Expressed in the simplest interpretation of Piercian semiotic analysis, an icon is a pictorial sign, an index, a pointer sign, a symbol, a conventional sign (Scott 1995). The influx of pictorial information and moving pictures have developed a "real" pictorial language (computer games, manga, MTV, World Wide Web and mobile telephone). It has been argued that there is a shift from using conventional alphabets as our principal communication and a trend of reading visual imageries for the new generation. Since pictorial messages present the "idea" entirely by encapsulating the visual form as an image for directing to the eye of the human mind, the "stylizing" of pictures and signs has become an alternative process of reading printed text. "Iconizing" information design for screen design has also become a popular global communication tool, and if designed and applied appropriately, icons can be entertaining and visual appealing. The use of consumer icons is demonstrated in the many fields of communication design: corporate branding, packaging, interface and information design. Global icons have also been localized or glocalized to meet local requirement so as to be understood by local tradition.

   Icons and symbols are used as graphic narrative devices for navigation in the interactive prototype. The icons are developed from Chinese oracle bone inscriptions as a reference point although the final forms do not necessarily show any resemblance to the original characters. Selected characters for Chinese oracle bone inscription are chosen for several reasons. This earliest form of Chinese communication is based on a pictographic system which provided the rudimentary forms from which the Chinese writing system evolved. It is argued that the spoken Chinese language consists of various dialects, each with its distinctive pronunciation system, so a standard writing system derived from pictorial elements played a significant role in facilitating written communication among the various dialect speaking groups (Frutiger 1989). Moreover, as contemporary Chinese culture is not isolated from regional and global influences, the reference to the unique characteristics of Chinese oracle bone inscriptions is significantly symbolic of cultural history and identity, even though Singaporean Chinese youth can recognize the characters as Chinese without the ability to read the ancient script.

   The design of the navigational icons provides potential for resonating with contemporary Singaporean Chinese youth culture in this interactive Chinese media and entertainment prototype. Every section displays a navigation icon integrated with the "Eclectic" lifestyle metaphor. This design exploration traces the visual genealogical descent of Chinese oracle bone inscription and examines how technological development has contributed to the structure and visual qualities of the current digital icons/symbols in the context of Singaporean Chinese youth culture. The icons draw references from past practices and aesthetic conventions that go beyond mere historical facts, and experiments with current design traits pertaining to the creation and production of digital icons/symbols. The navigational icon serves to symbolize the original meaning of the oracle bone inscription with a pictorial reference that integrates with contemporary Singaporean Chinese youth culture. The elements of the icons mimic the strokes of the oracle bone inscription characters and are presented as animation using lines and forms derived from punctuation marks and symbols in black and white. The "strokes" of the icons are morphed further into contemporary bilingual (English and Mandarin) typographic expressions in animated forms. The narrative attempts to present an interplay of Chinese characters and English words through an interpretation of digital icons derived from historical Chinese pictorial writing to represent a bilingual system in contemporary Singapore. Through the testing of user response to the icons and interactive prototype, this study examines whether the design typologies derived from traditional and historical representations contribute to the communication of cultural identity to Singaporean Chinese youth in the nation state.