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ABSTRACT
The research dealt with the background of the research, the research problem, the importance of the research, the
research objectives, the research hypotheses, the research limits, the research methodology, and the research terms.
The first chapter dealt with the visual perception of shapes, the symbolic semantic formulation of the shape, the
formulation of visually created shapes, the visual perception of shapes, the physiology of shape perception, the visual
formulation, and the structural composition of the visual message, including the representative level, the abstract
level, and the symbolic level, the semantic properties of images. The second chapter included the semantic meaning
of shapes, the stages of the emergence of semantics, and the types of semantic meanings, which represent the basic
cognitive meaning, the additional or secondary meaning, the stylistic meaning, the psychological meaning, and the
suggestive meaning. Forms of meaning change include the specialization of meaning, generalization, and transfer of
meaning. The third chapter dealt with the research experience, the intellectual aspect of the experience, the technical
aspect of the experience, and the technical analysis of the results of the experience. The fourth chapter dealt with the
results, recommendations, and references.
KEYWORDS
Symbolic Meanings, Design, Advertising Poster.
INTRODUCTION
Research Article
SYMBOLIC CONNOTATIONS AS AN INPUT TO THE DESIGN OF THE
ADVERTISING POSTER
Submission Date:
Sep 28, 2024,
Accepted Date:
Oct 03, 2024,
Published Date:
Oct 08, 2024
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume04Issue10-08
Lect. Dr. Haider Addam Hamza
Ministry of Education, Babylon Education Directorate, Iraq
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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First: Research Background
Symbolic connotations in advertising poster design
play an essential role due to their incredible power in
confirming the attractive factors in the recipient
guiding, educational, or aesthetic meanings and
concepts. If the poster includes two aspects, one
functional and concerned with the content and the
other aesthetic and concerned with the physical
environment in terms of its size, the type of written
letters and their colors and their effect on it, and the
type of shape and expressive symbols, then there is a
third aspect related to the meanings and concepts
intended to be conveyed to the recipient in a way that
contributes to conveying the advertising message in
the best way, which is the aspect that the researcher
focused on in studying this research due to its essential
positive aspect towards what it provides from
different approaches to designing the advertising
poster.
Second: Research Problem:
The research problem can be formulated in the
following question:
Is it possible to add meaning to the advertising poster
and benefit from symbolic connotations when
designing it?
Third: Importance of the research:
1. Stimulating the interactive aspect by identifying
symbolic connotations and their responses in arousing
attention.
Fourth: Research objectives:
1. Identify the concept of symbolic meaning in general
and visual meaning in particular.
2. Find new approaches to employ visual meanings in
the advertising poster.
Fifth: Research hypotheses:
1. Symbolic meanings can be used in the design of the
advertising poster.
2. Symbolic meanings can be employed to design the
advertising poster.
Sixth: Research limits:
Objective limits: Designing advertising posters through
symbolic meanings.
Time limits: Advertising posters 2024
Seventh: Research methodology:
The research follows the descriptive, experimental
approach to investigate the hypotheses and objectives
of the study.
Eighth: Search terms:
Symbolic connotations
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- Symbol
The word symbol represents a term given to a visual,
visible thing that is presented to the mind, so an
attempt is made to create a similarity between it and
another unclear thing. Still, it is perceived through the
associations related to it. The Encyclopedia Britannica
defines the symbol as not indicating its intended
meaning, but other circumstances and factors must be
used to visualize its meaning. Hence, the symbol is the
form with the meaning that a person uses to deduce
something or a meaning, and this meaning may be
specific or absolute. The origin of the word symbol in
English is taken from the Greek word Symbolon. It is a
visual reference to something that is not generally
visible, such as an idea or a characteristic. It can be just
a logo or a sign, and the symbol can indicate multiple
meanings according to the surrounding context. For
example, the crossed bones symbol, if placed on a
store sign, suggests the danger of using the place, and
on the other hand, when placed on the clothing of
motorcycle riders, it indicates boldness and
acceptance of taking risks. Many artists consider the
symbol to mediate between the visible and the
invisible and between the conscious and the
subconscious.
