Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals? This study was completed as part of my First Class Honors degree in BA (Hons) Visual Communication (Graphic Design), in 2008. Liam Churchard Graphic Design
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To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
This study was completed as part of my First Class Honors degree in BA (Hons) Visual Communication (Graphic Design), in 2008. Liam Churchard | Graphic Design
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Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
This study was completed as part of my First Class Honors degree in BA (Hons) Visual Communication (Graphic Design), in 2008.
Liam ChurchardGraphic Design
Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
2 Semiotics 2.1 Linguistics…………………………………...…………………………………….… 2.2 Signifier and signified…………………………………...……………………… 2.3 Codes and Social Semiotics …………………………………...……………… 2.4 Symbol, Icon, Index…………………………………...………………………… 2.5 Denotation, Connotation and Myth…………………………………...…... 2.6 The use of Semiotics for Advertising Professionals…………………...
3 Nike Logo Case Study 3.1 Introduction……………………………...…………………………………….…… 3.2 Design Critique……………………………...……………………………….……. 3.3 Targeting a Wider Audience……………………………...……………..…… 3.4 Competitors……………………………...…………………………………………. 3.5 Other Factors to Success……………………………...…………..…………… 3.6 Summary……………………………...………………………..……………………
5.1 Critical Analysis Experiment………………………..………………………… 5.2 Implications………………………..……………………………………………..… 5.3 To What Extent is Semiotics Still a Useful Tool for Advertising Professionals?................................................................................... 5.4 Suggestions for Further Work………………………..………………………
6 Media Texts…………………………………………………………………………………… 7 Appendix….……….…………………………………………………………………………… 8 Bibliography………………………………………………………………………………….
Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
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1 Introduction
1.1 Background
“How exactly, do images persuade? … How do representational images work to
influence the beliefs, attitudes, opinions … of those who view them?” (Hill, Helmers,
2004, 25)
Since starting the course Visual Communication in September 2005 I have had many
questions regarding design, how does the positioning of text direct the viewer across
the page? Why does an object present different vibes if it is photographed at different
angles? How does the choice of media affect the context of an advertisement’s
message? But arguably the most interesting of questions that I have is at the core of
what I’m studying, how exactly, do images persuade? How exactly, do we visually
communicate?
Nearing the end of my course, and having to generate an in-depth dissertation
provides the perfect opportunity for me to research the question that was never
answered.
Asking how exactly, do images persuade, led me to discovering semiotics, Bignell
writes, “semiotics is a way of analysing meanings by looking at the signs which
communicate meaning,” (Bignell, 1997, 1), a discipline this dissertation is largely
based on. It struck me how relevant semiotics is to visual communication, and how
its application in the course could be rewarding to students. What really interested
me is that the semiotic model is over a hundred years old and to place it in the
modern world and in the industry of branding, an ever changing, and fast paced
business where ‘current’ communication can quickly become dated, can that theory
still become credible? In other words, to what extent is semiotics still a useful tool for
advertising professionals?
Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
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1.2 Proposal
I intended to gain good understanding of semiotics, amongst other disciplines,
researching how signs convey meaning; how meaning is generated and how it can be
used. I wanted to use this understanding to apply and test the principles of semiotics
against current brand communication to see if the ideology of semiotics still works in
the modern world.
My reasoning in choosing branding communication relates to my studio-negotiated
project where I am developing a visual identity. Rather than just comparing any
pieces of communication, I decided to structure my dissertation by choosing
conflicting contexts.
• Applying the principles of semiotics in a current context to a brand that is
perceived as being communicated effectively. Using semiotics to decode its
meaning and establish why the execution is effective, or, perceived as being
effective.
• Applying my understanding of semiotics in a current context that has come
under criticism. A possible case of branding done poorly and using semiotics
to decode its meaning and establish whether, in fact, the execution is effective
or not.
• Testing the principles of semiotics in current branding communication by a
critical analysis experiment (focus group of people from the creative industry).
Using their individual responses to an example of branding communication to
see if the principles of semiotics work in social convention. Do their responses
all agree that the execution communicates the same messages?
Visual Perception in Branding Communication: To What Extent is Semiotics Still a Useful Tool For Advertising Professionals?
