게임 비주얼 이펙트의 상징적 표현 연구 - 월드 오브 워크래프트를 중심으로 -

강윤희 한국기초조형학회 2022 기초조형학연구 Vol.23 No.2

The symbolic system of game graphics is information about games and enables linguistic communication between players. Game visual effects, one of the game graphics elements, provide special visual effects on the character, background, and interface to convey information about the character’s state or current behavior, and is limited by computer technology, but is also the most noticeable visual fun factor in game graphics. Since it is expressed as an abstract image, it is important to visualize the implied and symbolic meaning for information transmission. <World of Warcraft> is MMORPG where the expression of the character’s skill visual effects is important due to the strong content of PVP (Player VS Player) due to the confrontation between the Horde and the Alliance camp. By classifying the visual effects of <World of Warcraft> into attack and weakening/recovery and reinforcement, this study finds archetypes shared in the unconsciousness of mankind reproduced in the game visual effect and analyzes the meaning of symbols. Historically, humans have created very similar myths and images, and in between there existed archetypes, the same order that penetrated them. The human archetypes are reproduced through symbols, and it requires a high degree of creative imagination to create a new symbol. The form shown in game visual effects has a universal symbol that can be obtained without our recognition, and players interpret and learn symbols through imagination while playing the game. The symbolic expression of the form conveys the meaning of game visual effects and at the same time stimulates the player’s imagination to immerse himself in the game. As a result of the study, game visual effects showed that the universal form, archetype of mankind, was recreated by imagination to express symbolism related to the worldview of the game, and that a unique symbolic system was built, not just an image. 게임 그래픽의 상징체계는 게임에 관한 정보이면서 플레이어들간의 언어적 커뮤니케이션 역할을 가능하게 한다. 게임 그래픽 요소 중 하나인 게임 비주얼 이펙트는 캐릭터, 배경, 인터페이스에 특수한 시각 효과를 주어 캐릭터의 상태나, 현재 행동에 대한 정보 전달을 하는 역할을 하며, 컴퓨터 기술의 제한을 받지만, 게임 그래픽 중에서도 가장 눈에 띄는 시각적 재미를 주는 요소이기도 하다. 추상적인이미지로 표현되기 때문에 정보 전달을 위한 함축적이고 상징적인 의미의 시각화가 중요하다. <월드오브 워크래프트>는 호드와 얼라이언스 진영의 대립으로 PVP(Player VS Player: 캐릭터끼리 벌이는결투) 콘텐츠가 강하여, 캐릭터의 스킬 비주얼 이펙트 표현이 중요한 MMORPG이다. 이 연구는 <월드 오브 워크래프트>의 비주얼 이펙트를 공격과 약화 / 회복과 강화로 분류하여 게임 비주얼 이펙트에 재현된 인류의 무의식 속에 공유되고 있는 원형들을 찾고 상징의 의미를 분석한 것이다. 역사적으로 인류는 매우 유사한 신화와 이미지들을 만들어 왔으며, 그 차이를 관통하는 동일한 질서인 원형이존재했다. 인간의 원형은 상징을 통해 재현되며, 새로운 상징을 만들기 위해서는 고도의 창조적 상상력을 필요로 한다. 게임 비주얼 이펙트에 나타난 형태에는 우리가 인식하지 않아도 얻어질 수 있는 보편적 상징이 있으며, 플레이어들은 게임을 플레이하면서 상상력을 통해 상징을 해석하고 학습한다. 형태의 상징적 표현은 게임 비주얼 이펙트의 의미를 전달하면서 동시에 플레이어의 상상력을 자극해 게임에 몰입하도록 한다. 연구 결과 게임 비주얼 이펙트는 인류의 원형인 보편적인 형태가 상상력에 의해 재창조되어 게임의 세계관과 연관된 상징성을 표현하고 있으며, 단순한 이미지가 아니라 고유한 상징체계가 구축된다는 것을 확인할 수 있었다.

