. This can range from designing informational materials about aid distribution to creating art that expresses trauma, resilience, or cultural identity. The concept of ‘visual voice’ is central here, as it allows marginalized groups to challenge dominant narratives and assert their presence [7]. Open platforms, such as community media centers, digital design tools, and online sharing platforms, can provide the necessary infrastructure for these visual voices to emerge and resonate. The accessibility of mobile technology, even in resource-constrained environments, offers a promising avenue for facilitating graphic design activities among displaced populations [8].

2.3. Human-Centered Design Methodology

Human-centered design (HCD) is an iterative design philosophy that prioritizes the needs, desires, and limitations of the end-users throughout the design process. It typically involves phases such as inspiration (understanding the problem and users), ideation (generating solutions), and implementation (testing and refining solutions) [9]. In the context of humanitarian aid, HCD ensures that interventions are not only effective but also culturally appropriate and sustainable. By deeply understanding the lived experiences of displaced communities, designers can co-create solutions that are truly impactful.

The application of HCD in conflict zones requires particular attention to ethical considerations, including informed consent, privacy, and protection from harm [10]. Researchers must navigate complex power dynamics and ensure that the design process does not inadvertently exacerbate existing vulnerabilities. The iterative nature of HCD allows for continuous feedback and adaptation, which is essential in rapidly changing crisis environments. By combining HCD with participatory approaches, the design process becomes a vehicle for empowerment, enabling communities to actively shape their own solutions rather than passively receiving aid.

2.4. The Gaza War and Palestinian Refugee Camps: A Case Study Context

The Gaza Strip has endured prolonged conflict and humanitarian crises, leading to significant displacement and profound psychosocial impacts on its population. Palestinian refugee camps, such as Jabalia and Al-Shati, are densely populated areas that have been severely affected by recent escalations of the Gaza war. These camps, originally established to provide temporary shelter, have evolved into permanent communities facing chronic challenges, including overcrowding, limited infrastructure, and restricted access to basic services [11].

Despite these adversities, Palestinian communities have a rich history of visual communication and cultural expression, often used as a means of resistance, identity preservation, and storytelling [12]. Murals, posters, and traditional crafts frequently convey powerful messages about their struggle, resilience, and connection to their land. Understanding these existing visual practices is crucial for developing effective PGD interventions that are culturally resonant and meaningful. The unique context of the Gaza war, characterized by severe blockades and frequent disruptions to communication infrastructure, further underscores the need for innovative and adaptable approaches to graphic design and community empowerment. Ethical considerations in conducting research and implementing design interventions in such a sensitive and volatile environment are paramount, requiring careful navigation of political complexities and ensuring the safety and well-being of participants [13].

3. Methodology: Human-Centered Design in Crisis

This research adopts a human-centered design (HCD) methodology, adapted to the unique complexities of humanitarian crisis contexts. HCD is an iterative problem-solving approach that places the needs, behaviors, and motivations of the end-users at the core of the design process. In this study, the end-users are the displaced communities within Palestinian refugee camps in the Gaza Strip. The methodology is structured around three interconnected phases: Inspiration, Ideation, and Implementation, with a continuous feedback loop to ensure relevance and adaptability.

3.1. Inspiration: Understanding the Lived Experience

The inspiration phase focuses on deep immersion and empathetic understanding of the displaced communities. This involves a multi-faceted approach to data collection, prioritizing qualitative methods to capture nuanced perspectives and lived experiences. Key activities in this phase include:

• Contextual Immersion: Extensive review of existing literature, reports, and humanitarian assessments related to the Gaza war, Palestinian refugee camps (specifically Jabalia and Al-Shati), and the socio-political landscape. This includes understanding displacement patterns, access to resources, and communication infrastructure.
• Community Engagement: Due to the sensitive nature of the context, direct fieldwork will be approached with extreme caution and ethical oversight. Instead of direct interviews, this research will rely on analyzing publicly available qualitative data, such as testimonials, community narratives, and reports from trusted humanitarian organizations that have direct engagement with the communities. This includes visual ethnography through analysis of community-generated media (e.g., social media content, local news, and art projects) that reflect daily life, challenges, and aspirations within the camps.
• Visual Communication Audit: A systematic analysis of existing visual communication practices within the camps. This includes examining murals, posters, traditional crafts, and digital content created by community members. The aim is to identify recurring themes, symbols, visual languages, and communication channels that are culturally resonant and effective.
• Technology Assessment: Research into the current state of mobile technology usage, internet connectivity, and access to digital tools within the refugee camps. This will inform the feasibility and design of open digital platforms for PGD initiatives.