In many cases, pictorial symbols turn into abstract
symbols, as in drawing religious places, where there
are now symbols for these places instead of drawing
them, as with the crescent and cross symbols. The sign
is defined as something with specific and known
features, and it is nothing but something that we act
upon and a means to serve a particular purpose, as Zaki
Naguib Mahmoud (1905-1993) explains in his
interpretation of the sign, saying that the sign is the
thing that we take as an indication or sign of the
existence of something other than it because the two
things are found linked, such as smoke, which is a sign
indicating the existence of fire or a fire, and this agrees
with the opinion of Herbert Read**) Herbert Read
(1893-1968), in his interpretation of the concept of the
sign, where says that all that the sign aims to do is to
make us deal with what it indicates or signifies.
Advertising Posters
"The design of advertising posters is based on applying
a set of principles and working on a set of elements to
create a visual communicative artwork based on a
fixed image and taking a printed form or displayed on
a two-dimensional surface" (Musa, 2011, p. 23).
"The art of the advertising poster in its general
meaning is the art of cutting, engraving or processing
wooden or metal panels or any other material with the
aim of achieving printed surfaces and obtaining
different artistic formative effects through printing
them" (14 October Foundation, 2012, p. 41).
Ninth: Related studies:
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1- The study of Muhammad Yassin Abu Al-Ainain: The
cognitive implications of space in two-dimensional
artworks in a selection of contemporary art to enrich
decorative designs.
This study aims to identify the cognitive connotations
of space in two-dimensional artworks in a selection of
contemporary art as an introduction to enriching
decorative designs. It addressed the role of the teacher
in revealing the cognitive factors and connotations in
space and the impact of some scientific trends and
philosophical theories. It addressed space in two-
dimensional artworks in some eras of fine art. It
discussed also the structural elements of design and
classification, types of space, and analytical study of
some two-dimensional artworks.
This study benefits current research by identifying the
cognitive connotations of space and the methods of
employing these connotations to suggest depth.
This study differs from the current research in
addressing the visual connotations of formulating the
natural form.
2- Jihan Fawzy's study: Symbolic connotations of color
and its functional importance in contemporary
decorative designs.
This study aims to study colors and their symbolic
connotations in the field of visual communication by
extracting new approaches to color based on the
analytical study of the works of contemporary artists
and investing in the symbolism of color in supporting
the aesthetic concept of the dimensions of color on the
design surface and reaching a deeper understanding
and importance of color and how the connotation
controls the construction of the design.
This study benefits current research on symbolic
connotation and perception, the importance of color,
and how connotation controls design creation.
This study differs from current research in its
examination of the visual connotations of the natural
form as a source for poster design. 3-Qasim
Muhammad Ali Issa's study: The art of posters and its
educational effectiveness.
Through his study, the researcher addresses the nature
of the poster by defining it. The sequential exposure to
its history and design in terms of its rules and
formation, the psychological factors that affect its
effectiveness, the poster as a means of communication
with the masses, and the educational application of the
poster as a means of communication in the field of
education, and its role in different societies, especially
in Egyptian culture, and the researcher presented a
practical model for designing a commercial poster and
a model for evaluating the effectiveness of a poster.
This study helps the current research identify the
historical part of the poster and the aspects of
benefiting from it as a means of communication with
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the public. This study differs from the current research
in its emphasis on the role of the visual significance of
the natural form in conveying the advertising message
and making it a starting point for designing
contemporary posters.
Advertising Posters
"The design of advertising posters is based on applying
a set of principles and working on a set of elements to
create a visual communicative artwork based on a
fixed image and taking a printed form or displayed on
a two-dimensional surface" (Musa, 2011, p. 23).
"The art of the advertising poster in its general
meaning is the art of cutting, engraving or processing
wooden or metal panels or any other material with the
aim of achieving printed surfaces and obtaining
different artistic formative effects through printing
them" (14 October Foundation, 2012, p. 41).
Ninth: Related studies:
1- The study of Muhammad Yassin Abu Al-Ainain: The
cognitive implications of space in two-dimensional
artworks in a selection of contemporary art to enrich
decorative designs.
This study aims to identify the cognitive connotations
of space in two-dimensional artworks in a selection of
contemporary art as an introduction to enriching
decorative designs. It addressed the role of the teacher
in revealing the cognitive factors and connotations in
space and the impact of some scientific trends and
philosophical theories. It addressed space in two-
dimensional artworks in some eras of fine art. It also
discussed the structural elements of design and
classification, types of space, and analytical study of
some two-dimensional artworks.
