Choose yourself first. Make the space you need to think through all of your finals, rest/read/eat well. These are your goals; this is your time. Let others wait, for now.
this STUDY site is ready to aide THE FORMaTION OF YOUR final ad proposal - briefs are based on the 132 ‘ final exam glossary’ terms & photos alluDing to your initial concept s are in the ‘gallery’ section of the site
Photo News:
Prof. Serlin sent a note to TA’s confirming that the Final AD submitted on the 20th, should be based on an original photograph taken by you (or created by you). He’ll accept pictures composed in photoshop/procreate type software, but no AI, nor ads heavily reliant upon a pre-existing image that isn’t your creation. Here are two helpful Ad and Logo tools:
https://www.fotor.com/features/ad-maker/ (free to design and download your AD for 3 days, then it’s 7.00 - so cancel after you download)
https://www.vistaprint.com/logomaker (100% free to create and download business logo & slogan)
If you draw it on an app, just upload it to “Fotor” to apply text, logo, effects, cuts, etc).
Remember, your logo & brand name must be on the Ad, but it’s not required to be right on the item itself. The “gallery” area on this site are based on your concepts. Simple images still convey a strong concept and meaning!
—You’ve got this.
Gilman 910
A LA JOLLA BASED SEMIOTIC DESIGN GROUP
PROPOSALS use semiotic PRINCIPLES OF:
Ways of reading / meaning transfer: how visual and textual information is shaped to connect to a viewers' psyche, habits, associations or actions / defining different types of master tropes and rhetorical tropes / highlight when viewers or advertisers utilise the process of reduction / explain structuralism: where an ad reading clearly relies on a particular system of associations to be meaningful for a viewer /
Denotation: when an ad is literally indicating or referring to something by a word, phrase or symbol/ (in combination with) Connotation: the abstract meaning of a word, phrase or symbol that is not visible in the ad / By identifying these, it allows specialists to explain which semiotic principles are determining the meaning of certain objects or concepts being portrayed/
Any social system of connected associations working together, also known as structuralism / textual positioning (readers relationship with the ad)/ subject positioning / The Last Quaternion: anticipating how we think a viewer will read an ad and what meaning they may bring to it / social construction and theorists such as constructionists and deconstructionists (who discuss how personal values are represented within semiotic messaging)/plastic expression
Extensions of “social semiotics” which explores how and why these ads have meaning / Peircean, Cartesian, or Saussurean model comparisons might give us a different way by which ad can be interpreted (semiotic stance)/ Cartesian philosophy incorporates culture, psychology and mental cognition in analyses / all semiotics fall under semantics (meaning) pragmatics (context) and syntactics (systems) / any six steps of communication in the Jakobson model, primarily the components of message, context, and expected feedback (or response) of the receiver/
GILMAN910 uses semiotic analysis to break down the details of your advertising campaign before it’s launched into the world. Defining the liminality between your content, the context, and semiotic concepts, are paramount to our companies bespoke style and professional approach toward constructing your viewer-receiver connection! Our collective team understands that ads are composed of invisible maps drawn by ever changing social codes. Nevertheless, we decipher the abstract within the familiar and the mystifying within the personal experience. Have a look at the methods and specialities of UC’s newest leading semiotic analysis group:
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THE lifestyle COLLECTION
UC SEMIOTIC Specialists
Adalia - tropes in speech are in “build it and they will come,” so is the casual indexical sign of chef’s preparations imply guests, textually framed with the chef making it directly from a restaurant kitchen on stylised plates; also falls under subject positioning.
Kay - contrast to positioning of subject is the absence of their presence which would rely on inferences the object displays alongside other objects with social associations. the slogan reflects mode of address and interpellation of the viewer, as linguistic code breaks the 4th wall - speaking directly to the viewer.
Precious - nonverbal code is used to reinforce or complement natural language, and extends to textual determinism, where having coffee is seen as a part of everyday moments in life.
Daphne - naturalisation underlies reference to the softness of baby, to its outfit and blankets, while the alliteration “skincare starts with softness” enhances phrasing to infer the quality/purpose of the product.
