What we find so fascinating about graphic design is precisely that, in its ideal form, it is a perfect example of ‘praxis’: a synthesis of theory and practice in which each informs the other, simultaneously. In the true practice of graphic design, the artificial borders between manual labor and intellectual labor are torn down. Thinking becomes a form of making, and making becomes a form of thinking.
In ‘Socialism and Print’, Debray hints at a similar model of praxis, when he refers to both the professional typographer and the professional printer as quintessentially a “‘worker intellectual or intellectual worker’, the very ideal of that human type who would become the pivot of socialism: ‘the conscious proletarian’”.

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