hello! my name is

SEMIOTICSI am the study of signs and deal mainly with how all meaning is constructed.

hey!hi! hOLA!

hallo!

LABAS!BONJOUR!

KONNICHIHA!

ALOHA!

FOUND SEMIOTICS

INDEXBased on the use of various band names, as well as “on select dates” phrase direc-tion connects to this poster a concert.

source design by Aidan Hughes.

ICONThis is an easily recognizable handmade illustration of a pirate ship based on the wood, various sailes and rope.

source design by Stranger/Kevin Shaw.

SYNTAGMOne must read all of the directions on the sign in sequential order to correctly cross the street via the crosswalk.

source Crossroads of Kansas City, off of Baltimore Road and East 19th Street.

SYMBOLThe circle with a slash through the P is a learned representation of a sign that means no parking.

source Crossroads of Kansas City, off of Baltimore Road and East 19th Street.

PRAGMATICAUDIENCE people in their 20s-40s.

CONTEXT concert venue walls, commu-nity bulletin boards, bars.

MEANING by using the artwork from KMFDM’s newest CD WTF?! and the logos of four known bands, the poster is able to bring in people from all band fan groups. A large portion of the fans of these bands will positively respond to the suggestive image of the female.

source design by Aidan Hughes.

PARADIGMThe words that make up the icon of a dog can be switched with one another without changing the meaning of the piece.

source Communication Arts, Typography Annual 2012, page 147.

CODE MEANING anchor

WITH TYPEThe addition of text “may lead to drunken behavior“ adds to the accepted idea that alcohol causes a certain set of mischevi-ous behavior in those who partake.

source Kraken bottle design by Stranger/Kevin Shaw.

WITH IMAGEThe incorporation of the image of the Caribbean Sea rein-forces the idea of the Kraken, which is a spiced rum from the Caribbean Islands.

source Kraken bottle design by Stranger/Kevin Shaw. Photograph by A.De Sando.

MAY LEAD TO

BHAVIOR.

MAY LEAD TOdrunkenBEHAVIOR.

CODE MEANING relay

WITH TEXTThe additional type alters the original meaning of the Kraken. The meaning altered by adding “vacation“ to the bottle states that one can take a real trip to the Caribbean or a vacation that one takes from real life while drunk.

source Kraken bottle design by Stranger/Kevin Shaw.

WITH IMAGEWith the inclusion of a cemetary, the original meaning of the Kraken bottle has been altered to now portray the serious-ness of drunk driving or alcohol related death.

source Kraken bottle design by Stranger/Kevin Shaw. Photograph from www.tourcharleston.com.

vacation

CONNOTATION CHANGE

WITH RELAYThe meaning is changed through the use of a child friendly vector of a baby Kraken and san serif type. It is an example of relay because it calls into action the idea of alcohol having an appeal to people of legal and illegal ages.

CONNOTATIONS are young, adorable, friendly.

source Vector illustration by A.De Sando.

WITH ANCHORThe meaning of the Kraken is further explained through the use of bright colors to bring in the idea of alcohol being a social, fun event to partake in.

CONNOTATIONS are fun, happiness, bright.

source Kraken bottle design by Stranger/Kevin Shaw. Photograph by A.De Sando.

SEMIOTICS definitions

SEMIOTICSWHO this word was first coined by Ferdinand de Saussure, who is called the “father“ of linguistics.

WHAT this is the study of signs which explains how all meaning is constructed.

ANCHORWHO founded by Roland Barthes, philosopher and literary theorist whom broke down the meaning of this term.

WHAT the use of additional text or images to bring more evidance to further explain the message.

RELAYWHO founded by Roland Barthes, philosopher and literary theorist coined this term.

WHAT the use of additional text or images to alter or push the initial connotation forward into a further developed concept or idea.

SIGNa singular object that represents an idea or word, often represented by a sound or image.

SIGNIFIERthe interpretation of the object based on sound or word.

PARADIGM the ability to move individual elements in a given piece and still have the same connotation; objects can be read in any order andthe message is still understood.

SYNTAGMa sequential relationship that must be read and understood in a given order; linear relationship of a set of signs.

CONNOTATIONcultural association/commonly accepted idea or statement associated with a certain object form.

DENOTATIONthe physical and visual description associated with a certain object which describes n an abstract form.

INDEXthe abstract cause and effect relationship of an icon or symbol.

