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Thesis/Dissertation Collections
5-10-1994
Semiotics and cross-cultural communication
Lingya Dubinsky
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Recommended Citation
Rochester
Institute
ofTechnology
A Thesis Submitted
to theFaculty
ofThe College
ofImaging
Arts
andSciences
In
Candidacy
for
thedegree
ofMaster
ofFine Arts
Semiotics
andCross-Cultural Communication
Lingya H.
Dubinsky
A
p
p
o
v
a
Chief Adviser: R. Roger Remington
Signature:
D""
~ /~ 1'~1
Associate Adviser: Dr. Richard Zakia
Signature:
Date:
5"1/0/,1
Associate Adviser: John Ciampa
Signature:
Date:
Department Chairp,erson: Robert Keough
Signature:
Date:
~~
I
2-
-£r
Y
I,
Lingya Dubinsky
,
hereby grant permission to the Wallace Memorial Library
of RIT to reproduce my thesis in whole or in part. Any
Table
ofContents
Approval
Quotation
Acknowledgment
Introduction
Process
Conclusion
Bibliography
Glossary
Appendix:
1.
Thesis
Proposal
andPlan
2.
Drafts
3.
Sketch/Development
4.
Fall
Quarter
(research
material)M
i
r o . '1
8
9
3
-1
9
7
0
If
theinterplay
oflines
and colorsdoes
not expose theinner drama
ofdie
creator, then
it is
nothing
morethan
bourgeois
entertainment.The
forms
expressedby
anw
I
ed
g
m e nt
I
wouldlike
to usethisopportunity
to thank allmy
I
have been fortunate
to growup in
a multi-cultural environment.This
experiencehas
taught me torespect thedifferences
of each culture and tobe
tolerant.I
learned
toadjustmy behavior
and communication skills accordingly.Because
ofthis, I
have
developed
afascination for
global communication.Today
theInformation Super
Highway
brings
us even closer than ever.The
needfor
designers
tobreak
the culturalbarriers
and communicatewith other cultureshas
become
increasingly
important.
Graphic
designers
use words andimages
to elicit meaningsor messages.The
use of semiotic principlestodeconstruct
designs
helps designers
to understand the powerbehind
words andimages.
This
enablesdesigners
tobecome
more effective communicators."Semiotics
is
thestudy
ofthe waysin
which all these systems of signsfunction
and evolve, relate to meaning, serve andtransform their users,canbe
improved
tofulfill
new needs andmeet newchallenges."
(Toronto
Semiotic
Circle)
The study
of semiotics wasintroduced
during
my first
year graphic
design
seminar.I
knew
then thatI
wantedtouse semiotics
for
my
thesisproject.I
began
to thinkaboutthe thesisproject while
working
in
New York
City
during
the summer of
1993,
I
corresponded withDr. Richard
Zakia
because
I
was quite concerned aboutchoosing
theright thesis topic
for
myself.Dr. Zakia
specializesin
Semiotic
principles.He
was guestlecturer
atthe graphicdesign
seminar.I
consideredwriting
tohim for
someinspiration
anddirection.
I
alsoinvited
Dr.
Zakia
tobe
my
thesis
adviser.The ideas
for
my
thesisprojectbegan
toformulate.
Once
the thesis
topic,
"A
Semiotic Approach
to theDesign
Integration
ofWord
Imagery
andPicture
for
Different
Cultures''was
decided,
I
begin
toplantheprocedurefor
the thesisproject.
The
thesisplanning
started atFall
quarter.I
introduced
my
thesis topic tomy
chief adviser:Roger
Remington.
Professor Remington
suggested thatI
needed toshortenthe topicand
begin
the thesisplanning
and proposal.The
procedure
includes: Thesis
Proposal,
documentation
ofneed, project
description,
missionstatement, goals,
objectives,
processes andstrategies,
time andimplementation
plan, evaluationplan,bibliography,
glossary
ofterms,
and appendix(Appendix
1.)
This
project.
I
alsobegan
toresearchinformation
thatrelatedto semiotics, visual
theories,
and cross-culturalcommunication
(Appendix
4.)
The
evolution ofthe thesis topicaswell asthe thesisitself
progressed
during
three committee meetingsthroughoutthe
Fall
andWinter
quarters.Professor John Ciampa
was the thirdmember ofthis
committee.
I
was aware ofhis knowledge in
multi-mediaand communicationtheory.
When I
proposedmy
thesisprojectidea
during
thefirst
meeting, the main concern wasthe
topic; it
was tooambitious
for
one year thesis project.It
wastherefore
suggestedthat
I
needed to narrowit
down
andbe
morerealistic
in
terms oftheproject.We
have decided
thatI
should approach semiotic principles and cross-cultural
issues
from
a graphicdesigner
point of views and createan
interactive
multi-mediaapplication.The
purpose ofthe application would
be
educational as well asentertaining.
My
materials andinvestigation
ofcross-cultural
issues
shouldbe incorporated into
theapplication.
The
presentedinformation
shouldbe
clearand not
overwhelming
to the audience.The
topicwasthenaltered
from
"
A Semiotic Approach
to the
Design
ofWord
Imagery
andPictures
for
Cross-Culture"to
"Semiotics
andCross-Cultural
Communication."The
full
development
oftheapplicationsfor
theThesis
Show
startedin
theWinter
quarter,it
wasdetermined
that the
best
presentationfor my
thesiswas aninteractive
multi-media project
allowing
the audienceto
participateand
be drawn
in
by
theviewing
process.I
began
theprocess of
developing
aprototype oftheprojectin
ordertoshowthecommittee members.
I
had
theprototypeofmy
thesisapplicationby
the secondthesismeeting.The
suggestions and
feedback
werevery
helpful
in
terms ofguiding
me to complete a successfulinteractive
application(Appendix
3.)
