The Analysis of Verbal and Visual Sign of Adidas Advertisement.

THE ANALYSIS OF VERBAL AND VISUAL SIGNS OF

ADIDAS ADVERTISEMENT

I PUTU ADI SENA 1118351050

NON REGULAR PROGRAM ENGLISH DEPARTMENT

FACULTY OF LETTERS AND CULTURES UDAYANA UNIVERSITY

DENPASAR

ACKNOWLEDGEMENTS

First, I would like to say the greatest thank to the God “Ida Sang Hyang Widi Wasa”, for his blessing, love, strength, and majesty that can make me complete this studies.

I also would like to say a lot of thanks to my first supervisor Dr.I Made Netra,S.S.,M.Hum and I Wayan Mulyawan,S.S.,M.Hum as my second supervisor for their support, suggestions and helpful guidance during the process of the completion of this writing. Therefore, in this occasion, I would like to express my appreciation

1. All the lecturers of the English Non Regular Program, Faculty of Letters and Culture Udayana University, who have been teaching and educating me during my academic years.

2. All of administrative staffs at the English Non Regular Program, Faculty of Letters and Culture Udayana University, who have helped and gave information during my academic years.

3. My beloved parents, my dearest brother, sister and my girlfriend who have consistently supported me for my studies, cheered me up and gave useful advice when I was feeling down.

Gianyar, 2 Januari 2016

ABSTRACT

The study entitled “The Analysis of Verbal and Visual Signs of Adidas Advertisement”. Describes the verbal and visual signs in the advertisement. This study also analyzes the verbal and visual signs supporting the adidas advertisement, and function and meaning of verbal and visual signs. The method used in collecting data in this study is purposive sampling method and the collected data was analyzed qualitatively based on the theory of semiotic.

There are four theories used in this study. They are the theory of visual and verbal signs proposed by Dyer (1993), the theory of meaning and function proposed by Leech (1974), the theory of sign that is elaborated by Chandler (2001), and the theory of colours proposed by Chapman (2010). The data were taken from adidas advertisement published in a website google.com/adidas-advertisement. The adidas advertisement had an interesting verbal and visual signs.

The verbal and visual supported each other that aimed to attract the attention of the readers or people. The verbal signs of the advertisement use affective meaning to attract people interest to the product. Expressive function used to express its originator’s feeling and attitudes. The conceptual meaning was also used in giving the information of the message in order to make the reader catch the message of the advertisement. Informational Function tends to be the most important one, which conveys the information from speaker/writer to listener/reader. Conceptual meaning is predominant in the informational use of language.

The visual sign of the advertisement is the picture. The picture is used to make the advertisement look cool, impressive, and interesting. Regarding to the results, the meaning and function of the signs have been found in the advertisement. The meaning and function of the signs can be detected from the advertisement maker that tells the information about adidas , to selling or promoting their products and also for creating brand image. The consumers understand the meaning of adidas advertisement. The adidas products can grow and raise the consumers spirit to do some of activities easily that they feel comfortable and happy in any situation.

TABLE OF CONTENT

ACKNOWLEDGEMENT... i

ABSTRACT... ii

TABLE OF CONTENT... iii

CHAPTER I INTRODUCTION... 1

1.1 Background of Study ... 1

1.2 Problems of the Study ... 3

1.3 Aims of Study ... 3

1.4 Scope of Discussion ... 3

1.5 Research Method ... 3

1.5.1 Data Source ... 3

1.5.2 Method and Techniques of Collecting Data ... 4

1.5.3 Method and Techniques of Analyzing Data ... 5

CHAPTER II REVIEW OF LITERATURE, CONCEPT AND THEORETICAL FRAMEWORK 2.1 Review of Literatures ... 6

