The Symbol in Advertising
Because advertising art, in the end, deals with the spectator, and because it is the function of advertising to influence him, it follows that the designer's problem is twofold: to anticipate the spectator's reactions and to meet his own esthetic needs. He must therefore discover a means of communication between himself and the spectator (a condition with which the easel painter need not concern himself). The problem is not simple; its very complexity virtually dictates the solution — that is, the discovery of an image universally comprehensible,one which translates abstract ideas into visual forms.

It is in symbolic, visual terms that the designer ultimately realizes his perceptions and experiences; and it is in a world of symbols that man lives. The symbol is thus the common language between artist and spectator. Webster defines the symbol as "that which stands for or suggests something else by reason of relationship, association, convention,or accidental but not intentional resemblance; especially,a visible sign of something invisible, as an idea, a quality or totality such as a state or a church; an emblem; as, the lion is the symbol of courage; the cross is the symbol of Christianity. 'A symbol is a representation which does not aim at being a reproduction.' (Goblet d'Alvielle) ."

Words like simplified, stylized, geometric, abstract, two-dimensional, flat, non-representational, non-mimetic are commonly associated, sometimes incorrectly, with the term symbol. It is true that the depiction of most distinctive symbols does fit the image these words help to characterize visually; but it is not true that the symbol has to be simplified (etc.) in order to qualify as a symbol. The fact that some of the best symbols are simplified images merely points to the effectiveness of simplicity but not to the meaning of the word per se. In essence, it is not what it looks like but what it does that defines a symbol. A symbol may be depicted as an "abstract" shape, a geometric figure, a photograph, an illustration, a letter of the alphabet, or a numeral. Thus, a five-pointed star, the picture of a little dog listening to his master's voice, a steel engraving of George Washington, or the Eiffel Tower itself—are all symbols!

Religious and secular institutions have clearly demonstrated the power of the symbol as a means of communication. It is significant that the crucifix, aside from its religious implications, is a demonstration of perfect form as well—a union of the aggressive vertical (male) and the passive horizontal (female). It is not too far fetched to infer that these formal relations have at least something to do with its enduring quality. Note the curious analogy between Occidental and Oriental thought from the following excerpts: Rudolf Koch, in The Book of Signs, comments: "In the origin of the Cross, God and earth are combined and are in harmony…from two simple lines a complete sign has been evolved. The Cross is by far the earliest of all signs and is found everywhere, quite apart from the concepts of Christianity." In the Book of Changes (Chou Yih) it is stated: "The fathomlessness of the male and female principles (Yang and Yin) is called God." This conception is illustrated by the Taichi symbol expressing the "two regulating powers which together create all the phenomena of Nature." The essence of Chinese philosophy is revealed in the expression: "All things are produced by the action of the male and female principles."

... In this illustration the form is intensified by dramatic narrative association. The literal meaning changes according to context; the formal quality remains unchanged.