Producing
anddesigning
aninteractive
multi-mediaproject
is
adifficult
task
because
ofthecomplexity
andinvolving
all skills.I
started to create sketchesfor
theapplication
(Appendix
2.)
I
practicedmy Hyper language
during
thecreation oftheprototype.The
disadvantage
ofpresenting
the projectin
aninteractive
format
is
theamount ofthe texts that can
be
show on the screen.However,
the advantage of multi-media projectis
thesound
dimension.
All
the texts thatincorporated
my
ownwriting
and researchideas,
wouldbe
recordedinto
soundtracks.
I
collected somedesign
examples, andimages
in
order
to
scan themaspart ofthevisual references.I
then
organized the project
putting everything
together
according
thehierarchy
oftheproject.included
thedesign
ofHyperCard
stack,Hyper
scripting,producing
thecopy
for
soundtracks, scanning
images,
andinputting
picture and sound resources.I
usedHyperCard 2.2
andADDmotionll
to
producethe project.The
wholeinteractive
projectdivides
into
four
majorsections:
The
Opening,
Cross-Cultural
Communication,
Cross-Cultural
Comparison,
andSemiotics.
The
opening
stack
has
the title ofthe opening, animation,menu,
andbibliography. I
usedPhotoshop
2.5
tocreatetheopening
image
for
my
application.The
conceptis
to express thethemeof
my
thesisproject.I
wantedtheopening
image
to trigger theaudience's
desire for
viewmy
project.The
animationis
topoint outtheimportance
andconceptof signs.
Neil Diamond is
the artist ofboth
music andlyrics.
The
menu areafunctions
as a navigatorthatallowsviewers to go to other parts of project.
Finally,
thebibliography
card contains thelist
ofbooks
thatcontributedto
my
thesisidea.
The
cross- culture stack contains culturalissues,
information
and cross-cultural research.Legibility
ofthescreentext
is
problematic withespecially
large
amounts ofsmall textson the computer screen.
Therefore,
soundbecame
avery
important factor.
I
askedmy
husband
to
read the sound tracks
for
my
projectbecause he has
awonderful voice and
is
abroadcast
professional.I
began
cross-cultural communication.
After
a period ofresearch,I
found
thesefactors
to
be
language, image, design,
theme,
and religiousdifferences.
The
major aspect of cross-cultural communicationis
themarketing strategy
thatcomparesthedifferences between
universal
marketing
andlocal
marketing.I incorporated
some research materials
into
thissection.My
reasonwasto point out thatwe needto
be
awareoftheexistence ofsuch studies.
The
thirdpart oftheproject uses semiotic principles tocompare theworks
by
American
andJapanese
graphicdesigners in
order toseethedifferences
and similaritiesbetween
one another.I
choseonly
twoculturesbecause
ofthe
limitation
oftime and the size ofthe project.However,
the end result ofthisstudy is
beneficial
tocross-cultural
design
and thinking.Semiotics
help
toanalyze the
underlying
messages of each work.I
selectedfive
pairs ofdesign
thatrepresentedJapan
andAmerica.
Each
pairhas
adistinguishable
theme.
The
themesarehumor,
sophistication, androgyny, sensuality, andtheexotic.
The
comparison uses semiotic matrixfor
deconstructing
thedesigns.
The
last
sectionintroduces
semiotics principles.This
stack
includes
themeaning
andthe purpose ofsemiotic,
semiotic
triad,
interpretant
matrix,
and semioticand shifting.
I
usethis section to teach people thefundamental
concepts about semiotic principles,my
purpose
is
to use thisopportunity
tostudy
andapply
This
thesis
project caused me alot
offrustration
because
ofthe
complexity
ofthe topic.However,
I
amvery
glad thatI
have
chosen atopic thatI
care about andhave
been
curious about all
my
life.
I
amvery
happy
withtheresults aswell astheproductsthatI
produced.I have
learned
aboutsemiotic principles and practices used to analyze
designs according
to principles.The
cross-culturalinvestigation
satisfiedmy curiosity
aboutinternational
and global markets.
I
believe
twoyear at graduate schoolandthis
final
thesisprojecthas
given me a cleardirection
to the
future.
Special
thanks toRoger
Remington,
Dr. Richard
Zakia,
andJohn Ciampa
who gave me alot
of good suggestionsB
i
Ed.
Matejka, Ladislav,
andTitunik,
R. Irwin. Semiotics
ofArt.
MIT
Press,
Massachusetts
andLondon,
England:
1976.
Rand,
Paul. A Designer's
Art. Yale
University
Press,
New
Haven
andLondon:
1985.
Rand,
Paul.
Design. Form,
andChaos.
Yale
University
Press,
New Haven
andLondon: 1993.
Neuenschwander,
Brody.
Letter Work.
Phaidon Press
Ltd,
London:
1993.
Roukes,
Nicholas. Art Synectics. Davis
Publications,
Inc.
Worcester,
Massachusetts: 1982.
Meggs B. Philip.
Type
andImage.
Van
Nostrand
Reinhold,
New York: 1989.
Carter,
Rob., Day,
Ben,
andMeggs,
Philip.
Typographic
Design: Form
andCommunication. Van Nostrand
Reinhold,
New York: 1985.
Arnheim,
Rudolf. Art
andVisual Perception.
University
of
California
Press,
Berkley
California:
1987.
Bloomer,
Carolyn.
Principles
ofVisual Perception.
Harrington,
Burton.
The Essentials
ofPoster Design.
Poster
Advertising
Association,
Inc.:1925.
Buckley,
Jim.
"Imagery."The Drama
ofDisplay.
Pellegrini
andCudahy,
New York:1953. 154
-172.Fern,
M Alan. Word
andImage. The Museum
ofModern
Art,
New York:
1968.
Stroebel, Leslie.,
Compton,
John., Current,
Ira,
andZakia,
Richard.
"Visual
Perception."Basic Photographic
Materials
andProcess.