2.2 Concepts ... 9

2.2.1 Concept of Advertisement ... 10

2.2.2 Concept of Verbal and Visual Signs ... 10

2.2.3 The Components of Advertisements ... 11

2.3 Theoretical Framework ... 12

2.3.1 Theory of Signs ... 12

2.3.2 Verbal Aspect ... 13

2.4 Types of Meaning ... 14

2.4.1 Functions of Language ... 18

2.4.2 Visual Aspect ... 19

2.5 Theory of Colours ... 22

CHAPTER III

THE ANALYSIS OF VERBAL AND VISUAL SIGNS OF ADIDAS

ADVERTISEMENT ... 27

3. 1 Preliminary ... 27

3. 2 Adidas Advertisement 1 ... 28

3.2.1 Verbal Elements of Adidas Advertisement ... 29

3.2.2 Visual Elements of Adidas Advertisement ... 30

3.2.2.1 Icon, Index and Symbol used in Adidas Advertisement ... 31

3.2.2.2 The Visual Communications of Adidas Advertisement .... 33

3.2.2.3 The Meaning and Function of Verbal and Visual Signs Used in Adidas Advertisement ... 37

3.2.2.4 Colours Used in Adidas Advertisement ... 38

3. 3 Adidas Advertisement 2 ... 40

3.3.1 Verbal Elements of Adidas Advertisement ... 40

3.3.2 Visual Elements of Adidas Advertisement ... 42

3.3.2.1 Icon, Index and Symbol used in Adidas Advertisement ... 42

3.3.2.2 The Visual Communications of Adidas Advertisement .... 45

3.3.2.3 The Meaning and Function of Verbal and Visual Signs Used in Adidas Advertisement ... 49

3.3.2.4 Colours Used in Adidas Advertisement ... 51

CHAPTER IV CONCLUSION ... 52

BIBLIOGRAPHY

CHAPTER I

INTRODUCTION

1.1 Background of The Study

Semiotics is the study of meaning-making, the philosophical theory of signs and symbols. This includes the study of signs and sign processes, indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication. Semiotics is concerned with everything that can be taken as a sign. Semiotic aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all of these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification. Semiotics is often employed in the analysis of texts although it is far more than just a mode of textual analysis. Here it should perhaps be noted that a text can exist in any medium and may be verbal, non-verbal, or both, despite the logo centricbias of this distinction. The term text usually refers to a message which has been recorded in some way e.g. writing, audio and video-recording so that it is physically independent of its sender or receiver. A text is an assemblage of signs such as words, images, sounds, and/or gestures constructed, and interpreted with reference to the conventions associated with a genre and in a particular medium of communication. (Saussure 1974): semiotic is a science which studies the role of signs as part of social life, while (Charles Peirce 1839): semiotic was the formal doctrine of signs which was closely related to Logic. For him, a sign is

something which stands to somebody for something in some respect or capacity. He declared that every thought is a sign

Advertisement contains two signs, visual and verbal signs. Visual signs are about picture and verbal signs are about text, either words or sentences. The use of these two signs in an advertisement is meant to make people understand about the product advertised by the producers. Peirce stated in Chandler (2001:16)Signs more specifically take the form of words, images, sounds, odors, flavors, acts or objects, however such things have no intrinsic meaning and become signs only when we imbue them with meaning. Nothing is a sign unless it is interpreted as a sign. Anything can be a sign as long as someone interprets it as signifying something - referring to or standing for something other than itself. It is this meaningful use of signs which is at the heart of the concerns of semiotics. The advertiser making a good picture, a good sentence, also artist as the model to their advertisement to persuade the reader buys their product. Dyer (1982) indicates that the word advertising means drawing attention to something, or notifying or informing somebody of something. However, advertisements must also take into account the way in which they can make the qualities and attributes of the products mean something to us.

This thesis analyzed verbal and visual elements in advertisements. The advertisement chosen to be analyzed as a case study is adidas. Adidas shoes has a competing price with the other and then able to make people satisfied when having it. Then, people can get the selection quality of the shoes with a better price. This is the reason why people choose Adidas than the other brand. Adidas is well known around the world as the best quality of shoes that can be used for doing sport activities such as: dancing, running, football and else.

