Theory
Semiotics as a scientific discipline systematically examines sign processes with regard to the transmission of information and the relationships between signs, objects, and recipients. This is usually represented in model form by the so-called “semiotic triangle” (see below). Charles Sanders Peirce, who—alongside Ferdinand de Saussure—is considered one of the founders of semiotics, provided the fundamental ideas, which were further developed, among others, by Charles William Morris.
Peirce defined the fundamental classes of signs, the most familiar to us as designers being the terms symbol, icon, and index. A symbol is a sign whose meaning is determined by convention or social agreement. For instance, the linguistic sign “tree” stands for the “thing” but has no natural connection to it. Iconic signs, on the other hand, bear a resemblance to the object—for example, pictograms or onomatopoetic words (such as “cuckoo” for the bird’s call). An indexical sign has a causal or direct connection to what it denotes. It is a hint or trace that points to something else—for example, smoke as a sign of fire, or footprints in the sand.
The semiotic triangle visualizes the relationships between the referent (reference object), the sign, and the meaning constructed from it.
In addition, he defined triadic relationships between the classes of signs. The categorization refers to the relationship of the sign to its form, to its representation, and to its reference to the depicted object. It also refers to recipients and the effect of the sign in the sense of a mere indicator, a statement, or a concrete instruction for action. This categorization breaks down individual components of pictorial signs and systems and enables a differentiated analysis as well as the illustration of different possible combinations. From the interplay of all relations arises a “description” of the pictorial sign in terms of formal qualities, mode of representation, and instruction for action.
The adjacent example of the sign only makes sense to recipients when different classes of signs are combined—for example, the quality “red” together with the formal crossing-out, the iconic depiction of the pedestrian, and, if applicable, the arrow as an index.
#Symbol
#Icon
#Index