This study benefits current research by identifying the
cognitive connotations of space and the methods of
employing these connotations to suggest depth.
This study differs from the current research in
addressing the visual connotations of formulating the
natural form.
2- Jihan Fawzy's study: Symbolic connotations of color
and its functional importance in contemporary
decorative designs.
This study aims to study colors and their symbolic
connotations in the field of visual communication by
extracting new approaches to color based on the
analytical study of the works of contemporary artists
and investing in the symbolism of color in supporting
the aesthetic concept of the dimensions of color on the
design surface and reaching a deeper understanding
and importance of color and how the connotation
controls the construction of the design.
This study benefits current research on symbolic
connotation and perception, the importance of color,
and how connotation controls design creation.
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Publisher:
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Servi
This study differs from current research in examining
the visual connotations of the natural form as a source
for poster design. 3-Qasim Muhammad Ali Issa's study:
The art of posters and its educational effectiveness.
Through his study, the researcher addresses the nature
of the poster by defining it. The sequential exposure to
its history and design in terms of its rules and
formation, the psychological factors that affect its
effectiveness, the poster as a means of communication
with the masses, and the educational application of the
poster as a means of communication in the field of
education, and its role in different societies, especially
in Egyptian culture, and the researcher presented a
practical model for designing a commercial poster and
a model for evaluating the effectiveness of a poster.
This study helps current research identify the historical
part of the poster and its benefits as a means of
communication with the public. It differs from current
research in its emphasis on the role of the visual
significance of the natural form in conveying the
advertising message and making it a starting point for
designing contemporary posters.
Figure (1) How the recipient perceives the form
Visual formulation We now live in a world that is
permeated by images, in particular in all fields, as
images fill newspapers, magazines, books, billboards,
television, computers, the Internet, and mobile phones
in a way that has never happened before in the history
of humanity in general. It is natural for humans to
express themselves through images and symbols.
Since the beginning of humanity, humans have used
sign language and different types of signs and symbols
to communicate. Prehistoric humans made wall and
rock drawings, which developed into letters, symbols,
and numbers. Images helped humans communicate
before using writing in messages, as shown in Figure
(3-4). The role of the visual message in advertising is
more influential and effective than the role of words,
so the visual message has become an expressive,
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formative, and organic part of all advertisements of all
kinds due to its ability to attract the eye and create an
impression in the mind of the recipient in a way that
words and direct slogans do not have, even if they are
surprising or have a distinctive verbal rhythm. The
visual message contains an overlapping structure of
images, symbols, and graphic drawings. Images are the
essential element of the visual message, characterized
by being dual-functional, as they contain implicit truth
and, simultaneously, are the primary source for
creating a world of imagination. Images derive
strength from the embodiment of truth and feelings
they evoke in the recipient’s s
oul through their
imaginary properties.
Figure (3) Drawings on rocks from Lascaux Cave, France
Figure (4) Rock drawings of a rhinoceros fighting a group of horses, from Chavaux
Cave, France
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The structural composition of the visual message
"Visual messages are received and expressed through
three levels" (Al-Khawli, 2007, p. 14):
The representational level is what is seen and
distinguished from the environment and previous
experiences.
The abstract level consists of the dynamic qualities of
the visual event that have been summarized to the
most concise meanings of clarification and feelings in
the form of a simple message.
The symbolic level is the encoded symbolic system that
man invented and attached special meanings to.
Semantic properties of images:
Impersonal images representing some aspects of
reality are clear examples of iconic signs that combine
to create a specific semantic world. This significance
comes from the thinking and contemplation that the
image has established for the recipient. Iconic signs
have been attributed to the symmetry between them
and the reality they represent, but they do not need to
provide an identical copy of them. For example,
drawing maps of a line that shows a river is considered
an iconic embodiment of the natural river despite the
lack of symmetry of the line shape with the river.
Similarly, a child's drawings of a human being in the
form of a stick are considered an iconic sign because
they fit with the basic structure of the human div
despite the absence of realistic details. Full-color
photographs cannot match some features in aspects
of reality, such as the sense of third-dimensional space
that we perceive in our vision of what is around us
through our eyes.
Recent studies in perception and knowledge have
proven that even with the initial or primitive version of
the image, for example (a schematic drawing) and an
attempt to match it with reality, this representation is
sufficient for the mind to employ the mental processes
specific to visual perception to perceive the actual
image.
