Lightning up the message, symbolism and semiotics of the new
Sketchbook research, analysis and idea's for Week 11.
RESEARCH
Communication is the sharing of images through the medium of language, text, sound and visual stimulation. Words are a collection of characters and sounds that have evolved to make the communication of an intention evoke an image. The heart of communication is an image.
The rise of global communication and commercial markets means the world is overflowing with an assortment of messages, images and intension. Design and advertising are platforms where that message is used to promote products, services and ideas competitively.
One of the most commonly known images used in communication today is the Emoji. An electronic smiley and ideogram used in communication by stripping away the secondary use of words to convey meaning by representing the image itself (Hoskins, n.d.). The Emoji has changed the way we communicate and been adopted the world over. Emojis reduce the risk of ambiguity in a message in the same way we would use body language in a face-to-face conversation. But there are cultural differences to be aware of, and misunderstandings can arise from different interpretations. Language must not be taken at face value as the same message can mean other things to different people depending on the context. The way adults interpret the meaning of various emojis is entirely different from that of a teenager or youth (Morgan, 2018).
Fig. 1: Team Vivaldi, 2018.
A symbol represents and communicates an idea or concept. Symbols have associated meanings and implications dependant on the context in which they sit and the person who is interpreting them. This meaning can change (Hoskins, n.d.). In the Western world, the Swastika is synonymous with fascism, but it goes back thousands of years and has been used as a symbol of good fortune in almost every culture in the world. The Hindus and Buddhists saw it as a sign of well-being. Brands like Coca-Cola and Carlsberg used the insignia on their beverages. The Boy Scouts of America called their magazine Swastika, and even the American military used the symbol during World War One on their RAF planes (Campion, 2014). The Germans adopted it as their insignia and committed many atrocities in its name. Today the Western world see the Swastika as a symbol of fear, suppression and hatred.
Symbols and semiotics are essential for designers as it allows us to understand the relationships between signs, what they stand for, and the people who must interpret them — the people we design for (Hodge, 2003).
The theory of the symbolism behind a message.
Message
A message is reliant on the context, sender, intention, transmission and implication of the message
Semiotics
The study of signs and symbols, their use and interpretation
An academic means to map different communication mediums
Symbol
A thing that represents or stands for something else, especially a material object representing something abstract
Sign
Anything that conveys a direct message
Communicates something known and deductible
Made up of a signifier and signified
Signifier
Is 'the thing' that carries the message
Signified
Is the concept conveyed
e.g. A traffic light is a sign that tells you to stop when you see a red light. The red light (used to convey the message) is the signifier and don't drive (the meaning conveyed) is the signified.
Includes the icon, index and symbol
Icon
Resembles something
Index
Shows evidence of what is represented
Symbol
Resemblance between signifier and signified is an implied meaning that must be culturally learned
Codes
A system of signs used to navigate our shared environment
Relay
Text and images which have a complementary relationship
e.g. Adverts that use words and pictures to tell a story in equal measure (Hoskins, n.d.)
ANALYSIS
Imagine how society is manipulated and influenced by a message and how graphic design deploys this message.
As a designer, we have the power to change mindsets, influence people and perspectives. The scale of design has shifted from products to whole ecosystems of services, social expectation and behavioural influence (Hellemans, 2020). Manipulation of information, social consciousness and behaviours are prevalent in today's world. By manipulating society, you can destroy specific ideas in people's minds and from the ruins, create new ideologies.
Politicians, government and state use the media to build their popularised ideas and justify their influence through persuasion, fear-mongering and repetition. Emotions override logic in society; a sentiment or strategy used in disinformation (Arifkhanova, 2010).
Political language is designed to make lies sound truthful, murder respectable and give an appearance of solidity to the pure wind (Morgan, 2018). This statement was true of the Nazi Party who used propaganda to promote Hitler's campaign, fueling destruction and tragedy. The posters featuring straightforward typography, simple messaging and bold colours were arguably inspiring and well designed (Strachan, 2019).
A more recent example is the campaign slogan 'Make America Great Again,' used in American politics and popularised by Donald Trump in his victorious 2016 presidential campaign. It manipulated the voter through suggestion into believing that America isn't great right now, but Trump was going to be the one to do something about it. Whether it was an on a bumper sticker, red baseball cap or podium, the visceral reaction was a strong call to action (Hennessey, 2016).