Mak - trope as figures of speech in “leave the city behind,” aligns with principle of structuralism, where we understand leaving something behind as a way to have a break, respite, change of pace in life.
Isabella - perceived realism and conventional code are channeled through media using art itself as a medium of perception, with irony/sarcasm poking fun at the suggestion the "right fit is out there” is a search as vast as the sky.
Gigi - metaphor in an adventure begins with this sauce (visual) next to figurative language, “adding spice to life” (text) to state that spice is an adventure which ultimately makes life interesting; spice as metaphor for a fun, unexpected journey.
Ella - social naturalisation around beer being served, connote socialising, gathering, dating, attraction, will create meaning by how the subjects are positioned; in this case women and men on the beach. Through linguistic context we know that “cheers” is shared with friends, usually to begin enjoying a beverage together alluding to a welcome environment with successful outcomes.
Ricky - social tropes combined with figures of speech are challenging cultural myth that hot sauce are for adults adults. Through linguistic context we understand the phrase “big kids” when used for little kids, express they want to show they are older or can take on a role of an adult. This also reflects roles of communication.
Yu-Tien - using verbal code for social conventions in childhood, such as the child myth of the dinosaur as powerful. The textual phrasing frames the child speaking to adults (us the viewer) by communicating in the first person (the child) as mode of address. This furthers textual framing of nostalgia when children compare their imagined attributes with toys.
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Sofia P. - invisible phrasing in slogan within this ad by referring to three different conventions. Denotation of a succulent meal, shared between people. Connotation of “big bites” emphasises plentiful/feast. Overhead POV is the visual framing of succulent food as a key shot in this ad, providing anchorage, multi-contextually, to impart what’s happening around the plate (implicating “off-screen” gathering)
Amy - employs diegesis, implying a narrative world, langue, & part of a speech community. Eye-line match as an option if using many frames in a grid format, for the final ad. A 180 rule may be needed where movement is represented as happening across frames (ie, two people who seem to look at each other but in different frames). This ad parallels experienced reality, communicates to us in first person, uses narrative of a story, through naturalisation of “selfie” habitus.
Zachary - uses literal language in the slogan “personalised sound, personalised music” and interpellation, by appealing to viewer as a "sales group” (subjects) who interpret personalisation as “own identity” and “own space”
Irene - represents the concept of engagement with audio-visual media, and associative relations within creative media-making culture showing microphone, headphones, screen, and slogan using “24hrs.” Beholder’s share used here also relies on prior knowledge; all signifying the ‘world of a creator, podcaster, you-tuber’ etc.
Claudia - textual code of form and style by using ”snapshots” combine with emotive conjugation, where expressions go from negative to positive. Beholder’s share also applies when comparing a photo of a little girl and an adult woman. The ad relies on our understanding of childhood and how our perceptions can change.
Olivia - a framed shot of personalised items next to the figurative speech in “gets personal,” demonstrate rhetorical trope and deeper textual framing (using a collection of items making the bottle a part of it) which signifies the social convention of carrying around one’s water-bottle as a personal accessory; slso called, social interactionism, as it’s become a construction of reality referring to being economical.
Xingming - Utilises point-of-view using what’s called immersive style, with an extreme close up shot, to reflect products sales-point: even in tight jeans (reflecting social code and interpellation of customers who wear up-scale modern fashion) enhances the smallness of the wallet, implying even smaller headphones.
Alfred - metaphor applies in slogan "immersed in forest, immersed in my calm,” interpellation asks the viewer to imagine themselves in that position, calling/hailing to any group appealed by the desire of “escape” or “calm.” This may have to consider context analysis which considers pre-existing experiences a viewer uses to decipher this messages, such as being in the woods may and may not appeal to some audiences depending on their ideal of a “calm environment”
Leyla - features aesthetic realism, by alluding to a reality independent of what’s represented, synechdoche (part of the phrases references figurative and literal) “head-fit” as mentally strong implying mental and bodily fitness. This fits into speech circuit model (a and b being being en exchange between the advertiser and viewer). Double meaning is figurative and literal speech, as mentally determined and psychologically healthy are synonymous occurrences while working out. It also challenges conventional thinking of people with disabilities or seeking mental health balance as being strong; falling under a deconstructionists perspective/reading.
