Abstract

This work is about the basic structure of graphic design as a discourse . The beginning of this reflection is a philosophical point of view that defines “the designed”, understanding its issues through the concept of “sense”, where fact is not only the experience expressed but also the subjective and inter-subjective dialogical interchange. The discursive resource is the dialogic resource; therefore, the message has its basis in its meaning structure. In visual culture, semiotic understanding is important. Visual imaginary makes sense because of the multiple meanings and the surplus of meaning. The visual levels show different reading alternatives related to the fields of context, media, configuration and significance, including new and old topics and horizons. By itself, no object or visual sign means more than its essence. However, the same object or sign immersed in an intentional communication, such as graphic design, opens horizons of meaning because of the multiple codes and discourses that are spread. This admits symbolism but is extended towards the concept of semiosis, a deeper and more comprehensive process that requires interpretative readings. That is why “designed” visual images should be considered “visual texts” and “graphic repertoires”. This paper proposes the interpretation of visual discourses, describing basic cultural units, making narrative schemes and formal journeys. All this concludes, in semantic chains: associations, anchorages and analogies.