Visible Signs by David Crow, 2015 “aims to explore the mechanics of visual language” in an attempt to induce understanding, obtained through the deconstruction of signs and signifiers through semiotic theory. Crow then investigates how this can affect the outcome of any study. His book strives to capture the elements of semiotic construction, with an understanding surrounding the process we use to interpret these assets.

“There are three main areas that form what we understand as semiotics: the signs themselves, the way they are organised into systems, and the context in which they appear.” An unconscious understanding of context aids our ability to recognise the relationship between the signifier and the signified, collaborating meaning for our minds to interpret and understand.

With regards to the nature of these references, it is said that all signs fall within three differentiated categories, dependent upon how meaning is constructed. These can be either iconic, index, or symbolic/arbitrary; Iconic signs directly resemble the reference, Index signifiers present an obvious link between associable content, and symbolic/ arbitrary signs function through agreed rules, relying on the audiences familiarity, recognitions and previously obtained knowledge.

The function of semiotics is comparable to the functionality of linguistics in language, where meaning is dictated from not just a singular value, but a collaboration of values to form message. Visual language works in the same way; the way in which elements are presented determine their meaning, with regards to composition, negative space, layout, colour, stylisation, additional content, and typographic aspects.

The value of any visual component is always composed of “(1) a dissimilar thing that can be exchanged. (2) a similar thing that can be compared”. Subjecting importance, this refers to the ability to be selective dependent upon the nature intended for the audience to infer and interpret. Choices surrounding the main aspect often alter the way in which the image is read, but not the message, as these exist to be secondary, less important aspects. It is important to consider secondary content and stylistic choices, due to the fact that stylistic nature can affect the power of the main sign.

“All of us face the problem of a differential fit between how we see ourselves and how others see us. When we try to solve this problem individually, it can lead to isolation, but solving the problem collectively offers a new perspective on the situation.”

This reflects the idea that signs and signifiers aren’t always apparent, where cultural implementation, understanding and specialist values often create a bar between image and interpretation, resulting in different understandings to come about.This is especially apparent when unofficial language is used. An awareness of this is consumed by designers when composing outcomes, dependent upon who exactly they want to reach out too, and target.

Our current technologically advanced, expressive society entails for collaborative possibilities, within which ideas and interpretations can be shared, ultimately enriching the purpose and strength of the visual image. These concepts provide meaning to visual dialect, recognised by niche audiences rather than mass, entailing for greater understanding to be undermined.