Decoding Design

decoding design
understanding and using symbols in visual communication

MAGGIE MACNAB
discover the hidden meanings inside common corporate logos and designs
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Reading nature is the rst step to creating design that truly communicates. Instead of understanding num-
bers as linear quantities, Decoding Design: Understanding and Using Symbols in Visual Communication
examines universal patterns and the qualities of the numbers 1 through 10, expressed as shape and symbol.
Decoding Design explores questions such as:
How do symbols translate instantly in any culture or language?
Why do some designs disappear, while others explode through the noise around us?
How do you create design that contains both beauty (form) and effectiveness (function) for the most
compelling visual communications?
Symbols connect deeply into the timeless experience of living we all have. Modern humans have simply
forgotten how to read the symbols of nature. These symbolsnatures languageare of crucial importance
because they contain information about how the world works. Reading pattern is the basis of learning and
living within the laws of nature because it supports our survival. Even through the maze of information and
technology we have created, human beings still instinctively recognize, need, and use universal principles to
understand our world. The communication of nature is our language of source and provides us with immedi-
ately and intimately understood knowledge.
These principles can be integrated into visual communication for powerful and enduring results by creating
design that communicates accurate and useful information. This supports access to the message and creates
more efcient, elegant communicationsand a deeper appreciation for our sustaining source, nature. It is
practical, engaging and motivating.
Integrating appropriate symbolism supports the communication by being:
EFFECTIVE: Visual symbolism that accurately illustrates the message is the message. Get this part right, and
you are providing a true value to both client and recipient with immediate, relevant meaning.
ENDURING: Connect to a universal principle and insure longevity of the design. Styles come and go, but
substance is constant. An identitys DNA must have a solid symbolic core to survive cyclic generationsjust
as any genetic material. Nature is the ultimate designer and has had billions of years to rene systems that
work: learn to read natural pattern and symbol, know the principles they are associated with and apply them
appropriately.
AESTHETIC: Understanding universal connections promotes aesthetic design results. Natural principles are
beautiful because they work with elegant efciency. Learn to be a designer who understands and balances
form with function.
ETHICAL: When you true up a communication, the principle has been consistently matched with meaning
to create a powerful message. It is naturally ethical for practical reasons. Practice looking for and deciphering
fallacies and truths in everyday communications. Do ethical. Be ethical.
Decoding Design: Understanding and Using Symbols in Visual Communication
MAGGIE MACNAB
Maggie Macnab 505-286-8558 www.macnabdesign.com www.decodingdesign.com 2008 MAGGIE MACNAB ALL RIGHTS RESERVED
10 SIMPLE STEPS INTO THE SYMBOLISM OF SHAPE.
The Number The Shape Quality and Principle
1

The circle represents wholeness, unity,
integrity, one-ness and all together now.
This is the origination of all shapes and the
rst of endless variation. It begins as a zero
dimension point in the center, surrounded by
an encompassing innity of points created
with a compass. Try it. It feels powerful and
connected, all at the same time. (We are all
powerfully connected; we just tend towards
distraction much of the time.) Complexity
around a single point is a common design for
meditation as a mandala. It reminds us of
connection in the midst of chaos.
Example 1: This is an example of a community-oriented corporation.

Target
went from a literal target design of a three ring

bullseye to this all around one identity in the late 60s, during
the height of the peace and love movement. Though extraordin-
arily simple, this logo has powerful symbolism at its core. With
one minor change, Target re-messaged their identity from prot-
driven to value-driven: a 180 repositioning move that is
extended into the companys principles.
Example 2: Animal Medical Clinic is a small animal vet that has been located
in Albuquerque since the early 80s. With no budget, this design
shot to winning rst place in logo design from the American
Advertising Federation in 1983. Why? Because it connected to the
universal truth of what goes around comes around, based on the
eternal tale of man putting compassion before fear, and of helping
one to help all. Aesops fable Androcles and the Lion is an example
of this story. Universal themes never go out of style and this logo is
still in use 25 years later.
DECODING DESIGN: UNDERSTANDING AND USING SYMBOLS IN VISUAL COMMUNICATION | MAGGIE MACNAB | 2
THE BULLSEYE LOGO DESIGN IS A TRADEMARK OF TARGET BRANDS, INC.