Butterworth
Publishers,
Stoneham.MA: 1990. 280
-198.Lippard,
R. Lucy.
Pop
Art. New York: New
York,
1985.
Spiekermann, Erik,
andGinger E.M.
Stop Stealing Sheep
and
Find
Out How Type
Works.
Adobe
Press,
Mountain
View,
California: 1993.
Mclean,
Ruari.
The Thames
andHudson Manual
ofTypography.
Ed.W.S.
Taylor.
London: Great Britain:
1980.
Stroebel,
Leslie,
Hollis
Todd
andRichard
Zakia.
Visual
Zakia,
Richard.
Perception
andPhotography.
Light
Impressions, Rochester,
New York: 1979.
Wrede,
Stuart.
The Modern Poster. New York Graphic
Society
Books/
Little Brown
andCompany,
Boston: 1988.
Images
ofAn Era:
theAmerican Poster National
Collection
ofFine Arts.
Smithsonian
Institution,
Washington
D.C. 1975.
Hiebert,
Kenneth.
Graphic Design Process.
Van
Nostrand
Reinhold,
New York: 1992..
Kepes,
Gyorgy. Language
ofVision.
Van Nostrand
Reinhold,
New York: 1985.
Arnheim,
Rudolf. Art
andVisual Perception.
University
ofCalifornia
Press,
Berkley
California: 1987.
"
The
Legacy
ofGestalt
Psychology",
Scientific American.
December, 1990,
P.84-90.
"Visual
Imagery
andFamiliarity
Ratings
for
203
sayings",
American
Tournal
ofPsychology. Summer 1983.
Vol.96,
No 2.
pp.211-222.
Sullivan,
Michael.
The
Meeting
ofEastern
andWestern
Art. New York Graphic
Society
Ltd,
London: 1981.
Wichmann,
Siegfried.
Taponisme.
Harmony
Books,
New
York: 1981.
Applied
Typography
1.
Japan
Typography
Association,
Graphic-sha
Publishing
Co.,
Japan:
1992.
Applied
Typography
2.
Japan
Typography
Association,
Graphic-sha
Publishing
Co.,
Japan: 1992.
Spencer,
Herbert. Pioneers
ofModern Typography. MIT
Press,
Lund Humphries
publishersLtd.,
1983.
Poster Exhibition
by
Ten
World
Artists",
Editor:
Yoshibisa Ishihara. 1982.
Seijun Suzuki. Parco Advertisement Art.
Parco
Co.,
Tokyo,
Japan:
1986.
Rowland, Jr.,
Benjamin.
Art in East
andWest.
Oxford
University
Press,
London:
1965.
Johnson,
J.,
Stewart.
The Modern American Poster.
The
National
Museum
ofModern
Art,
Kyoto
andThe
Zakia,
Richard.
"Adverteasement."Semiotica:
Vol.59-1/2,
1986.
P.l-11.
Kaynak,
Erdener.
The
management ofInternational
Advertising.
Greenwood
press,Inc.,
Westport
Connecticut: 1989.
Hall
T.,
Edward.
The Silent Language.
Doubleday
8c
Company, Inc.,
Garden
City,
New York:
1959.
Meech,
Julia
andWeisberg,
P.,
Gabriel.
laponisme
Comes
toAmerica.
Harry
N.
Abrams,
Inc.,
New York:
1990.
"64th
New York Art Directors
Club,
Japan Annual
Travel
Show"Editor: Yoshibisa
Ishihara.
Seibundo
shinkoshapublishing
Co., Tokyo,
Japan: 1985.
Hartt,
Frederick.
Art,
aHistory
ofPainting
Sculpture
Architecture.
Harry
N.
Abrams, Inc.,
New
york1989.
Twitchell
,James B.
Carnival
culture.New York:
G
I
mAesthetics
It
is
the overall of animage
which takesin
toconsideration all
formal,
visual principles ofcolor,composition,
meaning,and purpose.Analysis
Step
in
problemsolving
processin
whichdesigner
reviewsinformation
and materials,making
careful analysisofdata,
priortoproblemdefinition.
Application
Application
refersto the process andform
directed
to
agraphic
design
image
madefor
a specific purpose.A
poster
is
an applicationin
graphicdesign.
Art
The
quality, production, expression, or realm of whatis
beautiful
or of morethanordinary
significance.Audience
Audience
refersto the receivers ofthe graphicdesign
image. This may be
eitherindividuals
or groupstowhichthemessage
is directed.
Closure
A Gestalt
principle which meansthat communicationis
enhanced with
forms
that are"closed"
or visible as a
"closed
unit."This
closuremay be
implied
andneed notbe
physically
realized.Cognitive
Composition
Cognitive
refersto theperceptual aspects ofform.
The
purpose of graphicdesign is
tofacilitate
messagesand
meaning for
apurpose.This is
communication.The layout
or arrangement of elements within aformat.
It
may be
eitherformal
(symmetrical)
orinformal
(asymmetrical).
An
organization methods mustbe
usedin
determining
how
the composition worksin
communicating
message.Concept
The idea
which undergirds adesign image
andprovidesdirection
for
its development
andfunctioning.
Content
The
substance ofthemessageinvolved in
a graphicdesign
image.
Content
refersto thespecificinformation
thatis
communicated
by
theform.
Context
The
environmentin
whichform
is
created.It may
be
positional
(left
orright), time- oriented(past
orpresent),
or sequential
in
other ways.The
consideration given tocontext
is
a useful means ofseeing
conceptualrelationships
in
form
development.
Element
The
parts, components or variables ofform
within aEvaluation
The
mostbasic
purpose of all graphicdesign
methodology is
todevelop
theknowledge,
skills andsensitivity
tobe
abletodecide
yes orno,in
or outin
any
form
or problem-solving
situation.form
Gestalt
A
visually
perceived existence.A
series of perceptuallaws
thatwereidentified
by
severalGerman
psychologistsin
theearly 1900's.
