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When the ten classes of signs postulated by the founder of scientific semiotics, American Philosopher Charles Sanders Peirce, are applied to the world of visual communication, a question arises about the class he labels "Argument". Can a graphic designer construct, in the arrangement of his visual materials, a complete argument? This is the question pursued in this paper. After translating Peirce's classes into language familiar to the design industry, and looking at the requirements of Argument as a discrete class of signs, I suggest that designers always produce assertions, but rarely, perhaps never, do they construct a complete argument

Do Graphic Designers Ever Construct an Argument?