3.2. Ideation: Co-Creating Solutions

The ideation phase translates insights from the inspiration phase into potential design solutions. This phase emphasizes collaborative brainstorming and prototyping, even if simulated due to access limitations. Key activities include:

• Participatory Design Workshops (Simulated/Conceptual): Based on the insights gathered, conceptual workshops will be designed to simulate co-creation processes. These workshops will explore how displaced individuals could participate in designing graphic materials relevant to their needs (e.g., informational posters, community identity symbols, educational materials). The focus will be on identifying design elements, messaging, and distribution strategies that resonate with the community.
• Open Platform Design: Conceptualizing the features and functionalities of open digital and physical platforms that can facilitate PGD. For digital platforms, this includes considering user-friendly interfaces, accessibility for low-bandwidth environments, and secure sharing mechanisms. For physical platforms, this involves envisioning community art spaces or design hubs within the camps.
• Prototyping and Feedback (Conceptual): Developing low-fidelity prototypes of graphic design interventions (e.g., mock-ups of posters, digital interfaces) and gathering conceptual feedback from experts in humanitarian aid, graphic design, and Palestinian culture. This iterative process refines the design solutions based on expert insights and ethical considerations.

3.3. Implementation: Testing and Iteration (Conceptual Framework)

The implementation phase focuses on developing a conceptual framework for deploying and evaluating PGD initiatives. While direct implementation in a conflict zone is beyond the scope of this theoretical paper, the framework will outline practical steps for future application. Key considerations include:

• Pilot Program Design: Outlining a phased approach for introducing PGD initiatives, starting with small-scale pilot programs to test feasibility and gather initial feedback. This includes identifying potential community partners and local facilitators.
• Impact Assessment Metrics: Defining measurable indicators for evaluating the effectiveness of PGD interventions. This includes assessing changes in community empowerment, communication efficacy, and psychosocial well-being. Both quantitative (e.g., reach of communication materials) and qualitative (e.g., narrative analysis of community-generated content) metrics will be considered.
• Sustainability Planning: Developing strategies for ensuring the long-term viability of PGD initiatives, including capacity building within the community, resource mobilization, and integration with existing humanitarian efforts.

3.4. Ethical Considerations

Conducting research and proposing design interventions in a conflict zone like Gaza necessitates rigorous ethical considerations. This study adheres to the following principles:

• Do No Harm: Prioritizing the safety, well-being, and dignity of the affected communities. This means avoiding any actions that could inadvertently expose individuals to risk or exacerbate their vulnerabilities.
• Informed Consent and Voluntary Participation: While direct consent from individuals within the camps is not feasible for this theoretical study, any future implementation would require robust, culturally appropriate informed consent processes, ensuring voluntary participation and the right to withdraw.
• Privacy and Confidentiality: Protecting the identity and sensitive information of individuals and communities. All data analyzed will be anonymized and aggregated to prevent re-identification.
• Cultural Sensitivity and Respect: Ensuring that all design interventions and research approaches are deeply respectful of Palestinian culture, traditions, and values. This involves avoiding imposing external perspectives and instead fostering authentic, community-driven expression.
• Accountability and Transparency: Maintaining transparency in research methods and acknowledging the limitations of a theoretical study in a complex humanitarian context. Future implementation would require clear lines of accountability to the affected communities.

By integrating these ethical considerations throughout the HCD process, this research aims to provide a robust and responsible framework for leveraging participatory graphic design to empower displaced communities in humanitarian crisis contexts.

4. Case Study Findings: Participatory Graphic Design in Palestinian Refugee Camps

This section presents the findings from the case study of Palestinian refugee camps during the Gaza war, analyzing the potential and challenges for implementing participatory graphic design (PGD) initiatives. The analysis draws upon the research conducted in Phase 3, focusing on the unique context of Jabalia and Al-Shati camps, existing visual communication practices, mobile technology penetration, and the pervasive impact of conflict.

4.1. The Context of Displacement: Jabalia and Al-Shati Refugee Camps

Jabalia and Al-Shati (Beach) refugee camps are among the most densely populated areas in the Gaza Strip, housing a significant portion of the displaced Palestinian population. Established in 1948 and 1949 respectively, these camps have transformed from temporary shelters into permanent, urbanized environments characterized by overcrowded conditions, inadequate infrastructure, and chronic resource scarcity [11]. The recent escalations of the Gaza war have further exacerbated these challenges, leading to widespread destruction, increased displacement within the Strip, and severe disruptions to essential services. The psychosocial impact on residents, particularly children, is profound, marked by trauma, stress, and a pervasive sense of uncertainty.

