How Do We Assign Meaning to an Icon?

To assign meaning to anything it must be a culturally agreed-upon definition that parlays into symbolic representation. To assign meaning to an icon means that we can all agree on a singular image to be representative of an idea and the interpretation of that idea as a universal symbol.

For me, as a designer, the first thing I think about when creating iconography is the brand philosophy. I typically ask, “What are three action verbs you use to describe your work, to describe your intention behind the work?” This takes a certain focus of understanding the story, the foundation of the brand. These questions should illicit a quick gut reactionary response — if a story is known, then a story should be able to be told. The key to identifying how to create the visual symbols, icons, graphics, and even the logo is to have a visceral understanding of the history. You can’t capture a feeling into a symbol without an understanding of the underlying history and where you are presently, and forecasting a future with some sense of longevity.

I don’t go into creating graphic assets thinking about the easy method of a line drawing of a house to indicate the home screen or a phone to indicate contact. Not every brand thinks of a book or writing utensils to be the image for their blog, yet a majority use that as their symbol for their musings on a website. Why? It is easy. It is what is accepted. It is the cultural norm. When identifying iconography for many brands, it is important to me to think a little outside the proverbial box, to not only indicate via a visual symbol what the end user is browsing towards but also to be representative of the brand as a stand-alone artifact.

In describing how to assign meaning to iconography I go back to the simplicity of a STOP sign. The STOP sign in the United States is the widely accepted red octagon with white capitalized letters and a white border. How do we know to STOP? Because we were taught to STOP as a driver, as a pedestrian, as a bicyclist (though if you lived in Atlanta you would argue people don’t always adhere to that standard). So, for each icon, each brand, each idea, I have to be able to establish that the visual that is being created emanates an actionable idea.

If I were to look at the HOME icon for instance, I would of course begin with a HOUSE. And then I would branch from there … what creates a feeling of home? Free association becomes an incredibly useful tool here. HOME to Doormat, Door, Fireplace, Slippers, Window with Curtains … you get the idea? So let’s say I am creating iconography for a sporting goods group. I would then think of everything that would be indicative of HOME for sports. To me, the obvious choice would then be HOME PLATE on a baseball diamond. In being able to describe the brand and the company from the identification phase of assigning meaning, I was able to conclude that creating iconography specific to utility of the brand made the most sense.

This phase.

This is the phase where your proof of concept gets ripped apart by client and end user alike. If the visual you created is so out on left field, it can be a source of confusion for everyone involved. It is a fine line in creative work to create deliverables that mean something to not only the client but also to me, the artist. I appreciate a good critique. I appreciate the push to make sure that not only does the identity of the image speak to me, but that it can also be articulated from an ephemeral idea to something that has staying power.

This is where you, the designer, need to be flexible. Have at least three ideas or even three ways to present the same idea. Don’t assume that the brand will be able to understand the creative mechanisms that are running through your brain. And most of all, be ready to go to back to the drawing board, dig in deep with the brand identity, LISTEN to how the end user(s) interprets the image, and if you need clarification, ask.

A wellspring of ideas naturally exists in an environment of inspiration and curiosity and it is one that is provided daily by the company I choose to keep. The work I make is based on impulse and improvisation, informed by thoughtful investigations of a client’s needs and overall vision.

An advocate for the arts as well as natural preservation and urban farm-craft measures, I have served on the board of directors for groups such as Eyedrum, T.Lang Dance, Deer Bear Wolf, and Autrey Mill Nature Preserve and Heritage Center.

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