視覺傳達設計中傳統圖形符號應用研究

웨이웨이펑 ( Wei Wei Feng ) 한국동양예술학회 2020 동양예술 Vol.47 No.-

Traditional graphics and cultural symbols are important performance carriers for the development of visual communication design. They are also closely related to the improvement of people's living standards in the process of social development. In terms of function, it is the result of expanding the application space of visual communication design and the visual design effect based on the connotation and application of visual communication design under the influence of cultural symbols, which has a positive role in promoting the development of visual communication industry in China. Traditional culture, as a kind of cultural conformity, has its profound connotation and value of the times. However, there are multi-dimensional changes in patterns and symbols in modern symbol visual design. Traditional pattern symbols have a profound impact on visual design. Practical application and application strategy analysis are bound to be in the expression of artistic connotation, with its integration characteristics, the design carrier and ontology are transmitted The result of unified pattern and cultural symbol reached a new height. This paper starts with the historical background of Chinese traditional graphic symbols, puts forward the connotation, characteristics and evolution process of traditional graphic symbols, expounds the philosophical thoughts of traditional graphic symbols in culture, and explains the philosophical thoughts and graphic symbols of Chinese culture in relation. This paper expounds the application form of traditional pattern symbols in visual communication design, and discusses from three aspects: the nature, the idea and the cross reconstruction of pattern symbols. At last, the author makes a personal outlook and summary on the future development of graphic symbols. This study takes the relevant characteristics of visual communication design as the starting point, and in the actual practice of visual communication design, focuses on the outstanding value of cultural symbols, so as to provide feasible reference for designers.

경기도 지자체 도시브랜드 이미지 제고를 위한 CI, BI, VI 차별화에 관한 연구

류미영 ( Ryu¸ Miyoung ),장영호 ( Jang¸ Youngho ),김주연 ( Kim¸ Jooyun ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.7

(Background and Purpose) As cities’ importance is emphasized because of economic structure and social change, local governments create city brands such as CI, BI, characters, and mascots, to recognize and remember the city and manage them as symbols. Differentiated symbols reflecting city identity are competitively developed as large assets of local governments; however, they are not differentiated within local governments because of the development of CI, BI, and VI, whose boundaries remain unclear. This study proposes perspectives to be considered for future symbols renewal or development by identity confusion in user perspective and non-differentiation among local governments through CI, BI, and VI analysis. (Method) To survey the status of CI, BI, and VI posted on homepages of 31 local governments in Gyeonggi-do, comprising cities and counties, and to compare and analyze visual identity components, such as symbol, symbol mark, logotype, and wordmark, when BI and VI are with CI. Furthermore, information on coverage and management to investigate actual usage was sought; additionally, the reasons why visual components are unclear, concerning the concept of confusion, confusion theory, and brand confusion, were considered. (Results) Gyeonggi-do local government has symbols such as CI, BI, and VI, and there are various elements of visual identity managed by the same or different departments, that are governed by the same or different coverage, with unclear boundaries, and different local governments. (Conclusions) Logotype, a component of CI and BI visual identity, is created in a particular typeface and acts as a trademark, but is made in different typeface, resulting in less symbolic functionality. If BI is the name of a local government or a wordmark with other modifiers, it is visually distinguished from CI; however, in the case of symbols such as CI and visual components of symbol mark and logotype, it is highly likely to be confused with CI. Whereas the scope of application of CI and BI is different for each local government, CI, BI, and VI are not differentiated and are sometimes applied together, thus causing confusion. Based on these problems, local governments should consider the following perspectives when renewing or developing new symbols. First, enhancing the image of the city brand, the identity as a symbol representing the local government should be established. Second, it is necessary to distinguish the scope of application of CI, BI, and VI. Finally, local governments with CI should not be visually confused with CI by users when developing a new BI. This is because it is difficult to expect differentiation from other local governments if symbols created to establish differentiated identity from other local governments are confused even within one local government.

