Visual communication is the transmission of information and ideas using symbols and imagery. It is believed to be the type that people rely on most and includes signs, graphic designs, films, typography, and countless other examples

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NAME Guy Muchineuta
MODULE Principles of Business Communication MBA 574.3
PROGRAM Master of Business Administration
INSTRUCTOR Professor Maria P. Michailidis
Topic
Visual Communication, an analysis of semiotics in branding communication

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Abstract
With its ‘Coca-Cola’ logo and brand name alone, innocent declares its innocence. With
consumer trust brands are much needed it today’s market because they convey a message of
honesty and loyalty to its customers and prospective customers. The question that needed to be
answered is how this brand conveys its notions of honesty and loyalty through logo design?
Using semiotics analysis, this study ought to research on how brands communicate its brand
values of honesty to its targeted customers. In a quest to identify what brands represents and
despite the literature of the issue, the question of what brands actually mean to consumers still
remain unanswered yet. This research sought to determine an analysis of semiotics as a part of
visual communication, the study was necessitated by the high rise in global brands and
competition is drifting other businesses out of the market due to lack of ideas and creativity on
how to create strong brands that appeal to the people.
Key words
Semiotics- study of how signs and symbols both visual and linguistic create meaning
Brand- is a product, service, or concept that is easily communicated and usually marketed
Logo- a symbol or design that symbolizes a company
Connotation-meaning or intension of a term, which forms a principle determining which objects
or concepts it applies to
Denotation –efers to the literal meaning of a word
Advertising-broad and direct communication that introduces products/brands to the public.

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1.0 Introduction
Semiotics is a science is a science that studies the life of signs within a society. Semiotics can be
traced back to the French linguistic Ferdinand de Saussure (1857-1913) including Charles
Sanders Peirce (1839-1914). It is of interesting to figure out that some of the strongest brands in
the world belong to products that are nothing special for instance the coca-cola, rolled tobacco in
Marboro. It is even more shocking intriguing to note that consumers are willing to pay a 38%
price on a branded product over the same quality private label product. Apelbaum Gerstner, and
Naik (2003) stated that at the same time, they are not willing to pay a price premium on a private
label product even if it is of a higher quality than a branded product this entails that consumers
behave irrationally?
However, does that explains that by creating strong brands companies are no longer devoted to
what has traditionally been thought of as a marketing concern, namely building long term value
and profitability by satisfying customers? (Kay 2006). Have corporations forgotten what their
mission is? Are they the ones who are behaving irrationally? Schroeder (2005) however, said
that the answer lies in understanding that people consume the brand as much as the product itself
They no longer consume products for their utility, but only because of their symbolic meaning
Veloutsou and Moutinho (2008), they have needs and wants that will not only be satisfied by
product consumption, but also by the consumption of a brand itself. The study sought to
critically examine and explain what the literature says about the concept of semiotic in relation to
branding.
LITERATURE REVIEW
2.0 Introduction
The chapter provides an insight of the area under study through the exploration of different
authors whose literature relate and adds value to the study problem. The researcher has mainly
examined an analysis of semiotics as a part of visual communication in branding

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2.1 Semiotics
2.1.1 An analysis of Artefactual semiotics
De Saussure (1966) advanced a semiotic theory which in essence is a theory of language. His
theory focuses on the sign as the most aspect of linguistic systems. The other important notions
of the theory are arbitrariness, the convention and social (Culler 1994) of the signs. There is a
triad relationship that exists between the sign and its components sign, signifier and signified as
shaping the theory of the linguistic sign. Pierce (1960) coming from philosophy and mathematics
advances his logic semiotic theory whose main contribution was to expand the de Saussurean
(1966) theory of sign to address contextualized communicative contexts making signs in any
given conventional communicative context medium for thought (Houser, 2010:92). He
introduced the icon, index, and symbol as making a continuum of semiotics. Attempting a
clarification of Piercean (1960) semiotic theory. According to Houser (2010) he concludes that
Piercean semiotics handles the mind as sign systems and thought as sign in action; and the
product of the two is intellectual experience.
Both de Saussure (1966) and Peirce (1955) read together allows us to sum up that for de
Saussure (1960) semiotics is read as a theory of language given its provenance in linguistics
(Cobley 2001), Peirce (1960) can be read as a philosophy of language. In addition Chomsky’s
(1965) generative grammar is perhaps an attempt to combine the two ends mostly his view of the
Language Acquisition Device (LAD) concept. Chomsky’s (1965) problem however was on the
context of linguistic sign systems’ interplay. He claims to have been addressing a homogenous
society which most critics (Halliday 1984) have correctly observed did not exist.
The above view on semiotics informs artefactual semiotics especially read from modern semiotic
submissions. Seboek (2001) noted that the world of semiotics is so vast and incorporates a
number of a numerous vital human aspects. Furthermore using Piercean theory he says that
symbols are what set humans apart from the rest of the species. Seboek (2001) suggested a
system of specialization with regards to signs encouraged modeling and institutionalization of
semiotics. More sore understanding of semiotics Van Leewuen (2005) was quick to come up
with his social semiotics from which he observes signs as existing in a specific social context as

