Mia Poppleton

L5 Ba(Hons) Illustration for Commercial application

Visual Culture Theory

Does Rams’ Principles & Semiotics

Limit Creativity within Design?
Feburary 2024
Contents

Figure List.........................................................................page 2

Essay ................................................................................page 8

Bibliography ....................................................................page 15
 Cover Illustration: Poppleton, M. (2024) Braun ET66
Calculator [Digital]

Figure 1: Braun ET66 Calculator 1987. [Pho-

tograph] Available at: https://www.theverge.
com/2013/5/3/4297816/iconic-1987-braun-calculator-
designed-by-the-legendary-dieter-rams-to.

Figure 2: Apple. Calculator on iPhone. Available at: https://support.

apple.com/en-gb/guide/iphone/iph1ac0b5cc/ios.
 Figure 3: Braun . 1958 T3 Pocket Radio. [Photograph] Available
at: https://www.flickr.com/photos/34019036@N05/5212241996.
Figure 4:Apple . 2001 iPod. [Photograph] Available at: https://
www.apple.com/uk/newsroom/2022/05/the-music-lives-on/#:~:-
text=The%20original%20iPod%2C%20introduced%20on,de-
sign%20at%20just%203.6%20ounces..

Figure 4:Apple . 2001 iPod. [Photograph]

Available at: https://www.apple.com/uk/
newsroom/2022/05/the-music-lives-on/#:~:-
text=The%20original%20iPod%2C%20intro-
duced%20on,design%20at%20just%203.6%20
ounces..

Figure 5:‌Herman Miller. Herman Miller

Formwork series. Available at: https://
www.hermanmiller.com/en_gb/products/
accessories/desk-accessories/form-
work/.

Figure 6: Purple Colour Semiotics. (n.d.).

Available at: https://www.wionews.com/
photos/the-colour-purple-and-its-associ-
ation-with-the-royal-class-717.
 Figure 7: 1964 Tokyo Olympics Pictograms.
(n.d.). Available at: https://mediamadegreat.
com/olympic-pictograms/.

Figure 8: 1964 Tokyo Olympic Poster Design.

(n.d.). Available at: https://olympics.com/en/olym-
pic-games/tokyo-1964/logo-design.
‌

Figure 9: Information pictographs. (n.d.).

Available at: https://m.indiamart.com/prodde-
tail/information-sign-1869041233.html.

‌
 Figure 10: Morris, W. (1875). Acanthus wallpaper. Avail-
able at: https://www.vam.ac.uk/articles/william-mor-
ris-and-wallpaper-design.

Figure 11: Morris, W. (1881). St James’s wallpa-

per. Available at: https://www.vam.ac.uk/articles/
william-morris-and-wallpaper-design.

Figure 12:: Godfrey, C. (n.d.). Children Too.

Available at: https://www.carlgodfrey.com/chil-
dren-too Road sign with bullet holes.
 Figure 13: Godfrey, C. (n.d.). Unafforadable Housing.
Available at: https://www.carlgodfrey.com/unafforda-
ble-housing.

Figure 14: Glaser, M. (1975). I Heart NY. Avail-

able at: https://www.fineprintart.com/history-
of-the-i-love-new-york-logo/.
This essay will analyse how Dieter Rams’ principles and semiotic theory have affected creativity within de-
sign through exploring Rams’ design principles, and semiotic theory as well as those who reject these ways
of designing and solely focus on aesthetics.

Dieter Rams was the head of design at Braun from 1961 to 1995 and wanted to influence the world of de-
sign and push the industry forward with his systematic design inspired by utilitarian aesthetics and prioritis-
ing function over form. He spent his early youth crafting furniture with his grandfather who rejected the use
of machines and developed a love of honest and simple design as stated Needless to say, back then I did
not register this consciously, but I adopted it and even today have not given it up. I always concerned that
things should be plain, straightforward. For as long as I can remember that was what I wanted. Rams’ has
impacted design globally from the 1970s to the present day with his principles to create furniture, industrial,
graphic and interaction designs that are timeless and user-friendly. Rams’ designs reject trends and com-
plexities after he noticed how designers solely focused on layout, form and aesthetics rather than paying
attention to a product’s intended focus making the world around him an impenetrable confusion of forms,
colours and noises. This led to the following principles being developed after Rams asked himself Is my
design good design? where he stated that good design is innovative, makes a product useful, is aesthetic,
makes a product understandable, unobtrusive, honest, long-lasting, thorough down to the last detail, envi-
ronmentally friendly, as little design as possible.

