SEMIOTIC ANALYSIS OF THREE SAMPLE ADVERTISEMENT POSTERS USING THE

KEY CONCEPTS IN THE FIELD

KTO KARATAY UNIVERSITY

DEPARTMENT OF ENGLISH TRANSLATION AND INTERPRETING
İMT314 – SEMIOTICS AND TRANSLATION

submitted to Asst. Prof. Figen Yılmaz

Student name: Vesile Elif Çelikel

Student number: 21956052

Email: vesilecelikel7@gmail.com
 1. Introduction

Semiotics is the study of signs and symbols that we encounter in our daily lives every
day. Semiotics basically deals with the way people make sense of everything around them, and
how meaning is created and how meaning is communicated. Eco states that “anything that can
be considered as ‘sign’ is in the concern of semiotics (1976)”. With this approach, it can be said
that anything having a message can be a sign: words, sounds, colors, objects, paintings, traffic
signs, camera angle etc. These signs, whether they are linguistic or non-linguistic, convey
messages, ideas, and concepts.

Saussure’s Model of Signs

Saussure is the first to introduce the concept of 'sign' in the field of Semiotics. According
to him, a sign is comprised of the signifier and the signified. Chandler (2017) notes that “For
the Swiss linguist Ferdinand de Saussure, who is regarded as the founder of modern linguistics,
language is a system of signs, and linguistic signs make sense only as part of a language’s sign
system. Within such a system, a sign has two aspects: a signifiant (usually rendered in English
as a 'signifier') and a signifié (a 'signified')” (p. 13). In this context, the signifier represents the
physical form of the sign, while the signified is the conceptual meaning attributed to it.
Although the signifier and the signified can be distinguished for analysis, they are wholly
interdependent and do not exist independently of each other. For example, when we think of
the object 'apple', the linguistic word 'apple' or the physical existence of it can be considered as
the 'signifier'. But the actual concept that comes to mind, or what is evoked in the mind is the
'signified'.

Peirce’s Model of Signs

Charles Sanders Peirce, on the other hand, proposed a three-part semiotic system
consisting of a sign vehicle, object, and interpretant. This system establishes a connection
between the sign vehicle, object, and interpretant. According to Peirce (1931), the term 'sign
vehicle' refers to the way in which a sign is presented in our world, whether through a word,
colour, image, sound or gesture. The 'object' of a sign refers to what the sign is about, while the
'interpretant' is the event of a sign that is interpreted by the human brain (p. 98). According to
him, signs can take many forms. Numbers, sounds, photographs, paintings and nearly
everything can be a sign, but with a classification. He suggested a concept in which there are
three types of signifiers, namely icon, index and symbol. Firstly, an icon physically resembles
the thing it represents, photographs are the great examples of icons. Secondly, an index provides
evidence of what is being represented. Using an image of a skull to indicate danger can be
considered as an example of it. Finally, a symbol is a sign that does not resemble what it
signifies. The relationship between the signifier and the signified must be learned culturally.
Numbers and alphabets serve as good examples.

Denotation and Connotation

In semiotics, signs have two meanings whether they are linguistic or non-linguistic,
independent from their forms: denotation, which is the dictionary definition, and connotation,
which refers to the social, cultural, or emotional meanings attached to signs. For example, as
discussed earlier, the actual word 'bridal gown' or its image, or its physical existence is the
signifier of the sign, whereas the actual concept that comes to mind, or what is evoked in the
mind is the 'signified'. This is the denotational meaning of the 'bridal gown'. So, Saussure’s
model of signs focuses on at the expense of connotation (Barthes, 1972, p. 89). But when a
'bridal gown' is related with purity, it means that a connotational meaning is attached to the sign.
It is because the color of the dress, which is white, provokes the feeling of purity in the mind.
So basically, denotation refers to the direct meaning of signs without any further messages
attached to them, and connotation refers to the indirect meaning of signs, which are social,
cultural or emotional. Moreover, sometimes words that appear similar and share a meaning have
significantly different connotations. For example, the words 'childlike' and 'childish'. Both
words have a basic meaning of 'resembling a child', but 'childlike' has connotations of
innocence, trust, simplicity, while 'childish' has connotations of immaturity. Describing
someone as 'childlike' is very different from describing someone as 'childish' because the former
has positive connotation while the later has negative connotation.

