Advertising: Layout & Semiotics

Page Layout Terminal Anchor Fallow Point Primary Optical Area We read from top to bottom, left to right.

The Power of Grammar: 101  “ Mummy, the milk was spilt on the table. ”  “ Bombs were dropped on Bagdad. ” The use of passive syntax in the intention promoting verbs removes agency from a statement. Grammar

The Power of Grammar: 102 – Weasel Words Another example of the power of verbal language to influence meaning is the use of ‘ weasel words ’. These words act like a weasel, an animal which can suck the yolk out of an egg but leave the shell intact. These words ‘ suck out ’ the validity of any claim they precede, but sound like they ’ re affirming them:  “ Helps fight the seven signs of aging ” The word ‘ helps ’ from this Olay skin cream slogan sounds good on its own, but really means that the product doesn ’ t have to ‘ fight the seven signs of aging ’ – it only has to help a bit! Grammar

Semiotic Analysis  Language uses signs that are made of random connections between  signifiers – sounds like “ ” and  signifieds – ideas in our head “ ” tree Semiotics

 It is the role of advertisers to create distinct signifieds for a product  This printed advertisement juxtaposes (puts together) two key signifiers 1. French actress Catherine Deneuve (whose name appears in small type) 2. The plain image of a bottle Semiotics

Signified = French chic, sophistication, elegance, beauty and glamour Signified= Chanel No. 5 perfume Signified = Chanel No. 5 perfume Semiotics

 This advertisement from a French magazine communicates a myth of authentic Italian-ness through the use of ‘signs’. Semiotics

A sign = signifier + signified  Italy = colour (red, white, green) + national flag  Authentic lifestyle = market vegetables + healthy freshness  Bountiful nature = open string bag + cornucopia Semiotics

The semiotics of layout  The diagram on the right represents an analytical framework developed by Gunther Kress & Theo Van Leeuwen for analysing graphic layout, where positioning acts as a signifier that is given particular signified meanings by our culture ’ s left-to-right and top-to-bottom reading conventions.  Additionally, the gaze of any human figures in an image create lines of sight or ‘power lines’ that have particular effects on the reader of such images. Semiotics

Reading above the horizontal, these chalk images of gold and platinum record awards carry the ‘signified’ of a motivational ‘ideal’ Reading from the bottom left, the garage musician carries the ‘signified’ of a realistic starting point or ‘given’ Positioned in the top right corner, the ad caption “we see” carries the ‘signified’ of an idealised future or ‘new ’ idea Positioned in the bottom right corner, the Microsoft logo and slogan carries the ‘signified’ of a ‘new ’ grounded reality The musician’s gaze creates a ‘power line’ that draws our attention to the ad’s caption. Positioning the laptop near the axis of the ad’s layout gives Microsoft a signified of central importance Semiotics

The model’s face is situated in the top right, signifying a new idealised woman. Her direct gaze confronts the reader, affirming the caption’s self-confident first person address and challenging women to emulate her.

IDEAL REAL Ideal & Real

GIVEN NEW Given & New

Online examples of semiotic analysis “ Semiotic Analysis of Magazine Ads for Men's Fragrances ” by Alexander Clare  “ Semiotic Analysis of Teenage Magazine Front Covers ” by Siân Davies  “A Semiotic Analysis of Four Designer Clothing Advertisements” by Rebecca Stone  “Semiotic Analysis of Three Beer Advertisements” by Michael Steven 