SIGNIFIEDthe mental recognitions of the object when it is recited or written; the initial representation that appears when the visual form or sound of the object is heard.

SEMANTICSthe study of meaning, which can be split into three categories: icon, index and symbol.

PRAGMATICSthe combination of intended audience with a location that reinforces the overall message based on that interaction.

ICONthis is an easy to recognize representation of the real object or person; looks just like the sign that it is representing.

SYMBOLa learned representation of an object, company, person, alphabet that has a common use in society. Often these would be company or individual logos or anything related to branding.

hello! our names are

MODES OF APPEAL & RHETORICModes of Appeal is all about the way in which a viewer’s emotional, logical, or ethical side is used to promote a certain product, location or message.

Rhetoric is all about the act of speaking or writing effectively through the use of various visualizations to exaggerate a given mesage.

hello!hello! hello

HELLO!

RHETORICAL TROPES

IRONYThe word Brimborium translates from German to English to mean “meaning-less.” The illustration shows a masked man dropping bombs, and the fact that meaningless is beneath the image points to the use of humor. The larger idea is that dropping bombs is meaning-less, nothing changes when bombs are dropped.

source KMFDM t-shirt design by Aidan Hughes.

PUNDogs and mops have nothing in common normally except for this specific dog breed, the Komondor. This breed’s fur looks just like a mop.

source Advertising: New Techniques for Visual Seduction by Thames & Hudson.

METONYMYThrough the abstract use of chopsticks and the wrapper that chopsticks come in, there is not only a reference to Asian culture, but also a dress and legs repre-senting clothing and fashion.

source Callegari Berville Grey via www.adsoftheworld.com

HYPERBOLEThe woman’s hair in real life is not actually strong enough to hold a swing with a person on it.

source Advertising: New Techniques by Thames & Hudson.

METAPHORThis piece uses a direct replacement of teeth with hard construction worker hats to express the idea that by using Sen-sodyne one will have teeth as strong as hard hats.

source Callegari Berville Grey via www.adsoftheworld.com

PERSONIFICATIONRocks are inanimate, therefore incapable of thought, how-ever the rocks are being illustrated as if in thought.

source Philosophy Rocks! by Stephen Law and designed by Mecca Studios.

PARODYThis advertisement utilizes the logo of two well-known delivery companies to promote their own service.

source artist unknown via www.fromupnorth.com.

SYNECDOCHEBulldozers are a representation of human destruction and the leaf is a representa-tion of nature. Thus, the combination of these two illustrates the human destruc-tion of nature.

source Advertising: New Techniques for Visual Seduction by Thames & Hudson.

ANTITHESISThis advertisement compares a child going online by themselves to be equivilant to going online with a bunchof strangers with him.

source TBWA in Madrid, Spain.

ETHOSThis piece focuses on the authority and celebrity status of Slash’s guitar skills. Since Slash is a well known guitarist, he is considered an authority on quality. He is the most dominant object within the advertisement also adding to logical side.

source http://www2.epiphone.com.

ETHOSThe use of an extremely large and muscular super hero using a flexible band-aid focuses on the authority of the Hulk to use only the best and strongest band-aid brand.

source JWT, Dubai advertising agency.

MODES OF APPEAL ethos

MODES OF APPEAL logos

LOGOSThis appeals to the logical side specifical-lybecause this is an information graphic. Specifically this is achieved through the use of vector icons, san serif and basic shapes to easily guide the viewer’s eyes.

source http://www.marketingtechblog.com

LOGOSThe use of numbered steps appeals to the logical side of the viewer, making the viewer realize that step one only comes after step two. The use of vectored illustrations adds to the viewer’s logical side.

source HP Printer Booklet.

MODES OF APPEAL pathos

PATHOSThe use of the humorous illustrations appeals to the viewer’s emotions through the comical illustration of someone get-ting hit by a cricket ball.source New Retro by Thames & Hudson.

PATHOSAppeal to the emotions is seen through the use of the color red and the open wide-eyed faces of the family.

source New Retro by Thames & Hudson.

RHETORIC + MODE OF APPEAL

IRONY + LOGOS This focuses on the viewer’s sense of logic through the reference democracy through “United we stand, divided we fall“ lines which has been used in various mottos of states and nations. Irony is seen within the use of the letters to spell democracy multiple times in the background of the poster. Irony is also seen withint the use of the text, “democracy together we vote“ because many Americans do not vote, stating that we are not together as a nation and urging people to vote.