2

The line is born of the circle casting its reec-
tion to distinguish self. The line is the one
dimensional shape of relationship in which
edge and separateness are dened. Like most
essential shapes, it is an archetype that
contains opposites: the line both divides and
connects. It also demonstrates duality as seen
from two very different philosophies: in west-
ern culture it reveals the propensity towards
linear thinking as two intersecting lines forming
a cross, while in eastern culture the inclusive
yin yang describes the same principle from a
more holistic point of view.

Example 1: Even though this logo is created with circles, the dominant
design element is the western demonstration of linear duality,
created by a cloned circle. Color also plays an important role
in the design: the golden circle on the right is preceded by the
red circle on the left. This company was formed primarily by
American and Japanese companies in the mid 60s: the red
sun of the east is complimented by the golden opportunity
of the west.
Example 2: This logo was designed for an Arabian horse farm in the mid 80s.
As their primary business was breeding, I keyed in on the dual-
istic nature of mares and stallions with reproduction as the
end result. The design also provided an opportunity to inte-
grate visual information about the breed: Arabs are prized for
their delicate bone structurethe dished faces and long, arched
necks that allow them to breathe efciently when galloping
through the sandstorms of their original home, the Sahara desert.
THE MASTERCARD LOGO IS A REGISTERED TRADEMARK OF MASTERCARD
3

A third point provides the opportunity of
closure of the line to create the next shape,
the plane. This two dimensional shape is a
clear illustration of its principle: transform-
ing a base line into higher renement. The
plane provides access between one and
three dimensions. Revered by Egyptians,
Masons and on our dollar bill, the triangle is
indicative of inspiration, re and male yang
in the upward pointing position, while in
the downward position indicates water and
female yin. The female pelvisthe triangular,
physical truss of the human bodyserves the
same purpose by transporting new genetic
information into a three dimensional world.
Example 1: The recycle symbol is one of those designs we never think
about because it is so intuitively clear. Life must eat life to
live, and decomposition is the opportunity for new life to
occur by recombining parts. Transforming old into new is a
basic premise of natures continuation. Nature doesnt
tolerate waste and is based on the cooperation between
function and form.
Example 2: The MuSE logo (Multi-user Synthetic Environment) was designed
as a play on the acronym and as a visual descriptor of the product.
MuSE is a shell software that puts raw numerical data into a
visualized form: The transformation of two dimensional numbers
into usable three dimensional space through the support of graphic
translation. It can aid a surgeon navigating the brain during surgery,
or test a missile launch encryption without actually ring the missile.

THE H&R BLOCK LOGO IS A REGISTERED TRADEMARK OF H&R BLOCK
The Number The Shapes Quality and Principle
4

Adding a fourth point to the plane of three
brings depth to the equation. A tetrahedron
illustrates the approximation of three dimen-
sions in two dimensional space, or a square
sufces as a simplied descriptor. This
shapes purpose is clear: four sides provide
stability, boundary, and secured stillness. This
is the shape we build our world withfour
sides make up sidewalks, buildings, furni-
ture, windows, paper money and city grids.
Four sides anchor us into workable, tangible
space.
Example 1: The H&R Block identity is about as plain as they come, but
clearly illustrates the purpose of the company: it communicates
that H&R deals with the monotony of tax returns so you dont
have to, and implies they have the expertise of simplifying the
complex. The next workable feature: Its a square. The shape
corresponds to the founders name and the worldly reality of
paying taxes. Its symbolism connects several fundamental
qualities about the client simultaneously.
Example 2: The Heart Hospital of New Mexico incorporates the four
directions of the Zia symbol and reects the criteria most
important to the client: human care, cardiology, and the
southwestern location. It also subtlely integrates the
symbol for hospitalthe four sided, equilateral cross.
Illness requires stabilization of health and four is the number
associated with steadfastness and security.
5