Yuting - synecdoche is shown in “which one suits you?” by referring to food choice interchangeably with the word “suit” Speaking directly to the viewer (broken 4th wall) mimics being addressed directly while shopping. Shopping (habitus) is a social activity of selecting items, thus the textual phrase interpellates the viewer as if in a communicative role with a sales person — in a welcoming tone,
Indigo - code limitations can include looseness (poetic code) followed through unconsciously, positioning of subject utilizes the backdrop of the city, and in preliminary stages, has a variety of subjects as representation, and principle of opposition by representing the contrasting ideologies who all “thrive” in a city setting.
Shannon - figurative language “bath-time escape” (non-literal), inference of a vacation or get-away. If the ad were specifically referring to ‘busy professionals’ it would reflect social representation theory indicative of an assumed social group who share the same interests.
Roman - relies on rhetorical trope and figurative language by highlighting the slogan: “bright sound, bright life/future” as well as pragmatics in the idea that “bright” by relating it to one’s vision of their life or future. Last, anchorage will be required so that readers can understand what “bright music” means in the product’s feature, and how “future” is conveyed to a viewer in one shot. The framing of this on a bright beach without figurative language or metaphor, can imply many things; risking ambiguity.
THE social COLLECTION
[UC SEMIOTIC SPECIALISTS]
Natalie - employs alliteration “mindful music” to textually establish social associations linguistically. The encoded word "mindful” implies a further connection with the act of meditation. The ads’ concept of music as a medium for meditation is assumed to be naturalised, therefore connotative. The social trend in meditation broadens the limited view an early semiotic structuralist reading might have given us, as it excluded “how” and “why” people find meaning socially.
Deana - a narrowcast code applies in this ad aimed at a limited audience, by reinforcing specific tastes/class of climbers as its main feature. The ad’s visual reference to “taking on a challenge” by physical activity, relates to cognitive semiotics, psychologically, since this might appeal to a viewer whose value systems prefer or relate to a more dangerous obstacle over an online challenge such as “the water-bucket challenge” which is also socially popular yet would also require narrowcast code.
Kathryn - this ad reflects the principle that codification evolves overtime, showing headphone/earpiece use over time which demonstrates previous codes of convention. This intertextuality refers to history, past and present, to link connotations across social trends that will frame “past” and “present." It also reflects on post-structural theory, emphasising our reliance on symbols and signs in what we consider “new” yet also mirrors deconstruction perspectives that challenge the fixed idea of headphones being “new” when they’ve always been an item of “groundbreaking” technology, historically.
Amanda - Expressing social code is abstract in the sense of being heavily reliant upon prior knowledge and social construction of sport affiliated language groups. Trends linked to values of sports and ideology (similar to the concepts of "femininity”) require us to identify dual modes of address. One appeals to values of competition, the other sport community belonging. The figurative slogan "thirst for winning” connects to viewers polysemiotically (multi-meaning) which considers pre-existing knowledge a reader uses to connect with this ad. The iconicity is also multimodal as well as plurifunctional.
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Victoria - code limitations may appear here, as “femininity” is conceptual, shaped by practices that must be navigated through, positioning the subject will represent some versions of that and extend to relation of meaning process by how the subject is socially re-presented, in this case “the women” can be an arbitrary index and subject. It can also reflect the argument in cartesian dualism (separation of mind and body) in that our social actions may conflict with social thought when concepts/ideals of “femininity” contrast, such as text that states confidence against a backdrop of visuals that show submission.
Diana -expands context analysis where “femininity” integrally frames products concept, figurative speech here relies on the metaphor that interpellates a social group who prioritises natural products, such as essential oil based fragrances. Implicit relations and ideological connotation are two additional semiotic possibilities to explore further.
Ana - this ad’s concept exercises literal language in its slogan and reinforces it in visual metaphor, inferring comfort (the product’s key feature). It relies on the social convention derived from common experiences surrounding the act of sleep; a social code so well-known, the absence of the item still conveys the item’s utility. Decor and representation of subject addresses an age/consumer class.
