FireSigns (A Semiotic Theory for Graphic Design)

ISBN: 9780262035439
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$50.00
SKU:
9780262035439
Availability:
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Minimum Purchase:
25 units
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Product Details

Author:
Steven Skaggs
Series:
Design Thinking, Design Theory
Format:
Hardcover
Pages:
296
Publisher:
MIT Press (March 3, 2017)
Language:
English
ISBN-13:
9780262035439
ISBN-10:
026203543X
Weight:
31.6oz
Dimensions:
7.25" x 9.31" x 0.86"
Case Pack:
16
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_full_active_D20250706T180326_152409950-20250706.xml
Folder:
RandomHouse
List Price:
$50.00
As low as:
$25.00
Shipping Origin:
Crawfordsville, IN
Publisher Identifier:
P-RH
Discount Code:
A
Audience:
General/trade
Country of Origin:
United States
Pub Discount:
65
Imprint:
The MIT Press

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Overview

Semiotics concepts from a design perspective, offering the foundation for a coherent theory of graphic design as well as conceptual tools for practicing designers.

Graphic design has been an academic discipline since the post-World War II era, but it has yet to develop a coherent theoretical foundation. Instead, it proceeds through styles, genres, and imitation, drawing on sources that range from the Bauhaus to deconstructionism. In FireSigns, Steven Skaggs offers the foundation for a semiotic theory of graphic design, exploring semiotic concepts from design and studio art perspectives and offering useful conceptual tools for practicing designers.

Semiotics is the study of signs and significations; graphic design creates visual signs meant to create a certain effect in the mind (a “FireSign”). Skaggs provides a network of explicit concepts and terminology for a practice that has made implicit use of semiotics without knowing it. He offers an overview of the metaphysics of visual perception and the notion of visual entities, and, drawing on the pragmatic semiotics of the philosopher Charles Sanders Peirce, looks at visual experience as a product of the action of signs. He introduces three conceptual tools for analyzing works of graphic design—semantic profiles, the functional matrix, and the visual gamut—that allow visual “personality types” to emerge and enable a greater understanding of the range of possibilities for visual elements. Finally, he applies these tools to specific analyses of typography.

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