Abstract
Abstract This article begins with Peirce's ten sign classes, derived from his three trichotomies of sign relations, and adapts this taxonomy to graphic design. The paper presents a table that graphically illustrates the sign classes and their inter-relationships, and it argues for a shift in the traditional terminology to allow a tighter fit with contemporary graphic design usage and practice. This article may be seen as a companion piece, and extension, to the article in Chinese Semiotic Studies by the same author in 2010 which questioned whether a designer ever completes an argument.
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