Semiotics and Visual Language

Semiotics is the study of signs and symbols. Specifically, how these are used to communicate and how they can create meanings. It is considered that any form of connection can be a sign and that people use past experiences and conventions to interpret them in individual ways. Therefore, the meaning can alter as experiences change and the user of the sign may create meanings they didn’t intend. By investigating these signs and symbols we can break down meanings, find hidden messages and understand why people interpret them differently.

Ferdinand De Saussure (1857 – 1913)

Saussure was a Swiss Linguist who coined the term ‘semiology’. He interpreted the use of language to create meaning and broke it into ‘Signifier’ and ‘Signified’; the signifier being the language itself and the signified being the message it sends. A sign is formed of these two elements. The signifier can often have varied meanings when placed in a different location and often different signifiers can have the same meaning. Saussure’s overall message being that signs are interpreted using context rather than interpretation.

Charles Sanders Pierce (1839 – 1914)

Unlike Saussure, Pierce operated independently and was a philosopher rather than a linguist. He developed semiotics at the same time as Saussure but instead of context he focused on the interpretation of signs and broadened the investigation to all forms of communication. He followed the Triangle of Interpretation theory, that the sign (the thing), the object (what the sign is referring to) and the interpretant (how the audience interprets it) are all connected. He also believed that sign can never be fixed and can always change with experience and that there is no correct meaning. In addition, Pierce used icons, indexes and symbols to bolster his theory. An icon is a pictorial representation of an object often closely resembling the intended concept. An index, however, is a symbol that represents something else, indicating what it stands for. Signs can come under both icons and indexes and can relate to each other. Unlike icons and indexes, a symbol doesn’t present a clear connection between sign and meaning but rather is interpreted purely through the audience’s experiences and cultural conventions. Within the branch of symbols are Meta-Symbols which use cultural reference points to assist the audience in understanding their context. Meta-Symbols are more present in history, culture and traditional contexts and feature often in religious iconography.

Roland Barthes (1915 – 1980)

Barthes was a literary theorist who focused less on the sign itself but rather the interpretation. He used the terms Denotation, to describe the physical object, and Connotation, the understanding of the object itself, as constructs that produce an ideology. These denotations and connotations can also produce mythologies, a greater interpretation that stems from the object. These aspects create a chain of semiotic events that can create a symbolic meaning. It was his belief that these meanings can often be just as they are and may not need interpretation at all. Within his theory he created a system for reading and understanding the language and image messages. The Linguistic message is just the denotational language analysis, what the words say. The coded iconic message provides connotational analysis of images and how social meanings are created, whereas, the uncoded iconic message is the denotational and direct message of the image.

Umberto Eco (1932 – 2016)

Eco was an Italian theorist who worked across a wide range of disciplines. His interpretation of semiotics was that ‘Everything is a sign’ and explored the cultural impact on meaning and analysis. He was very critical of Iconism and found it to be too shallow and too fixed. Eco’s theory was separated using the Classification of signs into either natural or artificial symbols. The artificial classification focused on manmade and intentionally produce symbols used to signify specific messages to the audience, i.e. Advertising. These are created as different functions that can both a primary and secondary function. On the other hand, the natural classification is formed by signs that are identified with natural occurrences. Often originating from nature, these signs cannot be controlled by man but can be produced unintentionally with human intent either unintentionally or with understanding but lack of control.

Werthers Original Caramel Advert Analysis

Using Barthes more in-depth theory of semiotic analysis, I watched a Werthers Original Caramel advert looking at the deeper connotations of the denotations presented on screen. The advert opens with a full moon lighting a fairy-tale and old-fashioned German style village. The setting of dark clear skies gives the impression of cold and by doing that highlights the warmth of the gold glow of the shop windows. The overall audience impression being that the shop is inviting and magical. The village is also representative of the German town of Werther where the company began reflecting its history and tradition. 

The story of the advert begins with the actress looking into the Werthers shop and being reminded of her younger self when she first discovered the shop. The repetition of costume between the older and younger characters, specifically her red scarf and navy coat, cements this story. This narrative also reflects on the shop itself, showing its age and longevity as a brand. The interior of the shop is filled with gold connoting luxury, wealth and again warmth and comfort. The interior furnishing is also telling; the door has an ornate door knob and wooden windows are quirky and old giving the shop history and an endearing feel.

When the products of the shop are revealed we are shown a toffee apple being coated, ingredients being mixed and toffee being cut, suggesting the food is fresh and handmade. The toffee apples signify to me Halloween and more specifically magic and celebration, making the food seem special and eaten at celebrations. The shop also uses old fashioned tools such as copper bowls, an ornate gold till and bronze weighing scales, connoting an appreciation for tradition and that each item is made by hand and with dedication not by machines. 

The chefs wear full white uniforms with traditional hats presenting them as professionals and masters of their work. The unwrapping of the sweet is done slowly giving connotations of unwrapping a present and builds anticipation for the audience at the same time as the character. As the advert returns to modern day we are presented with the older character holding the Werthers packaging showing the real life tangible product for the audience and that they can have the magic illustrated in the advert. All of the signifiers come together to depict the tagline “What comfort feels like”, and the luxury, magic and comfort you can feel if you buy the product.