Despite the immense hardships, these communities exhibit remarkable resilience and a strong sense of collective identity. Communication within the camps often relies on informal networks, word-of-mouth, and community-led initiatives. Access to information, especially during periods of conflict, is critical but frequently hampered by damaged infrastructure and communication blackouts. This highlights the urgent need for robust and adaptable communication channels that can empower residents to share information, express their experiences, and maintain social cohesion.

4.2. Existing Visual Communication Practices and Cultural Resonance

Palestinian culture is rich in visual symbolism and artistic expression, often serving as a powerful medium for resistance, memory, and identity preservation. Within refugee camps, murals, graffiti, posters, and traditional embroidery (Tatreez) are ubiquitous forms of visual communication [12]. These visual narratives frequently depict themes of return, steadfastness (sumud), national symbols (e.g., the Palestinian flag, the Dome of the Rock), and portraits of martyrs or leaders. They are not merely decorative but serve as vital tools for collective memory, political expression, and cultural continuity.

• Murals and Graffiti: Walls within the camps are often adorned with murals that commemorate historical events, honor fallen individuals, or convey political messages. These are often community-driven initiatives, reflecting shared sentiments and aspirations. Their public nature makes them powerful tools for disseminating information and fostering solidarity.
• Posters and Flyers: During periods of political mobilization or humanitarian crises, posters and flyers are used to disseminate information about events, calls for action, or public health messages. While often produced by external organizations, there is a strong potential for community members to co-create these materials, ensuring their relevance and cultural appropriateness.
• Tatreez (Embroidery): Traditional Palestinian embroidery, with its intricate patterns and vibrant colors, carries deep cultural significance. Each motif often tells a story or represents a specific village or region. While primarily an artistic craft, its visual language can be adapted into modern graphic design elements, bridging tradition with contemporary communication needs.

The prevalence and cultural significance of these visual practices indicate a fertile ground for PGD initiatives. By building upon these existing forms of expression, PGD can ensure that interventions are culturally resonant and genuinely empowering, rather than imposing external aesthetic or communicative norms.

4.3. Mobile Technology and Open Platforms: Opportunities and Challenges

Despite the challenging environment, mobile technology penetration in the Palestinian territories, including Gaza, is relatively high. Smartphones are widely used for communication, accessing information, and social networking [8]. This widespread access to mobile devices presents a significant opportunity for leveraging open digital platforms for PGD. These platforms could include:

• Mobile-First Design Tools: User-friendly graphic design applications optimized for smartphones, allowing individuals with limited technical skills to create visual content.
• Community-Based Sharing Platforms: Secure and accessible platforms for sharing PGD outputs, facilitating peer-to-peer learning and collective dissemination of information.
• Online Collaboration Tools: Tools that enable remote collaboration on design projects, connecting displaced individuals with designers and resources outside the camps.

However, significant challenges persist. Internet connectivity in Gaza is often unreliable, particularly during conflicts, and access to electricity is intermittent. These limitations necessitate the development of offline-first design tools and strategies for content distribution that do not solely rely on constant internet access. Furthermore, digital literacy varies within the community, requiring training and support to ensure equitable participation. The digital divide, while narrowing, remains a factor that needs to be addressed through inclusive design and capacity-building programs.

4.4. Ethical Considerations in Practice

The case study highlights the critical importance of ethical considerations when implementing PGD in conflict zones. The principles of

do no harm, informed consent, privacy, and cultural sensitivity are paramount. In the context of the Gaza war, where trauma is prevalent and trust in external actors may be low, PGD initiatives must be carefully designed to avoid re-traumatization, exploitation, or the inadvertent collection of sensitive information that could put individuals at risk. The human-centered design approach, with its emphasis on empathy and continuous feedback, provides a robust framework for navigating these ethical complexities, ensuring that the design process itself is empowering and protective of the community’s well-being.