METAPHOR + PATHOSThis piece focuses on the emotions of the viewer through the act of con-sumption. Eating is part of culture and brings about a range of emotions, stemming from overeating, not eat healthy, as well as attempting to lose or gain weight. Food also has the ability to remind individuals of past events in their lives.

RHETORIC TROPES definitions

RHETORICWHO this was first talked about by pre-socratic philosophers from Ancient Greece.WHAT this is the act of speaking or writing effectively through the use of various visualizations to exaggerate a given message.

MODES OF APPEALWHO this was first talked about by Artistotle.

WHAT this is the way in which to use a viewer’s emotional, logical or ethical side to promote a certain product, location or message.

PUNportraying an idea by either a play on words or images.

IRONYthe act of conveying a deeper meaning that is opposite to the literal meaning via humor and sarcasm.

PARODY the imitation of a widely accepted and recognized piece of work through humor.

PATHOSthe act of appealing to a viewer’s range of emotions through the use of text and imagery, often playing off of the viewer’s strong emotions in relation to a topic.

ETHOSthe act of appealing to a viewer’s ethical side through the use of seals of approval, testimonies or credibility to promote a certain act. This can also be based off of the actual author’s authority on a given subject.

LOGOSthe act of appealing to a viewer’s sense of logic. Through the use of facts, statistics and deductions, the viewer is able to understand the order and logical appeal of a given act.

METAPHOR the direct comparison of two unrelated objects or ideas.

HYPERBOLEexaggeration of an object past its natural dimensions either by its size or capacity.

ANTITHESIScomparing two opposite images or ideas, which in turn intensifies each individual meaning.

PERSONIFICATIONthe use of giving inanimate obkects humanistic qualities such as emotion, desire, speech and gesture.

METONYMYthe use of one simplified indexical image to stand in for a more complex idea.

SYNECDOCHEthe representation of a piece of an idea standing for the whole message.

hello! my name is

COMMUNICATION MODELSI am the process by which all mesages are created, sent, received and reacted to.

STARBUCKS communication model

MAKE YOUR CHOICE.

COMMUNICATOR Athis is the customer that comes in and places their order.

COMMUNICATOR Bthe barista that takes Communicator A’s order.

MESSAGE the drink order that Communicator A readies for Communicator B.

CHANNELthe vocals of Communicator A stating their order to Communicator B.

ARRIVAL+ SURVEY AT LOCATION.

NOISETECHNICAL the line length being long, the customer judging whether or not they have enough time to stand in it, the beverage made incorrectly.

SEMANTIC employee number is less than usual and service being slower.

EFFECTIVENESS whether or not the drink is made correctly, if the drink tastes good, how fast the service is.

CONTEXTUAL FACTORSLOGIC the reasons in which Communicator A visits a Starbucks in the first place including location of the establishment in relation to the residence of the customer, past positive experiences with Starbucks.

MOTIVATION based on reviews of friends or family, the price of the beverage, the early or late hours of Starbucks, giftcards for Starbucks.

PERCEPTION Starbucks being a currently trendly place for college students to hangout, free Wi-Fi.

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STATE YOUR ORDER. 3

MESSAGECommunicator A encodes the drink order to Communicator B.

NOISETECHNICAL legibility of the items for sale.

SEMANTIC ability to find drinks even if drink style categories were not present.

EFFECTIVENESS menu is still major focus of the overall customer and barista experience.

WAIT IN LINE.

2

NOISE TECHNICAL can be seen in the legibility of the typography on the menu, sounds in the environment, the use of colors throughout the store to direct Communicator A’s attention, redundency of beverage and food options on the boards as well as physical displays.

SEMANTIC if the menu is covered up, is there still a way for Communica-tor A to select a drink from the menu?

EFFECTIVENESS whether the menu and products are the most dominant focus in the whole store layout.

CONTEXTUAL FACTORSLOGIC in the amount of caffeine that is needed for Communicator A to successfully function.

MOTIVATION of Communicator A to purchase certain beverages based on previous Starbucks’ or other coffee experiences.

PERCEPTION of how long the line is and possiblity of getting through the line before Communicator A is at where they need to go the stress of standing in line waiting, based on Communicator B’s attitude.

PAY FOR ORDER. WAIT FOR ORDER.4 5

MESSAGECommunicator B decodes Communicator A’s drink order and encodes the order for Communicator C via writing on a cup or typing it into the computer to be printed out as a label and placed on a cup.