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‘semiotic resources’ defined as ‘the actions and artefacts we use to communicate’ Van Leeuwen,
(2005).
Relooking at the world of semiotics makes see that theoretical branches of semiotics are but
communication theories. Randviir and Cobley (2010) argued that artefactual semiotics focuses
on artefacts or material objects as sign systems viewing them as systems of knowledge
intersemiotic sign systems and reflective systems.
Analyzing cultural spaces through statues using institutionalized semiotics, Saidi (2013:47) says
the semiotic branch is ‘informed by a basic view of material object as signs which are realized in
specific contexts where they assume various cultural, political and historical meanings.’ The idea
of modeling has a plus in that we realize that each non text is complex in its own right. For
instance, the Greek’s historical, cultural and social experiences accord the Greek socio-cultural
context complexities which cannot be dealt with, by any randomly picked visual communication
theory.
Therefore, universal theorization is weak in interpreting specific sign systems that exist or are
part of a social context especially if that social and cultural context is African. The character and
shape of visual communication is observed as one that is given life by nonverbal codying
systems synonymous to the conventional language. While Conventional language has suffered
contamination linguistic notions of imperialism or suffered effects of language planning,
nonverbal language through artefacts carries less of these effects.
2.2 Signifier and Signified
Saussure noted that the linguistic sign unites not only a thing and a name but a concept and
sound image. This combination of a concept and sound image further divided into two
components which are the signifier (sound image) and signified (concept). The semiotic
triangular diagram captures Saussure’s concerns as it is illustrated in figure 1 below.

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2.2.1 Signs and signified
Sign
Signifier signified
Figure 1 Signs and signified
Source:Berger (2004)
From the diagram in figure 1, Saussure advocated that the relationship between the signifier and
the signified is arbitrary which explains that there is direct between words as linguistic units and
the objects which they represent. The debate is that there is nothing for example in the word
CAT or Tree , cat which directly produce the objects they represent.
2.3 Denotation and Connotation
It is of importance to say that Saussure worked in the field of linguistics and many people have
gone to n extent to apply his thought to other areas of communication. Berger at al (2005) stated
that a man by the name Barthes applied Saussure’s notions of signification to visual analysis and
cultural theory. Barthes extended Saussure’s signifier and signified by adding some elements to
the process. Taking for instance if we see a word tree (signifier) we may see a tall plant with a
bark and leaves( signified. This process of seeing the tall plant with a bark and leaves is what
Barthes calls denotation. People generally agree that the word ‘tree’ is (denotes) a tall plant with
bark and leaves. However, the word ‘tree’ or the idea of a tree might mean something totally
different to what it is.

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Barthes calls this second-order of meaning connotation.Connotative meanings are ideological
and symbolic (Fiske, 1990, Hall, 1997, Aiello, 2006, Bignell, 2002). Connotations are context
dependent (Barthes, 1973, 1991, Thwaites, et al., 1994, Aiello, 2006). The way in which a sign is
framed can evoke certain connotations (Fiske, 1990). However, the word ‘tree’ in the context of
a horror novel, for example, will most probably likely invoke ‘fear’ because of the way in which
it is framed by a horror narrative. Similarly, the way in which an image of a tree is framed by
soft lighting can connote ‘peace’, or ‘escapism’ in a holiday brochure. Signs can connote
multiple meanings dependent upon the context and framing.
2.4 The System of Signs
Hall (1997) cited Saussure’s explanation signs are members of the system and are defined in
relation to other members of that system. There are, in semiotics, many such ‘sign systems’:
architecture, cosmetics, home and office furnishings, restaurant menus, and so on. In fact, ‘sign
systems’ are all around us if we could but see and recognise that we so often do not want to just
denote literal meaning, we want to connote ideas and feelings. Yet, those ‘sign systems’ are often
not noticeable simply because they seem so ordinary, so every day, so normal.
2.4.1 Sign
Figure 2: Sign model
Source:http://sdama.org/knowledge/semiotics-in-marketing-research-gaming-changing-
marketing-research-3/

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From the figure 2 above one can note that according to Saussures a sign can mean anything that
conveys meaning which denotes words, images, shapes and sounds and also signified which
connotes mental concept that comes to the mind. The interpretation of a sign is dependent on the
context in which it is used, its relationship to other signs, and its environment.
2.5 Advertising and Semiotics
Edwards (2000) advocated that to persuade people or consumers to purchase the products all
advertisers use emotional and symbolic appeals Bandrillard (1998) stated that advertisers market
products based on what they mean to consumers. In the modern business nowadays it should be
noted that sign value prevails. Burrows further on to explain if products are sold based on the
basis of symbolic meaning it is important that advertisers can effectively communicate these
symbolic values.Its is important consumers to understand advertisers’ symbolic messages and
they do through semiotics.
Aiello (2006) cited that advertisers must make use of the systems portrayed in semiotics in order
to deliver the expected results.He further on to explain that advertisements can only be
meaningful to customers if they speak to them in a recognizable language and make use of pre
existing bodies of knowledge.
Print advertising provides a medium for understanding on how advertisers attempt to persuade
potential receivers to move to active status. Harris (1986) believed that sometimes, print
advertising is mostly visual, a picture that is joined with minimal linguistic material. Sometimes,
the visual is almost entirely removed and linguistic material is utilized. Bignell (2002) advocates
that photographs used in print advertisements work as a system of signs that provides form and
meaning to consciousness and reality.