논문 : 슈퍼맨 캐릭터의 시각문화상징 표현에 관한 연구

유서연 ( Seo Yeon Yoo ) 디자인융복합학회 2014 디자인융복합연구 Vol.13 No.3

근세 이후의 문화는 과거와는 달리 폭발적으로 시각성에 의존하게 되었다. 시각문화는 바로 이러한 역사적 환경을 나타낸 문화라고 할 수 있다. 시각은 인간의 여러 감각 중 하나이며, 그 의존도는 다른 감각기관에 비해 상대적으로 높다. 현대에 들어 고도화된 기술로 인해 시각매체가 다양해졌다. 그 중에서도 공예와 디자인영역은 인간의 삶과 직접적으로 결부되어 있는 것들이다. 여기에는 기초적인 제품 디자인, 인테리어, 패션, 금속세공, 그래픽 디자인, 광고 디자인, 무대미술, 컴퓨터 디자인 등 다양한 분야가 있다. 아울러 그것들의 하위분류도 시각문화에 해당될 수 있다. 그러한 시각문화의 범주 안에 자리 잡고 있는 캐릭터는 시각디자인의 한 형태이고, 대상을 상징화하기 위해 창조된 표현물이라는 의미를 가지고 있다. 이에 시각문화와 상징의 개념을 조합하여 ``시각문화상징``이라 명명하고, 이를 통해 슈퍼맨 캐릭터의 서사구조 안에 내재되어 있는 미국문화의 표현 요소들을 분석하였다. 슈퍼맨은 미국문화의 아이콘이라 정의되고, 현대적 대중신화로 평가받고 있기 때문에 본고의 궁극적 목표인 캐릭터와 문화의 상관관계를 이해하는 대상으로 적합하다. 분석방법은 상징, 표징, 시각성의 정의에 의거하였다. 세 가지 단어는 시각문화상징의 핵심이 되는 단어로서 시각문화의 분류인 캐릭터의 상징성을 분석하는 기준이 된다. 이러한 분석은 시각문화에 해당하는 매체의 내적 요소와 상징의 의미를 파악하는데 참고자료가 될 수 있을 것이다. After modern times, the culture has depended on the visual point so much. It`s so much different with before the modern times. The visual culture is just shown the culture of these historic environment. The character within the territory of the visual culture is a form of the visual design and the character has the meaning the created things of expression in order to make the symbol of target. In this it`s the named symbol of visual culture` by the checking up the conception of symbol. According to the this ways, we made an analysis the USA culture in inherent narration structure of the Superman``s character. The superman is the proper to understand the mutual relation between the character and culture for our paper`s target because the superman has defined icon and reputed modern myth to the mass of the people. The way how to analysis are on the ground of definition of visual, symbol, emblem. Three kinds of words are the key words of the visual culture`s symbol are the standard to analysis the character`s symbol in classified visual culture.

大韓帝國期 國家 視覺 象徵의 淵源과 變遷

목수현(睦秀炫) 한국미술연구소 2008 美術史論壇 Vol.- No.27

During the modern transition period from the end of 19th century to the beginning of the 20th century, the Joseon/Daehan Empire established national symbols in the process of founding a modern nation. The symbols included a national flag, the most representative medium of symbolizing the nation visually ; stamps, a medium for overseas communication ; coins, in which a new design was inserted to be suitable for modern monetary economy ; and the westernization of uniforms for civil and military officials and medals, which visually indicated distinguished merit toward the nation. As national emblems were expressed repeatedly through these media, the visualization task of the modern nation rook shape. The emblem designs appearing in common are revealed in the media which visualizes the nation. The T'aeguk design (太極), which is the icon that symbolizes the national flag ; the plum blossom (o-yat flower, 李花), extracted from the symbol of the royal family ; and the Rose of Sharon (mugungwha, 無窮花, 槿花), which symbolizes territory, represented the nation as they were used in common in various media. Although the emblems were established out of official necessity, their significance either grew or declined after gradually being accepted by the general public during the Daehan Empire Period and Japanese Colonial Period. The T'aeguk-gi was first used in foreign diplomatic relationships in the 1880s. It gradually began to symbolize the nation domestically, replacing the dragon flag which had symbolized the king during the Joseon Dynasty Era. The T'aeguk, the center emblem of the T'aeguk-gi, was recognized as a national symbol (國標) in the medal ordinance proclaimed in 1900. The T'aeguk was used in various places including stamps, medals and official documents, As T'aeguk-gi had set the position as symbol of nation after the invasion of external influence became intensified since 1900s, it was selected as the national Rag of temporary government and the Republic of Korea after independence. The Rose of Sharon first appeared in 1892 as a leaf and branch on coins. The flower design became used as the main decoration when embroidered gold laced uniforms as Western style civil uniforms were selected during the Daehan Empire Period. It was used in the medal design of Ja'eungjang (紫鷹章). It was even more deeply engraved as a symbol of territory when the Mugungwha Planting Movement arose in the 1920s along with the loss of national sovereignty. It was formally selected as the national flower after independence. On the other hand, the plum blossom was used as a national emblem in various forms of media along with the T'aeguk at first. It had been officially announced as a national emblem (國文) in the medal ordinance and also served as a symbol for royal families. But its significance was gradually reduced to the symbol of the royal family after 1905, with its significance limited to representing the Lee Dynasty after 1910, when it was no longer recognized as a national symbol. The hawk (鷹) decoration started from the admonitory address of Seong Kye Lee, the first king of the Joseon Dynasty, and was used in the Ja'eungjang (a purple hawk medal awarded to military officers), a coin issued in 1901, and stamp issued in 1903, The hawk decoration was used as an image representing the emperor and originated by combining a symbol for bravery and emblem of emperor authority in d1e West. The media in which visual symbols of nations are expressed can become the beginning of modern designs in various fields and can also become a stepping stone for understanding the process in which design is formed during the modern transition period.