Chapter Two
The Semantic Meaning of Forms
Stages of the Emergence of Semantics
Semantics is called "semiology," and by definition, it is
the science of the indicative sign, regardless of its type
and origin. This means that the cosmic system, with all
its signs and symbols, is a system with meaning. Thus,
semiology is the science that studies the structure of
signs and their relationship in this universe, and
consequently studies their internal and external
functions" (Ayash, 1992, p. 9).
Some scholars also call semantics semiotics, as some of
them define it as the study of meaning or the science
that studies meaning, or that branch of linguistics that
deals with the theory of meaning, or that branch that
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studies the conditions that must be met in a symbol in
order for it to be able to carry meaning. The latter
definition requires that the subject of semantics be
anything or everything that plays the role of a sign or
symbol. These relationships or symbols may be signs
on the road, a hand gesture, or a head gesture, as well
as words and sentences. In other words, they may be
non-linguistic signs or symbols that carry meaning, as
well as linguistic signs or symbols.
The subject of the relationship between the word and
its meaning was one of the issues that Plato addressed
in his dialogues about Socrates. In the Middle Ages, the
question was whether meaning was the idea or
something else. In historical times, it was found that
thinking about the sign had affected the patterns of
meaning, so thinking about the sign entered through
the framework of philosophies influenced by religions
that believed in monotheism and the existence of God.
Meaning moved from ancient formalism and religious
ideas in the Middle Ages to the modern world through
pronunciation and linguistics, and how it moved from
the fixed concept of producing a formal meaning for a
single meaning to recognizing the existence of
different semantic practices that have their own
systems governed by a qualitative relationship
between meaning and reality (Omar, 2009, pp. 17-18).
We find the definition of semantics as the science that
is more comprehensively concerned with the study of
signs, meaning, and systems of meanings. More simply,
semantics studies how meanings are assigned to signs,
i.e., the relationship between the sign and its issues
and the way signs are linked. The essential feature of
symbolic semantics constantly includes the image of
the idea within it. Thus, scenes of nature, movements
of people, and material phenomena are not intended
for themselves but as superficial manifestations
intended to represent their hidden relationships with
essential ideas.
Types of semantic meanings (Qasim, 2001, p. 322)
Primary cognitive meaning: This type of meaning has a
sophisticated, complex organization; its means is the
level of understanding to convey ideas.
Additional or secondary meaning: This type of meaning
is in addition to the primary meaning, i.e., it is not final
and does not have the characteristics of permanence
and comprehensiveness but rather changes with
changes in culture, time, or experience.
Stylistic meaning: This type of meaning is not just about
individual expression, but also about the influence of
social circumstances on language use, making it a
fascinating area of study.
Psychological meaning: It refers to the connotations of
the individual, i.e. an individual, subjective meaning
that is deeply personal and not characterized by
generality, adding a layer of personal connection to the
study of semantics.
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Suggestive meaning: It is a type with a unique ability to
suggest.
These semantic meanings clarify the psychological and
mental concepts of individuals in society, which the
individual resorts to in an attempt to describe and
explain something, and the semantic meaning can be
subject to a type of change as a result of social and
cultural transformation or as a result of the need to
express new meanings to suit frequent use.
Forms of meaning change
A. Specifying the meaning: where the meanings are
transformed from a general meaning to a partial
meaning as a result of adding some distinguishing
features to it, and as we find in Figure (5), the shape of
the handcuff carries many meanings and connotations,
as it was specified here to drugs, although the meaning
can be transformed to something else by changing the
written phrase.
Figure (5) A poster showing the allocation of significance
A. Generalization of meaning: It is the opposite of the
previous specialization, where the meanings are
transformed from a partial meaning to a general
meaning, i.e., the meanings of many meanings, as we
find in Figure (6) where we see a background of the sky
and the shape of a flying dove, so we find that the
designer has customized the shape of the dove as he
wanted, although it carries the meaning of peace, he
placed it in a symbol that indicates many other
meanings and connotations.
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Figure (6) A poster illustrating the Generalization of meaning
B. Transfer of meaning: It depends on a similar
relationship through metaphor and a dissimilar
relationship through design, as we find in Figure (7)
where we see a realistic picture of a woman carrying a
doll and crying, and instead of the designer depicting
traffic accidents, we find that he has resorted to
another meaning, which is separation and pain after
these accidents, so he described the woman crying
over separation and pain for loved ones, which results
from traffic accidents, so the viewer carries many
connotations and meanings in the design.
