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tical role that iconicity plays in our response to pictures. Because of iconicity, we experience the image as a warp in reality, not just the manipulation of a symbol. It gives us a jolt and grabs our attention.

In my next example (Fig.3), we have an advertising campaign used to raise awareness about the practice of genital mutilation. The image is bold and effective using the flower as a powerful symbol to represent the female anatomy. The ad campaign uses the flower as an icon, sending out the message that by mutilating the flower, it is destroying something that is seen as beautiful and natural. The image can offend some viewers because of the over used negative symbolism of the reference to a flower in everyday society. However, a beautiful object or a functioning part of nature it is still seen as something that is valued.

According to Johnson (2008), 'Advertising as an enterprise is centred on establishing the commodity-as-sign. the verbal and visual images featured in advertising draw from a knowable world but then rework, magnify, simplify, contort or otherwise reshape and sharpen the salient signifiers.' In his book Reading ads socially, Goldman (1992) states; 'The commodity-as-sign operates when images are allied to particular products and product images are then deployed as signifiers of particular relations or experiences... The image is then arbitrarily attached to a product which has itself been detached from the customary relations of usage formerly associated with it. In this process, the product becomes equivalent to the discrete image... and begins to function as a sign of that image, so that when we think of the product we think of the image and when we think of the image we think of the product.'

For an explanation of how our brains deal with impossible figures, Shepards (1990) points out that the human perceptual system is finely tuned to pay special attention to unfamiliar objects when they are only slightly different from our expectations. 'An object that is novel and yet similar to an already significant object may especially warrant our close attention. We need to know how far something can depart from its usual or expected form and still have the consequences that we have found to follow from its natural kind.' (Shepard, 1990) As a result, to a degree strange shapes can cause us to pay closer attention.

Looking now at my own work, I have created a campaign poster aimed at helping young people. What we see is a silhouette of a figure facing a lit door through a dark corridor. Along the walls there is text which reads; 'When one door closes, another opens; but often we look so long at the closed door that we do not see the one which has been open for us.' Looking at the image, I had used the idea of 'seeing the light' or 'finding the light' that is often associated with positive outcomes. The image signifies or perhaps represents the idea of hope and help being at hand. This image works well for the purpose of my campaign, campaigning to raise awareness that help is at hand for young people who are experiencing unhappiness for various reasons. People can relate to the poster if they feel as though they are in the dark place in their life and feel trapped. The light as opposed to darkness signifies happiness and self fulfilment.

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