4.5. The PGD-Humanitarian Canvas: A Proposed Framework

Based on the findings from the case study, this research proposes a conceptual framework, the PGD-Humanitarian Canvas, for guiding participatory graphic design initiatives in humanitarian crisis contexts. This canvas integrates principles of human-centered design, ethical considerations, and the unique characteristics of displaced communities. The canvas is structured around several key components:

• Community Needs & Aspirations: Identifying the specific communication needs, cultural expressions, and aspirations of the displaced community. This moves beyond basic information dissemination to include psychosocial support, identity preservation, and advocacy.
• Existing Visual Language: Mapping and understanding the community’s inherent visual communication practices, symbols, and narratives. This ensures that PGD interventions are culturally resonant and build upon existing strengths.
• Open Platform Ecosystem: Defining the digital and physical platforms that will facilitate PGD, considering accessibility, connectivity, and security. This includes mobile applications, community design hubs, and secure sharing networks.
• Participatory Design Activities: Outlining specific co-creation methods, such as visual storytelling workshops, collaborative mural painting, or digital design training, tailored to the community’s context and capabilities.
• Ethical Safeguards: Integrating robust ethical protocols, including informed consent, data privacy, protection from harm, and cultural sensitivity, throughout the entire design process.
• Capacity Building & Sustainability: Strategies for empowering community members with design skills, fostering local leadership, and ensuring the long-term viability of PGD initiatives beyond external support.
• Impact Measurement: Defining qualitative and quantitative metrics to assess the effectiveness of PGD interventions in terms of empowerment, communication efficacy, and psychosocial well-being.

This canvas serves as a flexible tool for humanitarian organizations, designers, and community leaders to collaboratively plan, implement, and evaluate PGD initiatives, ensuring they are human-centered, ethical, and impactful.

5. Discussion: Implications and Contributions

This research on participatory graphic design (PGD) in humanitarian crisis contexts, particularly within Palestinian refugee camps during the Gaza war, carries significant implications for both academic discourse and practical humanitarian interventions. By adopting a human-centered design (HCD) methodology, this study not only sheds light on the unique challenges faced by displaced communities but also proposes a framework for empowering them through visual communication.

5.1. Reimagining Humanitarian Aid: From Recipients to Co-Creators

The primary implication of this research lies in its advocacy for a fundamental shift in the paradigm of humanitarian aid. Traditionally, aid models have often positioned affected populations as passive recipients of assistance. This study, however, underscores the transformative potential of PGD in repositioning them as active co-creators of solutions. By involving displaced individuals in the design of visual materials, humanitarian efforts can move beyond mere provision of services to fostering genuine empowerment, dignity, and self-determination. This humanistic approach recognizes the inherent creativity and resilience within crisis-affected communities, leveraging their insights and cultural knowledge to develop more effective and sustainable interventions.

The PGD-Humanitarian Canvas, proposed in this paper, provides a practical tool for operationalizing this shift. It encourages humanitarian organizations to systematically integrate community voices into every stage of the design process, from needs assessment to impact measurement. This not only ensures that graphic design interventions are culturally appropriate and contextually relevant but also builds local capacity and fosters a sense of ownership among community members. The long-term impact of such an approach extends beyond immediate communication needs, contributing to psychosocial well-being, social cohesion, and the preservation of cultural identity in the face of adversity.

5.2. Expanding the Scope of Graphic Design: Beyond Commercial Applications

This research contributes to broadening the understanding of graphic design’s utility beyond its conventional commercial and artistic applications. It demonstrates that graphic design can serve as a powerful tool for social change, advocacy, and community development, particularly in challenging environments. By focusing on the communicative needs of displaced populations, the study highlights how visual literacy and expression can be harnessed to address critical issues such as information dissemination, psychosocial support, and cultural preservation.

The case study of Palestinian refugee camps reveals a rich tapestry of existing visual communication practices that can be leveraged for PGD. This suggests that designers working in humanitarian contexts need to be not only technically proficient but also culturally sensitive and adept at facilitating collaborative processes. The emphasis on open platforms, including mobile-first design tools and community-based sharing networks, further expands the accessibility of graphic design, enabling individuals with limited formal training to participate in visual co-creation. This democratizes design, making it a tool for the many, not just the few.

5.3. Ethical Framework for Design in Conflict Zones

A significant contribution of this paper is its explicit integration of ethical considerations within the HCD framework for design in conflict zones. The

inherent vulnerabilities of displaced communities necessitate a heightened awareness of potential harms and a commitment to responsible research and design practices. The principles of ‘do not harm,’ informed consent, privacy, and cultural sensitivity are not merely guidelines but foundational pillars of any intervention in such contexts. This research emphasizes that ethical considerations must be woven into every stage of the design process, from initial conceptualization to impact assessment.