Fig. 2: Chicago Tribune, 2017.
Design is a commodity that needs to use every tool at its disposal to sell a product in a competitive environment. The first embodiment of this came from Edward Bernays, Sigmund Freud's nephew. In 1929 it was seen as unacceptable for a woman to smoke in public. He deduced that cigarettes symbolised a man's power and to appeal to woman, he needed to change that symbol to challenge that power. He staged a protest during an event where suffragettes pulled cigarettes from under their dresses and lit them, effectively re-branding cigarettes as a torch for freedom (Strachan, 2019).
This technique can also be used for consumerism if you think of the subtle manipulation of pop-up advertising on our computer screens that pressure us to purchase items we don't need.
Designs influence and manipulation are also used to create awareness and influence social and cultural plights (Hellenmans, 2020). James Victore created the poster Racism to address the issue of racism where the media misdirected the audience’s attention towards the protest spectacle instead of the deep-seated issue of racism that leads to such hostility. The word is a violently rendered scrawl where the C, shaped like a mouth with fangs and outlined in red, attempts to consume the other letters. It is a symbol of racial hatred and forces the viewers to feel the violence of the situation.
Fig. 3: Victore, 1993.
In 1993 he created the poster Racism and the Death Penalty to address the underlying reason of the return to state-sanctioned executions in the US. He borrows from a children's hangman game where a player guesses the letters comprising the word 'nigger’ and for every wrong word a body part is hung from a scaffold. This innocent child's game is turned into a terrifying symbol in the context of racism (Heller, 1998).
Fig. 4: Victore, 1993.
Symbolism and signs can also be used to manipulate society for their benefit. Take road signs, for instance. We see them and immediately know an action is required, be it stopping our car, speeding up or walking across a zebra crossing. The manipulation is to direct us and keep us safe (Strachan, 2019).
Manipulation is also used by design in education, to shape or influence the viewer. James Victore's 'The Baby Bottle’ poster shows a baby bottle with measurements down the side reading bigoted statements towards a race like ‘Kike’, ‘Gook’ and ‘Whitey’. The bottle suggests a matter of fact feeding of unhealthy ideas to children who accept all nourishment. It is a metaphor to remind us not to hand down our prejudice and hatred to children through casual remarks (Eye Magazine, 1998).
In such a competitive global environment, longevity is measured by days if not hours. A message needs to be memorable, stand out from the crowd and leave a viewer something to recognise and remember. By understanding symbolism and semiotics, designers have a powerful tool and an ethical responsibility at their disposal.
IMAGINE
Case Study: Take a brand and look at how it is delivered in different countries. Is it symbolised unusually? Why might colour or typeface have been changed? Does it work at a local level and does it work at a global level? Consider the impact the media has on your understanding of visual signs and symbols relating to that piece.
Sketchbook research, analysis and idea's for Week 11.
Emblems and Symbolism from the FIFA Soccer World Cup Competition.
The Official Emblem for each FIFA Competition is designed with a global context in mind. It conveys the spirit and dynamism of football together with the characteristics and individual cultural contribution of each host country (FIFA World Cup Logo History, n.d.). The symbolism of each identity is not only visually strong, but it evokes passion, spirit and enthusiasm for the sport.
In the early days of the competition, before people were familiar with the brand and emblem, the visuals needed to depict the sport. Guillermo Laborde's poster for the inaugural World Cup held in Uruguay in 1930 is an abstract, Art Deco expression that showed the outstretched arms of a stylised goalkeeper, dressed in Uruguay's national colours, catching a football (FIFA World Cup Logo History, n.d.). The poster captured the spirit of the game and the aesthetics of the time (Bloq, 2020).
Henri Desmé, 1938 poster for the FIFA World Cup held in France, used an Art Deco style stencil technique depicting the stance of a dominant, imposing footballer conquering the globe (FIFA World Cup Logo History, n.d.). Similar to propaganda and advertising posters of the era, it symbolised victory and world domination within the beautiful game.(Who We Are - News - The Official Emblem - FIFA.com, 2010).
The 1994 World Cup in America shows more literal symbolism with a bold, graphic logo representing the host nation, movement and energy of the sport. A waving, flag in the familiar patriotic colours, use a soccer ball in mid-flight instead of stars. Plain writing in black and red allows the emphasis to remain on the image (FIFA World Cup Logo History, n.d.).
