C.

Ever Bilena (Philippine Brand Local Beauty Products)

Figure 6: Advertisement of Ever Bilena: Sample one.

Representational Meanings

The visual elements or items found in images will be referred to as

“participants,” including people, places, and various objects depicted in the images.

Every act of communication involves two types of participants. One type (interactive

participants) includes those engaged in the communication process, such as

speakers and listeners, writers and readers, image creators, and viewers. The other

type (represented participants) consists of those who are the subject of the

communication, including the individuals, locations, and objects represented in the

speech, writing, or images. These are the participants being spoken about, written

about, or depicted (Kress & van Leeuwen, 2006). Hence, the type of participants in

this poster represents participants. The meaning of representation can be divided

into two types: narrative representations and conceptual representations.

 a. Narrative Representation: In the context of narrative representation,

individuals linked by a vector are portrayed as engaging in actions directed

toward or for each other. These vectorial patterns are focused on illustrating

ongoing actions, events, processes of change, and temporary spatial

arrangements (Kress & van Leeuwen, 2006). The vector line is depicted in

Figure 6, representing the application of the product to the eyelashes. The

visual comparison of the product's effects before and after use effectively

demonstrates the transformative power of the EB mascara. This approach

effectively communicates the impressive results that customers can achieve

when using the product.

b. Conceptual Representation: The process of conceptualization involves the

systematic organization of ideas and concepts comprehensively and

inclusively. Individuals are grouped according to various criteria, and the

process involves both analytical and symbolic components (Zhou, 2020). In

the corpus, the conveyed symbols target the audience with the use of EB

mascara, which serves as a tool to enhance the curl and lift the eyelashes.

Additionally, the fair skin tone of the model aligns with the standard of beauty

in the Philippines, which plays a significant role in boosting the sales of the

product.

Interactive Meanings

The concept of interactive meanings refers to a system of signs that serves to

illustrate the connections between the originator of a sign and the receiver of that
sign. This encompasses the relationship between the individuals or entities being

depicted and the target audience for whom the communication is intended.

a. Gaze/Demand and Offer: Images are considered demand when the depicted

participants make direct eye contact with the viewers, indicating that the

producers intend to influence the viewers. Conversely, an image is

categorized as an offer when the depicted participants do not make eye

contact with the viewers, suggesting that the producer’s sole intention is to

provide information (Kress & van Leeuwen, 2006). The image is in demand

due to the direct Gaze of the represented participant, who looks directly into

the viewers’ eyes, which, in this instance, is the model. The compelling image

of the model conveys to its audience that the EB mascara provides stunning

results. By looking directly into the viewers’ eyes, this assists in persuading

them to purchase their product.

b. Social Distance and Intimacy: Figure 6 depicts an extreme close-up of the

participant, highlighting the product’s purpose and suggesting a social

connection between the participants and the viewers (Kress & van Leeuwen,

2006). The images projected in the advertisement convey a sense of intimacy

or distance, reflecting the close relationship between EB products and the

Filipino people.

c. Modality: The concept of modality is fundamentally connected to the

dimension of color. Bell and Milic (2002) established the standards for three

values in the following manner:

 ● High sensory modality: The image uses highly saturated colors

naturalistically;

● Medium sensory modality: The image uses less saturated colors, e.g.

‘washed out’ or ‘ethereal’ use of pastels;

● Low sensory modality: The image is monochrome (black-and-white) only.

The development of color art has led cinematography to increasingly focus on

medium sensory modality, as evidenced by the progression of color in Figure 6. It

predominantly features less saturated colors, preventing viewers from being

consumed by intense visual imagery, while highlighting the product’s beauty.

Compositional Meanings

The concept of compositional meaning pertains to the arrangement of the

whole, specifically “how the representational and interactive elements are

interconnected to form a coherent whole.” This relies on three tools: information

value, salience, and framing. The first tool assigns specific information values to the

placement of elements within the image. The second tool captures the viewer’s

attention through factors such as foreground or background placement, relative size,

tonal value (or color) contrasts, and differences in sharpness. The third tool

separates or links elements within the image by incorporating “dividing lines” or

“actual frame lines” (Kress & van Leeuwen, 2006). These systems are effectively

employed in composite visuals, such as posters, in a unified manner.

a. Information Value: The arrangement of every individual element within a

poster image plays a crucial role in effectively conveying specific information.