한국 근대기 교표디자인의 기원 및 기능

정선아(Jeong Sun-a) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.28 No.-

The purpose of this study is to observe the history of the symbolic representation of educational institution and how they were changed with time. School symbol represents educational philosophy of a school and distinguishes a school from another. More specifically, the symbols are the visual output of the attempting students’ sense of identity and belonging. To explore the origin of school symbols, changes in the formal quality of school symbols in modern Joseon is reviewed. And the study observes different cases of how these visual symbols were reproduced in the field of education as well as in the society after Korean liberation. Creation of school symbol was natural in the context of national modernization. The culture of ‘symbol’(for identity), not ‘patterns’(for decorating), began to formulate. And the change of clothes made easier accepting and naturalizing of ‘modern symbol’s’ form in the colonial daily life. School clothes were changed to uniform style around March First Movement in 1919. The school clothes of western uniform style matched badges- the modern thing- well. And, through becoming imperial subjects in the educational field of in the Japanese ruling period, school symbols functioned as a daily medium to utilize and control human resources efficiently. As Japan rushed into wartime system after Sino-Japanese War in 1937, school symbols were revised towards strengthening Japanese intentions. Nationalist educators and students found their own ways to fight back at the idea of Japanese Imperialism by adroitly reveling national or imperial symbols of Daehan empire that had existed before on the school emblems. That is, school symbols were a thing with which governing group and governed group conflicted with each other under special background of colony. However, in a country without any distinctive visual system, school symbols may have had a significant meaning, yet its form have adopted Japanese traditional motives or motives that were used in the militarism. The change of Songdo school’s emblem shows that the motif with patriotic meaning hid behind the similar form of colonial ruling country’s symbol, in the situation of the modern visual system were not established yet. As school symbols are created and perceived s a part of a students’ life, these formal qualities became the prominent style of Korean’s school symbols. Even after the liberation of Korea, Japanese style visual form could be observed throughout the symbols of schools, local government, and corporates. School symbol showed continuation of familiar design formality rather than disclosing educational philosophy of a school.

프로덕트 그래픽의 시각적 사용성 통합모형

하중규(Ha, Joong Gyu) 한국디자인지식학회 2014 디자인지식저널 Vol.29 No.-

최근 산업 디자인에서 관심의 촛점이 모아지고 있는 제품-사용자 인터페이스 연구가 활발히 진행되고 있으나, 제품 하드웨어에 표시되는 프로덕트 그래픽의 문제는 아직까지 선결 과제로 남아 있다. 따라서 본 연구에서는 제품과 사용자 사이에 발생하는 시각적 양립성을 사용자 중심으로 접근하였다. 본 연구는 제품과 사용자 사이에 발생히는 커뮤니케이션을 원활히 지원하는 제품 그래픽에 관하여 인간과 기기의 상호작용의 관점에서 고찰한 것이다. 사용자와 제품의 위계상에서 발생하는 관계적 특성과 그 반응에 중점하고 제품 그래픽과 관계된 사용자 형태와 가설들을 검토하기 위하여 국제표준기구와 국제전자위원회가 합동으로 제정한 제품 그래픽 표준안을 대상으로 사용자에게 수용되고 있는 반응적 특성을 분석하였다. 표준화에 의한 인터페이스의 확장과 통합화는 제품별 크기ㆍ형태ㆍ위치ㆍ용도ㆍ의미 등에 대한 규칙과 사용자의 시각경험에 대한 규칙이 통합됨을 알 수 있었는데, 이는 제품의 형식적 체제, 제품이 갖는 상징적, 내포적 표상체제의 결합에 따라 형성됨을 알 수 있었다. 이러한 과정을 통하여 사용자가 사용시에 느끼는 주관적인 식별성과 제품그래픽의 기능적 언어 속성이 사용자-제품 상호작용에 포함되야 하며 사용자 멘탈이 전제되어야 한다. Interface design is mainly focusing on Product-User Interface in Industrial Design, ignoring the general panel graphics, graphical symbols and product graphics of appliance. The study begins with discussing the compatibility of Product-User interface and reviewing various theories and issues on cognition structure, visual perception behavior theory. The paper aims to identify basic framework of product graphics in product design through the issue of Man-Machine interface. Product graphics have concluded the characteristics of components including a controls, visual displays, machine graphics, also the establishing factors have selected. In order to find out visual quality of product graphics, ISO/IEC graphical symbols was tested for considering of the users visual factor. This thesis aims at the more rational design with the consideration of product graphical symbols, it must plan user`s efficient improvement by the visual quality of the panel graphics. Based on the findings, proposes some guidelines for the quality-base product graphics in accordance with the correlations, factor in graphical symbols.