Once the brand became more recognisable, the symbols became more abstract.
The FIFA brand for Germany in 2006 articulated 'a celebration of the many faces of football' graphically in an identity portraying emotions of joy and vitality. Two of the faces are formed from a '06.' The theme reflects an increasingly connected planet and the game's aspirations to bring people together. A poster, designed by Berlin agency WE DO Communication showed stars forming a ball in the night sky, playing to the notion of wishing and dreaming (Bloq, 2020).
The 2010 emblem for South Africa depicts the energy and vigour of the African continent and is seen as a symbol of hope. An energetic footballing figure over the shape of Africa is influenced by Khoi-San rock art and represents the continent's rich, long history and inherent passion for the game. The colourful backdrop behind the figure represents the South African national flag, reaching out to the world with energy, diversity and love. The typeface is an original creation, reflecting the countries tend to do things uniquely (Who We Are - News - The Official Emblem - FIFA.com, 2010). The identity graphically encapsulates South Africa in a vibrant, dynamic, playful, free-spirited and welcoming way (FIFA World Cup Logo History, n.d.).
Brazil in 2014 contributed the first logo designed with kinetics in mind. Its colours symbolise the Brazilian flag as well as the ecology of the host nations green tropics and golden beaches. The five fingers represent Brazil's five World Cup victories and the three raised hands clasped together to form the trophy, evoking a sense of welcome, cheering and coming together. It weaves Brazil's culture, flora and nature into a dynamic symbol. (FIFA World Cup Logo History, n.d.).
The FIFA logo and symbolism is unmistakable no matter the flair and cultural originality each country adds to the brand. I would go as far as saying the spirit, passion and enthusiasm of the sport the world over, would not be embodied without the individual contribution of each host nation.
Editorial PDF.
Emblems and Symbolism from the FIFA Soccer World Cup Competition Editorial.
Editorial Summary
My editorial layout features a golden soccer ball which evokes the feeling of a rising sun shining over all countries around the globe and standing as a symbol of warmth, unity and friendship. The layout uses a grid structure of varying heights to show the evolution from a literal to abstract brand and simultaneously represent a finishers podium. The typography is strong and legible with bold highlights to showcase the emblems strength alongside diverse, colourful and inviting images from the host nations.
The totality of the design symbolises the dynamism and fiery passion of the sport.
REFLECTION
Symbols are used in business, politics, and religion to influence, manipulate and inspire. They are a curious, human thing that aid communication in a powerful way. Design is the platform and vehicle used to execute all manner of communication. We, as designers, therefore, have an ethical and moral responsibility to society to do good or bring awareness to wrongdoing.
Each of James Victore’s posters created such a visceral and emotional reaction they cannot help but be remembered. That is the essence of great messaging. Developing an idea, visual or symbol that cannot be forgotten and therefore inevitably effects change.
That is the power of a designer.
Referece: Morgan, A., 2018. The Rise Of The Emoji: Communication In The Smartphone Era. [online] Medium. Available at: <https://medium.com/@BijouConcierge/the-rise-of-the-emoji-communication-in-the-smartphone-era-d94295436d34> [Accessed 2 December 2020].
Referece: Campion, M., 2014. How The World Loved The Swastika - Until Hitler Stole It. [online] BBC News. Available at: <https://www.bbc.com/news/magazine-29644591> [Accessed 2 December 2020].
Reference: Hoskins, M. Symbolism and Semiotics, The Theory and Symbolism Behind a Message, Module GDE701, Contemporary Practice.
Referece: Hodge, C., 2003. Semiotics: A Primer For Designers - Boxes And Arrows. [online] Boxes and Arrows. Available at: <https://boxesandarrows.com/semiotics-a-primer-for-designers/> [Accessed 2 December 2020].
Referece: Your Bibliography: Arifkhanova, S., 2010. Manipulation of social consciousness through mass media. Online Journal, p.pdf download.
Referece: Your Bibliography: Hennessey, R., 2016. Why 'Make America Great Again' Beat 'Stronger Together'. [online] Entrepreneur. Available at: <https://www.entrepreneur.com/article/285222> [Accessed 3 December 2020].