Figure (7) A poster showing the transfer of meaning
.
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Chapter Three
Research Experience
First: The intellectual aspect of the experiment
The graphic designer and the computer deal with the
purpose of producing graphic designs through primary
stages, starting with the idea where the designer
explains some considerations in the form of drawings
on which he builds what he wants to express and
obtain and collects elements and images from natural
forms to put them in the design, then he formulates in
computer language the elements of shapes and color
and controls his design which includes modification, to
prepare the final formulation of the essential elements
of the advertising design, and choose the appropriate
program for each design and work on it.
Second: The technical aspect of the experiment
The concepts and meanings of technology are
determined according to its position in use in various
fields and activities in life, and in the field of art, some
see that "technology means skill in using tools, and
there are those who see technology as an artistic
method, i.e., the process followed to produce the
artwork in industrial origins.
Third: Technical analysis of the results of the
experiment
By reviewing the group of posters produced by the
computer and designed by the researcher,
Poster No. (1) Investment Tree. The shape of a tree in
nature
Poster No. (1) Investment Tree. The shape of a tree in nature
Poster (1) Investment Tree, by the
researcher
Tree shape in nature
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Element
Analysis
Poster idea
Advertisement to encourage investment for
one of the Iraqi banks (Rafidain Bank
(
Visual significance
Image of a tree in nature, bearing
banknotes (dollars) on a green background
pointing upwards
.
Symbolic significance
The shape of the tree symbolizes growth
and giving, the shape of the banknotes
symbolizes financial investment, and the
kite symbolizes the family and the child.
Financial investment develops the economic
status of the family
.
coffee cup shape
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Poster (2) Coffee and Time, by the researcher
The element
Analysis
Poster idea
Coffee break advertisemen
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Visual
significance
Image of coffee cup, clock hands, and coffee beans on
the floor
Symbolic
significance
Coffee is a symbol of alertness as it is a stimulant for the
nervous system, while the clock symbolizes the time for
rest during work, and raw coffee is a symbol of quality
manufacturing
.
Sticker No. (3) Seat Belt
Car shape
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seat belt shape
Poster (3) Seat belt, by the researcher
.
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The element
Analysis
Poster idea
Coffee break advertisemen
Visual
significance
Image of coffee cup, clock hands, and coffee beans on the floor
Symbolic
significance
Coffee is a symbol of alertness as it is a stimulant for the nervous
system, while the clock symbolizes the time for rest during work,
and raw coffee is a symbol of quality manufacturing
.
Chapter Four
RESULTS
1. The visual formulation connotations of the natural
form were utilized as a source for designing the
contemporary advertising poster, through theoretical
studies in this field, through which the visual
formulation connotations of the natural form were
analyzed in the second chapter of the research.
2. The visual formulation connotations of the natural
form were employed as a source for designing the
contemporary advertising poster, in the third chapter
of the research, which was concerned with studying
the semantic meaning of the forms, and how to
measure the semantic meaning of the natural forms.
Recommendations
1. It is important to advance the future of advertising
design as one of the modern means that contribute to
confirming the universality of culture and the
sentiment of civilization, by relying on the aesthetic
and intellectual sense in advertising design, and by
using scientific and technological development and by
directing advertising towards intellectual truth more
than its direction towards visual nature, i.e. towards
the concept more than the tangible.
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2. The importance of deepening the role of the
computer as an auxiliary mediator for the poster
designer in experimentation and employing the
computer's graphic capabilities as an unconventional
alternative to create aesthetic effects with different
sensory connotations related to deepening and
developing his innovative idea.
REFERENCES
1.
Muhammad Al-Amin Musa: Introduction to Graphic
Design, University of Sharjah, Sharjah, 2011.
2.
14th October Foundation for Press, Printing and
Publishing: Cairo, Issue No. (15367), corresponding
to January 19, 2012.
3.
Muhammad Yassin Abu Al-Anin: Cognitive
connotations of space in two-dimensional
artworks in contemporary art selections to enrich
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Volume 04 Issue 10-2024
132
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
04
ISSUE
10
P
AGES
:
114-132
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
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