A solid black heart shape centered on a red circular background with a dark gradient along the edges.
The image is completely blank with a plain white background and no visible objects, text, or features.
The image is completely blank with a plain white background and no visible objects, text, or features.
The image is completely blank with a plain white background and no visible objects, text, or features.
The image is completely blank with a plain white background and no visible objects, text, or features.
The image is completely blank with a plain white background and no visible objects, text, or features.

VCD Visual
Language.

VCD 2024

HOW
DESIGN
SPEAKS.

Visual language is the communication of ideas and information through visual means. Humans have been telling stories about themselves using simple components of visual language for thousands of years. Beginning with shapes and lines in ancient cave paintings, visual language is used now to persuade audiences and influence opinions in much more complex ways. This page will explore the components of visual language, how pictorial and symbolic components work, typography and ways designers combine all these aspects to communicate information, engage users and influence audiences.

Takeaways

Black and white icon of a cheeseburger with lettuce and a cold drink in a cup with a straw, representing fast food.
Good to go
Visual Language

Visual language is the communication of ideas and information through visual means, using elements like images, symbols, typography, and design principles to influence, engage, and inform audiences.

  • For thousands of years, visual language from ancient cave paintings to modern design has been used to tell stories and persuade audiences.
  • Visual language depends on shared symbols, cultural knowledge, and clear messaging like spoken language.
  • It comprises components, including
    • design elements
    • design principles and Gestalt principles of visual perception
    • materials, methods, media
    • symbols and images
    • typography
    • conventions
  • All of which work together to convey meaning.
  • Pictures and symbols in visual language can communicate complex ideas swiftly and effectively, often through subject matter, metaphors, and visual composition.
  • Designers use conventions—agreed-upon rules or styles—to guide the combination and presentation of visual language in everything from posters to digital interfaces, making messages more effective and persuasive.

What’s language anyway?

Language is a system where a person puts an idea into a kind of code and sends it as a message to another person. This receiver then decodes the message and presto, understands the sender’s idea! For example, think of a person standing in the rain. Suddenly, it stops and out comes the sun. They think, ‘I’m happy when the sun shines!’ and shout it out. A passer-by hears them and thinks, ‘I do too’.

So, what really happened?

  1. When the sun came out, it made our person happy so they thought up a message
  2. They (the sender) encoded the message into English (made from letters, words and grammar)
  3. They sent the message out as sounds
  4. A passer-by (the receiver) heard (received) the message (as sounds)
  5. The receiver decoded the sounds, recognising them as the English language, into letters, words and grammar.
  6. The receiver understood the message

So, what’s essential for language to work? In order for people to communicate (send and receive messages) three conditions must be met.

  • First, people must share a symbolic system. That means they both speak (are literate) in the same language. They agree on symbolic ways to represent concepts, objects, actions and ideas.
  • Second, they must share a common ground of knowledge. This means that both the sender and receiver share an essential level of information, experiences and cultural references. This is developed by the sender and receiver sharing the elements of the same social and cultural context.
  • Third, known as the ‘Cooperative Principle’ (Paul Grice, ‘Logic and Conversation’, 1975), is the requirement for messages to be relevant, informative, truthful and clear.

If these three conditions are required for people to communicate using spoken and written language, are they relevant to communication with visual language? I would argue yes!

The Visual Communication Design Poster Pack Full is an educational infographic set covering visual language—design elements, principles, methods, materials, and conventions—ideal for explaining pictorial, symbolic, and cultural aspects of visual communication.
Order this poster to compliment your learning. Click on the image above to find out more. Alternatively, get a VCD poster set or find it in the VCD Theory Reference Kit.
Illustrated cover of Collins Girls Annual showing a smiling girl with short brown hair in a plaid shirt, holding a book and standing near a tree, with large yellow title text above her.
Cover illustration from Collins ‘Girls Annual 1955.

