本研究〈設計語言民族化之創作研究〉，是一篇有關於藝術與設計的創作論述。主要是探討，身處文化第三世界（以作者自身所處的臺灣為主）之平面設計的「現代化」情境中，若以後殖民理論中「反殖民」和「去殖民」的消解權力中心的觀念，對特定歷史時空下的「被殖民」語境或「東方主義化」的現象進行反思與實踐，是否能達到「文藝去殖民化」立場的藝術設計之可能？
臺灣社會的發展從戰前至今，乃屬於從殖民地階段邁入後殖民區域階段的歷史進程。所有臺灣文化藝術的發展，都受到殖民體制與後殖民情境所帶來的影響；而現代化的洗滌與深化，同時也代表著文化被殖民狀態的加深。然而，平面設計不只是商業服務，它也是文化藝術的一個環節，故本研究預設平面設計的現代性走向乃是殖民化的具體顯影。
本研究主要以後現代史學、後殖民論述，以及去殖民論述為三種論釋「設計去殖民化」的學理依據，並以藝術及設計交互對映，時而對立，時而對揚的文獻探討貫穿全文。為了因應研究問題，提出幾項辯證性的理念，如「平面設計可以去殖民化」、「設計是一種文藝立場」、「設計方法即設計目的」、「現代設計中的東方符號往往是『東方主義』的顯現」、「設計語言民族化中的書法還是書法亦為語言」、「設計去殖民化的首要工作是質疑現代主義設計之絕對正當性」、「『設計要解決問題』是文化被規定性」、「設計語言民族化中的『語言』不可單獨抽離」以及「『隨筆即完稿』是反叛現代主義設計的識別系統創作方法」等等；此外，在具體的設計發展方法上，以回歸傳統書法的筆墨精神及板印精神作為一種嘗試，將書法及版畫作為設計語言民族化的策略，也是去殖民文藝生產方式的一種精神表徵。
本研究企圖解決作為一個抱持鮮明反殖民立場的設計創作者，是否能藉由藝術養成以及去殖民思想上的觀照，抗拒自身所在的全球化、文化資本主義化的洪流，並邁向設計語言民族化的可能。

This article aims to link the “modernization” in cultural third world’s graphic design (Taiwanese graphic design in particular,) to the colonization and orientalism under certain historical circumstances, using the concept of decolonization, anti-colonization, and anti-authority in postcolonial literature. Furthermore, as an artist devoting in art decolonization, this article describes how I observe, analysis, and avoid all kinds of colonization in design creation. As a final climax, this article aims to fundamentally subvert the necessity of design modernism, and by returning to the tradition of “nationalize for art language,” to obtain a design representation and cultural interpretation different from the common modernism in design. The article would be written in first person to strengthen the immediacy of self-expression.
The level of contribution of this article would have to base on three assumptions on cultural awareness. First, we agree that, from WW2 till now, Taiwan’s social development is a progress from colonization to post-colonization. Second, under the first assumption, we agree that all cultural and artistic developments in Taiwan are influenced by the modernization due to colonization and post-colonization; in fact, the modernization even strengthens the level of cultural colonization. Third, we agree that graphic design is not just a business service, but also a part of art, and therefore, it must reflects part of the colonization mentioned above. Only under these assumptions would the objective of this article make sense, and would the discussion of whether Asian graphic design should decolonize meaningful. To strengthen my argument, I propose to study this issue through postmodern historiography, postcolonial discourse and decolonoial discourse, which would be further established through various literature review throughout the article.
In the following, I present various concepts such as “necessity of decolonization in graphic design,” “design is a literary stance,” “design method is the objective in itself,” “oriental symbols in modern design is a representation of orientalism,” “transcend of calligraphy from pure language,” “revolution from design modernism is the top priority in design decolonization,” “solving problem is not a must in design but an intrinsic cultural burden,” “language could not be isolated in the nationalize for art language” and “finalization in sketch is a rebel from design modernism;” they represent my cultural ideology, as well as my path back to tradition. This article could be viewed as self-review of my own design, of how I connect my own artistic development and belief, to an anti-colonial designer that constantly fights against globalization and cultural capitalism in this extreme era.