Rams’ principles are also associated with semiotic theory as it is the investigation into how meaning is cre-
ated and how meaning is communicated through the use of visual indicators. Semiotic theory was concep-
tualised in 1915 by Ferdinand Saussure. It was a pattern shift but it didn't gain attention until the 1960s and
the start of structuralism (interpretation and analysis of aspects of human cognition, behaviour, culture and
experience). As a result, it allowed designers to understand links between thought processes and respons-
es to certain inputs for example visual communication which will be explored further.

Dieter Rams’ principles of good design are inspired by minimalistic user-centric ideas that enhance the
functionality of products while still being aesthetic to look at. They were developed during his time at Braun
because he noticed how designs were becoming more focused on form rather than function. Subsequent-
ly, he also predicted that these types of designs would become outdated quickly and be replaced once the
next big trend hit. They also reflected on his ethics and personal style that was inspired by his upbringing,
the utilitarian aesthetic and the Bauhaus movement.

For design to be innovative there should be an attempt at trying to be inventive even if it is proven hard
in today’s society where so much has already been designed. Rams believed that boundaries should be
pushed to introduce new ideas or improve existing designs instead of overcomplicating existing products
through imitation. Good design should prioritise the usefulness and functionality of the product’s intended
use to enhance the user’s experience without completely disregarding the aesthetics. Subsequently, a good
design should also take into account its form and aesthetics because if a product is used every day the
user will want it to look nice as well as suit their style - Rams believed that the products we surround our-
selves with can affect our well being This principle also links with how good design should be unobtrusive to
allow for self-expression by being neutral and restrained as well as not overwhelming the user with unnec-
essary elements or embellishments. Good design should also be easy to understand and aim to be self-ex-
planatory as well as honest within the advertisement of the product so it does not mislead the consumer.
It is also important that a good design avoids trends so it lasts longer without appearing outdated and old
fashioned in an attempt to challenge today’s throwaway society which also ties into the principle that good
design should be environmentally friendly. To make a design environmentally friendly there should be a
conscious effort to consider the impact of the materials and manufacturing method on the environment and
the life cycle of the product and its disposal. Rams’ also believes that every last detail in a design should
be considered equally to show care and accuracy in the design process shows respect towards the user.
Finally, following his minimalistic and utilitarian aesthetic inspiration for designs, Rams’ believed that remov-
ing non-essential elements from a design will strip it back to minimalise its form and maximise its function
as design should not dominate things, should not dominate people. It should help people. That’s its role.
 Rams’ principles are evidenced through his designs
for Braun, for example, the ET66 Braun Calculator
which was designed in 1987 collaboratively with
Dietrich Lubs. This calculator embodies his less, but
better design philosophy due to its minimalistic and
straightforward design. The body of the calculator
is compact and sleek to focus on the user experi-
ence while still being equally as concerned about
the form. The convex buttons feel ergonomic to the
user and the use of colour distinguishes functions
and numbers on the design which adds to the ease
of understanding of the calculator without needing
excessive instructions. Even though the design was
made in 1987, its simplicity makes it timeless and it
still manages to look modern due to rejecting trends.
By adhering to his design principles he has made
the Braun ET66 an everyday object.

Furthermore, the ET66 Braun Calculator has be-

come an iconic design which has influenced and
inspired designers and helped carry Rams’ design
philosophy further - in particular Apple. Jonathan
Figure 1: ET66 Braun Ive, who is the Senior Vice President of Industrial
Design and chief designer at Apple, is probably one
of Ram’s most famous admirers which is evident
through his user-centric and stipped-back product
design. This is evident in the iPhone’s calculator’s
keyboard which shows visual similarities between
the 1987 ET66 Braun Calculator from the button
design to the colours and layout. Apple’s calculator
application is self-explanatory and well-designed for
how the phone would be held, the addition, sub-
traction and equal buttons are closest to the user’s
thumb making it easy to reach when holding the
phone in one hand while also making the zero digit
button the largest compared to the other digits as
it is commonly used when using approximate num-
bers.

