PlayLab workshop 05 Semiotics is the study of sigh process with Marco Minzoni

Understanding Semiotics in Branding

Semiotics is the study of sign processes how meaning is created, interpreted, and communicated through symbols, forms, and structures. In this workshop with Marco Minzoni, we explored how signs can function as systems of communication within visual design and branding. Marco introduced the theories of Charles Sanders Peirce, who identified three key categories of signs: icon, index, and symbol.
An icon resembles what it represents (for example, Apple’s logo, which looks like an apple); an index shows a direct relationship or cause (such as Amazon’s arrow connecting A to Z); while a symbol depends purely on cultural understanding (like Nike’s swoosh or Mercedes-Benz’s star).

Marco also discussed how the Bauhaus principles remind designers that shapes such as the square, triangle, and circle are not only visual elements but also carry psychological and emotional associations. In branding, these geometries form the foundation for structure, identity, and communication.

Activity 1: Reinterpreting Brand-Marks through Shapes

For the first activity, I was assigned the square as my foundational shape. I chose three existing brand-marks from different semiotic categories:
Icon — Domino’s Pizza

Index — Adobe

Symbol — Microsoft

Each of these brands already carries a distinct geometric structure that naturally relates to the characteristics of the square are stability, logic, and order. Domino’s represents the iconic level because its logo literally resembles a domino tile; Adobe’s mark functions as an index, linking the abstract “A” shape to the creative tools it provides; and Microsoft’s four squares stand as a symbol, representing systems, diversity, and integration across the digital world.

I then reinterpreted these logos through circle and triangle compositions. The exercise revealed how much emotional weight the base shape carries:

• When translated into circles, the marks felt softer, friendlier, and more human.
• When transformed into triangles, they appeared sharper, more energetic, and dynamic.
• The square, in contrast, remained calm, logical, and balanced the most structural of all three.

Through this process, I realised how form alone can shift brand personality and even alter the semiotic category: for instance, Domino’s circular version moved closer to a symbolic sign than an icon, because the resemblance became less literal. This activity deepened my awareness of how geometry influences meaning.

Activity 2: Group Project: “Lucky Table”

For the second activity, I worked with four other Chinese classmates. We decided to celebrate a part of our shared heritage by creating a fictional brand inspired by Mahjong, a traditional Chinese cultural game. Our brand, called “Lucky Table,” aims to introduce Chinese board games to global audiences not only as entertainment, but also as cultural experiences that promote understanding and diversity.

Through the Lucky Table, our social community invites others to experience the charm of Chinese heritage, fostering diversity, understanding, and harmony across cultures.

The brand’s concept comes from the belief that each seat around a Mahjong table carries its own kind of fortune. In Chinese culture, where you sit your feng shui position can influence your luck and energy. Here, “lucky” becomes tangible, while the table itself becomes a shared platform of interaction and communication.

Visually, our brand-mark uses the square to represent the four sides of a Mahjong table, each side reflecting one of our core brand values:

• East — Structure: the logic of play.
• South — Connection: the bond between players.
• West — Balance: the harmony of strategy.
• North — Heritage: the memory of culture.

The logo’s structure is pieced together from four geometric forms that nearly form a complete square but leave a slight gap symbolising openness and ongoing cultural exchange. This incomplete frame suggests the meeting of players, cultures, and ideas at the same table.

For the three semiotic versions:

• The Icon mark directly represents the Mahjong table and tiles, making it tangible and recognisable.
• The Index version uses overlapping rectangular structures that imply social connection and play.
• The Symbol simplifies these elements into abstract green forms arranged in a square rotation, representing unity and balance without direct imagery.

This translation between semiotic types subtly shifts the brand’s tone from playful and concrete (icon), to conceptual and relational (index), to modern and universal (symbol).

Workshop Reflection

This workshop helped me understand how deeply form and meaning are intertwined in brand communication.
The square, my assigned shape, guided every design and storytelling decision it naturally suggested structure, order, and rationality, which became the essence of Lucky Table.
By exploring how icon, index, and symbol function across visual and cultural levels, I learned that semiotics is not just about decoding visuals, but about constructing experiences that connect people through shared meaning.

Ultimately, this session allowed me to bridge cultural heritage and design thinking, translating Mahjong’s traditional symbolism into a modern design language that reflects global communication where the table becomes a metaphor for connection, dialogue, and belonging.