Message: An ideal girl

Condition 1: Shared symbolic system (In 1955)
The light and colour are high-key and represent a light and airy atmosphere. The girl’s eyes towards the centre of the picture are a focal point, giving her confidence and resonating with her engagement in reading. The outside setting is also an agreed-upon symbol for the idea of wholesomeness.

Condition 2: Shared knowledge
If you were in an Anglo-European culture in 1955, the girl looking at the viewer and smiling represents cooperation, a desirable characteristic at that time. The shadow across her face makes her appear more modest, which was also desirable then. Her reading emphasises her role as a learner rather than a doer. Finally, the image created with transparent washes of watercolour reflects her fresh and honest character.

Condition 3: On message
Receivers believed in this version of a daughter and proactively sought to cultivate this kind of image for girls. It rang true.

The term Visual Language is not exclusive to Visual Communication Design. Visual Language is the method of communicating visually and is used in all of the visual arts forms. Whilst Visual Language for VCD may seem to reside somewhere between Visual Language in Art and the use of Codes and Conventions in Media, this study for VCD focuses on Visual Language in the context of professional design practice.

SEMIOTICS

Semiotics is the study of how people communicate with signs. A quick understanding of semiotics helps understand how visual language is used to form, send, receive and interpret ideas and information using visual means. Two additional terms we need to understand are:

  • Encode = Translate or put thoughts or words (the signified) into components of visual language (visual signifiers). For example, instead of thinking or writing the word ‘passion’ (signified), the sender puts it into a red splotch of colour (visual signifier).
  • Decode = To read and understand a message encoded with visual signifiers that both the sender and receiver understand. The receiver sees the red splotch (visual signifier) in the example above and feels passion (the signified).

Consider the graphic representation of the semiotic process below.

Conceive, encode, transmit, receive, decode, understand

SENDER
A simple illustration of a person with a green speech bubble saying, Apples are cheap and fresh.

A person (the sender) thinks of (conceives) an idea (the signified) they want to express. This is called a message.

SENDER
A graphic with color swatches (dark green, light green, red, yellow) labeled Colours, black icons of an apple, a burst, and the word Apples labeled Symbols & type, and the word Composition below.

The sender chooses components of visual language (signifiers) with which to encode the message. These components have shared meanings within a society.

SENDER
A retro-style apple poster with red apples, green leaves, the word “Apples” in bold red script, and a green circle showing the price as 10 cents. The image is layered and partially faded on the left.

The sender combines the components of visual language (signifiers) into a design and releases (transmits) it to the world.

RECEIVER

A stylized person stands in front of a poster featuring apples, a price of 10¢, and the word “Apples,” looking surprised or excited as indicated by lines around their head.

An observer (the receiver) sees the design.  They see the signifiers.

RECEIVER

A red silhouette of a person with a red thought bubble that says, Apples are cheap and fresh, on a light gray background.

Using the shared understanding of visual language, the receiver decodes the meaning of each component (signifiers). They understand the message (the signified).

The power of visual language

The chief role of visual communication in the field of messages is to promote particular perspectives and persuade and influence audiences by provoking an emotional response. And, this it has done most successfully. How have visual communicators been able to sell us things we know are bad for us, promote evil ideologies and get young men to leave their homes only to walk into machine gun fire on the other side of the world? Visual language can also be used to get people to do things that are good for us too!
A cowboy walks beside two horses in sunlight; large text reads, Come to where the flavor is. Come to Marlboro Country. Two packs of Marlboro cigarettes are shown in the bottom right corner.
American advertisement for Marlboro cigarettes. Photograph, 1968. Credit: Granger  Historical Picture Archive.
A propaganda poster shows rows of hands raised in salute under the word Großdeutschland. Large red text at the bottom reads Ja! am 10. April. The image uses sepia tones and emphasizes unity and obedience.