Take, for instance, Figure 6, which showcases a model with an extreme

close-up shot of her eye, serving to communicate the product depicted in the

poster. Furthermore, the use of a combination of neutral and pinkish colors

not only serves to highlight the products but also adds to the overall aesthetic

appeal of the poster. As a result, Figure 6’s marketing poster significantly

succeeds in capturing attention toward character relationships, themes, and

information, all while emanating beauty.

b. Salience: When visual elements or compositions are in the integration mode,

their significance can be determined by analyzing visual cues to understand

specific compositional meanings. This significance arises from intricate

interactions, such as the complex trade-off relationship between several

factors like size, focus sharpness, and tonal contrast, as highlighted by Kress

and van Leeuwen (2006). In Figure 6, the largest and most central position in

the foreground is occupied by the product, overshadowing the extreme close-

up shot of the model in the background. In doing so, the poster emphasizes

the binary relationship between the beauty products and the model which

captures the audience’s attention with the well-proportioned elements in

various sizes.

c. Framing: Visual frame lines can create framing, which can either strongly or

weakly frame the elements of a composition, marking them as disconnected

or connected. The more strongly an element is framed, the more it is depicted

 as a distinct unit of information in the posters. In traditional posters, the

framing is often so strong that viewers can immediately understand their

ideographic expressions (Kress & van Leeuwen, 2006). In Figure 6, there is a

visually striking dividing frame line that serves to unify the model and the EB

mascara as a cohesive entity within the poster. This particular method of

framing, as evidenced in various sources, serves to subtly guide the viewer’s

attention, prompting them to engage more deeply with the content, discern

nuances, and derive their interpretations. Moreover, this unique presentation

style plays a role in reshaping societal perceptions of beauty, serving as a

noteworthy reflection of the prevailing outlook and offering a fresh perspective

on the transmission of cultural values over time.

Figure 7: Advertisement of Ever Bilena: Sample two.

Representational Meanings
 The visual elements or items found in images will be referred to as

“participants,” including people, places, and various objects depicted in the images.

Every act of communication involves two types of participants. One type (interactive

participants) includes those engaged in the communication process, such as

speakers and listeners, writers and readers, image creators, and viewers. The other

type (represented participants) consists of those who are the subject of the

communication, including the individuals, locations, and objects represented in the

speech, writing, or images. These are the participants being spoken about, written

about, or depicted (Kress & van Leeuwen, 2006). Hence, the type of participants in

this poster is represented participants. The meaning of representation can be divided

into two types: narrative representations and conceptual representations.

a. Narrative Representation: In the context of narrative representation,

individuals linked by a vector are portrayed as engaging in actions directed

toward or for each other. These vectorial patterns are focused on illustrating

ongoing actions, events, processes of change, and temporary spatial

arrangements (Kress & van Leeuwen, 2006). The vector line is depicted in

Figure 7, representing the application of the product to the eyebrows. The

visual comparison of the product’s effects before and after use effectively

demonstrates the transformative power of the EB eyebrow iPen. This

approach effectively communicates the impressive results that customers can

achieve when using the product.

b. Conceptual Representation: The process of conceptualization involves the

systematic organization of ideas and concepts comprehensively and

 inclusively. Individuals are grouped according to various criteria, and the

process involves both analytical and symbolic components (Zhou, 2020). The

symbols communicated in the body of text are aimed at the audience using

the EB eyebrow iPen, which functions as a tool for improving the color and

form of the eyebrows. Additionally, the fair skin tone of the model aligns with

the standard of beauty in the Philippines, which plays a significant role in

boosting the sales of the product.

Interactive Meanings

The concept of interactive meanings refers to a system of signs that serves to

illustrate the connections between the originator of a sign and the receiver of that

sign. This encompasses the relationship between the individuals or entities being

depicted and the target audience for whom the communication is intended.

a. Gaze/Demand and Offer: Images are considered demand when the depicted

participants make direct eye contact with the viewers, indicating that the

producers intend to influence the viewers. Conversely, an image is

categorized as an offer when the depicted participants do not make eye

contact with the viewers, suggesting that the producer’s sole intention is to

provide information (Kress & van Leeuwen, 2006). The image is in offer due

to the indirect Gaze of the represented participant, who does not look directly

into the viewers’ eyes, which, in this instance, is the model. The compelling

image of the model conveys to its audience that the EB eyebrow iPen

provides stunning results.

 b. Social Distance and Intimacy: Figure 7 depicts a close-up shot of the

participant, highlighting the product’s purpose and suggesting a social

connection between the participants and the viewers (Kress & van Leeuwen,

2006). The images projected in the advertisement convey a sense of intimacy

or distance, reflecting the close relationship between EB products and the

Filipino people.

c. Modality: The concept of modality is fundamentally connected to the

dimension of color. Bell and Milic (2002) established the standards for three

values in the following manner:

● High sensory modality: The image uses highly saturated colors

naturalistically;

● Medium sensory modality: The image uses less saturated colors, e.g.