A working
knowledge
ofthese"organizational
orgrouping''
laws
allowthe graphic
designers
tocreateform
that takesinto
allowance the physiological ways that
human beings
perceive.
Graphic Design
Imagery
which,in
anideal
sense, exemplifies abalance
between
aesthetics andinformation.
High
Imagery
wordsA list
of proverbs andimages
asto the ease with whichthey
arouse visualimages.
Implication
Refers
totheprocessby
whichtheform
is
conceptualized,developed,
constructed and refined.Image
Refers
to astep in
the problemsolving
processin
whichDevelopment
thedesign
begins
actual work ontheprojectaccording
toInterpretant
The
process ofinterpretation,
it
refersto theaudiencein
some causes.
Message
The intended
communication outcome ofmeaning
toanaudience.
Perceptual
Perceptual
refers toform
whichis
based
on cognitiveconsideration such asthe
Gestalt
principles.Pragmatics
Pertaining
to theneeds of graphicdesign
such asprinting,budget,
resources,etc.Process
The
method of operationsin
the production of graphicdesign.
Psychology
The
science ofthehuman brain
andany
ofits
aspects,operations,
functions.
Representamen
Developing
avisual reference(product)
according
to thedesigner's intellectual interpretation.
Semiotics
The
theory
ofsemioticsdescribes
the process ofhow
people represent and
interpret
information,
andhelps
identify
logical
relations ofpartstiiat interest
in
forming
meaning.
Semiotics
is
alsoknown
as"sign
Statement
A
verbal means ofmaking
referencetoaform
messageorits
components createdby
a graphicdesigner.
Theory
A
set of generalizations relatedby
a netofdeductive
thinking
and arrived atby
stages ofdiscovery,
verificationand comparison.
Typeface
Typeface
referstoan alphabetthatexistsfor
visual1.
Thesis
Proposal
andPlan
2.
Drafts
3.
Sketch/Development
Thesis
Proposal
andPlan
Graphic design
utilizesboth
words and pictures andaddresses
different
cultures.The
purpose ofthis thesisis
to
investigate
the power of words andimages
and toclosely
compare someJapanese
andAmerican,
designs
using
semiotic principles.The
end result ofthiswillhelp
designers break
the culturalgap
and createuniversaldesign
work.I
will searchfor
visual examplesfrom
the twoculturesand use semiotic principlesto
study
themeaning
behind
thewords and
images.
The
thesiswillinclude
graphicRochester
Institute
ofTechnology
A Thesis Project Plan Submitted to
the
Faculty
ofThe College
ofImaging
Arts
andScience in
Candidacy
for
the
Degree
ofMaster
ofFine Arts
Project
Title
Semiotics
andCross-Cultural
Communication
By
Lingya H.
Dubmsky
Table
ofContents
Thesis Proposal
Project Title
Designer
andAddress
Documentation
ofNeed
orSituation
Analysis
(Including
initial
assumptionsandimportance
ofstudy
to the
designer,
to
the
discipline,
andto the
society)
Problem
Statement
orProject
Description
(The
problemandits
setting,
including
audience, context)
Mission Statement
Goals
Objectives
(Including
subproblems)
Processes
andStrategies
(Methodology
for gathering
info,
for
analyzing
info,
for generating
solutions andevaluation)
Time
andImplementation Plan
Evaluation Plan
Bibliography
Glossary
ofTerms
Project Title
Sign
Theory
andthe
Design
ofWord
Imagery
andPictures
for
Cross-Culture Applications
Project Designer
Lingya
H.
Dubinsky
141
West Squire Dr.
#4
Rochester,
NY
14623
Documentation
ofNeed
A
designer's ability
to
integrate
wordstatements and visual
images into
a single visual referenceis
essential.The
use of signtheory
andthe
realization ofthe
potential power
behind
words andimages
can
help
graphicdesigners become
more effective communicators.Problem Description
Graphic designers
needto
know
aboutthe
art and science of communications
due
in
partto the
rapidly advancing
computer software availablefor design
layout. Sign
theory
(semiotics),
the
study
and science of signs providesanimportant
communicationtool
for
the
designer.
It incorporates many
of
the
codesdesigners
must useto
communicate: perceptual
codes,
aestheticcodes,
culturecodes,
codesofunconscious,and so on.
Designers
must alsobecome
moreknowledgeable
aboutthe
cross-cultural communication
in creating
meaningful and persuasive signs
for
various cultures.Mission Statement
This
thesisis
a signtheory
applicationthat
will
facilitate
the
integration
of words andimages
into
a unified cross-culturalObjectives
Process
andStrategies
To
provide an environmentfor using
graphicdesign in
aGiven
aproject,
be
ableto
recognizethe
cross-culture manner cultural codes shared
by
different group
ofUse
,nree
characteristicsofpeople semiotics
become familiar
withvarious cultural codes.
Given
acompany,
be
ableto
critically
examine
its
international
marketing
strategies.
Given
aproject, be
ableto
create adesign
that
is focused
on globalmarketing
scale.Investigate
trie
international
companies'successand
failure
at cross-culture communication.
Use
the
resultandsummary
ofresearch
study in
the
design.
To
examinethe
typography
treatment
as part ofmessage
making
processGiven
abody
ofcopy,be
ableto
identify
the
intended
message anddiscuss
the
individual
functionality
ofthe
type.
Identify
the
purpose ofthe
type
in
orderto
selectrightkind
oftypeface
for
the
copy.Given
alist
ofwords,
be
ableto
arrangethem
according
to their
emotionalcontext.Use
typographic
variableto
arrange
the
order ofthe
words.To
produce applicationsaccording
to
thetheory
Given
aword,
be
ableto translate the
letter
forms for
specific purpose.Given
alist
oftheories, be
abletodesign
several visual references
that
demonstrate
the
researchofthe
thesisproject.Presentation
ofthe
letter form:
classicand
elegant,
sculpturalletter form
or withmotion.Create
actual applicationsthat
are publication
design
andinteractive
referencetool.