‘Greater Germany Yes on 10 April’ (Max Eschle, Munich, 1938).
A poster to encourage support for a referendum for the annexation of Austria by Germany.
Credit: Accession Number: 1990.333.22 United States Holocaust Memorial Museum Collection

A vintage wartime poster shows a man swimming in the ocean above bold text: It is nice in the surf BUT What about the men in the trenches GO AND HELP. A badge says, Win the war, leave & serve.
'It is nice in the surf, but what about the men in the trenches?' David Souter, 1915. © Crown Copyright. IWM.

So how do they do it? What do they use? Communication with visual language uses several components, just like the English language uses letters, words and syntax (the arrangement of words that create sentences). The components of visual language are;

  • The Components of Visual Language
    • The Elements of Design
    • The Principles of Design
    • The methods, the media and the materials used in designs
  • Pictorial and symbolic components
  • Type and typography
  • Conventions for Combining and Presenting Visual Language
Jump to
Components of Visual Language
Pictorial & Symbolic components
Conventions for Combining & Presenting Visual Language

Components of visual language

Visual language consists of various elements. Each of these components communicates ideas through visual characteristics, psychological effects, and by evoking emotional responses. For example, warm colours create a visual effect of advancing when placed on cool-coloured backgrounds; shapes seem to associate with one another, leading to mysterious psychological effects known as the Gestalt Principles of Visual Perception. Additionally, materials like natural wood are used to influence our emotional state in packaging, object, and environmental design. Let’s investigate these components of Visual Language.

Design elements

A Venn diagram with four overlapping circles in blue, green, yellow, and red features various layered colors where they intersect, showcasing striking design elements on a white background.
Colour
A blue circle features design elements: a dark blue square, a light blue triangle and hexagon, and two white circles, all overlapping inside the main blue circle on a light blue background.

Shape

A teal circle with a white graph features distinctive design elements: a wavy line rising sharply near the end, set against horizontal and vertical axes that create an L shape in the background.

Line

A smooth, metallic silver circle with a subtle gradient, this design element features a reflective, shiny appearance on a transparent background.

Tone

A circular pattern of green and light green cubes arranged in a repeating, three-dimensional geometric design incorporates striking design elements, creating an optical illusion of depth.

Texture

A simple illustration of a 3D cube with three visible faces in shades of pink and white, set against a light pink circular background—perfect for adding modern design elements to your projects.

Form

A beige circle features four vertical design elements inside: three white circles aligned in a row above a single red circle at the bottom.

Point

White text E1a in a bold, sans-serif font is centered on a dark gray circle background, creating striking design elements.

Type

The building blocks of Visual Language are named the Elements of Design. These are units without which any visual entity cannot exist. In the study of Visual Communication Design, the Elements of Design are colour, shape, line, tone, texture, form, point, and type. These elements can be combined to make visuals that form the basis of visual communication. How do you respond to the images below? Can you identify the Design Elements that have been emphasised in each?

A yellow diamond-shaped road sign with a thick black border, commonly used as a warning sign for drivers. The sign is blank without any symbols or text.
A black silhouette of a circular saw blade with sharp, evenly spaced teeth and a round hole in the center, set against a transparent background.
The word soft appears in white, blurry text on a light blue background.

Design principles

A graphic featuring two large white circles side by side, partially set into a dark green lower half with a light green upper half background, uses simple design elements to evoke the look of glasses or binoculars.

Balance

A geometric design featuring bold design elements: the left half black, right half blue, and a central circle split vertically—white on the left, orange on the right—overlapping both backgrounds for striking contrast.

Contrast

A graphic featuring bold design elements: a large yellow left-pointing arrow and a right-pointing arrow overlapping on a purple background, with segments of each arrow missing where they intersect.

Figure-ground

A bold, lowercase letter a in white is partially visible against an orange background, with the left and bottom parts of the a cut off by the edges, showcasing striking design elements.

Cropping

Abstract design featuring three horizontal bands in light gray, red, and dark gray, each with a circle. Mirrored below for symmetry, this composition highlights bold design elements and reflection.

Hierarchy

A yellow ruler with black markings stands vertically on the left, while another ruler lies horizontally on the right, both serving as design elements against a green background with two diagonal white lines between them.