Figure 2: Apple
Not only has Ive been inspired by the ET66 but also the T 3 Pocket Radio which is seen through Apple’s
first iPod as it uses the one-thumb approach to navigate within the device with symbols to represent the
functions of each button. Rams’ philosophy of design was a starting point for Apple when considering its
innovative approach to design in terms of form and functionality. By embodying Rams’ philosophy is has
helped Apple stay relevant in today’s market despite having no extreme change to product style since the
launch of the first iPhone in 2007.
Figure 3: T3 Braun Figure 4: Apple iPod

Additionally to Jonathan Ive, designers

Sam Hecht and partner Kim Colin’s designs
for office furniture company Herman Miller
successfully integrate Rams’ principles for
good design. The designs for Herman Miller
are simple and clean in terms of aesthetics
and maximise functionality in the context
and landscapes where they are intended
to be used. Every component of their de-
signs reflects Rams’ philosophy that ‘good
design is thorough down to the last detail’
leaving nothing to chance and making
sure every element contributes positively
to the the overall user experience. Evident
Figure 5: Formwork in their ‘Formwork stackable desktop stor-
age’ series which is designed to store everyday desktop items (like tools, papers and artefacts) and take
into account the space on the average office desk to minimise the amount of space used and avoid clutter.
Not only does this show innovation in their design to enrich a workspace but it also allows customisation
based on the user’s needs while remaining unobtrusive to allow self-expression. The Formwork series is
also designed to be long-lasting and timeless as it does not adhere to the trend of the time so it will still look
aesthetic in the future which complies with how good design is long-lasting, Rams’ beliefs of environmental
design resonated with Hecht as he believes the measure of success in his designs is not only in sales or
notoriety but also in the contribution to the greater good of the industry (and we hope, the planet).
Semiotic theory is the investigation into how meaning is created and communicated through visual indica-
tors. Semiotics is a form of visual communications that allow us to interpret and understand visual clues
instinctively and instantly with unconscious knowledge. Cultural convention can play a role in how we
perceive these visual indicators as we are exposed to them over time. Furthermore, this can be achieved
through the use of shape, scale, signs, icons, illustrative elements and even colour within Art and Design
to provide a framework for understanding how humans use these visual clues to make meaning of their
environment.

To elaborate, colour can impact the way

humans interpret visual communication
as it can impact our emotions as associ-
ations with colour are used in things we
do in everyday life and can be used as a
tool when designers want to define and
add further meaning. Colours also carry
a socio-economic meaning depending on
the location for example in Western soci-
ety purples have become associated with
wealth and royalty due to the origins of the
dye in Ancient Rome being more expensive
than silver. As a consequence, the meaning
of different colours can be dependent on
culture such as location, religion and politi- Figure 6: Colour Semiotics
cal views.

Designers and artists can utilise semiotics for visual communications to transcend language barriers and
make their designs understandable, accessible and inclusive without the need to understand a particular
language. This can be referred to as a universal language which is evident in the work of designers Yoshiro
Yamashita and Masaru Katzumie’s pictograms for the 1964 Tokyo Olympics. The pictograms used icons,
signs and shapes that acted as a type of visual communication which was a successful way to effectively
inform participants and spectators of diverse nationalities about the different sports in the Olympics. The
pictograms were uniform, gender neutral and used a collection of geometric shapes to communicate the
sport wordlessly while still being aesthetic to look at as well as being inclusive and accessible inspired fu-
ture games to use similar pictograms. While there is a heavy emphasis on the functionality of these designs
Yamashita and Katzumie were still able to create practical branding and posters utilising the same minimal-
istic aesthetic as their pictograms.

Figure 8: Tokyo Olymics Branding

Figure 7: Yoshiro Yamashita & Masaru Katzumie
 Though these designs are old they do not look outdated
next to modern graphic designs and still make sense to
the new generations. Technology has also developed
greatly with the evergrowing high tech graphic tools
available and decades of studying design these silhou-
ette figures are still widely used worldwide for all different
types of communications outside of sports (for example
fire exits, toilets, first aid, information kiosks, telephones
and many more in public spaces).

Creativity is an abstract concept that changes depend-

ing on how an individual’s mind interacts by perception,
taste, touch or sound as well as a mixture of personal
traits like intelligence, ideas, knowledge and creative
instinct. In contrast, rams’ principles are not abstract
philosophies on how to make a good design but instead
concrete statements and opinions that are meant to aid
Figure 9: Pictograms a designer’s process however the two can possess a
symbiotic relationship. Together creative ideas and Rams’
principles can execute a practical, innovative design by analysing risks and challenges that those creative
ideas may face.

While reflecting on the significance of Rams’ philosophy, it is good to understand the limitations and chal-
lenges because individual creativity is expressed differently. It can be argued that if designers strictly
adhered to Rams’ principles designs may not always align with the specific context or goals of a project.
Additionally, a heavy focus on functionality and simplicity may neglect the importance of pushing bounda-
ries, experimentation and embracing new design approaches. The principles are also subjective and reflect
Rams’ aesthetic and beliefs and what is considered good design can vary based on cultural, individual or
industry-specific preferences. Rams’ grew up in Germany during the Bauhaus educational model which
emphasised the relationship between architecture and design that further reinforced the ideals of simple
and honest design which can be seen within his designs and design philosophy. While there may be many
advantages of creativity and Rams’ philosophy working together there can be potential challenges as indi-
vidual creativity is expressed differently and may find Rams' principles too restricting. Some designers may
also choose to focus on style and form rather than the functionality of a design for aesthetic purposes.

