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              <p>The images and texts that make up the designer’s forms of utterance are operational instruments for translating the emerging concepts within a design project. The translation of concepts is tested through a series of passages as needs evolve. These gestures or movements, which lead to representations and forms of utterance of the artifact’s desired shapes, are ad-dressed to several interlocutors, whether or not they are design specialists. The documents are verbal and non-verbal information about the artefact, of a technical, conceptual, aesthetic or professional nature. Their “translations” are an assistance and/or an obstacle to the understand-ing of the shapes produced by the designers. In order to illustrate the specification at stake in a design activity, this study is based on an actual case involving uttered back-and-forth (re-formulation, transmutation and transposition). This is a graphic design order for information sheets resulting in a failure, a stop of client order. Email interviews, audio interviews and graphic productions provide the corpus of analysis. The approach is multidisciplinary (cogni-tive and language sciences). It makes it possible to objectify the absence of shared representa-tion, i.e. “enunciative translation”. This uttered translation does not take place because language interactions do not take into account either technical information or the specific terminological corpus of the company. The “translation gap” between the completed order and the graphic response is too large to allow the intercomprehension system to function. The adaptation of the graphic writing to serve the client is not carried out. The failure of the order can therefore be explained by a lack of development of a shared representation (via design concepts) and thus illustrates the need for this uttered enunciative translation between the interlocutors.</p>
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              <p>Les images et textes qui constituent les formes d’énonciation du designer sont des instruments opératifs propices à traduire les concepts émergeant au sein d’un projet de design. La traduction des concepts est mise à l’épreuve d’une suite de passages au fur et à mesure de l’évolution des besoins. Ces gestes qui conduisent à des représentations et à des formes d’énonciation d’états désirés d’un artefact sont adressés à plusieurs interlocuteurs, spécialistes ou non de la conception. Les documents sont des informations sur l’artefact, de natures verbales et non verbales, de type technique, conceptuel, esthétique, professionnel. Leurs « traductions » constituent une assistance et/ou un obstacle à la compréhension des modèles produits par les designers. Afin d’illustrer les contraintes en jeu dans une activité de conception, cette étude s’appuie sur un cas concret qui implique des aller-retour énonciatifs (reformulation, transmutation et transposition). Il s’agit d’une commande de design graphique pour des fiches d’information aboutissant à un échec, une rupture de mandat. Les entretiens courriel, un entretien audio et les productions graphiques constituent le corpus d’analyse. L’approche est pluridisciplinaire (sciences cognitives et sciences du langage). Elle permet d’objectiver l’absence de représentation partagée, c’est-à-dire de « traduction énonciative ». Cette traduction énonciative n’a pas lieu car les interactions langagières ne tiennent compte ni des informations techniques ni du corpus terminologique propre à l’entreprise. « L’écart de traduction énonciative » entre le mandat réalisé et la réponse graphique est trop important pour permettre au système d’intercompréhension de fonctionner. L’adaptation de l’écriture graphique au service du client n’est pas réalisée. L’échec du mandat s’explique donc par une absence d’élaboration d’une représentation partagée (via les concepts du design) et illustre ainsi la nécessité de cette traduction énonciative entre les interlocuteurs.</p>
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