Scale

Minimalist image of a brown pair of chopsticks and a stylized triangle as design elements, resting on a light beige background, resembling the letters L and A side by side.

Proportion

A geometric pattern features alternating red circles and dark gray squares in a grid. In the corners, red semicircles overlap gray squares, using design elements to create a symmetrical, abstract look on a white background.

Pattern

The organisation of visual components, derived from the Design Elements, occurs through the application of Design Principles. These principles serve as strategies for organising and combining Design Elements. Visual Communication Design’s Design Principles include balance, contrast, figure-ground, cropping, hierarchy, scale, proportion, and pattern. Designers of messages and interactive experiences also utilise a broader set of design principles known as the Gestalt principles of visual perception, which encompass proximity, closure, similarity, and continuation. These are termed the ‘Gestalt Principles of Design’ due to their connection with the psychology of perception.

Can you identify the Design Principles that have been emphasised in the three abstract illustrations below?

A red circle with a white ring inside it and a smaller red circle in the center, resembling a bullseye or target symbol, on a gray background.
A large red circle with a white crescent shape on the right side and a smaller red circle inside the white crescent, creating a stylized abstract design.
A large red circle with a smaller white circle overlapping on the right side and a small black circle inside the white circle, resembling a stylized eye.
Jump to
For further information on the Elements and Principles of Design click the links at right.
An orange circle with key design elements: a white lowercase letter a, a white vertical line, a white hexagon above the a, and a shaded 3D cube to the left of the line.
Design Elements
A green and teal shield shape features key design elements: a large white lowercase letter a, a white horizontal line above it, and a small blue and teal 3D cube at the top.
Design Principles

Methods, media & Materials

A pencil drawing the outline of a 3D cube on a beige background, with rough, sketch-like lines.

Sketching

A simple white cube on a yellow background, with a slanted green strip at the bottom right displaying 30º in bold text.

Isometric drawing

An illustration of a mousetrap with a human figure on the base and an orange arrow pointing outward, symbolizing a person being trapped and pushed out. The background is light blue.

Screenprinting

An illustration of a white computer cursor pointing at the corner of an orange square with red outlines and white handles on a blue background, suggesting resizing or editing.

Digial

Four overlapping water drops in blue, pink, yellow, and black, representing CMYK color model used in printing. The drops are semi-transparent and blend where they overlap, creating new colors.

Inks

A half-circle divided horizontally: the top half contains rows of colored circles (yellow, pink, blue, black), while the bottom half is solid gray.

Digital toner

A stack of three white sheets of paper with curved edges, placed on an orange background.

Paper

A stylized illustration of a wood texture featuring a circular shape with wavy lines and a light brown color palette, resembling natural wood grain patterns.

Wood

The techniques, processes, and methods used to create design pieces, along with the materials and media they are made from, are the most expressive components of visual language. One only needs to consider the values and ideas people hold towards hand-made versus mass-produced ceramics and tableware to realise how the ways in which things are made contribute to perceptions of value. The materials, media, and methods employed to create visual communications are regarded both functionally and aesthetically in the way they convey concepts to an audience.
Jump to
For further information on the Methods, Media and Materials click the links at right.
A cube with three visible sides, each showing a different drawing concept for VCD: tracing a figure, sketching a 3D box with a pencil, and illustrating perspective using manual and digital based methods.
Methods
Four overlapping water drops in blue, pink, yellow, and black, representing CMYK color model used in printing. The drops are semi-transparent and blend where they overlap, creating new colors.
Media
A circular illustration showing a perforated metal sheet partially covering a background of wood grain and blue ceramic tiles.
Materials