Three dimensional space alone is simply
structural form. Quintessence, the fth
element, animates life. Five is the number
of life and love and the number assigned to
humanity. We have ve senses, ve ngers on
each hand with which we manipulate space,
and ve toes on each foot to move through
it. We have ve appendages that extend from
our torso. Five in its most obvious form is a
pentagram or star, but within each star lives
the golden spiral, considered the most compel-
ling of proportions in our eyes. As a symbol
of regenerated life, the logarithmic spiral is
found in seedhead whorls, nautilus shells, and
divides the human face into what we consider
beautiful proportion.
Example 1: Look closely at this logo. Consider the current state of health-
care and the dominant intention of big business pharmaceutical
companies. If you read this identity as human-symbol stars
ying out of a cauldron, it implies a magical cure to what
ails us. If you read it as stars ying into a mortar and pestal,
it could imply grinding the human symbol upthat is, prot
solely for prots sake, a non-viable principle from natures
perspective. Excessive prot generates excessive waste. If its
not reciprocal, it doesnt t in natures scheme.
Example 2: This logo was designed for an acupuncture clinic in the late 90s,
before alternative healthcare was accepted as a mainstream option
to western medicine. Combining the entwined spirals of the helix (the
root of human existence) as a play on the western caduceus with the
i-ching hexagram of heaven or highest attainment, this design seam-
lessly integrates western with eastern medical modalities, and sublimates
the needle at its base. The caduceus symbol dissolves into qi or the
energetic life force that acupuncture addresses.
THE WALGREENS LOGO IS A TRADEMARK OF WALGREENS CO.

6

The quality of six is highly structured ef-
ciency. The common bumblebee, through
which the quality and quantity of six dominate,
is a metaphor for no waste/high yield. A true
insect, the bee has six legs, a predominantly
six-sided structure to its epidermis, one of the
two main sugar molecules are six-sided, and
hexagonal cells in the hive give maximum
honey capacity and minimum wax use. Six is
a tessellating shape, or one that ts together
without gaps or overlaps for expansive con-
nectivity, an underlying principle in six degrees
of separation. Six-sided designs convey high
efciency and are often used in designs
representing nancially-related businesses
to impart ultra-efciency and security when
handling your money.
Example 1: Designed by Scott Kim in 1982, the original logo for Silicon
Graphics coveys stability and uid connectivity, just what an
emerging technology needs. Note that rather than six corners,
this design has six openings. Kims use of line weight and
breaks contribute to the 3 dimensional illusion of a 2
dimensional graphic.
Example 2: The analog clock displays the quality of high efciency. This is why
we use the number six and multiples of six in so many areas of
measurement: 60 seconds in a minute, 60 minutes in an hour,
12 months in a year, as examples of time; and in linear measure-
ments: 12 points to a pica, 12 inches to a foot, 360 in a circle.
Six displays precise cooperation between time, form and energy.

THE SILICON GRAPHICS LOGO IS A TRADEMARK OF SGI.

7

Seven is known as the virgin number
as it cannot be born through the circle
precisely (every number but seven divides
equally out of 360, with seven leaving an
endless digital remainder). There is also no
number below it that can divide into it (as 2,
3 or 4 can divide other numbers under 10)
It exists in theory rather than as a tangible
and usable number in geometry as it cannot
be drawn with complete precision. Seven
is a periodic rhythm such as we see in the
days of the week (four 7-day cycles create
one moonth), or the colors of the rainbow.
Many virgins in mythology encompass this
number (the seven sorrows of Mary and
temples of Greek and Roman goddesses were
based on the number seven). Seven is the
number of chance and luck because of its
illusive nature.
Example 1: The original Starbucks logo was pulled from an antique
illustration of a siren seductress complete with breasts, a naval
and splayed ns. As Starbucks built their coffee empire into an
international sensation, she gradually lost these sexual attri-
butes. Starbucks also gradually upped the cup size and caffeine
content (caffeine is an addictive drug), while closing down
smaller, less competitive coffee shops.
Example 2: The rainbow is comprised of the seven colors we see within
our visible light spectrum. When these 7 colors are combined
they create whole or white light.