Codes in Semiotics

In semiotics, the term 'code' refers to a system of rules and conventions that govern the
interpretation of signs and symbols within a particular context. It is the framework that
determines how meaning is assigned to signs and how those signs are interpreted by individuals
or groups. Codes can be linguistic, such as grammar and syntax, or they can be non-linguistic,
such as gestures, clothing styles, or images and visual symbols. The study of codes in semiotics
involves examining how these systems of rules shape communication and meaning-making
processes within society. Codes play an important role in the production and interpretation of
meaning. Different theorists categorize codes differently. According to Chandler, (2017) codes
can be divided into various groups, such as interpretive codes, social codes, and representational
codes. Interpretative codes are concerned with how individuals interpret and make sense of
signs and symbols. Everyone can interpret codes different from each other. Social codes, on the
other hand, are the rules and behaviors we follow in social situations, including how we
communicate without words. Finally, representational codes deal with how meaning is
constructed and conveyed through various media and artistic forms. It includes the codes
specific to mass media forms such as photography, television, film, radio, newspapers, and
magazines.

Semiotics plays a significant role in advertisements, as it helps marketers and brands to

understand how symbols, signs, and messages convey meaning to the audience. Advertisements
often convey both literal and symbolic meanings. Semiotics helps marketers and brands to
analyze the denotations and connotations of elements within an advertisement poster. This
allows advertisers to give messages to their target audience on multiple levels. In marketing and
advertisements, mass media codes, such as symbols, messages, and conventions are used to
communicate with the audience as well. These codes are designed to convey specific meanings
and elicit desired responses from consumers. Mass media codes, which is the main focus of this
study, can be divided into five types.

Visual Codes

These codes include images, colors, and design elements used to create a specific visual
impression. For example, bright colors and dynamic images may convey excitement and energy,
while soft colors may evoke a sense of calmness or luxury.

Verbal Codes

Verbal messages, slogans, and taglines play a crucial role in communicating brand
messages. Catchphrases and slogans are often used to reinforce brand identity and values,
creating memorable associations with the product or service.

Symbolic Codes

Symbols and metaphors are frequently employed in advertising to convey deeper

meanings and associations. For instance, a pigeon may symbolize peace and purity, while a lion
may represent strength and power.
Cultural Codes

Advertisers often utilize cultural symbols, values, and norms to connect with their target
audience. Cultural references and context-specific messaging help brands resonate with
consumers on a deeper level.

Emotional Codes

Emotions play a significant role in advertising, and marketers often use emotional codes
to connect with consumers on a personal level. Ads may evoke feelings of happiness, nostalgia,
fear, or desire to create an emotional attachment.

Semiotic Analysis of Three Different Advertisements

Having explained the key concepts of semiotics, including sign, signifier, signified,
denotation, connotation, and codes, three sample ad posters are semiotically analyzed using
these concepts. Firstly, brief background information is provided for each poster and brand.
Then, the analysis is made based on the concepts.
Figure 1. Heinz
Background Information

Heinz is an American food company that is renowned for its wide range sauces, and
canned foods. The company has a rich history spanning over a century. Heinz has produced a
variety of advertisements over the years, showcasing its products in different contexts and
appealing to various emotions and themes. They generally focus on the quality and
naturalness of their products through different codes in their ads.

Visual Codes

1. Color Palette

First of all, in marketing industry, colors have a great power over consumers. So the
connotational meaning of colors means a lot in advertisements. The intense red color palette
used in the ad serves as a connotation of vitality, energy, and passion. Red is also the dominant
color of tomatoes. It helps the consumers to emphasize the connection to the product's main
ingredient. Additionally, red is a color commonly connotated with food, appetite, love, passion
and attraction, making it an effective choice for a food product advertisement. Moreover, green
as the stem of the tomato is used. Green is often associated with nature, freshness, and vitality.
As the color of plant stems and leaves, it symbolizes naturalness and authenticity. In other
words, green color conveys the idea that the product is fresh, organic, and grown in a natural
environment without artificial additives or chemicals. Thus, the color palette consisting of red
and green attracts consumers to purchase this ketchup.

2. Sliced Tomato

Secondly, in semiotics, sliced tomato can be seen as icon signifier representing the key
ingredient of ketchup. In this way, the tomato, which is the conceptual meaning attributed to it
is signified. Tomatoes are closely connotated with ketchup as its primary ingredient, and using
sliced tomatoes in the ad visually reinforces the connection between Heinz ketchup and its
natural, tomato-based recipe, in the same way they used the red color palette.

3. Placement of the Brand Logo

Finally, their logo is placed in the middle of the poster. Placing their logo in the middle
of the advertisement gives it central focus, making it the focal point of the visual composition.
This positioning conveys the importance and significance of the Heinz brand within the context
of the advertisement, emphasizing the brand which is being promoted.
Verbal Codes

1. Slogan

The slogan "No one grows ketchup like Heinz." itself serves as a verbal code in the ad. It
represents Heinz's claim of superiority in the production of ketchup. Moreover, the usage of the
verb 'grow' serves as a linguistic sign, in which the linguistic signifier word 'grow' signified the
meaning of the actual action, the action that they cultivate.