COMMUNICATOR Cthis is the barista that makes Communicator A’s order.

FEEDBACKis present through the payment of the drink and the visible emotions and body language of Communicator A.

CONTEXTUAL FACTORS LOGIC of Communicator A having enough money for the order.

MOTIVATION of Communicator B to start Communicator A’s drink is the payment for the order.

NOISETECHNICAL legibility of the drink order via Communicator B’s handwriting or the computer print out.

SEMANTIC whether or not Communicator C correctly makes Communicator A’s drink.

EFFECTIVENESS whether or not Communicator A’s name is called correctly and loud enough to be heard.

CONTEXTUAL FACTORSLOGIC the possibility of Communicator B forget-ting how to fill out the drink label, Communicator C forgeting how to create the drink.

MOTIVATION of Communicator B+C to not mess up the drink order due to all of the customers waiting for their coffee.

CHANNELis Communicator C’s voice when calling the names of customers.

PUT STRAW IN DRINK. ENJOY THE DRINK.6 7

NOISETECHNICAL Communicator C forgetting to tell Communicator A where to get extra condiments such as straws, sugar, or milk for their beverage at a seperate counter.

SEMANTIC Communicator A not understanding that they need to go to a different counter to receive their straw or other condiments.

FEEDBACKis in the consumption of the beverage, whether or not Communicator A ends up being a repeat customer, or Communicator A’s trip experience via Starbucks’ website and/or customer service phone number.

PLAYABLE communication model

This model focuses on the interactive quality and ability to relate to a wide audience. The focus was to use a concept that people could easily understand and then learn the terms. This model focuses on the communi-cation process between a band or singer and the fan. The model by itself is a bit difficult to under-stand, thus a second page was added. On the second page there are close-ups and definitions of the various components of the communication model.

COMMUNICATORS are the band that is sending the message via their songs to the fan/listener of the music.

CONTEXTUAL FACTORS are personal preference of the listener that affects what kind of music the listener will play.

CHANNEL is the method by which the band is connected to the listener, be that headphones or speakers.

NOISE IS THE PHYSICAL BACKGROUND THAT THE LISTENER IS IN, THE QUALITY OF THE SOUND FILES BEING LISTENED TO, AND THE QUALITY OF THE DEVICES BEING USED TO LISTEN TO THE MUSIC.

MESSAGE is the theme or moral being presented in the lyrics.

FEEDBACK is the ability of the listener to rate the songs/albums sending information back to the band and sale scores for individual songs and albums.

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COMMUNICATION THEORY definitions

SHANNON-WEAVER MODELWHO Claude Shannon & Warren Weaver whom were engineers for Bell Labs.

WHAT explained how to compress and send lots of information down a channel without losing any important parts that effect the meaning for telephones.

WHEN 1947.

EMMERT DONAGHY MODELWHO Emmert Donaghy.

WHAT expanded the Shannon-Weaver theory but prioritizes context and feedback dealing with two senders/receivers.

WHEN 1954.

BERLO MODELWHO David Berlo, broadcaster.

WHAT expanded on the Shannon-Weaver theory but focused on the relationship of broadcaster and receiver.

WHEN 1960.

NOISE anything that gets in the way of, or distorts, a signal and potentially alters the understanding of the message.examples craft, typography, lack of connection.

LEVEL A is what is the obvious problem – craft issues via smudges, reception, bad workmanship.

LEVEL B is based on the background of the receiver. The background is summed up by the social, economic, ethnic background, peers, and family. The main problems at this level are whether or not the receiver understands the message.

LEVEL C is the effectiveness due to how hard the message is to decipher, based on what else people are doing while interacting with the design, and/or other issues associated with the physical environment of the receiver while receiving the message.

COMMUNICATION THEORY method which messages are created, transmitted and received.

MESSAGE the idea, moral, or concept which is being explained to the viewer.examples morals, policies, orders.

CHANNEL the way in which a message is being expressed to a viewer.examples social media, music, posters.

COMMUNICATORS a person who is sending and/or receiving the message.examples teachers to students, designers to clients, companies to audience.

CONTEXTUAL FACTORS environmental characteristics that affect the communicator.examples education, cultural background, wealth.

FEEDBACK the method by which we know our message is being received and the effect it is having.examples rating, focus groups, sales.