task

Image
Show I know ...
1.1 Languages
How many languages do you speak? No, seriously, how many different types of languages do you use or respond to. Consider everything including, music, drama, maths, coding, etc.
1.2 Elements and Principles
Choose one of the languages you identified in Task 1.1 Write down three elements and three principles of that language. Remember an element is a small piece, and a principle is a strategy for how the pieces can be arranged.
1.3 Components of Visual Language
Make a table chart with headings in the top row of columns: Elements, Principles, Materials, Methods, Media. Choose a piece of communication design that you feel is a convincing example that might engage or persuade audiences. Under each heading describe the use of one dominant example in each category.
1.4 Write it up
Using the chart you created in Task 1.3 as your information. Answer this question. How has a designer used the components of visual language to engage or persuade audiences? In your answer refer to one design element, one design principle and one material, method or media.
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Pictorial and symbolic components

Stepping beyond the Elements and Principles of Design, as well as the materials, methods, and media used in constructing designs, we will explore how images function within the realm of Messages. The content here discusses how messages communicate with audiences by symbolically representing ideas. Additionally, an explanation of symbols within the field of semiotics will be provided further below.

How do pictures work?

Images, including design backgrounds (excluding typographic elements), can effectively and simply convey ideas through three key aspects of visual communication.

These are;

  • subject matter
  • symbols and metaphors
  • composition and visual elements

Subjects

A subject is the thing that is depicted in a picture. Visual communications depict subjects including scenes, people, places and objects. They may use techniques of realistic or abstract representation. For instance, an example of a realist representation is an image of people smiling and enjoying themselves beside a pool. This conveys a fun-filled atmosphere. It is engaging and is likely to relate to people's desires and aspirations.

Symbols

Image
A fun range of icons designed for Grill'd Restaurant. (Image: agency Your Creative.)

Symbols in visual communication are part of a larger field called semiotics. In this study, the top-level representor is known as a sign. A sign is something that stands for something else. Visual language communicates through pictures that often represent ideas and emotions, so using signs to indicate larger concepts is essential. There are two terms used to describe how signs function: ‘signifier’ and ‘signified’. The signifier is the form the sign takes, what it is; the signified is the concept it represents. For example, a red octagon is a signifier, and the instruction, Stop!, is the signified. Additionally, the field of semiotics has divided signs into three types: icon, symbol, and index. Each is used to convey meaning in different ways.
• An icon is a sign that looks similar to the ideas it signifies. A pictogram is an icon because of the visual similarity between the icon and the signified.
• A symbol is a sign with an arbitrary connection to the signified. This connection is learned through conventions of association. A green triangle is a symbol that represents ‘Play’.
• An index is a sign that directly connects to the signified. Smoke is an index of fire. It is not a representation (as is an icon) but rather evidence that fire exists.

Icon

A stylized image of a car skidding on a road, with smoke coming from the tires and motion lines indicating speed. A road sign is visible on the right side.
A visual depiction of stop resembles stopping.

Symbol

A red octagon with a white border, resembling a stop sign but without any text or symbols inside the shape.
An arbitrary shape denotes the concept of stop.

Index

A circular illustration of a runway with white smoke or steam rising from black tire marks, set against a blue sky and green grass.
Represents stop through evidence pointing to a stop having taken place.

Visual elements

Visual composition and aspects such as perspective, colour, lighting, methods and media all play large roles in conveying key concepts to an audience. Pictures can communicate messages such as fear, danger, ambition, responsibility, empathy, adventure and enjoyment through aesthetics by carefully arranging visual elements.
Jump to
For further information on the Layout and Composition click the links at right.
Image
Layout & Composition

task

Image
Show I know ...
2.1 Analyse Visual Language in a photo
Choose a photo that shows people enjoying life on your phone. Print it or copy it into a Word file. Choose one category from subjects, symbols or visual elements to frame your analysis. Explain how visual language communicates ideas in the photo, referring to the one frame of analysis you chose.
2.2 Identify signs
From where you are sitting now, see if you can spot and describe one icon, symbol and index sign. Sketch them out and describe each one.
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Typographic elements

In this section, we will explore how type conveys ideas through its shape and how it is arranged in designs. People perceive tone and voice from type at first glance, even before words are read. The choice of typeface is an essential component of Visual Language. Although type is a Design Element, as discussed above, it is so involved that it warrants its own section.

