Graphic design production as a sign
The article attempts to show that graphic design production works through a particular semiotic process. The performance of a new sign category, the Graphic Sign, makes possible the articulation of the iconic, the plastic, and the linguistic signs in case of a specific dialogue that exists between the letters and the images in some graphic design productions. Overhauling theories of Eco, Groupe μ and Klinkenberg, we will be able to understand that Graphic Design generates meaning in a formal dimension, yet it also generates particular cognitive structures. Therefore, understanding this new kind of sign, we can recognize its communicational dimension and the powerful cultural creation platform this Design is, beyond its ability to make things visible and in the best cases clear and beautiful.
Graphic Sign; Graphic Design; semiotic model
SIGN SYSTEMS STUDIES. ISSN 1406-4243 (print), 1736-7409 (online). E-mail: firstname.lastname@example.org. Postal address: Sign Systems Studies, Dept. of Semiotics, University of Tartu, Jakobi St. 2, 51014 Tartu, Estonia