Referece: Strachan, A., 2019. Design Manipulation And Ethics. [online] Medium. Available at: <https://medium.com/designstudies1/design-manipulation-and-ethics-b4da916fe555> [Accessed 2 December 2020].
Referece: Hellemans, J., 2020. Design And Its Influence On Social Behavior. [online] Medium. Available at: <https://medium.com/@janhellemans/design-and-its-influence-on-social-behavior-22214c4a5640> [Accessed 2 December 2020].
Referece: Melton, M., 2018. Design And Its Influence On Social Behaviour. [image] Available at: [Accessed 2 December 2020].> [Accessed 2 December 2020].
Referece: Bloq, C., 2020. Best World Cup Logos Ever. [online] Creative Bloq. Available at: <https://www.creativebloq.com/inspiration/best-world-cup-logos-ever> [Accessed 2 December 2020].
Referece: Placeit Blog. n.d. FIFA World Cup Logo History - Placeit Blog. [online] Available at: <https://blog.placeit.net/fifa-world-cup-logo-evolution/> [Accessed 2 December 2020].
Referece: SYMBOLS FIFA WORLD CUP. n.d. South Africa, 2010. [online] Available at: <https://wc-football.jimdofree.com/south-africa-2010/> [Accessed 2 December 2020].
Referece: www.fifa.com. 2015. FIFA U-20 World Cup 2015 - News - Official Emblem For New Zealand 2015 Unveiled - FIFA.Com. [online] Available at: <https://www.fifa.com/u20worldcup/news/official-emblem-for-new-zealand-2015-unveiled-2226179> [Accessed 2 December 2020].
Referece: www.fifa.com. 2010. Who We Are - News - The Official Emblem - FIFA.Com. [online] Available at: <https://www.fifa.com/who-we-are/news/the-official-emblem-517085> [Accessed 2 December 2020].
Referece: Victor, J., 2020. Art Director + Designer | Cody Thompson | Collection. [online] Cody Thompson. Available at: <http://codyt.com/poster-collection> [Accessed 2 December 2020].
Referece: Greenwald, M., 2019. 27 Famous American Brands That Have Different Names Abroad | Best Life. [online] Best Life. Available at: <https://bestlifeonline.com/brands-different-names-abroad/> [Accessed 2 December 2020].
Referece: Oetting, J., 2020. 28 Brands That Go By Different Names In Different Countries [Infographic]. [online] Blog.hubspot.com. Available at: <https://blog.hubspot.com/agency/brands-different-names-different-countries-infographic> [Accessed 2 December 2020].
Referece: Heller, S., 1998. Eye Magazine | Feature | Writing On The Wall: The Posters Of James Victore. [online] Eyemagazine.com. Available at: <http://www.eyemagazine.com/feature/article/writing-on-the-wall> [Accessed 2 December 2020].
Figure 1: Team Vivaldi, 2018. Emoji – The Global Pop Stars Of Digital Communication. [image] Available at: <https://vivaldi.com/blog/emoji-global-pop-stars/> [Accessed 4 December 2020].
Figure 2: Chicago Tribune, 2017. Student Arrested For Snatching Classmate's MAGA Hat, Slapping Teacher, Police Say. [image] Available at: <https://www.chicagotribune.com/nation-world/ct-student-maga-hat-20180829-story.html> [Accessed 4 December 2020].
Figure 3: Victor, J., n.d. Victor. [image] Available at: <https://shop.jamesvictore.com/products/celebrate-columbus> [Accessed 2 December 2020].
Figure 4: MOMA, 1993. James Victore Racism Poster. [image] Available at: <https://www.moma.org/collection/works/120968> [Accessed 4 December 2020].
Editorial Figure 1, 2: Designhill, 2019. FIFA World Cup Logo Designs 1930 – 2018. [image] Available at: <https://www.designhill.com/design-blog/fifa-world-cup-logo-designs/> [Accessed 4 December 2020].
Editorial Figure 3 -8: 2020. World Cup Logo History. [image] Available at: [Accessed 2 December 2020].> [Accessed 2 December 2020].
Figure 9: Blog Placeit, 2020. Soccer World Cup Logo Evolution. [image] Available at: <https://blog.placeit.net/fifa-world-cup-logo-evolution/> [Accessed 4 December 2020].