This is evident in the Maximalist art movement which embraces the excess of patterns, colours and tex-
tures and rejects Rams’ principles of design. The key features of maximalism are intense and vibrant colour
palettes that clash to overstimulate the eye and evoke a mixture of responses; layering of elements to
create depth; ornate and decorative details to keep the piece busy and the idea that more is more. It can
be argued that maximalism is just as influential as Rams from the past to the present day where artists and
designers have used this within a vast amount of creative domains like art, interior design and fashion.

An icon in the maximalism movement is William Morris, who was a Victorian poet, radical socialist and the
pioneer of the arts and crafts movement. At the time his creative voice was innovative and certainly fresh
compared to a lot of the designers in the Victorian Era as it rejected their focus on the industrial progression
and revolution. Morris states to have nothing in your houses that you do not know to be useful or believe to
be beautiful.
 He designed a range of wallpapers, textiles, carpets, embroideries, tapestries, tiles and book designs that
focused on patterns and colours with inspiration taken from nature. Subsequently, his innovative creativi-
ty allowed him to successfully design wallpaper and fabrics for Morris & Co and his legacy has continued
today as the company has become one of the most enduring interior brands with complementing designs
inspired by Morris’ iconic patterns. This demonstrates how good design does not have to adhere strictly to
Rams’ design philosophy to be successful as the Arts and Crafts movement has proven to be timeless and
iconic even in modern spaces.

Figure 10 & 11: William Morris

Not only is semiotics used as a visual language it can also be a tool to express creativity in design. It ena-
bles designers to create visual metaphors that convey complex ideas with the use of symbols and signs to
communicate messages more effectively and engage viewers on a deeper level. Creativity can also be ex-
pressed through semiotics by subverting established meanings of symbols and create new designs that are
innovative and evoke a different emotion in the viewer. Similarly, semiotics and creativity can work together
by using irony, parody and even satirical designs that challenge norms and spark discussion and opinions.
To illustrate these points, designer Carl Godfrey plays on traditional established icons and uses his creativi-
ty to portray new ideas and narratives that are equally as understandable. Godfrey uses numerous semiotic
signs to explain current news affairs without paragraphs of text like newspaper articles.

Figure 12 & 13 Carl Godfrey

Figure 14: Milton Glaser It is important to note one of the most influential
uses of creative semiotics that is still relevant
decades later which is Milton Glaser’s I Heart NY
logo from 1975. Unexpectedly to Glaser, the design
became a cultural phenomenon that promoted
tourism in New York. The message from this design
is straightforward and easy to understand through
its simplicity and clarity to symbolise affection for
New York through a heart emoticon. Glaser’s ability
to illustrate a powerful message through semiotics
and compact design is a hallmark of effective and
innovative graphic design. Additionally, the I Heart
NY logo has had a lasting impact on logo design
principles because of the simple, memorable
graphic element with clear and concise typography
to serve as a model for designers to be inspired
by and further boost innovative creativity. It is also
important to note that this design was a similar time to when Rams’ created his principles for good design
(late 1970s) which Glaser’s design adheres to despite being before Rams’ principles had the chance to be-
come influential. Furthermore, influential designers thought similarly about what makes good design without
needing a set of principles to adhere to.

Finding a balance between following design principles and allowing for creative exploration is essential for
fostering innovation while maintaining coherence and effectiveness in design. Design principles provide a
solid framework and guidelines for creating successful designs, ensuring functionality, usability and aesthet-
ic appeal. However, rigid adherence to these principles can stifle creativity and limit innovation potential. On
the other hand, unfettered creative exploration without regard for principles can result in designs that lack
coherence, usability and relevance. To achieve a balance between design principles and creativity, design-
ers should continuously evaluate and update their understanding of principles like the ones Rams’ created
and not be afraid to challenge them through experimentation.

Design principles and creativity are not static concepts but are continually evolving in response to changes
in technology, culture and society. As times change, technology emerges and societal values shift, design
principles must adapt to reflect these changes and remain relevant in a rapidly evolving world. Just as
principles are everchanging, the definition of creativity itself is constantly evolving, encompassing not only
aesthetic innovation but also ethical considerations, sustainability and social impact.