시각기호에 함의된 다의적 의미의 유형화 연구

이건실 한국브랜드디자인학회 2009 브랜드디자인학연구 Vol.7 No.2

현대사회에서 시각기호는 언어기호의 이해를 도모하는 종속적 역할로부터, 스스로 말하고자 하는 능동적 형식으로 변화하고 있다. 이는 수신자에 의해 기호의 의미를 완결하고자 하는 발신자(Designer)의 생각과 시각기호 중심의 커뮤니케이션이 보다 효과적일 것이라는 판단에 기인한 결과로 보인다. 이에 따라 시각기호체의 다중적 의미가 확대될 가능성은 점차 커지고 있다. 연구목적은 시각기호체에서 다양하게 발현될 수 있는 의미의 유형화와 그 근거의 규명이다. 연구방법은 퍼스(Charles Sanders Peirce)의 삼원적 기호론을 기반으로 커뮤니케이션 과정 모델과 에코(Umberto Eco)의‘기호와 관련된 송수신자의 의도여부와 강도’이론을 대입하여 연구하였다. 연구결과, 추출된 다의성의 갈래는, 지지, 오역, 불신, 실망, 걱정, 무안, 의문, 혼란(이해되지 않음으로 인한)이었다. 이러한 의미들은 하나의 광고에서 모두 추출될 수도 있고 일부만 해당될 수도 있을 것으로 보인다. 그러나 발신자가 희망하는 것처럼 하나로 집약(커뮤니케이션 목표)된 의미작용만이 일어나는 것은 아니라는 점이다. 이러한 의미발현은 커뮤니케이션을 이루는 발신자와 수신자, 기호와 매체 그리고 매체와 수신자가 놓여 있는 맥락과 발신자의 기호 선택과 기호조합 능력, 덧붙여 수신자의 경험과 지식에 의해 달라질 수 있음을 주장하는 결과였다. In modern society, the role of visual symbol ranges from subordination to help understanding of language signs to active form of self- expression. Such phenomenon is considered a result from the idea that Designer's intention to complete the symbol's meaning through Receiver and visual symbol-oriented communication is more effective. Thus, the possibility of expansion of visual symbol's multiple meanings is growing. The objective of the research is to materialize various meanings that can be expressed from visual symbols and to study the foundation. The methods used were communication process model based on Charles Sanders Peirce's triadic semiotics and Umberto Eco's ‘Intention of sender-receiver in relation to symbols and intensity' theory. As a result, the extracted branches of equivocality were: support, misinterpretation, mistrust, dissappointment, worry, embarrassment, confusion (from not understanding). All or some of such meanings may be extracted from single advertisement. However, not only an integrated expression of the meaning (the objective of communication) occurs as Designer wishes. The result supports the argument that such manifestation of meaning can vary depending on Designer and Receiver that comprises communication, symbol and media, the context in which the media and Receiver is placed, Designer's ability to select symbols and combine them, and in addition, the experience and knowledge of Receiver.

