Week 3, Sign Symbol Logo Presentation from Introduction to Graphic Design, Columbia College Chicago. Much of the content taken from readings, including the textbooks: Timothy Samara's "Design Elements" and "Design Evolution." Other references cited in presentation. Please note: many slides are intended for class discussion and might not make sense out of context.

1. SIGN SYMBOL LOGO

2. Semiotics

3. Semiotics
The theory of signs. From the Greek semeiotikos, which
means “an interpreter of signs.” Signing is vital to human
existence because it underlies all forms of communication.
Within semiotics, anything that is used for human
communication is defined as a sign: gestures, facial
expressions, poetry, rituals, clothes, food, music, morse
code, marketing, commercials, film, etc.

4. Signs are important because they can mean something
other than themselves.

5. Signs are important because they can mean something
other than themselves.
Stop means Stop

6. Signs are important because they can mean something
other than themselves.
Stop means Stop
Apple means Apple

7. Signs are important because they can mean something
other than themselves.
Stop means Stop
Apple means Apple
Crown means Crown

8. Signs are important because they can mean something
other than themselves.
Stop means Stop
Apple means Apple
Crown means Crown
Stop means Danger

9. Signs are important because they can mean something
other than themselves.
Stop means Stop
Apple means Apple
Crown means Crown
Stop means Danger
Apple means Healthy

10. Signs are important because they can mean something
other than themselves.
Stop means Stop
Apple means Apple
Crown means Crown
Stop means Danger
Apple means Healthy
Crown means King

11. The interpretation of a sign is
dependent on the context in which it
is used, its relationship to other signs,
and its environment.

12. Tunsia Niger China
S. Korea Mexico Canada Malasia

14. There are numerous relationships that can exist between
signifier and signified. We can have the same signifier
with different signifieds and different signifiers with the
same signified.

15. There are numerous relationships that can exist between
signifier and signified. We can have the same signifier
with different signifieds and different signifiers with the
same signified.
Signifier Signified
Apple Temptation
Apple Healthy
Apple Fruit

16. There are numerous relationships that can exist between
signifier and signified. We can have the same signifier
with different signifieds and different signifiers with the
same signified.
Signifier Signified Signifier Signified
Apple Temptation Apple Apple
Apple Healthy Pomme Apple
Apple Fruit Apfel Apple

18. Types of Signs

20. Icon

21. Icon
Index

22. Icon
Index
Symbol CAT

23. Icon
The signifier is perceived as resembling or imitating the
signified. A pictoral representation, a photograph, an architect’s
model of a building, or a star chart are all icons because they
imitate or copy aspects of their subject.

24. Index
An index had a factual or casual connection that points
towards its object. Wet streets are a sign that it has rained
recently. Smoke signifies fire. A nest image is an icon of a nest
but also an index of a bird.

25. Symbol
A symbol has an arbitrary relationship between the signifier
and the signified. The interpreter understands the symbol
through previous knowledge and experience—it must be
learned and agreed upon. Spoken or written words are
symbols. There is no reason that the word CAT should
represent a cat instead of a tree.
CAT

26. Metasymbol
A symbol whose meaning transcends the tangible realm of
simple one-to-one relationships. History, culture, and
tradition all play a role in creating metasymbols, such as the
dove with an olive brach as a symbol for peace. For certain
audiences, religious and magical sugns and symbols take
on these properties.

30. Denotation & Connotation

31. Almost every graphic form has a dual
existence: it is an optical phenomenon
with visual properties, and it is a
communicative signal that functions
with other signals to form a message.

32. In addition to their optical and
perceptual life, graphic forms have
symbolic life as signs, symbols, and
images that combine with one another
to convey a message to the viewer.

33. Denotation
Denotation is the direct meaning of a word, sign, or image.
Denotation is the first order of signification: the signifier is the
image itself and the signified the idea or concept--–what it is a
picture of.
CAT

34. Connotation
A second level of meaning, conveyed or suggested in addition to
the denotation. Connotation is a second-order signifying system
that uses the first sign, (signifier and signified), as its signifier and
attaches an additional meaning, another signified, to it.

35. ONE DOLLAR

37. At the denotative level this is a photograph of the
movie star Marilyn Monroe. At a connotative level
we associate this photograph with Marilyn
Monroe's star qualities of glamour, sexuality, beauty
- if this is an early photograph - but also with her
depression, drug-taking and untimely death if it is
one of her last photographs.

38. At a mythic level we understand this sign as
activating the myth of Hollywood: the dream factory
that produces glamour in the form of the stars it
constructs, but also the dream machine that can
crush them - all with a view to profit and
expediency. (Hayward 1996, 310)

39. Metaphor

40. With a metaphor there is an implied
comparison between two similar or
dissimilar things that share a certain
quality. With a simile we say x is like
y, while with a metaphor we say that
x is y.
By drawing attention to the ways in
which a familiar thing, x, can be seen
in terms of an unfamiliar thing, y, we
help to show that the qualities of the
first thing are more like the second
thing than we had initially thought.

41. Signifier Linking Notion Signified
Abstract concepts
Person Object
(beauty, elegance, exclusive)
=

42. =

43. =

44. Mixed Messages

50. “...the reason new forms usually don’t emerge
from the design activity ... is that design is in
many ways a vernacular language.
Design-related work assumes that the audience
addressed has an a priori understanding of the
vocabulary.”
—Milton Glaser

51. The ability of the audience to decode and
understand a graphic design becomes a major
limitation governing its form and content.
(From Meggs, Type & Image)

52. CAT

53. LOGO, LOGOTYPE, MARK

54. logo

55. logotype

56. mark

57. Criteria for a Successful Logo
from
by Gregory Thomas

58. Visibility

59. Application

60. Distinctiveness

61. Simplicity/Universality

62. Retention

63. Color

64. Descriptiveness

65. Timelessness

66. Modularity

67. Equity

68. Equity

69. Evolution of a Logo

78. A Few Conventions & Trends

80. Unified shape

81. Mark within logotype

82. Mark outside of logotype

83. Big mark, little logotype

84. Big logotype, little mark

85. Shape containers

86. Underline/overline

87. Descriptive

88. Symbolic
.svg.svg

89. Typographic