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1.3 Disciplines
“Rhetoric grasps language not as form – it is not concerned with utterance as such
– but as action.” (Todorov, 1982, 61)
The study of the sign, according to Todorov, has been considered in a “number of
disciplines.” (Todorov, 1982, 61) I have referenced several in my studies. Visual
rhetoric critiques the pure visual. I have also referenced elements of psychology,
hermeneutics and logo design principles.
1.4 The Logo
“A semiotician can help… define a system of a visual identity.” (Floch, 2000, 1)
As the theory of semiotics can be applied to any kind of sign, all kinds of media were
open. I chose to analyse the logo, the face of the brand, Silver explains “a logo is just
one element in a corporate identity system … arguably one of the most important.”
(Silver, 2001, 10)
I did question whether the logo alone was enough to provide a detailed analysis, but
as my knowledge of semiotics increased and my dissertation has developed I have
found the depth of issues concerning such a simple graphic is huge.
1.5 Nike/London 2012
My decision in choosing Nike is because of its global reputation its logo is arguably
one of the most recognizable in the world (Goldman, 1998). It is fair to assume
because of its reputation, that the logo itself is successful. I wish to use semiotics to
decode what messages and meaning make it so effective.
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My decision in choosing the 2012 logo is because it is a very current issue, again of
global reputation. Its criticism is well known and documented and, importantly, it is
completely different to Nike, not a product but an event. The difference in the brands
mean I can take different angles and explore more, where if I simply chose Nike
compared to a failing sports manufacturer I would be limited to the confines of
specifically sport related arguments. So the aim of exploring the London 2012 logo is
to identify reasons to why it has been so badly received – is it actually an awful piece
of design or just misunderstood?
1.6 Demarcations
Although the majority of this dissertation is focused on the analysis of signs in logos,
I realise other factors can come into play which have an affect on how the logo or
brand is perceived. These have also been considered; varied circumstances affecting
the logos in different ways.
A focus of the dissertation will also aim to discover to what extent semiotics is still a
useful tool for advertising professionals. The majority of this discussion will take
place in the later stages; however, connections will be made throughout the
dissertation where appropriate.
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2 Semiotics
This dissertation assumes little or no prior knowledge of semiotics. The study of
semiotics can become quite complex, and because I have explored theories that can
specifically relate to the logos I have identified, the work of semiotics in the case of
this dissertation therefore concerns the work of three people – Ferdinand de
Saussure, Charles Peirce, and Roland Barthes.
2.1 Linguistics
Saussure’s focus was on linguistics, he showed that the linguistic sign is arbitrary.
The linguistic sign ‘squirrel’ is arbitrary in that it has no connection either in its
sound or its visual shape, with what squirrels are really like. (Bignell, 1997, 8) We
have to learn what the sign ‘squirrel’ represents.
2.2 Signifier and Signified
In his analysis Saussure showed a sign functions in two ways.
* One- the vehicle that expresses the sign, the markings on paper, which we read as
words, or the pattern of shapes and colours on photograph is called the
‘signifier’.
* Two- the concept which springs to mind when we view the signifier is known as the
‘signified’.
The sign ‘squirrel’ does not consider a specific squirrel in reality, the signifier and
signified combine to produce the mental concept. The actual thing a sign refers to is
called a ‘referent’, so the referent of the sign ‘squirrel’ which I speak of refers to the
particular squirrel I saw in my back garden yesterday.
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From this the semiotic model was born (Figure 1), a sign refers to an object which
we create a mental image based upon our own individual experience.
2.3 Codes and Social Semiotics
Saussure’s study revealed the importance of social meaning. Kress’s definition of
social semiotics is, “an attempt to describe and understand how people produce and
communicate meaning in specific social settings.” (Kress, van Leeuwen, 1996, 264)
For a linguistic sign to be meaningful it must exist between a group of people in a
social context. If a linguistic sign only speaks to one person it cannot be classed as a
word in language as only that individual understands its meaning.
When analysing language in a social context, Sassures’s concept of ‘code’ becomes
evident as different groups communicate in different languages. As Bignell explains,
“for talking to babies, talking to royalty, writing job applications, or writing love
poems.” (Bignell, 1997, 10).
According to Williamson, “the identity of anything depends more on what it is not
than what it is.” (Williamson, 1978, 24) Recognising the meaning of a sign can be
made from identifying what code it belongs to; by associating it with others in the
code an overall meaning is produced.