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Michael Schumacher’s choice
Figure 3
Source:Advertisement of 'OMEGA' watch extracted from 'Time' magazine 2002
Figure 3 above shows OMEGA watches ad issued in 2002. In this advertisement , the advertiser
has used larger, capital and bold letters in the headline in order to draw consumer's attention and
make them curious about what the advertisement mainly says lead the readers to go on reading
without any conscious and arousing their curiosity and the desire to know more about this
product and reaching its goal to persuade the readers to buy it. Kress (2010) pointed out that
meaning can be made through the affordances of font as it can through color. These meanings
are socially made, socially agreed and consequently socially and culturally specific.
Conclusion of the relationship between semiotics and advertising
All in all by using signs and colors, advertisers can better communicate with the consumers and
make the product more popular among them in order to achieve the goal of long lasting purchase
and popularity. There is regularity to be discovered in advertising study, sets of signs organizing,
constraining choice, and these choices are part of social meaning. These sets of signs don't make
up a single, comprehensive and coherent meaning. The meaning of particular signs is always

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relative to specific kind of readers, on specific occasions. In terms of this scenario, semiotic
analysis occupies an important place within a common framework of critical discourse analysis
of advertising.
3. Semiotics in Branding
Mcnally (2009) defined a brand as a relationship,It is not a statement. It is not a matter of
contrived image, or colorful packaging, or snappy slogans, or adding an artificial veneer to
disguise the true nature of what’s within. On the other hand Kotler (2006) suggest that a name
becomes a brand when consumers associate it with a set of tangible and intangible benefits that
they obtain from the product or service
Designing a brand logo using semiotics
A good logo should identify rather than explain work in black and white be the foundation of a
visual system work for a variety of media be recognizable at a distance.
A brands logo type should be designed to fit the eyes, both eyes.The ideal shape for a logotype is
horizontal ,this is true wherever the logo is used on buildings.
Figure 4
Source:
It should be noted according to Ries (2001) cited that the law of singularity ineligibility is the
most important consideration in selecting a typeface used in logotype, sans serif typefaces look
modern while serif typefaces look old fashioned bold typefaces look masculine. Ries further on
explained that the component of the logotype, the trademark or visual symbol is also overrated
its Nike name that provides meaning to the smoosh symbol as illustrated on figure 4 .After a

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symbol has been associated with a name for a long period of time the symbol can represent the
name through kind of “rebus” effect, but still other name that carries the brand’s power.
Ries (2001) explained that brand should use a colour that is opposite of its major competitors,
another way is that there are thousands of words to choose from in order to create a unique name
, but only a handful of colors basically that are red,orange,yellow ,green, blue plus (neutral colors
that are black ,white and gray. Red is for energy and excitement in retail is used to attract
attention for instance as for Coca-Cola it uses red for its logo unlike Pepsi and Schweppes.
Conclusion
All in all one can safely say that there is no monocausal theory or fact that can adequately
explain the simplex totality out of the relationship between semiotics and branding and
advertising. According to the researcher the idea of logos, brands and symbols are inter linked in
the sense that they came from the womb of semiotics. However, the research managed to provide
a detail about semiotics using the theories of Saussure and applied them in the business
marketing concept. This suggest that for companies to be successful in branding they have to
take into accoubnt quality of services they offer to consumers which makes the brand more
common and repeated purchase as some people buy the name not the product and semiotics play
a vital role in creating a brand logo.

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Reference
Barthes, R. 1973. Mythologies, trans. Annette Lavers. New York: Hill & Wang
Berger, A. A. 2010. Objects of Affection: Semiotics and Consumer Culture. London:
Bignell, J. 2002. Media Semiotics: An Introduction. Manchester: Manchester University Press.
Kress, G. (2010). Multimodality: A Social Semiotic Approach to Contemporary Communication.
London:Routlege
Mcnally D. & Karl D.(2009) Speak Berrett-Koehler Publishers
Peirce, S. C. (1955) Logic of semiotics: The theory of signs in ed. Bucher, J. Philosophical
writings of Peirce NY: Dover publications.
Saidi, U. (2013) ‘The BaTonga Concealment by a tale of two worlds: an artefactualsemiotic analysis of
Nkomo and Livingstone’s statues in Matebeleland Madirativhange: Journal of African Indigenous
Languages and Literature Vol.1 No. 1, pp.38-57.
Saussure, F. (1915, 1966) Course in general linguistics, trans. W. Baskin. New York: McGraw-Hill. (A
critical edition in French was prepared by T. de Mauro.1972. Cours de linguistique générale. Paris:
Payot.)
van Leeuwen, T. (2005) Introducing social semiotics New York: Routledge