In summary, Rams’ principles had a strong influence on leading successful brands like Apple and Herman
Miller that continue Rams’ legacy through their products and inspiration from his designs. Rams’ principles
have also influenced their innovation to continue improving everyday products and updating them with the
user’s needs and advancement in technologies. Despite maximalism not adhering to design principles ex-
clusively, it still has elements, that loosely follow design principles, to make it innovative and even creating
successful designers and brands from the movement. Semiotics can be heavily linked to Rams’ principles
due to their focus on simplicity and functionality while still allowing designers to express creativity through
playful design. Semiotics also allowed designers to be innovative through visual language allowing their de-
signs to transcend language barriers and reach the majority which made the designs inclusive and acces-
sible. Undoubtedly, Rams’ principles and semiotics have benefited society and influenced countless crea-
tives who have made successful, distinct designs with the purpose to be enrich the everyday life while still
being aesthetic. The conclusion encourages ongoing exploration and discussion of the dynamic relationship
between design principles and creative expression to drive innovation in design practice.
v
Bibliography
Lovell, S. (2011). As little design as possible : the work of Dieter Rams. London: Phaidon.
‌
Joy, G. (2023). Dieter Rams’ 10 Principles of Good Design: A Timeless Guide for Design Excellence. [on-
line] Medium. Available at: https://bootcamp.uxdesign.cc/dieter-rams-10-principles-of-good-design-a-time-
less-guide-for-design-excellence-ee582c4862c.
‌
IOC (2020). Tokyo 1964 logo, poster design & look of the games. [online] Olympics.com. Available at:
https://olympics.com/en/olympic-games/tokyo-1964/logo-design.
‌
Drew, S. (2022). Morris the Original Maximalist. [online] drewdecor. Available at: https://www.drewdecor.
co.uk/interior-design-news/morris-the-original-maximalist [Accessed 9 Feb. 2024].
‌
COUNTER-PRINT. (2018). Dieter Rams – Braun Calculator. [online] Available at: https://www.counter-print.
co.uk/blogs/spotlight-on-design/spotlight-on-design-braun-calculator.
‌
Kunst, A. (2023). Most popular smartphone brands in the UK 2022. [online] Statista. Available at: https://
www.statista.com/forecasts/997892/most-popular-smartphone-brands-in-the-uk.
‌
Carl Godfrey. (n.d.). Carl Godfrey – Designer Artist. [online] Available at: https://www.carlgodfrey.com/.
‌
Consulting, J.I. (2021). How the Tokyo 1964 Olympics Continues to Influence Modern Design. [online]
Japan Intercultural Consulting. Available at: https://japanintercultural.com/free-resources/articles/to-
kyo-1964-olympics-influence-modern-design/.
‌
Cherry, K. (2021). What Is Abstract Reasoning? [online] Verywell Mind. Available at: https://www.verywell-
mind.com/what-is-abstract-reasoning-5181522.
‌
Victoria and Albert Museum. (n.d.). V&A · William Morris. [online] Available at: https://www.vam.ac.uk/collec-
tions/william-morris.
‌
www.fabricsandpapers.com. (n.d.). The History and Legacy of Morris & Co. [online] Available at: https://
www.fabricsandpapers.com/blog/morris-co-collections-history#:~:text=A%20key%20part%20of%20their
[Accessed 9 Feb. 2024].
‌
www.hermanmiller.com. (n.d.). Sam Hecht and Kim Colin. [online] Available at: https://www.hermanmiller.
com/en_gb/designers/hecht-and-colin/ [Accessed 9 Feb. 2024].
‌
www.hermanmiller.com. (n.d.). Formwork. [online] Available at: https://www.hermanmiller.com/en_gb/prod-
ucts/accessories/desk-accessories/formwork/ [Accessed 9 Feb. 2024].
‌
Darrodi, M. (2012). Models of Colour Semiotics. [online] Available at: https://etheses.whiterose.
ac.uk/4150/1/Models_of_colour_semiotics.pdf [Accessed 5 Mar. 2022].

WION. (n.d.). The colour purple and its association with the royal class. [online] Available at: https://www.
wionews.com/photos/the-colour-purple-and-its-association-with-the-royal-class-717 [Accessed 9 Feb.
2024].
‌
Umberto Eco (1984). Semiotics and the philosophy of language. Bloomington: Indiana University Press.
‌
Sebeok, T.A. (2001). Signs : an introduction to semiotics. Toronto: University Of Toronto Press.
‌
Wilhide, E. and Glancey, J. (2016). Design : the whole story. London: Prestel Publishing.
‌
Kelley, D. (2012). How to build your creative confidence. [online] www.ted.com. Available at: https://www.
ted.com/talks/david_kelley_how_to_build_your_creative_confidence?language=en.
‌