2.4 Symbol, Icon, Index
Charles Peirce built on all the principles of linguistic semiotics, focused on the ‘image’
as the same principles apply (Bignell, 1997, 14), both operate by signifier and
signified. Peirce identified that there were three kinds of sign.
1. Signs characterised by arbitrariness Peirce calls the ‘symbolic’ sign. We have to
learn and understand what the linguistic ‘s-q-u-i-r-r-e-l’ means.
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2. Signs that produce a close likeness to its referent Peirce calls the ‘iconic’ sign.
The signified ‘squirrel’ in a photo, looks like the referent – the real squirrel a
photo represents.
3. Signs that have a concrete or causal relationship to its signified Peirce calls an
‘indexical’ sign. The signifier of an ‘acorn’ may produce the concept of a
‘squirrel’ as its signified – as we understand squirrels harvest acorns for food.
2.5 Denotation, Connotation and Myth
Roland Barthes built on the ideas and foundations of semiotics and applied them in
contemporary media.
Barthes’ analysis discovered how a sign does more than just label or ‘denote’, the
linguistic sign ‘starbucks’ denotes a particular coffeehouse chain, but can provide
extra associations, which he calls ‘connotations’. As Starbucks coffeehouses provide
comfortable seating and soft background music, they could invoke notions of
relaxing, calming and sociable atmospheres.
Barthes points out the importance of social experience, as someone who has no
understanding of Starbucks will not understand the connotations.
This leads Barthes to the realisation of ‘myth’ – a method of creating meaning, rather
than ‘myth’ in the traditional sense of stories. An advertisement for a coat which
shows a man walking out of Starbucks is not only denoting a coat and a coffeehouse,
but connotes the values of relaxation, calmness and sociability accessible from the
sign of Starbucks – suggesting a mythic meaning in which the coat are part of a ‘take
it easy’ lifestyle. Bingell explains myth as, “a collection of individual signs to create a
new meaning. The message always involves the distortion or forgetting of alternative
messages, so that myth appears to be exclusively true.” (Bignell, 1997, 22)
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2.6 The use of Semiotics for Advertising Professionals
When exploring the different theory of semiotics it becomes evident how it can be
applied in the profession of advertising, where it can be used to evaluate ads, it can
also aid its effectiveness (Bignell, 1997, 32). Most of the theory can be used at the
most basic level in structuring an advertisement. It is fair to assume that many of
them are undertaken at an unconscious level; they are so embedded in the
advertising practice they do not reflect that they are using ‘semiotics’. As Alex
Holdsworth of Boxer design consultants explains. (Appendix 2, p39, 2.1)
The use of the signifier/signified can become credible when talking to an audience,
deciding on what imagery to use in an ad to generate a certain emotion on the
viewers’ part. E.g. an image of soap should suggest cleanliness.
Applying codes in advertising should, in theory, improve communication to a specific
target audience. Acknowledging that an audience values certain objects or converse in
certain ways can define a channel of communication. The use of a symbol, icon or
index can have a huge impact on how to communicate a message as effectively as
possible. Connoting values from a rich source can make other products appear
luxurious, which in turn creates a myth about how a product is perceived in a social
context. All of the theories different applications can create meaning, attracting the
audience writes Oliver Maltby of The Chase branding consultants. (Appendix 3,
p40, 3.1)
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3 Nike Logo Case Study
The next phase of this dissertation analyses two logos in two different concepts based
on its global reputation. Namely, Nike perceived as being an effective logo and
London 2012 as being a criticised logo.
“To ask how images work to influence viewers’ beliefs, attitudes, and opinions is
ultimately to ask about the very nature of images and about how people respond to
them.” (Hill, Helmers, 2004, 26)
3.1 Introduction
Nike’s global awareness is huge; it is arguably the worlds most successful and well
known sports manufacturer, in a huge economy of sporting motifs and logo’s, Nike’s
swoosh is possibly the worlds most recognisable (Goldman, Papson, 1998). So loved
is it that some of the audience have even branded themselves with the swoosh,
tattooing the logo on their body (Silver, 2001). As Silver writes, “today’s most
effective logos … trigger emotion, create desire, and even forge communities.” (Silver,
2001)
Nike is a classic example of a brand that ‘moves with the times’ from its conception in
the 1970’s containing the linguistic ‘Nike’ to its modern state whereby we only require
the symbol, or the swoosh, to recognise the values of “athletic excellence, a spirit of