‘washed out’ or ‘ethereal’ use of pastels;

● Low sensory modality: The image is monochrome (black-and-white) only.

The development of color art has led cinematography to increasingly focus on

medium sensory modality, as evidenced by the progression of color in Figure 7. It

predominantly features less saturated colors, preventing viewers from being

consumed by intense visual imagery, while highlighting the product’s beauty.

Compositional Meanings

The concept of compositional meaning pertains to the arrangement of the

whole, specifically “how the representational and interactive elements are

interconnected to form a coherent whole.” This relies on three tools: information

value, salience, and framing. The first tool assigns specific information values to the

placement of elements within the image. The second tool captures the viewer’s

attention through factors such as foreground or background placement, relative size,

tonal value (or color) contrasts, and differences in sharpness. The third tool

separates or links elements within the image by incorporating “dividing lines” or

“actual frame lines” (Kress & van Leeuwen, 2006). These systems are effectively

employed in composite visuals, such as posters, in a unified manner.

a. Information Value: The arrangement of every individual element within a

poster image plays a crucial role in effectively conveying specific information.

Take, for instance, Figure 7, which showcases a model with a close-up image,

serving to communicate the product depicted in the poster. Furthermore, the

use of a combination of white and sky blue colors not only serves to highlight

the products but also adds to the overall aesthetic appeal of the poster. As a

result, Figure 7’s marketing poster significantly succeeds in capturing

attention toward character relationships, themes, and information, all while

emanating beauty.

b. Salience: When visual elements or compositions are in the integration mode,

their significance can be determined by analyzing visual cues to understand

specific compositional meanings. This significance arises from intricate

interactions, such as the complex trade-off relationship between several

factors like size, focus sharpness, and tonal contrast, as highlighted by Kress

and van Leeuwen (2006). In Figure 7, the largest and most central position in
 the foreground is occupied by the model, overshadowing the product in the

background. In doing so, the poster emphasizes the binary relationship

between the beauty products and the model which captures the audience’s

attention with the well-proportioned elements in various sizes.

c. Framing: Visual frame lines can create framing, which can either strongly or

weakly frame the elements of a composition, marking them as disconnected

or connected. The more strongly an element is framed, the more it is depicted

as a distinct unit of information in the posters. In traditional posters, the

framing is often so strong that viewers can immediately understand their

ideographic expressions (Kress & van Leeuwen, 2006). In Figure 7, there is a

visually striking dividing frame line that serves to unify the model and the EB

eyebrow iPen as a cohesive entity within the poster. This particular method of

framing, as evidenced in various sources, serves to subtly guide the viewer’s

attention, prompting them to engage more deeply with the content, discern

nuances, and derive their interpretations. Moreover, this unique presentation

style plays a role in reshaping societal perceptions of beauty, serving as a

noteworthy reflection of the prevailing outlook and offering a fresh perspective

on the transmission of cultural values over time.

Bell, P. & Milic, M. Goffman’s Gender Advertisements Revisited: Combining Content

Analysis With Semiotic Analysis. Visual Communication, 2002, 1(2): 203–222.
https://doi.org/10.1177/147035720200100205. Retrieved from
https://www.researchgate.net/publication/249671412_Goffman’s_Gender_Adv
ertisements_revisited_Combining_content_analysis_with_semiotic_analysis
Kress, G. & van Leeuwen, T. Reading Images: The Grammar of Visual Design, 2 nd
edition. New York: Routledge, 2006.

Zhou, L. (2020). A Multi-modal Discourse Analysis on D&G’s Advertisements.

International Journal of Languages, Literature and Linguistics. 6. 99-102.
10.18178/IJLLL.2020.6.2.258. Retrieved from
https://www.researchgate.net/publication/341826474_A_Multi-
modal_Discourse_Analysis_on_DG’s_Advertisements