Aesthetics and associations

Type is one of the most expressive elements. Like people, each with different personalities, every typeface speaks in a distinct voice. But how do they achieve this? The shape of a type form is an aesthetic blend of figure-ground, geometry, balance, contrast, scale, rhythm, and proportion. Its appearance determines its voice and message.

Beyond the words type creates, it finds its voice in two primary ways. The first is through its shape. Type forms are fascinating mini-compositions, designs in themselves, independent yet related to every other letter in a font. Each must embody the character of the letter it represents while adhering to the rules of the typeface it belongs to. Moreover, when type forms are combined, they must maintain an evenly weighted tone for groups of letters, words, and sentences, ensuring no individual letters stand out.

A typeface is a specific style or category of type form. Each typeface may have several weights and widths, including light, thin, regular, medium, bold, and black. Narrower type forms are referred to as condensed, while wider ones are called extended. Many typefaces also include oblique or slanted versions known as italics. Each weight and width of a typeface conveys a different voice.

The arrangement of type on a field is also pivotal in conveying tone and ideas. Type forms that are grouped closely, possibly using a bold or black font, positively impact the figure-ground relationship and thus convey strength. In contrast, those with more space between characters, both horizontally and vertically, especially when set in a light or thin version of the typeface, are less insistent and allow the reader to reflect on what they are reading.

In addition to typography features, the classification of a typeface into Serif or Sans-Serif, the case in which it is set, its size, color, and its relationship with other design components all influence how it conveys ideas, feelings, and emotions. These aspects are discussed in detail on the page about Type.

Secondly, type forms develop associations based on their usage and the people who use them over time. You might recognize certain type forms: ‘That’s the Adidas writing’ (Adidas type) or ‘That’s the TAC safety campaign writing’ (Franklin Gothic Condensed). Designers select type forms for clients due to their distinctive ability to convey the character, concepts, or ideals of the client and their communication needs. When a company consistently uses a typeface over time, it becomes part of its personality and image, influencing its perception.

Large black text reads Helvetica in the Helvetica typeface. Below, smaller text says, Haas Type Foundry. Max Miedinger and Eduard Hoffmann. 1957 on a white background.

Take the story of Helvetica for instance. Adapted from an older typeface, Akzidenz Grotesk in 1957 its form was a breath of fresh air for design and quickly spread from Europe into the rest of the commercial world. Large corporations were the early and chief adopters because their clarity provided an opportunity for them to present a more transparent face to the world. Helvetica seemed to speak rationally and objectively, letting go of the baggage from the past. It gave businesses a chance for rebirth and re-democratisation. Yet through years of association with the industry, Helvetica has become the typeface that represents bureaucracy, government and capitalism. Helvetica became cold and faceless and lost its edge. Ideas expressed by the association of a typeface with a particular industry are a further example of signs in Visual Language.

To see how typefaces speak with different voices click on the name of a few typefaces that were popular in the 1950s. Note how many of them were designed around the 1920s.

Clipper – FTF Foundry, Louis Ferrand, 1952

Ultra Bodini – ATF Monotype Morris Fuller Benton, 1928

Futura – Bauer, Paul Renner 1927

Venus Extended – Bauer

Latin Wide – Stephensen Blake, 1883

Cartoon – Bauer, Howard A. Trafton, 1936

Memphis – Stempel, Rudoph Wolf, 1929

Beton – Bauer, Heinrich Jost, 1930

Microgramma – Nebiolo, Alessandro Butti, 1952

Wait! There's more

Of course, the shape of type forms is not the only factor determining the way they speak. There are many other parts to typography such as;

  • Typographic category; Serif, Sans Serif
  • Type family (Widths; condensed, regular, extended. Weights; thin, light, regular, bold, extra bold, black)
  • Case
  • Size
  • Colour
  • Alignment
  • Tracking (letter spacing)
  • Leading (line spacing)

Explore type. Learn about type forms, type anatomy and type adjustments by clicking on the page linked here.