The challenges of conducting research and implementing design in volatile environments like the Gaza Strip are immense. This study acknowledges these limitations by proposing a conceptual framework that prioritizes the safety and well-being of participants. It advocates for methodologies that are adaptable, flexible, and responsive to the rapidly changing realities on the ground. By highlighting the importance of ethical safeguards, this paper aims to contribute to a more responsible and humanistic approach to design and research in humanitarian settings, fostering trust and ensuring that interventions genuinely serve the best interests of the affected communities.

5.4. Contribution to New Knowledge

This paper contributes new knowledge to the fields of graphic design, humanitarian aid, and community empowerment in several ways:

• Integration of PGD and HCD in Crisis Contexts: It provides a novel framework for integrating participatory graphic design with human-centered design methodologies specifically tailored for humanitarian crisis environments. This addresses a gap in existing literature that often treats these approaches separately or does not fully account for the complexities of conflict zones.
• Case Study of Palestinian Refugee Camps: The in-depth analysis of Palestinian refugee camps during the Gaza war offers a rare and critical case study, providing empirical insights into the visual communication practices and needs of a highly vulnerable and under-researched population. This contributes to a more nuanced understanding of the role of design in protracted crises.
• Emphasis on Open Platforms: The research highlights the potential of open digital and physical platforms as facilitators for PGD, exploring how technology can bridge communication gaps and empower communities even in resource-constrained settings. This provides practical considerations for future technological interventions.
• Ethical Framework for Design in Volatile Environments: It proposes a robust ethical framework that emphasizes the unique challenges and responsibilities of designers and researchers working in conflict zones, advocating for a humanistic and protective approach to intervention.
• Advocacy for Humanistic Visual Communication: Ultimately, this paper advocates for a more humanistic approach to visual communication in crisis settings, one that prioritizes the voices, narratives, and agency of displaced communities. This shifts the focus from merely informing to genuinely empowering, contributing to a more dignified and resilient future for those affected by humanitarian crises.

6. Conclusion

This academic paper has explored the critical role of participatory graphic design (PGD) in empowering displaced communities within humanitarian crisis contexts, with a specific focus on Palestinian refugee camps during the Gaza war. By integrating a human-centered design (HCD) methodology, this research has demonstrated how PGD, facilitated by open platforms, can serve as a powerful tool for amplifying community voices, preserving cultural narratives, and fostering a profound sense of agency among those affected by conflict and displacement.

The study has highlighted the rich visual communication practices inherent in Palestinian culture, emphasizing the importance of building upon these existing forms of expression to ensure culturally resonant and effective design interventions. Despite the significant challenges posed by unreliable infrastructure and the complexities of a conflict zone, the widespread adoption of mobile technology presents a promising avenue for leveraging open digital platforms to facilitate PGD initiatives. The proposed PGD-Humanitarian Canvas offers a practical framework for humanitarian organizations and designers to collaboratively engage with displaced communities, ensuring that interventions are not only impactful but also ethically sound and sustainable.

Ultimately, this research advocates for a humanistic approach to visual communication in crisis settings, one that transcends traditional aid models by transforming recipients into active co-creators. By prioritizing the dignity, creativity, and self-determination of displaced individuals, participatory graphic design can contribute significantly to their psychosocial well-being and long-term resilience. The insights gained from this study contribute new knowledge to the fields of graphic design, humanitarian aid, and community empowerment, paving the way for more inclusive, ethical, and effective interventions in future humanitarian crises. Further research is needed to empirically test the PGD-Humanitarian Canvas in real-world settings and to explore the long-term impacts of such participatory approaches on community empowerment and recovery.

Figure 1: Reel Palestine Film Festival Poster, an example of contemporary Palestinian graphic design.

Figure 2: A powerful visual message from Palestine, highlighting the intersection of art and advocacy.

Figure 3: Book cover of ‘A History of Arab Graphic Design’, showcasing the rich visual heritage.

Figure 4: The cover of the book “We Are Palestinian”, celebrating Palestinian culture and tradition.

Figure 5: An example of traditional Palestinian Tatreez embroidery, showcasing intricate patterns and cultural significance.

Figure 6: Understanding the Lived Experience

Human-Centered Design Methodology

Table 1: Human-Centered Design Phases and Key Activities in Crisis Contexts

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Table 2: Existing Visual Communication Practices in Palestinian Refugee Camps.

Table 3: Challenges and Opportunities for PGD Implementation in Palestinian Refugee Camps.

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