THE STARBUCKS LOGO IS A TRADEMARK OF STARBUCKS.
The heptagons vertex angle is
128.571428 and cannot be
perfectly constructed with
basic geometers tools.
8

Eight represents the process of completion,
or a cycle of stages brought full circle to the
whole. The Noble Eightfold Path of Buddhism
relates directly to this concept of leading
a virtuous life of wholeness and serenity
through integrity (recall that one is wholeness
undivided or all integrated). The sun follows
the pattern of a gure 8 (the analemma) as it
traverses the heavens in a yearly cycle when
mapped from the same viewpoint each day;
and the moon cycles though 8 phases in its
monthly travels. There are eight vertices to
a cube and 8 electrons in an oxygen atom.
Eight is the number of serenity and balance.
Example 1: In this logo designed for Samba, a data mining information
company, I incorporated both the dance of balance to directly
relate to their name and the loop of innity, referencing the
innite amount of information on the web. The worldwide web,
of course, addresses the numerical aspect of 8 as mentioned
below.
Example 2: The eight-legged arachnid weaves her web in a spiral motion
from the center outwards. The Native American creation myth
describes Grandmother Spider embedding the secrets of innity
into this pattern as she goes. Many creation stories embody
the idea of the universe being woven of polarities, just as our
DNA entwines opposites in the double helix.
8
9

As the last of the single digits, nine is the nth
degree; the ultimate, the highest, the best,
the pinnacle of attainment (dressing to
the nines for instance, cloud nine, or the
whole nine yards). There are nine planets
in our solar system, nine levels in the Mayan
temple and many pagodas, nine openings in
the human (and most other animals) body,
and a cross section of cilia (the ne exten-
sions that propel a cell forward), or the tail of
a spermatozoa have a 9x2 array of tubules
inside, propelling life ever forward. And, of
course, there are nine months in human gesta-
tion. After nine comes a new cycle: nine
and new are related in many languages.
Example 1: In this logo re-designed by Mark Fox for Everready batteries,
the emphasis is on the enduring folktale of a cat having nine
lives. This metaphor has been perpetuated because of a cats
amazing dexterity and balance, and their ability to come
through harrowing events that would kill a less skilled animal.

Example 2: The magic square is a numerical conguration comprised of nine
digits in which each row, column and diagonal total a constant
sum. The smallest is on the order of 3, as shown on the right.
As the center number in the single digits between 1 and 9, ve
holds the center of this square. This number imparts the sense of
highest order in physical space and has been used cross cultur-
ally in architecture, city plans, and even in the plotting of Chinas
landscape as the Middle Kingdom of the world.
THE 9 LIVES LOGO IS A TRADEMARK OF EVERREADY BATTERY.

10

Example 1: This logo for Sun Microsystems was created in 1982 by mathemati
cian Vaughan Pratt (Stanford). Though on rst glance it seems a
better t for the number four because of its four corners, look again.
The spinning vortex created by the 45 rotation is a self-similar re
ection similar to an endlessly mirrored effect, an appropriate
symbolic expression for an evolving technology that has evolution-
ary leaps on nearly a daily basis, and a better t for 10.
Example 2: The word ten is derived from the Indo-European dekm,
meaning two hands. We have created tools and manipulated
space with our ten ngers resulting in an exponentially-altered
reality in a very short time. This logo, created by Pentagram/
London for the Royal College of Nursing, combines the traditional
healing practice of laying on of hands with the letter N.
THE ROYAL COLLEGE OF NURSING IS PENTAGRAM/UK
The double digit of ten is the mirrored