Based
onresearch,be
ableto
develop
aninteractive
application.To
evaluatethe theme
ofthe
thesisproject
Computer
graphicswillbe
usedto
combinewords,
picture andtypography
into
an appropriaterepresentamen
based
onpragmatics.
Given
the
design,
be
ableto
measurethe
percentageof success of
the
messageto
its Have
peoplefrom
variousintended
audience. culturalbackgrounds
to
critiqueImplement
asurvey
to
showthe
effectiveness of
the
project andinformation
Conduct
asurvey
by
giving
outTo
establishthe
use of signtheory
in
graphicdesign
[Objectives
-Process
andStrategies
Given
asituation,
be
ableto
evaluatethree
distinct
relationshipsthat
constitutethe
Introduce
the three terms
sjgn
object,
representamen,andinterpretant
in
semioticsUse
the triangle
diagram:
Object,
representamen,interpretant,
to
showhow
signsfunction.
Given
a visualreference,
be
ableto
recognize
the
waysin
which a visualreference
is
represented.Given
alist
ofsemioticcodes,
be
ableto
identify
severalfactors
which can aidthe
interpretant in
identifying
the
intended
messages.Create interpretant
matrixto
identify
iconic,
indexic
and symbolic elementsfrom
avisual reference.
Identify
the
intended
messageaccording
to
perceptualcodes,
aestheticcodes,
culturecodes,
code ofunconscious, and so on.
To
research and analyze signtheory
and visual perceptionGiven
tne
theory,
be
ableto
gatherin
graphicdesign
information
relatedto
visual perception.Gather
examples of visual perceptiontheories that
include
Gestalt laws
and otherperceptual principles.
In
aliterature
search,be
ableto
find
imagery
statementsfrom
variousdisciplines.
To
explorethe
potentialofthe
use ofhigh
imagery
wordsor statements
to
reinforce
intended
messages|f)
fl researchstudyj
be
ab|eto
find
wordstatements
that
arehigh imagery.
Find existing
statementsfrom
the
field
ofphilosophy,
design,
science,
art,
and psychology.Collect
alist
of word statementsthat
arehigh imagery.
Given
alist
ofhigh
imagery
words,be
ableto
create aunifying
theme
between
wordsand
images.
Use both high
imagery
words
and
images
to
unify
andemphasize
the
intended
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Evaluation
(Objectives
Evaluation
Given
asituation, be
ableto
evaluatethree
*Content Analysis
distinct
relationshipsthat
constitutethe
sign.Given
a visualreference,
be
ableto
recognize
the
waysin
which a visualreference
is
represented.'Content Analysis
Given
alist
of semioticcodes,
be
ableto
identify
severalfactors
which can aidthe
interpretant
in
identifying
the
intended
messages.'Content Analysis
Given
the
theory,
be
ableto
gatherinformation
relatedtovisual perception.'Unobtrusive Measure
In
aliterature
search,
be
ableto
find
imagery
statementsfrom
variousdisciplines.
'Unobtrusive
Measure
In
a researchstudy,
be
ableto
find
wordstatements
that
arehigh imagery.
'Semantic Differential
Given
alist
ofhigh
imagery
words,
be
ableto
createaunifying
theme
between
words andimages.
'Questionnaire
Given
aproject,be
ableto
recognizethe
cultural codessharedby
different group
of people.'Interview
Given
acompany,
be
ableto
critically
examine
its international marketing
strategies.Objectives
Evaluation
Given
aproject, be
ableto
create adesign
that
is
focused
on globalmarketing
scale.'Semantic Differential
Given
abody
ofcopy,
be
ableto
identify
the
'Semantic Differential
intended
message anddiscuss
the
individual
functionality
ofthe type.
Given
alist
ofwords,
be
ableto
arrangethem
according
to their
emotional context.'Semantic Differential
Given
aword,
be
ableto translate the
letter 'Semantic Differential
forms for
specific purpose.Given
alist
oftheories,
be
ableto
design
several visual references
that
demonstrate
the
research ofthe thesis
project.'Questionnaire
Based
onresearch,be
ableto
develop
aninteractive
application.'Interview
Given
the
design,
be
ableto
measurethe
'Semantic Differential
percentage of success of
the
messageto
its
intended
audience.Implement
asurvey
to
showthe
'Questionnaire
Bibliography
Harrington,
Burton. The Essentials
ofPoster Design. Poster
Advertising
Association,
Inc.:
1925.
Buckley,
Jim.
"Imagery."The
Drama
ofDisplay. Pellegrini
andCudahy,
New York:
1953.
154-172.
Fern,
M Alan. Word
andImage. The
Museum
ofModem
Art,
New York:
1968.
Stroebel,
Leslie.,
Compton, John., Current, Ira,
andZakia,
Richard.
"Visual
Perception."Basic Photographic Materials
andPipcsss,
Butterworth
Publishers, Stoneham,
MA: 1990.
280-198.
Lippard,
R. Lucy.
Pop
Art. New
York:
New
York,
1 985.
Spiekermann,
Erik,
andGinger
E.M.
Stop
Stealing
Sheep
andFind Out
How
Type Works.
Adobe
Press,
Mountain
View,
California: 1993.
Mclean,
Ruari. The Thames
andHudson Manual
ofTypography. Ed.W.S.
Taylor. London:
Great
Britain:
1980.
Ed.
Matejka, Ladislav,
andTitunik,
R. Irwin. Semiotics
ofArt. MIT
Press,
Massachusetts
andLondon,
England: 1976.
Rand,
Paul. A
Designer's
Art. Yale
University
Press,
New Haven
andLondon:
1985.
Rand,
Paul. Design. Form,
andChaos.
