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The aim of this paper is to analyze the translation of the vernacular graphic design´s symbolisms through their visual representations. For this purpose we have examined how social differences can be concretely translated into visual terms and establish a relationship between the visuality of vernacular graphic design and the way that symbolisms are built in that field of production of symbolic goods. We have assumed that the way of thinking of social groups is produced, i.e. the way they work to build their symbolisms and their imaginary, are essentially different. Initially it is presented an analysis of these constructions assuming that the high culture norm focuses on the form and in a more abstract dimension, while the lower classes have a tendency to emphasize a more concrete and objective setting. After that we have examined how the choice for objectivity is reflected in the formal constructions of the vernacular graphic design. So the main visual translations of that way of constructing the imaginary are presented and they represent striking features of the field’s language, such as the explicit relationship of images with the text meaning, the naturalism of those representations and the use of colors. Through the analysis of the visual patterns of representation that are characteristic of the language of popular graphic design, we intend to demonstrate how those patterns reflect a specific way of producing thought.