image of numbers starting as zero-one to
one-zero (01 and 10). As the single digits
complete, they come full circle to begin a new
genesis based in the power of an exponential
leap. Ten is the sum of the rst 4 numbers
(1+2+3+4=10) representing the rst 3 di-
mensions of physical space. The Tetractys [also
known as the decad] is an equilateral triangle
formed from the sequence of the rst ten numbers
aligned in four rows. It is both a mathematical
idea and a metaphysical symbol that embraces
within itselfin seedlike formthe principles of
the natural world, the harmony of the cosmos,
the ascent to the divine, and the mysteries of the
divine realm. So revered was this ancient symbol
that it inspired ancient philosophers to swear by
the name of the one who brought this gift to
humanity. Pythagoras
From One Comes All
Dimensional Qualities of the First Four Numbers
The Whole (The Circle: One)
The whole is created easily with a compass on paper. This
process emulates innity expanding from a single point of
energy, just as we imagine the universe did according to
the Big Bang Theory. As is visually obvious, you have just
created all from an expanding point of emptiness, or zero
dimension.
The Connection of Points (The Line: Two)
Put your compass point (without changing diameter) on
any edge of the mother circle and draw another circle. This
creates a clone of the rst circle and separated innity into
two pieces. This creates the separation necessary for a new
dimension: that of the line, or one dimension.
The Surface of Transformation (The Triangle: Three)
A third point creates an opportunity for closure, and just
as the triangular shape suggests, the beginning of life is
funneled through a broader, less organized dimension into
a point of transformation of renement in the next. Now a
plane exists in which an entirely new reality can play out.
This is two dimensional space, and it provides the spatial
opportunity for form to manifest.
Depth (The Square: Four)
The addition of a forth point brings depth to the picture:
three dimensional space creates the stage for boundless
diversity to play out its existence. The most accurate way
to show this is the tetrahydron (a pyramid), but we show it
more easily as a square of four corners on a two-dimensional
sheet of paper.
From Decoding Design: Understanding and Using Symbols in Visual Communication by Maggie Macnab, 2008
The Number Five: Free Form Life
Construct a Pentagon (after Euclid)
How to construct a regular pentagon from a circle and line
Figure 1
Figure 2
1. Draw a circle in which to inscribe the pentagon beginning at the center of the mother circle. (The green circle in
Figure 1).
2. Draw a line through the center of the circle (intersecting the center point) to serve as one vertex of the pentagon
(Point A).
3. Draw a perpendicular line through line A passing through center at 90. Mark its intersection with the right side of the
circle as Point B.
4. Construct the point C as the midpoint between the original center point and Point B.
5. Draw a circle with center point C extending out to Point A. Mark its intersection with the line (inside the original circle)
as the Point D.
6. Draw a circle centered at A through the Point D. Mark its intersections with the original circle as the Points E and F.
7. Draw a circle centered at E through Point A. Mark its other intersection with the original circle as Point G.
8. Draw a circle centered at F through Point A. Mark its other intersection with the original circle as Point H.
9. Connect the lines at the vertices to create a regular pentagon.
Construct a Golden Rectangle based on the Fibonaccci Series
Figure 1
This is a simple method to construct a golden rectangle following the Fibonacci numbers series.
1. Draw a square (yellow #1), duplicate it and slide it a full step to the left side of the original square.
2. On top of these two squares, draw a square of size 2 (=1+1).
3. Draw another square touching the original #1square and #2 square. The new square is made of a
total of 5 units, following the Fibonacci sequence of 1+1=2+1=3+2=5+3=8, etc. We can continue
adding rotated squares around the original one, with each new square having a side whose length
equals the sum of the last two. The resulting dimensions approximate the ratio 1:J, or 1:1.618, the
golden ratio. When the interior squares are removed, the remaining rectangle has the same golden
proportions.
The original parent squares begin with the same cloning procedure as the circle to create the vesica
piscis (refer to our work last week on the number 2). Note the necessity for a square to complete the
task of measuring the golden proportion. A fourth point factors in depth, the essential quality by
which time and space can be measured (and therefore exist).
Construct a Golden Spiral from the Golden Rectangle
Figure 3
The square (being the shape of depth) supports the complexity of the life force seen in these exercises as it evolves into a spiraled regeneration of self. The
circle clone is an elemental duplication of itself limited to a linear scale of the same (vesica piscis) or half (yin yang) size, and relates to simple division and
multiplication: a linear separation for a linear result. Depth, however, creates the opportunity for exponential and unexpected growth.
