This research aims to conduct a study on the symbolic field of vernacular graphic design, which can be comprehended as the field of production of symbolic goods related to the production of graphical material by individuals belonging to the economically disadvantaged social groups. The work emphasizes the way how social structures operate the creation of an imaginary dimension or symbolic space, which happens to be the ground of social representations. The research takes as principle the fact that the production, consumption and legitimization of goods, whether are they material or symbolic, as well as on the judgments of value of those goods and these practices, are a reflection of different social realities. We, therefore, believe that the hierarchies and classifications inscribed into objects, cultural products, institutions, languages, as well as evaluations and verdicts imposed by designated institutions for those purposes, express the different social conditions of existence. Thereby, the aesthetic value of a piece of graphic design would be determined not by objective or formal qualities of the object itself. Likewise, that value would not be determined by rules of subjective nature as Kant defined. We believe that the aesthetic value of a graphical piece can be found considering the social structure used in its creation, its use, and its evaluation, in other words, the evaluation would be made from the social usage of that object rather than the object itself. The analysis of the way of thought production of the social groups presented here, that is, how they do operate the construction of their symbolism, arises from the principle that the cultivated rules focuses on the form, and in a more abstract dimension, while the lower classes have the tendency to emphasize a more concrete configuration. From the observation and analysis of a set of hand painted signs, popular flyers and printed packages it was found out that the option for objectivity is reflected in the formal constructions of vernacular graphic design, establishing one of the most significant characteristics of its visual language. It was observed, then, the existence of a pattern in the construction of visual representations of that group, a symbolic reflection of similar conditions of existence of their components. It was also analyzed the factors that standardize or create a style for that language. Having in mind the frequent relations of circularity between the fields of vernacular and institutionalized graphic design production, there were considered what would be the main forms of interaction between them and the way they occur. From the existence of different hybrid processes among those groups, we looked over to what extension those fields can be mingled and originate new groups and productions blending characteristics of both original groups. In addition to that, it was made an analysis of the use of popular language outside its original context and how their visual elements can be reinterpreted and reviewed by official design field. We have studied how the popular often takes the symbolic value of representing the national identity, despite of not corresponding to the values of the hegemonic culture and it was also examined the possibilities of legitimization of that production.