Black bold text Clarendon in a large serif font, with smaller text beneath reading Fann Street Foundry, Robert Besley, 1845, on a white background.
Advanced typography
Here are two examples showing how typography communicates ideas in different ways. Try out the task below to develop your skills in analysis.
Large bold black text on a white background reads VAPES ARE BAD.
Example 1.
The words placid and calm are written in lowercase, black, modern sans-serif font on a white background, with each word stacked vertically. A thin vertical blue-gray stripe appears on the right side.
Example 2.
Jump to
For further information on the Type click the links at right.
A blue circle with two overlapping capital letter As in different fonts: one is white with ornate, decorative serifs, and the other is bold, black, and modern.
Type

task

Image
Show I know ...
3.1 Type types
Make sure you click on each of the typefaces linked above. Describe two different typefaces.
3.2 Compare typefaces
Compare the two typefaces; Helvetica and Clarendon. Use type terminology to describe at least three differences.
3.3 Advanced typography
Compare the two examples of typography shown above. With reference to aesthetic qualities, explain how type and typesetting adjustments communicate ideas differently.
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Conventions for Combining and Presenting Visual Language

Designers in the fields of Messages and Interactive Experiences use visual language to create design solutions that are engaging, informative, entertaining, or persuasive for audiences and users. There is a range of established practices for framing and presenting ideas and information. These practices, adopted and accepted by designers and audiences over time, are known as conventions. Conventions function as groups of rules, approaches to design, or methods that can be combined to influence the final outcome. Conventions for designs in the field of messages include stylistic conventions and technical drawing conventions. Conventions for designs in the field of interactive experiences refer to the ways they manage and shape a user’s experience.

Stylistic conventions

Stylistic conventions refer to a broad range of approaches to design, including styles that adopt the principles of design, fashion, or artistic movements and techniques that shape the tone and manner of delivering information.

Depending on the purpose of visual communication, designers may choose to adopt key principles of a particular style. For example, the Swiss typographic style, also known as the International Typographic Style, emerged in the 1950s in Switzerland. It emphasises clean, structured layouts, sans-serif typefaces, grid systems, and a focus on readability and functionality. Designers use this style to convey information clearly and concisely. The use of grid systems and typographic hierarchy helps organise content and guide the viewer's attention. This style became popular due to its effectiveness in conveying information and its timeless aesthetic.

In contrast, retro communication design refers to a design style or approach that draws inspiration from past eras, particularly from the mid-20th century. It incorporates visual elements, typography, colour schemes, and overall aesthetics reminiscent of vintage graphic design. Retro design often pays homage to specific periods such as the Art Deco movement of the 1920s and 1930s, the Mid-Century Modern style of the 1950s and 1960s, or the psychedelic and groovy designs of the 1960s and 1970s. It embraces nostalgia, offering a visual experience that recalls earlier times. This design style is characterised by bold and vibrant colours, geometric shapes, and playful typography. It frequently incorporates imagery and motifs from the past, such as old advertisements, vintage photographs, retro technology, and pop culture references.

Image
Code of Conduct booklet for staff at Seqwater. Juno used custom elements in a retro style to form a friendly list of values expected in the workplace. (Image: Juno Creative.)

Swiss style

Red and white graphic design poster with repeated text promoting apples as a healthy snack. The word apple appears large and tilted, with Perfect lunch below it in bold white text on a red background.

Retro style

Illustration of a red apple with a bite taken out, a whole brown apple, both with green leaves, and a large yellow letter A in the top left corner, all on a wavy tan and beige background.

Patriotism

A stylized red apple with a blue stem and leaf on a background of white and red stripes, blue bars, and white stars, resembling the American flag.