2. The Use of 'Grow'

Denotational meaning of 'grow', which is the dictionary definition as discussed before,

means 'to cause (plants) to germinate and develop'. On the other hand, the word 'grow' connotes
naturalness and authenticity, suggesting that the ingredients used in Heinz ketchup are
cultivated and harvested from the earth rather than artificially produced. It also connote that
they cultivate and harvest their own tomatoes, rather than buying it from external sources. It
also highlights that they have extensive and meticulous control over the quality and cultivation
of their tomatoes, which is the main ingredient of their ketchup.

3. Uppercase Characters

Semiotically, the use of uppercase for the brand name 'Heinz' and word 'Ketchup' in the
slogan emphasizes the brand name and the product itself, highlighting their significance and
making them stand out within the slogan explicitly. It is common for companies to start their
brand name with upper case characters. Heinz of course did that. However, the use of upper
case in 'Ketchup' is more complex since it is grammatically incorrect. But connotationally, the
signifier 'Ketchup' of the signified, which is the specific product being promoted is highlighted.
In other words, it reinforces the central role of 'Ketchup' in the advertisement.

Symbolic Codes

1. Tomato Stem

The untidy appearance of the tomato stem, apart from its color, can symbolize the
natural and unprocessed nature of the tomato. In contrast to a perfectly trimmed and manicured
stem, an untidy stem suggests that the tomato is fresh from the field and has not been extensively
handled or altered. This enhances the perception of the tomato as a natural and authentic
product. It becomes more appealing to consumers who prioritize organic and minimally
processed foods.
Figure 2. WWF
Background Information

The World Wide Fund for Nature (WWF) is one of the world's largest and most well-
known conservation organizations. It is a Swiss-based international non-governmental
organization that works in the field of wilderness preservation and the reduction of human
impact on the environment. They utilize from striking ads to draw attention to human impact
on the environment.

Visual Codes

1. Color Palette

First of all, the advertisement employs a black background to emphasize the central image
and eliminate distractions, directing the audience's attention to the ice cream. Additionally, light
is used to draw attention to the ice cream. Moreover, the lighter colors of the earth, which are
blue, white and green, and the cone, which is cream, helps the audience to focus on the central
image more. This type of dark-light color combination is widely used in ads due to the reasons
explained above.

2. Earth Shaped as a Dipping Ice Cream

The dripping ice cream serves as signifier in the ad. It represents the melting of the Earth's
ice caps and glaciers. Its fragile ecosystems and vulnerability to environmental degradation is
signified. Depicting the Earth as ice cream convey connotations of vulnerability. It suggests that
the Earth's environment is as fragile and precarious as melting ice cream. It emphasizes the
urgency of addressing climate change and protecting the planet's ecosystems. The message in
the sign is that there is a critical need for action to mitigate the effects of climate change and
prevent further damage to the planet's ecosystems and biodiversity.

3. The Cone

Although the denotational and connotational meaning of the cone does not have an impact
on the ad, the shape of the cone is directing the audience towards the information displayed at
the bottom of the page. This sign can be called index icon because it provides evidence of what
is being presented. The shape of the cone is the evidence of an arrow pointing down.

4. The Text

First of all, it can be seen that a small writing displayed at the bottom of the page. By placing
the text at the bottom of the ad and making it smaller in size, the designers create a visual
hierarchy that prioritizes the visual imagery of the melting Earth over the written message. This
draws viewers' attention to the striking visual representation of climate change and encourages
them to engage with the primary message conveyed by the image.

Verbal Codes

1. The Text

“The first signs of global warming are now clearly visible. We urgently need to limit greenhouse
emissions. Nothing and no-one will be spared from climate change. This warning therefore to
all people, all countries, and in particular, to the Belgian council of ministers who, on the
weekend of March 20 and 21, will have to decide what action to take regarding essential
measures linked to the Kyoto Protocol.”

Writings are linguistic signs. So, this writing is a linguistic sign. The sign communicates
a clear and specific message about the urgency of addressing climate change and the need to
limit greenhouse gas emissions. It conveys information about the upcoming decision-making
process of the Belgian council of ministers and emphasizes the importance of their actions in
response to the climate crisis. It directs attention to a specific event (the weekend of March 20
and 21) and prompts viewers to consider the implications of the Belgian council of ministers'
decisions on climate change policy. It highlights the moral imperative of taking action to fight
with climate change. It emphasizes the responsibility of governments and policymakers to
prioritize environmental protection and sustainability for the benefit of current and future
generations. Because of this, words connotating immediate action is frequently used.