Yale
University
Press,
New
Haven
andLondon:
1993.
Neuenschwander,
Brody. Letter Work. Phaidon Press
Ltd,
London:
1993.
Roukes,
Nicholas. Art Synectics. Davis
Publications,
Inc.
Worcester,
Massachusetts:
1982.
Meggs B. Philip. Type
andImage.
Van Nostrand
Reinhold,
New York:
1989.
Carter, Rob., Day, Ben,
andMeggs,
Philip.
Typographic Design:
Form
andCommunication. Van Nostrand
Reinhold,
New
York:
1985.
Arnheim,
Rudolf. Art
andVisual Perception.
University
ofCalifornia
Press,
Berkley
California: 1987.
Bloomer,
Carolyn. Principles
ofVisual
Perception.
Design
Press,
New
York: 1990
Stroebel, Leslie,
Hollis
Todd
andRichard
Zakia. Visual Concepts for
Photographers. Focal
Press, Boston,
1980.
Zakia,
Richard. Perception
andPhotography. Light
Impressions,
Rochester,
New York:
1979.
Wrede,
Stuart. The Modern
Poster. New York Graphic
Society
Books/
Little Brown
andCompany,
Boston:
1 988.
Hiebert,
Kenneth. Graphic Design
Process.
Van Nostrand
Reinhold,
New
York:
1992..
Kepes,
Gyorgy. Language
ofVision. Van
Nostrand
Reinhold,
New York:
1985.
Arnheim,
Rudolf. Art
andVisual Perception.
University
ofCalifornia
Press,
Berkley
California:
1987.
"
The
Legacy
ofGestalt
Psychology",
Scientific American.
December,
1990.P.84-90.
"Visual
Imagery
andFamiliarity
Ratings for
203
sayings",
American Journal
ofPsychology. Summer
1983.
Vol.96,
No
2.
pp.211-222.
Baker,
Steve.
The Hell Of Connotation Word
andImage 1 (2). 164-175.
Eco,
Umberto.
A
Theory
ofSemiotics
Bloomington:
Indiana
University
Press:
1979.
Zakia,
Richard.
"Adverteasement."Semiotica:
Vol.59-1/2,
1986.
P.1-11.
Kaynak,
Erdener. The
managementofInternational Advertising.
Greenwood
press.
Inc.,
Westport Connecticut:
1989.
Hall
T.,
Edward. The
Silent Language.
Doubleday
&
Company, Inc.,
Garden
City,
New
York:
1959.
Sullivan,
Micheal. The Meeting
ofEastern
andWestern Art.
New York
Graphic
Society
Ltd,
London:
1981.
Wichmann,
Siegfried. Japonisme.
Harmony
Books,
New
York:
1981.
Applied
Typography
1.
Japan
Typography
Association,
Graphic-sha
Publishing
Co.,
Japan:
1992.
Applied
Typography
2.
Japan
Typography
Association,
Graphic-sha
Publishing
Co.,
Japan:
1992.
Spencer,
Herbert. Pioneers
ofModern Typography. MIT
Press,
Lund
Humphries
publishersLtd.,
1983.
"
Poster
Exhibition
by
Ten World
Artists",
Editor: Yoshibisa Ishihara.
1982.
Seijun
Suzuki. Parco
Advertisement Art.
Parco
Co., Tokyo,
Japan:
1986.
Rowland, Jr.,
Benjamin. Art
in East
ansWest. Oxford
University
Press,
London: 1965.
Johnson, J.,
Stewart.
The
Modern
American Poster.
The National
Museum
of
Modern
Art,
Kyoto
andThe National Museum
ofModern
Art,
New
York:
1983.
Meech,
Julia
andWeisberg, P.,
Gabriel. Japonisme Comes
to
America.
"64th New York Art Directors
Club,
Japan Annual
Travel
Show"Editor:
Yoshibisa Ishihara. Seibundo
shinkoshapublishing
Co., Tokyo,
Japan:
1985.
Hartt,
Frederick.
Art,
aHistory
ofPainting
Sculpture Architectures.
Harry
Glossary
ofTerms
Aesthetics
Analysis
Application
Art
Audience
Closure
Cognitive
It
is
the
overall of animage
whichtakesin
to
consideration all
formal,
visual principles ofcolor, composition, meaning,
and purpose.Step
in
problemsolving
processin
whichdesigner
reviewsinformation
andmaterials,
making
careful analysis ofdata,
priortoproblem
definition.
Application
refersto the
process andform
directed
toa graphicdesign
image
madefor
aspecific purpose.
A
posteris
an applicationin
graphic
design.
The
quality, production, expression,
orrealm ofwhat
is
beautiful
or of morethanordinary
significance.
Audience
referstothe
receivers ofthe
graphicdesign image. This may be
eitherindividuals
or groupstowhichthe
messageis
directed.
A Gestalt
principle which meansthatcommunication
is
enhanced withforms
that
are"closed"
or visible as a
"closed
unit."This
closure
may be
implied
and need notbe
physically
realized.Cognitive
refersto theperceptual aspects ofform.
Communication
The
purposeof graphicdesign is
to
facilitate
messages and
meaning for
a purpose.This is
communication.
Composition
Concept
Content
The layout
or arrangement of elements within aformat. It may be
eitherformal (symmetrical)
orinformal (asymmetrical).
An
organizationmethods must
be
usedin
determining
how
thecomposition works
in
communicating
message.The idea
which undergirdsadesign image
andprovides
direction for its development
andfunctioning.
The
substanceofthemessageinvolved in
agraphic
design
image. Content
refersto the
specific
information
that
is
communicatedby
the
form.
Context
The
environmentin
whichform is
created.It
may
be
positional(left
orright), time
-oriented
(past
orpresent),
or sequentialin
other ways.The
considerationgivento
contextis
,ausefulmeansof
seeing
conceptualrelationshipsin
Element
Evaluation
form
Gestalt
Graphic Design
High
Imagery
words
Image
Development
Implication
Interpretant
The
parts,
components or variables ofform
withina
format.