Additionally, designers and art directors may choose to style a campaign or communication using the conventions that guide the tone and manner, as well as the visual style in which information is presented. For example, humour can be utilised in communication design to engage the audience, evoke emotions, and create memorable experiences. Humour can take various forms, such as witty copywriting, playful visuals, or clever design elements. By incorporating humour into their designs, designers aim to capture attention, create a positive association, and make the message more relatable.

Patriotism involves using symbols, colours, or imagery associated with a particular country or national identity. It can evoke a sense of pride, unity, or cultural affiliation. For instance, patriotic design elements may include national flags, landmarks, historical references, or colours linked to a country's flag.

Shock is a technique that aims to provoke strong emotional or visceral reactions from the audience. It often involves the use of controversial, provocative, or unexpected imagery, messages, or visual styles. Shocking communication design can be found in areas such as activism, public service announcements, road safety, or campaigns tackling sensitive or taboo subjects, where the intention is to raise awareness, challenge norms, change behaviour, or stimulate discussion.

Technical drawing conventions

Technical drawing of a racing car toy showing top, front, and right side views with measurements in millimeters, including wheel placement and dimensions. Title block details are at the bottom.
Australian Standards conventions control the ways technical drawings are set out and drawn.
Technical drawing conventions refer to rules that govern the ways representations are shown in technical drawings. Although it is not always apparent, all representations of form are abstractions and can be made in myriad different ways. Therefore, if technical drawings are to accurately describe and record objects and environments for quoting and construction, they require designers and manufacturers to use agreed practices for the drafting and reading of drawings. The rules for technical drawings are known as Australian Standards Conventions. The intention of these conventions is to ensure clarity and consistency amongst drawings in the design and construction industries. The conventions, which guide the use of Visual Language in two and three-dimensional technical drawings include; ways to set out drawings and view on a page, scales, manners of projection of views, line types and weights, symbols, annotations, dimensions, names, labels and title boxes.

Conventions for Interactive Experiences

Several conventions related to visual language can significantly enhance the user's understanding and engagement with interactive experiences. These conventions are not exhaustive, and specific requirements may vary based on the target audience, platform, and context of the interactive experience. Here are four important conventions to consider.

Consistent Visual Hierarchy
Consistency in visual hierarchy is crucial for guiding users' attention and helping them understand the importance and relationships between different elements on the screen. By using consistent elements such as size, colour, contrast, and placement, designers can create a clear visual structure that allows users to intuitively navigate and interact with the interface.

Clear and Intuitive Iconography
Icons play a significant role in interactive experiences, as they can quickly convey meaning and functionality. It's essential to use icons that are easily understood by the target audience. Icons should be visually distinct, clear, and consistent with their associated actions or content, allowing users to swiftly grasp their purpose and take appropriate actions.

Responsive and Interactive Feedback
Interactive experiences should offer immediate and meaningful feedback to users when they take actions or engage with elements. Feedback can include visual cues such as animations, transitions, or changes in colour or shape. These visual cues enable users to understand that their actions have been registered and provide a sense of responsiveness, enhancing the user experience.

Effective Use of Colour and Typography
Colour and type are powerful tools for conveying meaning and creating visual interest. Consistent use of colour palettes and typography across different elements and screens helps establish a cohesive visual identity. Additionally, designers should consider colour accessibility guidelines to ensure that the chosen colours remain legible for all users.

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4.1 define conventions
After you have read the material in this section, make or discuss a definition of the term convention. Explain how conventions are used and how they assist Visual Language with the communication of ideas.
4.2 identify conventions
Take a look at some print or web graphics. Consider how Visual Language has been used in one example. Identify and describe a convention that has been used in the example. It may be regarding colour, creation of hierarchy, images, icons or any other feature.
4.3 technical drawing conventions
Compare the two examples of typography shown above. With reference to aesthetic qualities, explain how type and typesetting adjustments communicate ideas differently.
4.4 why conventions?
Consider reasons why conventions are included in the page on Visual Language. Discuss how they are used to make communication with Visual Language more effective.
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