Ethan - specific social codes apply here due to this ad references to the social interaction online in the terms of “challenges” (a hint to TikTok). This is a direct example of intertextuality and as well as habitus (what we learn through socialisation). Limitations to consider are that everything has meaning (detail of what we see, hear and interact with or interacts with us) are part of a sign system, yet semiotic analysis still remains a social phenomenon grounded by continuous interpretation, thus this temporality means the concept of online challenges may be forgotten or have different meaning in the future.
Sonia - another example of approaching an examination of an ad is by reading it as one shot from a film or photograph. When the ads’ composition can convey the affect of an “establishing shot” it can be considered a framing device for communicating with the viewer (a mode of address) similar to the way cinema, and photographs do. The information in an E.S. informs an audience how to interpret proceeding information (in this case, text, logo, fine print within the ad etc.) this style is composed as one “shot” to represent a larger concept. An example would be the famous protest photo called "this kiss.” However, here, relying on social knowledge about recycling, beach clean up, and plastics’ harm to oceans, this ad functions as an E.S. that will inform detailed text. This, as with the family recipe ad, relies on social construction, and its theorists (constructionists) who argued that “personal values” are shaped rather than autonomously formed. A further reading of this may extended to the psychosocial semiotic triangle in Chandler’s book, where the object is mediator to deeper psychological relationships, in this case, humans’ relationship to the planet, positions the concept of a plastic bottle solution to interpellate eco-conscientious groups.
Sofia G. - engages with the principles of diegesis when implying a narrative world, plastic expression (meaning in the absence of something) in this case, the subject, implicit relation association, ideological connotation &narrowcast code
Jacquelyn - Language Code is present here to infer the social paradigm “bringing back” something from the past (literal and figurative). Photographic convention is relied upon (implying 'old memory’ 'the past’) since the ad’s concept is to subvert convention by suggesting the quality of ”bar soap” that is safe enough for babies. Through this choice of portrayal, intertextuality occurs by referring to history, and pop-culture phrase "bringing it back” (figuratively) from an eras and time, but literally by using it with your child.
Amy - demonstrates diegesis, implying a narrative world, langue, part of a speech community. Eye-line match as an option if using many frames and a 180 rule where movement representation is fluid, parallel to experienced reality, communicating to us in first person, narrative of a story, naturalisation of taking selfies.
Maria - broadcast code, shared by members of a mass audience, emotive conjunction since “peace of mind during ‘playtime’ interpellates parents who don’t have to worry when kids are playing with their sippy-cup in hand. This also depicts communicative roles by emphasising the word “fun time” or playtime; i.e. referring to a parent’s role is implicated because this language is used for speaking to a children, yet the ad is not being sold to children but the carers of children (an example of distinct mode of address).
our analysts DEVELOPED their OWN pORTFOLIOS OF detailed notes from extensive training with material from the author daniel chandler, dr. david serlin at ucsd, and 1-to-1 fieldwork in semiotic evaluation of literature, music, film, social media, art, photography and personal interviews —
some of our team also specialise in the well known ancient & mythical tradition called " mind-mapping”
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Cooper - presence of ideological implications linked to social construction and reproduction of established conventions for gathering. Myth, in a cultural sense, based on movies, music videos and pop culture allow viewers to understand the combination of items presented simply, on a table; denoting the only elements in reality to imply “myth” of possibilities associated with connotation of a party, for viewers naturalised to the presence of beer and chips at social functions.
Brandon - if analysing an ad as one shot from a film or photograph, editing code can be assessed within the still frame as far as its expression of a story narrative employing mode of address toward the viewer. By denoting elements that connote implied events, as a narrative, can represent encoded story framing. Tropes are utilised as figures of speech such as “life of the party”, in combination with plastic expression, here. Including reference to social representation theory where an assumed type of group, who share the same interests/values, are the targeted audience.
Tammy - connotes a family recipe item with ingredients that are home-made. The possibility to extend intertextuality in another slogan if referring to concepts between generations. The concept of natural ingredients are stylised by spoons (implying attention to detail and may push it further with allusion to farming). The single shot reflects the social construction behind home-grown food, which is trending. It aligns with constructionists theorists whose focus entailed how personal values are shaped by social exposure, rather than an autonomous occurance.