The
mostbasic
purpose of all graphicdesign
methodology is
todevelop
theknowledge,
skills andsensitivity
tobe
abletodecide
yes orno,
in
or out
in any form
or problem-solving
situation.
A
visually
perceived existence.A
series of perceptuallaws
thatwereidentified
by
severalGerman
psychologistsin
the
early
1900's. A working knowledge
ofthese
"organizational
orgrouping"
laws
allowthe
graphic
designers
tocreateform
that takesinto
allowance
the
physiologicalwaysthathuman
beings
perceive.Imagery
which,
in
anideal
sense,
exemplifies abalance between
aesthetics andinformation.
A
list
of proverbs andimages
asto
theease with whichthey
arouse visualimages.
Refers
tothe
processby
whichtheform
is
conceptualized,
developed,
constructed and refined.Refers
toastep
in
the
problemsolving
processin
whichthe
design begins
actual work ontheproject
according
toa projectdefinition
and plan.The
process ofinterpretation,
it
referstothe
audience
in
some causes.Message
Perceptual
Pragmatics
Process
Psychology
Representamen
The
intended
communicationoutcome ofmeaning
toan audience.Perceptual
refersto
form
whichis based
on cognitiveconsideration such astheGestalt
principles.
Pertaining
to the
needs of graphicdesign
such asprinting,
budget,
resources,
etc.The
method of operationsin
the
production of graphicdesign.
The
scienceofthehuman brain
andany
ofits
aspects, operations,
functions.
Developing
a visual reference(product)
Semiotics
The theory
of semioticsdescribes
the
process ofhow
peoplerepresent andinterpret
information,
andhelps
identify
logical
relations of partsthat
interest in
forming
meaning.Semiotics is
alsoknown
as"sign
theory."
Statement
A
verbal means ofmaking
referenceto
aform
message or
its
components createdby
agraphic
designer.
Theory
A
set of generalizations relatedby
a netofdeductive
thinking
and arrived atby
stagesofdiscovery,
verification and comparison.Typeface
Typeface
referstoan alphabetthatexistsfor
visual communication.
Helvetica,
Universe
and9/6/93
Graphic Design
thesis
proposal
Lingya
Dubinsky
Thesis
Title:
A
Semiotic Approach
to the
Publication
of
Wordy
Images
Relevant to
Graphic
Design
Criteria for Thesis:
*History:
How
has
semiotics
been
used
in
graphic
design?
Theory:
Semiotic
approach
to
represent
the
publication and poster.
Developing
an
T^^/fif
iW!
wiflfaVv'yv^/txc-U*N
v<\q,A^\
Application:
\jy
Creation
of
publication,
promotional
poster,
and
interactive
media.
Research:
"Media
that
presently
on
the
market.
Artists
media.
Collecting
relevant word
images.
investigating
the
psychological
impact
of
how
word
images have
effect
on people.
Interview
people who are relevant
to
the
project.
Critical
thinking:
Connecting
semiotic
theory
and
methodology
to the
design,
production,
promotion of
the
project.
Innovation:
Combining
words and
images
and
using
artifacts
in
order
to
present
the
word
images
in
form
that
represents
the
beauty,
inspiration,
insight
of
the
content.
Evaluation:
based
on stated objective evaluation
that
consist of
a)
mm** s&m*vdc
Differ&*H'ifi
b)
Peer
Evaluation
9728/93
Graphic
Design
thesis
Components
of aproject
Proposal
Lingya
Dubinsky
I
Chief
Adviser: Roger Remington
\
rope
Title:
A
Semiotic Approach
to the
Design
of/Word
Imagery
and
Picturesjfor Cross-Culture
Mission
graphic
designers
will needto
knoiw
iiiuTTj aboutthe
art andScience
ofcommunications
due
fen
partto
thelrapidly
advancing
computer
software availablefor design layout.
Semiotics,
the
study
and science ofsigns^rgpil^ntnnjer))
provides animportant
communication
tool
for
the
designer
TTThcorporates many
ofthe
codesdesigners
must useto
communicate:/ perceptual
codes,
aestheticcodes,
culturecodes,
codes ofunconscious,
and so on. 'Designers
must alsobecome
more*knowledgeabfe
aboutthe
use ofhigh-imagery
words
and,,
typography
in
^
creating
meaningful and persuasive signs.<>16^
Tyf^om^
objective
Process
To
use semiotic principlesin
the
design
of a representamenthat
unifiespictures,
wordsand
typography
andthat
is
meaningful across cultures.
A
rP
=
Wfr
To
use semioticsto
create anintegrated
word-picturerepres entamen
that
communicateseffecti
/ely
across cultures.r,'
fiJJ'-*
t
\
Pi
A
t
fh
M-r
-T
A-literature
search willbe
undertakento
find
high-imagery
statements madeby
people
in
variousdisciplines;
graphicdesign,
literature,
philosophy,
art,
science.
A
generative matrix willbe
constructedto
suggesticonic,
indexic
and symbolicelements
to
be
usedin creating
apicture
that
visually
presents
the
word
image.
^
Typography
willbe
selected,
orlettering
designed,
to
echothe
word-image
statement.Computer
graphics willbe
usedto
combine
words,
pictures andtypography
into
an appropriate representamenbased
onpragmatics
(context
in
whichthe
representmen will
be
displayed.)