1. Beginning with the top center point between the two originating squares (the yellow #1s) extend your compass (or if in a vector drawing program
such as Illustrator, option-shift the circle tool to draw a 360 circle) from its center point outward to the far edges of the original squares.
As with the original distinction of polarity in the circular form of the vesica piscis, the parent squares to begin the golden rectangle are duplications of
each other. Exactly one quarter of a circle is necessary to complete the continuity of the spiral. This quarterturn relates directly back to the square and
lls a linear translation of space with the uid movement of life force.
2. In this same sequence, continue from the center point of the next larger square and draw quarter circles for that square, with each progressively
larger quarter circle connected to the preceding smaller quarter circle. You will always place your center point in the furthermost inner corner of the
square as it relates to the golden rectangle.
The golden spiral is made up of circle-fragments: and as such is not a true mathematical spiral. This is the approximating spiral found in nature, whose
sole purpose is to link rather than to perfect. This spiral allows the slight variation necessary for mutation and evolution.
The intimate relationship between the continuity of the spiral and the linear breaks of the square is seen in the golden proportion, and perhaps it is this
ability to simultaneously display what we tend to see as opposites that we nd so attractive. Opposites are really complimentary interactionthe es-
sential distinction necessary for existencerather than our tendency to see them as conicted.
The points on the spiral are 1.618 times as far from the centre after each quarter-turn. In a whole turn the points on a radius out from the center are
1.61846.854 times further out than when the curve last crossed the same radial line.
Figure 2
Decoding Design: Understanding and Using Symbols in Visual Communication
Further Reading Resources
Alchemy and Mysticism, Alexander Roob, Taschen, 2001
The Alphabet vs. the Goddess: the Conict between Word and Image, Leonard Shlain, Penguin, 1999
Ariadnes Clue: A guide to the symbols of humankind, Anthony Stevens, Princeton University Press, 2001
A Beginners Guide to Constructing the Universe, Michael S. Schneider, Harper Perennial, 1994
All of Joseph Campbell, particularly: The Mythic Image, Joseph Campbell, Princeton University Press, 1974
The Clock of the Long Now: Time and Responsibility, Stewart Brand, Basic Books, 2000
The Cosmic Serpent: DNA and the Origins of Knowledge, Jeremy Narby, Tarcher-Putnam, 1998
The Curves of Life, Theodore Andrea Cook, Dover Publications, 1979
The Dictionary of Symbols, Carl G. Liungman, Norton, 1994
Envisioning Information, Edward Tufte, Graphics Press, 1990
Escher on Escher: Exploring the Innite, Harry N. Abrams Inc., 1986
Fractals: the Patterns of Chaos, John Briggs, Touchstone, 1992
Geometry of Design, Kimberly Elam, Princeton Architectural Press, 2001
An Illustrated Encyclopedia of Traditional Symbols, J.C. Cooper, Thames and Hudson, 1978
Li: Dynamic Form In Nature, David Wade, Walker & Company, 2003
A Little Book of Coincidence, John Martineau, Walker & Company, 2001
The Magic Mirror of M.C. Escher, Bruno Ernst, Taschen America Inc, 1994
Man and His Symbols, Carl G. Jung, et al, Doubleday, 1968
Mandala, Journey to the Center, Bailey Cunningham, Dorling Kindersley, 2003
On Growth and Form, DArcy Thompson, Cambridge University Press, Canto Edition, 1992
Photographing the Patterns of Nature, Gary Braasch, Amphoto Books, 1999
Platonic & Archimedean Solids: The Geometry of Space, Daud Sutton, Walker & Company, 2002
Q.E.D.: Beauty in Mathematical Proof, Bukard Polster, Walker & Company, 2004
Sacred Geometry: Philosophy and Practice, Robert Lawlor, Thames and Hudson, 1989
Sacred Geometry, Miranda Lundy, Walker and Company, 2002
Sacred Number: The Secret Qualities of Quantities, Miranda Lundy, Walker & Company, 2005
The Search for Solutions, Horace Freeland Judson, Holt, Rinehart and Winston, 1980
The Shamans of Prehistory: Trance and Magic in the Painted Caves, Jean Clottes and David Lewis-Williams, Harry N. Abrams, 1996
Signs of Life: the Five Universal Shapes and How to Use Them, Angeles Arrien, Arcus Publishing, 1992
Symmetry: The Ordering Principle, David Wade, Walker & Company, 2006
The Tao of Physics, Fritjof Capra, Shambhala, 2000
The Tao of Symbols, James N. Powell, William Morrow & Co., 1982
The Visual Display of Quantitative Information, Edward Tufte, Graphics Press, 2001
Visual Explanations: Images and Quantities, Edward Tufte, Graphics Press, 1997
Weaving: Patterns and Traditions of The Oldest Art, Christina Martin, Walker & Company, 2005

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Decoding Design

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decoding design

understanding and using symbols in visual communication

Example 1: This is an example of a community-oriented corporation.

went from a literal target design of a three ring

10 SIMPLE STEPS INTO THE SYMBOLISM OF SHAPE.

10 SIMPLE STEPS INTO THE SYMBOLISM OF SHAPE.

10 SIMPLE STEPS INTO THE SYMBOLISM OF SHAPE.

The double digit of ten is the mirrored

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