Graphic design is often seen in the commercial context and is discussed through topics linked to software and technology. When we look around us we can realise that billboards, banners, posters and most of the print that surround us in the public space are delivering messages of marketing, corporations, consumerism and other commercially inclined narratives. This, however, is not the only way to comprehend the practice of a graphic designer. Graphic design can take a socio-pedagogical and historical role and distribute alternative messages in the society which are not linked to money and consumption, unless education, reading and studying are considered consumption of sorts.
It is obvious that graphic design is a powerful tool that shapes our understanding of reality. This happens through being exposed to the work. Posters are claimed to mirror societies by many theorists and most visual communication is mediated by a graphic designer. Thus, Bonsiepe stated already in 2005 in his speech Design and Democracy that there is an absence of questioning activities linked to design production. It is yet a relevant theme that research needs to approach; also in a post-colony where the printed poster is ubiquitous. A simple sheet of printed paper. A very simple but extremely complex and powerful. There lies an investigation that this paper will start. The outcome of this paper to share knowledge within the researchers about creating new meaningful pathways in understanding globally important practice of graphic design. Art and design are universally important.