9/28/93
Chief
Adviser:
Roger Remington
Lingya
Dubinsky
Project Title: A Semiotic Approach
to the
design
ofWord
Imagery
and picturesfor
Cross-Culture
Documentation
ofNeed:
A
designer's
ability
to
integrate
wordstatementsand "/"*?organizevisual
images into
a single(j^ta^^^^^n'is
very
important.rThe
useof semiotics)andrealization ofthe
potential power
behind
wordimagery
canhelp
graphicdesigners^
become
more effectivecommunicators.Problem Description:
Gaod
visualcommunicationdepends
onthe
useof wordsand
images. The
ability
to
usethem together
.e&ateely
in
a given
two
dimensional
spaceis
a creative challenge.My
thesis
project willinvolve
the
investigation
ofresearch(thatwill support
ihe
fdcf^hat
somewords^highimagery
words-are
better
atarousing
visualimages
than
others.A
This
research suggeststhat
designers
can usehigh
imagery
words or statements
to
create a powerfulsupporting
visualreference.
Word
imagery
canbe
enhancedby
the
choice anddesign
ofthe typography.
This
thesis
projecTuseRochester Institute
of
Technology
Thesis
proposal
for the Master
of
Fine Rrts Degree
College
of
Imaging
Science
A Semiotic
Approach to the
design
r^ntjft/ijTjTfrrV of
Word
Imagery
and
Pictures
J#
P
^0-oft
fV5e^:oh'c
A-pf
mad
-fz
-rUdetc^n
fa\ev*)r*h'**\
<4~C
CUSS-
CulHfnJ!
ty^wu+di,
a^J[
ojirt>(.{*4
^
Tym^ej-u)
I
1
Lingya
Dubinsky
9/14/93
Thesis
proposal
for the
Master
of
Fine Arts Degree
College
of
Imaging
Arts
and
Science
Rochester Institute
of
Technology
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A
Semiotic Approach
to the design
of
Word
Imagery
and
Pictures for Different
Cultures
./
me purpose of
the this thesis
is
to
investigate
the
power
of wordsto
elicit
images. Words
canbe,
and
have
been,
researched and studied
in terms
oftheir
level
of
abstraction,
concreteness
andimagery. Familiar
say
ing
are
a
richsource
of wordsthat
have high
imagery,
i.e.
wordimagery.
v
I
will search
for
statements
from
variouscultures
that
are
ofhigh
word
imagery/and
use semiotic
principles
to
incorporate
them
withcomplementary
visualimages.
/Graphic
design
utilizesboth
words and pictures and
iddresses
different
cultures.
Selection
and usage of
high
imagery
words can strengthenthe design
mes
sage and reinforce
it
by
creative
redundancy.&D
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Thesis
proposalfor
the
Master
ofFine Arts Degree
College
ofImaging
Arts
andScience
Rochester Institute
ofTechnology
-ArSemioHc
Approach
W the
design
TifWord
Imagery
andPictures
for
Ciuss-Cullwe
Graphic
design
utilizesboth
words and pictures and addressesdifferent
culture.The
purpose ofthe this
thesisIs
to Investigate the
power of words' ilir'
images.
Words
canbe,
andhave
been,
researched and studiedin terms
oftheir
level
ofabstraction,concreteness and suggested
imager/.
Familiar saying
are a rich source of wordsthat
have high imagery, i.e,
wordimagery:
word
imagery
is
the
use ofcertain wordsto
elicitimages in
visual memory.Some
wordsareofhigh
imagery
such asWoman,
and others of
low
imagery
such asPhilosophy.
Poets
use combination ofhigh
imagery
to
constructthe
visualimages.
The
understanding
ofthis
willhelp
designers
to
break
the
cultures"
gap
andcreate universaldesign
work.I
will searchfor
fWSBHiwJromvarious culturesthat
gw f mr^\OJhhlIniHgmyrinH
u.sesemiotic principlesto
irrcuipuiufe
Ihem
with
complementary
visualimages.
Selection
and usage ofhigh
imagery
words can strengthenthe
design
message and reinforce
it
by
creative redundancy.Thesis Project
The
First Thesis meeting
Winter
1993
Lingya Dubinsky/ Graphic Design
^XXX{l^T)^-\j
I
The Committee Members: Roger
Remington,
Richard
Zakia,
John Ciampa
I
willclosely
ejtaraiW^ndcompare
contemporary
graphicdesign
(1970-1990)
in
Japan
andUSA.
I
think
it is very important
to
study
elements:
typography,
graphic,
andimages
that
arein
design
as a wholein
each culture.
After
the
examining^and
comparing
works,
I
willintegrate
the
characteristic ofboth
Japanese
andAmerican design
that
influences
the
modern cross-cultural application.The
applicationsmay
include
existing
pieces as well as severaldesign
that
I
will createaccording
cross-culturalreferences.
Contemporary
Graphic Design(1970
-1990)
Elements:
Typography,
Graphics
andImages.
Q: What
is Signified?
Paradigm
of
Semiotic
theory
Representamen
Signifier
Signify
Romance
Wealth
Power
Sensuality
Mo.WW)
Westernization
Easternization
Interpretant
Audience
HJJ.kUillllJII^Ikfi^i^klAjJI
USA
Japan
Q: What is
being
signified
in
the
poster?
A: POWER.
Q: How dose American signify POWER?
and
how dose Japanese signify POWER?
USA
JAPAN
ICONIC
INDEXIC
Generative Matrix
Ex: Automobile
Advertising
and
it
signified
POWER.
USA
JAPAN
ICONIC
INDEXIC
SYMBOLIC
USA
JAPAN
Power
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Stack
Opening
(animation
and
title)
User interactive
screen
>:
Sign
Theory
Basics*
Seifriiotics
7^
^
$**?/
^JZ
Cross-Cultural
Application
Introduction
(What is
asign?)
(Semiotic
Triad)
Won
Imagery
Introduction
Images
and
Typography
as
Signs
Application
*Jz
Representation
Iconic
xz
Indexic
symbolic
Analysis
Make Your
Own
Cross-Cultural
Application
Introduction
Images
typdgrapny
Japan
US
Semiotic Operation
Addition
Substitution
Subtraction
Shifting
Sign
T