Document Type : Original Article

Authors

1 Instructor, Department of Architecture, Faculty of Architecture and Urban Planning, Imam Khomeini International University, Qazvin, Iran

2 Assistant Professor, Department of Visual Communication, Faculty of Visual Arts, Art, Tehran, Iran

10.30465/lir.2025.9310

Abstract

Introduction
In visual arts, novel ways of creativity can be achieved by combining literary arrays and art. Since the governing system of lexical language is not directly translated into visual language, the criteria and rules are generally different in visual language from lexical language. A visual pun is substituting one object for another object from the point of view of formal similarity. The purpose of this research is the interaction and confrontation of the array of puns in words and images, and in line with this goal, visual puns and their use in poster design were introduced, finally, two posters were studied as examples, in terms of the characteristics of the elements in the visual field. Iconography and language have been investigated. According to the research objectives, the questions pursued in this research are: 1) What is the interaction and contrast of puns in words and images? 2) What is a visual pun? And how is it used in poster design? 3) How is the visual quality of the analyzed samples? 4) What is the role of images and writing in how to convey the message of the analyzed examples? Studying to find and invent solutions to attract and persuade the audience and expanding it is one of the research requirements in graphic design; Therefore, getting to know the ways of creating literary works and comparing them with creative ways in the image can be one of the solutions.
Materials & Methods
In this qualitative research, two AIDS-related posters designed in the United States in 2008 and 2009 were selected as the sample community, based on their significant use of puns in both words and images. The data were collected through a library method for theoretical background and through electronic sources to gather the samples. Reliable graphic design platforms such as Posterpage and Graphis were used to locate relevant posters. The research primarily focused on analyzing the use of puns in these posters, examining their visual and symbolic elements, as well as their linguistic and photographic components. The semiotic method of graphic design analysis, developed by Pahlavan (2004, 2007), was applied to visually decode the posters. The sample posters were analyzed according to four categories: visual, symbolic, linguistic messages, and the use of visual puns.
Discussion & Results
The findings of this research highlight that visual puns, much like puns in words, can creatively solve graphic design challenges. In both sample posters, puns were used to communicate key messages about AIDS, but with different strategies. One poster used puns to emphasize the risks of AIDS transmission, while the other focused on societal misconceptions about AIDS patients. The written text on the posters either reinforced or stabilized the visual message, guiding the audience's interpretation. The results showed that visual puns made the message memorable and impactful through their formal similarity to unrelated elements. The posters demonstrated the effective integration of meta-linguistic functions, where the visual elements prioritized the communicative message over other aesthetic considerations.
Conclusion
This comparative study reveals that the use of puns in both language and visual arts can effectively convey complex messages concisely and memorably. The findings suggest that visual puns can be a powerful tool in graphic design, particularly in poster design, by allowing designers to compress a narrative into a few visual elements. Both analyzed examples showed how visual puns helped to simplify and communicate their messages while engaging the audience. The study also emphasizes the potential of visual puns as a creative solution for graphic designers to address design challenges and create compelling, communicative artwork. Therefore, visual puns offer a valuable method for designers aiming to convey complex social messages with minimal visual clutter.


Keywords

Main Subjects

  • Almeida de, C. (2009), The rhetorical genre in graphic design. Journal of Visual Literacy, 28(2), 186 -198.
  • Eco, U. (1984). The Role of the Reader; BMG: Indiana university.
  • Emanuel, B. (2010). Rhetoric in graphic design (Master Thesis). Retrieved 6 Jun 2014 from: http://graphicdesignrhetoric.tumblr.com
  • Emnison, M. and Esmit, P. (2000), Researching the Visual: Imaj, Objects, Contexts and Interaction in Social and Cultural Inquiry. London: Sage.
  • , H. (2005). Aroosane Sokhan (criticism and examination of terms and literary works in Badi'a). Tehran: Sokhan. [In Persian].
  • Farnoud, M. (2011). Reverse adaptation in visual arts, especially in poster design. Unpublished Master's Thesis, Faculty of Visual Arts, University of Arts, Tehran. [In Persian].
  • Flick, U. (2008) An introduction to qualitative, research. (translation by Hadi Jalili). Tehran: Ney Publishing. 3rd ed.
  • Hashemi, S. (2011). Investigating the interaction between literary arrays and cultural and commercial advertisements. Unpublished Master's Thesis, Faculty of Visual Arts, University of Arts, Tehran. [In Persian].
  • Homayi, J. (1992). Rhetoric techniques and literary industries. Tehran: Homa, 7th edition.
  • Khalaj, M.A. (2011). The use of humor in the design of masks, packaging and commercial advertisements for food products. Unpublished Master's Thesis, Faculty of Visual Arts, University of Arts, Tehran. [In Persian].
  • Gesch, J. Scheuermann, J. (2006). Design as a rhetoric. Baz: 3rd Design Research Symposium of the Swiss Design Network.
  • Heller, L. G. (1974). Toward a general typology of the pun. Language and Style, (7), 271-282.
  • Heller, S. (2002). Design humour. New Yor, Allworth press.
  • Hollis, R. (2007). A history of graphic design (translated by Sima Mushtaqi). Tehran: Printing and Publishing Organization.
  • Huizinga J. (1956). Homo ludens. Hamburg: Rowohit.
  • Lucas, G. Dorrian, M. (2006). Guerrilla advertising. LON: Laurence kink publishing
  • McQuarrie, E.F.Mick, D.G. (1996). Figures of Rhetoric in advertising language. Jornal of Consumer Research. 22.424-438.
  • McQuarrie, E.F.Mick, D.G. (2003). Visual and Verbal Rhetorical Figures .Retrieved 23 Jun 2015 from: http://www.jstor.org/stable/10.1086/209549#fndtn-pdf
  • , A. (1992). The semiotics of humour. Isfahan: Nashre Farda. [In Persian].
  • , F. (2008). An introduction to analysis of the visualelements of logo. Tehran: University of Art. [In Persian].
  • , F. (2008). Visual Communication from Perspective of Semiotics. Tehran: University of Art. [In Persian].
  • Rand, P .(2000). A Designer`s Art. NY: Yale University press.
  • Shafi'i Kodkani, M. (1998). The magic of proximity. Bokhara Publication, 2, 31-27. [In Persian].
  • Shamisa, C. (1999). A fresh look at the novel. Tehran: Ferdous Publishing House, 11th edition. [In Persian].

Shamisa, C. (2002). Expression and meanings. Tehran: Ferdous Publishing House, 6th edition. [In Persian].

Tajlil, J. (1992). Puns in Persian literature. Tehran: Institute of Cultural Studies and Research, second edition. [In Persian].

Vahidian Kamiyar, T. (2006). Original from the aesthetic point of view. Tehran: Samt. [In Persian].

Williams, R., Tallet, J.(2006) Professional Graphics (translated by Nazila Hamed Khaki). Tehran: Noor Publishing Research Institute, second edition.

  • Yahaghi, F. (2009). Humor in animation with the help of puns. Unpublished Master's Thesis, Faculty of Visual Arts, University of Arts, Tehran. [In Persian].
  • Zakeri, M. (2006). History of rhetorical sciences. Ayenemiras, 32, 14-19. [In Persian].