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The article's aim is to present plastic semiotics, one of the most recent branches of the Greimassian School. In his Structural Semantics: An Attempt at a Method (1966) Algirdas Julius Greimas stated that sensorial perception was the dimension in which the grasping of meaning takes place, but explicit principles of the analysis of this nonlinguistic dimension were published only years later, in his article "Figurative semiotics and plastic semiotics" (1984). Since then, plastic semiotics has been leading independent existence, focused on the effects of sense generated by the form and the substance of expression. Plastic analysis has turned out to be a fruitful approach not only in the field of visual studies, but also in the research into other sensorial expressions. [ABSTRACT FROM AUTHOR]

An introduction is presented on topics within the issue including analysis of the basis of graphic design, artistic features of illustrated children's books and children's books of Soviet Lithuania in the 1950s and 1960s.