Symbolic Codes

1. Panda

The WWF logo features a panda, which has become an iconic symbol of the organization.
The panda symbolizes the importance of wildlife conservation and the need to protect
endangered species. Also, people connotate panda with cuteness and sincerity. The black and
white colors of the panda represent the dual themes of conservation (black) and hope (white),
conveying WWF's message of working towards a future where nature and humanity coexist
sustainably.
Figure 3. Coca-Cola
Background Information

Coca-Cola, often referred to simply as Coke, is one of the most iconic and recognizable
brands in the world. The company is known for its flagship product, also named Coca-Cola,
which is a carbonated soft drink. Coca-Cola is renowned for its innovative and memorable
marketing campaigns. The company has employed various advertising strategies over the years,
including localization.

Visual Codes

1. Color Palette

The overall color scheme of the ad is warm and inviting, with red, orange, and yellow
dominating the scene. Warm tones connotationally evoke feelings of warmth, comfort, and
hospitality, which are especially fitting for the communal dining experience depicted in the ad.
They create a cozy and welcoming ambiance that encourages viewers to imagine themselves
sharing a meal with friends and family. Warm colors are also known to create a sense of
intimacy and connection. Gold colors are used throughout the ad to add depth and richness to
the color palette as well. Over the years, gold is often connotated with luxury, elegance, and
celebration, Together, they enhance the visual appeal of the scene.

2. Water Drops and Glistening Glasses

The presence of water drops on the bottle and glistening glasses evokes a sensory experience
connotated with cold, refreshing beverages. It also adds freshness and vitality to the scene.

3. Positioning of the Visual Elements

Placing the Coca-Cola logo in the bottom right corner creates visual balance within the
composition. The logo serves as a counterbalance to the text and imagery in the top and left
portions of the ad. By doing so, it ensures that the overall layout appears visually harmonious
and aesthetically pleasing. Moreove, the bottom right corner is a strategic location for the logo
because it is within the viewer's natural reading and scanning pattern. As viewers engage with
the ad, their eyes are likely to move from the top left to the bottom right, leading them to
encounter the logo towards the end of their visual journey.

Verbal, Cultural and Emotional Codes

In the ad, the verbal codes serve as signifiers that represent the brand name, slogan, and
other textual elements. For example, the Coca-Cola logo and brand name serve as signifiers
that signify the product being advertised. The signified of "tadını çıkar" is the idea of deriving
pleasure or satisfaction from drinking Coca-Cola. It connotates with the emotional and sensory
experience that consumers are encouraged to associate with the product.

In the ad, the main slogan "The taste of tables increases as they are shared in Ramadan"
has both denotative and connotative meanings. Denotatively, it communicates the idea of shared
meals during Ramadan. Connotatively, it evokes feelings of community, togetherness, and
cultural tradition associated with Ramadan gatherings.

The happy people in the ad are signifiers of individuals experiencing positive emotions
such as joy, happiness, and contentment. Their facial expressions, body language, and gestures
are the physical forms that sign these emotions. Denotatively, the presence of happy people in
the ad communicates the literal depiction of individuals smiling and enjoying themselves.
Connotatively, it evokes feelings of happiness and warmth, appealing to viewers' desires for
positive experiences and social connection.

There are cultural codes associated with Ramadan, such as communal dining,
hospitality, and family gatherings. It aligns Coca-Cola with these cultural values, positioning it
as a beverage that enhances the Ramadan experience. The use of traditional Ramadan foods and
decor in the image also reinforces the cultural context of the ad and resonates with the target
audience during this special time. It conveys connotations of communal values, generosity, and
togetherness associated with Ramadan. It suggests that sharing meals with others during this
time fosters a sense of community and enriches the taste and enjoyment of the food.

Lastly, the cultural motif, represented by the decorative pattern under the slogan and the
logo serves as a signifier that signifies culture. Its physical form, the signified cultural motif,
draws attention to cultural elements within the ad. It may evoke associations with cultural
heritage, artistic expression, or decorative traditions, depending on viewers' cultural
interpretations and associations with similar motifs. Connotationally, the meaning of sign,
which is the use of cultural motif can be interpreted as "Coca-Cola is deeply connected with the
Turkish and Islamic Culture.”
References
Chandler, D. (2017). Semiotics: The basics. Routledge
Eco, U. (1976). A theory of semiotics. Indiana University Press
Barthes, R. (1972). Mythologies. Hill and Wang
Peirce, Charles Sanders (1931–58) Collected Papers
SAYGIN, E. P., & Gökmen, Ö. N. A. L. Araştırma Makalesi Pazarlama Faaliyeti Olarak
Ramazan’a Özel Tasarlanan Reklam Afişlerinin Göstergebilimsel Analizi
Bolognesi, M., & Aina, L. (2019). Similarity is closeness: Using distributional semantic
spaces to model similarity in visual and linguistic metaphors
Advertisement Posters
https://www.adsoftheworld.com/campaigns/slices
https://www.adforum.com/creative-work/ad/player/49872/ice-cream/wwf
https://www.behance.net/gallery/80753493/Coca-Cola-Ramazan-OOH-2019