Michelle- restricted code, on-demand is contextual, pragmatics “on demand” can show how signifying words “using us,” language and parole, is a phrasing that can’t be separated from its social reality (unless we knew what on-demand means in other senses).
Crystal - typology in term “foodie” is part of an organisation of several social codes. Rhetorical tropes and master tropes (part of trope groupings) are present due to both social codes related to travel and trying new food within foodie culture by featuring intertextuality using language and visuals that address both trends. Referencing “semisphere” would acknowledge the Loman theory where systems of communication exist simultaneously. For this ad, travel and foodie cultures are different signifying systems working in conjunction to suggest new meaning (new (experiences) for both for audiences.
Michelle- restricted code is represented in the phrase “on demand” and also a contextual metaphor for receiving what one wants immediately. Pragmatically, “on demand” can also demonstrate how signifying words may “use us,” since the semiotic principle of language and parole are instances where phrasing cannot be separated from its social reality (unless we knew what on-demand meant in other senses).
Mia - highlights concept of digital code, synecdoche in “information highway,” and social code of this phrases relationship with to technology (lots of it and fast). Prior social and textual knowledge of the viewer is assumed (to recognise the technical surroundings and the slogan that implies being 'hooked in’ to the web). This reflects post-structural theory, which emphasizes our reliance on symbols and signs (now more than ever).
Senji - Incorporates interpretive code, based on the viewers need apply reasoning to the visual circumstances presented in the ad. If analysed as a frame of film or photograph, motivated cuts may be identifiable within a frame (background in contrast to foreground action, or two shots placed juxtaposed to one another)embodies a sense of narrative flow (story) by linking situational events through their composition of actions and reactions. Emotive conjugation occurs, going negative to positive over “spills." Its strategy reflect Bertrand Russell, acknowledging language as a way to also create new social thought.
Alize - uses figurative language with “best of both worlds” and visual irony/sarcasm (as we wouldn’t wear these clothes). Language and parole, the notion that phrasing can’t be separated from its social reality links to the social universality where viewer’s likely feel as if they’re in two worlds or choosing one over the other (at times). So, a reader may not enjoy this phrase which implies a freedom of choice, reflected in this freedom of style in the ad and a feature of the headphones (possibly personalised by style). Principles of opposition negotiate with the average persons expectation of “best of both worlds” by featuring outside of the convention of day-to-day dress.
Leo - Replicates ‘matches on action shot’ by showing two moments of dirty car and clean car. So is Myth (part of the trope family) and Structuralism are prevalent within notions of “good and evil” or “heaven and earth” since they are often represented in social patterns of representation and language. Semiology as “signology” work here by contrasting one view against another, since viewers know they’re being asked to distinguish between these two settings when presented with the contrasting imagery and inference of “heaven/earth” notion
Neil - social intertextuality of ‘the last table’ engages viewers with the principles of photography and image iconography as a semiotic system in itself. The long table has multi-modal meaning as a place where gatherings occur, overlayed with the notion of an historical moment in history (according to a well-known religious text, interpellating a broad audience in broad code). Ironically, the phrasing of “making the night spicy” links the association of “making history” is figurative linguistically, metaphoric visually. As a casual indexical relationship, a prepared table with many seats denotes that this is for a gathering, with a connotation of an important event. Structuralism theory frames these visual and textual representations for the viewer when replicating the social pattern of reference by using “the last supper” symbolically.
Immanuel - infers genre of “eco-friendliness” which constitutes themes and visual setting appealing to the concept of narrowcast code and groups that value eco-awareness, and eco-friendly lifestyles and conventions. Concept of dual-language encoded messages is applied by presenting someone reading a map in the eco-car which contrasts with the conventions of "digital" trend, implying the cars efficiency allows for leisure time (not needing to work, phones are assumed to be off). Embodied cognition might influence a buyers choice based on this ad offering a new perspective to the notion of extra work is required when owning an electric car. It counters associations of laborious physical work to locate charging stations, by depicting an owner having as an easy-going experience. This also reflects the semiotic principle that incorporates what a viewer might brings to the interpretation process (i.e.the ad is framed around buyer pre-knowledge/product bias /pre-existing opinions)