상징기호에 함의된 지시의미 연구

이견실 한국일러스트레이션학회 2012 일러스트레이션 포럼 Vol.13 No.30

시각적 상징은 무엇인가를 대신하고 의미한다는 점에서 언어이고, 그 활동의 특징은 기호적이다. 상징기호에는 기하학적 형상, 도상, 문자, 색이 존재한다. 이때 명시적 내용을 포함하고 있는 것은 언어뿐이다. 연구목적은 첫째, 시각적 상징이 어떻게 커뮤니케이션 도구로 사용되는가? 둘째, 상징의 어떤 특성이 특정의 생각이나 사물을 지시하는가? 셋째, 상징이 지시하는 의미는 무엇인가?에 대한 규명이다. 연구대상은, 경제전문지 포브스가 선정한 세계프로축구팀에 선정된 20개 팀의 상징(Symbol)이다. 연구방법은, 기호학적 방법론으로 퍼스의 삼원론과 롤랑바르트(Roland Barthes)의 신화론을 기반으로, 20개의 상징물을 7개 차원에서 중복분류하고 분석하였다. 상징에 적용된 시각적 소재들은 신화적이고 보편적이고 긍정적 의미가 충만한 기호들이었다. 상징은 대상(해당축구구단)과 색상을 통해 도상적으로 연결되어 있었으며, 문자를 삽입하여 연고지를 지시하고 있었다. 규명된 지시의미는 ‘신화적이고, 권위와 전통이 있는, 연고지와 밀착된, 약동하는 프로축구구단’이었다. Visual symbols can be regarded as a language since they represent something. The feature of such an action is considered to be symbolic. In regard to symbolic symbols, there are geometric shapes, diagrams, letters and colors. Among such things, the thing which contains explicit contents is only the language. The objective of the research is to specify the following questions. Firstly, how are the visual symbols used as the tools for communication? Secondly, which features of the subject symbols indicate specific thoughts or objects? Thirdly, what are the meanings indicated by the subject symbols? The subjects of the research are the symbols of 20 teams selected by the world professional soccer teams chosen by the economic magazine of Forbes. The research method is based on the three primary theory suggested by Charles Sanders Peirce, which can be regarded as a symbolic methodology, and the mythology suggested Roland Barthes. 20 symbols have been repeatedly classified and analyzed in seven dimensions. The visual materials applied to symbols are mythologic and typical. They can be regarded as symbols filled with positive meanings. The symbols are connected to diagrams through the subject (the subject professional soccer team) and colors. By inserting characters, it is possible to indicate the subject professional soccer team and its hometown. The specified indicative meaning is related to 'the mythologic, traditional, authoritative and traditional professional soccer team connected to its hometown'.

시각기호에 함의된 다의적 의미의 유형화 연구

이견실 사단법인 한국브랜드디자인학회 2009 브랜드디자인학연구 Vol.7 No.2

In modern society, the role of visual symbol ranges from subordination to help understanding of language signs to active form of self- expression. Such phenomenon is considered a result from the idea that Designer's intention to complete the symbol's meaning through Receiver and visual symbol-oriented communication is more effective. Thus, the possibility of expansion of visual symbol's multiple meanings is growing. The objective of the research is to materialize various meanings that can be expressed from visual symbols and to study the foundation. The methods used were communication process model based on Charles Sanders Peirce's triadic semiotics and Umberto Eco's  ‘Intention of sender-receiver in relation to symbols and intensity' theory. As a result, the extracted branches of equivocality were: support, misinterpretation, mistrust, dissappointment, worry, embarrassment, confusion (from not understanding). All or some of such meanings may be extracted from single advertisement. However, not only an integrated expression of the meaning (the objective of communication) occurs as Designer wishes. The result supports the argument that such manifestation of meaning can vary depending on Designer and Receiver that comprises communication, symbol and media, the context in which the media and Receiver is placed, Designer's ability to select symbols and combine them, and in addition, the experience and knowledge of Receiver. 현대사회에서 시각기호는 언어기호의 이해를 도모하는 종속적 역할로부터, 스스로 말하고자 하는 능동적 형식으로 변화하고 있다. 이는 수신자에 의해 기호의 의미를 완결하고자 하는 발신자(Designer)의 생각과 시각기호 중심의 커뮤니케이션이 보다 효과적일 것이라는 판단에 기인한 결과로 보인다. 이에 따라 시각기호체의 다중적 의미가 확대될 가능성은 점차 커지고 있다. 연구목적은 시각기호체에서 다양하게 발현될 수 있는 의미의 유형화와 그 근거의 규명이다. 연구방법은 퍼스(Charles Sanders Peirce)의 삼원적 기호론을 기반으로 커뮤니케이션 과정 모델과 에코(Umberto Eco)의‘기호와 관련된 송수신자의 의도여부와 강도’이론을 대입하여 연구하였다. 연구결과, 추출된 다의성의 갈래는, 지지, 오역, 불신, 실망, 걱정, 무안, 의문, 혼란(이해되지 않음으로 인한)이었다. 이러한 의미들은 하나의 광고에서 모두 추출될 수도 있고 일부만 해당될 수도 있을 것으로 보인다. 그러나 발신자가 희망하는 것처럼 하나로 집약(커뮤니케이션 목표)된 의미작용만이 일어나는 것은 아니라는 점이다. 이러한 의미발현은 커뮤니케이션을 이루는 발신자와 수신자, 기호와 매체 그리고 매체와 수신자가 놓여 있는 맥락과 발신자의 기호 선택과 기호조합 능력, 덧붙여 수신자의 경험과 지식에 의해 달라질 수 있음을 주장하는 결과였다.