Critical design/design fiction originates from graphic design authorship. Critical design utilizes design as a medium to display political, social, economic, and cultural issues. This approach has a close association to contemporary product design and is closely related to graphic design authorship, and the objects in critical design serve the function of acting as polemical actors. Besides, critical design consists of contemporary designers who have a critical attitude towards mainstream product design. These designers borrow from recent commercial design despite distancing themselves from it. Design fiction raises various themes in its agenda such as sexuality, technology, and genetics among others. Here, elements of critical design carry more meaning than their intended function. The difference between graphic design authorship and critical design/design fiction is the act of self-initiation where the designers do not need commissioning. The other differences in the two are the politicized viewpoints of the designers ranging from cultural, political, economic, social, and personal concerns.
Inasmuch, they both offer solutions as well as points to ponder. In conventional terms, the images of critical design are superfluous as visible in the assertion of their presence. Theoretical projects of graphic design authorship have their foundation on the discourse of critical design. Graphic design authorship and critical designed are intertwined (Critical design and design fiction 128). Design fiction has a strong affiliation to science fiction and science fact. According to design fiction, it is possible to imagine the future with the use of narrative devices and has a close connection with the way designers work. Design fiction is an interdisciplinary subject related to computer science, engineering, and experimental product design. The subject has existed earlier that what many may believe and it uses arts and humanities as well. Graphic design authorship has included design fiction in its definition in practice and theory. It is only normal that design work should be in liberation from the rational.
Design fiction/critical design offer a different perspective into design by creating opportunities, generating awareness, and changing values. This approach brings people and social elements together at the stage, and creates a boundary between fact and fiction while adding a layer of the future into a story. The diegetic prototypes are the designed objects, which are usually consistent with the story despite not existing in the real world. In addition, they have an integral and active role in the story. In recent years, design function serves as a catalyst in the introduction of a new product or a new technology. Therefore, the diegetic prototypes act as stimuli to evoke certain emotions about the product or the technology.
Critical design has a potential place in animation and information design. Its approach research is through design that creates a foundation for design practice while at the same looks for alternative design values. Despite its methods being hard to adopt, critical design plays a vital role in information design and animation. The ideas in critical design can be utilized practical resources in animation and information design. Critical design undermines social conformity and leads to social emancipation. In animation, it will engage the imagination of the user. Its primary intended function is knowledge. It leads the viewer to the world of ideas rather than being an array of objects. It will act to bring about critical sensibility among the public and the designers as well. It demands and creates for alternatives in designs in the future.
Works cited
Critical Design and Design Fiction. Print
