"We need to separate out the issues of critical practice and critical writing. Speaking in the most general terms, it is clearly desirable for designers to learn how to think critically about design. It is still unclear what the basis of this criticality could possibly be if a designer’s fundamental assumption is that everything just is what it is and nothing much can be done about it.
Critical thinking requires a sceptical approach to the object under consideration; it implies that something can and should be improved through any intervention; it must involve some degree of resistance to the way things are, however small-scale the design problem happens to be.”
Its relevance lies in the fact that it contains the sum of preceding dialogues, stories, experiences with various interlocutors,
and the fact that it induces a questioning
of these pre-existing values.
This is what makes for us a pertinent image. A good image should be in between two others, a previous one and another to come.
Postmodernism didn’t have much impact on graphic design until the middle of the 1980s. Initially, many designers thought it was just undisciplined self-indulgence […] But in fact it was a new way of thinking about design, one that instigated a new way of designing. Designers began to realize that as mediators of culture, they could no longer hide behind the “problems” they were “solving.”
[…] After the 80s designers may still choose to be anonymous, but they will never again be considered invisible. We are part of the message in the media. In the postmodern era we are not just mediators of information, but individuals who think creatively and visually about our culture.