The area of visual communication has key elements of image and text. Their symbiotic relationship in semiotics and structure is important to understand, appreciate and apply in order to create messages that are meaningful, cerebral and in context. Images, as much as a language, conveys messages, both coded and direct. To understand the intricate relationships that exist between the semiotics of both text and image would help in the process of effective visual communication. This is clearly demonstrated in the examples used for the Unit 1 readings in the works of Japanese designer, Shigeo Fukuda in his work ‘All Flesh is Grass’ and in Kenji Ito’s ‘For the Pollution.’
The structural and semiotic sides of visual communication is relevant when considering the impact of the hidden meaning in signs : a crucial tool to all designers to encode their message in a manner where the decoding among the audience is carried out the way it was intentionally designed when creating the encoding.
Just as it is mentioned in the Unit 1 readings that hieroglyphs would be merely pictures unless there was a meaning or symbolism attached to them so also the way in which this symbolism is then implied is determined by its origin of culture. Interpretations of meanings are multiple when one considers its semiotics and structure.
When structure is broken down into icon/index/symbol/metaphor/metonymy and when semiotics can be classified into primary orders of signs i.e. indexical, iconic and symbolic, it is then understood that interpretations of semiotics lie deeply rooted in social life and are the operations in the transactions of meaning, as De Saussure says when he refers to semiology as ‘a science that studies the role of signs as part of social life.’
When Roland Barthes looks at the combined significance and meaning of a ‘rose’ and ‘passion’ as being ‘passionified rose’, it combines the tangible with the intangible, conceptual or abstract to create a third meaning that is new, and is an associative meaning.
What then would be our significant contribution towards the systemic and semiotic communication of the future? Does one look at, for example, the sms system as a systemic/semiotic message of our times?? Like for example, Rives’ typographic narrative or Taryn Simon’s metaphoric images, installation artist Jenny Holzer’s  projection works that we looked at in GRDS 702 (Methodological Practice) highlighted the inclusion of cultural values applied in design and the use of semiotics and systemic methods of visual communication.
 Rives. TED 2008. http://vector.tutsplus.com/articles/inspiration/rives-tells-a-story-of-mixed-emoticons/ Web. Accessed on 25.03.2013.
 Simon, Taryn. TED 2009. http://www.ezrasf.com/wplog/2009/10/24/ted-talks-taryn-simon/ Web. Accessed on 25.03.2013.
 Holzer, Henny. Projections. http://www.jennyholzer.com/Projections/site/Bregenz2004/ Web. Accessed on 25.03.2013.