1.2 Problems of the Study

From the description presented above, the problems can be formulated into research questions as follows:

1. What verbal and visual signs are used in Adidas advertisement?

2. What are the meaning and function of the verbal and visual signs used in the Adidas advertisement?

1.3 Aims of Study

The aims of study are divided into two points:

1. To find out the verbal and visual signs supported the Adidas advertisement.

2. To analyze the function and meaning of verbal and visual signs that exists in advertisement.

1.4 Scope of Discussion

Related to the problems mentioned above, the analysis of this study focuses on the discussion of meaning and function of verbal and visual signs. The meaning of signs that supported the brand in Adidas advertisement is analyzed based on the theories applied in this study. The discussions in this paper are limited to:

1. The analysis of signs in the selected Adidas advertisement.

2. The description of meaning and function of verbal and visual signs in the Adidas advertisement.

1.5 Research Method 1.5.1 Data Source

There are two advertisements are used in this study. The data in this study was taken from Adidas Ad on google.com/adidas-advertisement, www.pinterest.net, and http://logaster/blog/adidas.com. These advertisements were chosen because it contains verbal and visual signs data for the analysis in addition, the verbal and visual sign which are related to the context of situation, the point that verbal and visual signs explains to the reader about the meaning of the advertisement through the text and the picture. Verbal Signs in an advertisement are about text, identify the meaning of the text: non-textual analysis and textual analysis and visual Sign is the picture of an advertisement . Finally, the visual delivery must be meaningful and suggestive Adidas employed in this study because this product is very interesting and the signs can attract the reader’s eyes.

1.5.2 Method and Techniques of Collecting Data

The method used in collecting data in this study is purposive sampling method ,it is mean observation or survey has been designed in such a way, which is looking for data on the internet. The data collected through by several steps. First step is searching the adidas advertisement from the sites on internet, are contain with the complete text structure: headline, body copy, cover. There are several websites that are visited to look for the examples of the poster advertisement and become the source to find out the different advertisements. The second steps are by observing the verbal message which is applied on the text on the poster advertisement. And the third steps are by observing the visual message from the advertisement

such as colours, shape, etc. Finally from the several adidas advertisement there are two of adidas advertisements were choosen.

1.5.3 Method and Technique of Analyzing Data

The collected data was analyzed qualitatively based on the theory of Semiotic, from the two advertisements there are some problems to analyzed the verbal and visual signs are used and the meaning and function of the verbal and visual signs used in the data. Then the data is analyzed through by several steps. First the verbal and visual signs of the advertisement are analyzed based on the theory of visual and verbal sign proposed by Dyer (1993). Next, the meaning and function was analyzed based on the relevant theories by Leech (1974). The theory of signs which is elaborated here is the theory proposed by Chandler (2001). Then, the colors aspects were analyzed based on theories by Chapman (2010). This study also uses related semiotic theory to find out the message implied in the advertisement

CHAPTER II

REVIEW OF LITERATURE, CONCEPT,

AND THEORETICAL FRAMEWORK

2.1 Review of literature

There are four undergraduate theses and one international article that reviewed in this section. Those theses and journal were needed to make this writing even better.

The first undergraduate theses is written by Putra (2009) entitled “The analysis of the three printed English Clothing Advertisements”. The problem that is discussed in this thesis is the relationship between verbal and visual signs in presenting the messages of clothing advertisements and also message delivered by the advertiser to the readers in each clothing advertisement. The data in this thesis were collected from Action Magazine (January-February 2008) and Track magazine (January 2008 and March 2008). There were three clothing advertisements selected as the data which are Titanium advertisement, The Realm Wetsuit advertisement, and Billabong advertisement. The collected data were descriptively and qualitatively analyzed by using semiotic theories by Saussure (1974), Leech (1974), and Dyer (1986). The finding of the analysis showed that there were the relationships between verbal and visual signs in conveying messages to the readers. If one of the signs did not exist, it will be difficult to find the messages conveyed by the advertiser. This undergraduate thesis is difference with this writing in term of analyzing. The previous thesis focuses on the relationship between verbal and visual signs in presenting the messages of clothing advertisements and also message

delivered while this writing is focused on analyze semiotic sign of advertisement and its messages. While the similarities is both of this writing is analyzing advertisement.

The second undergraduate thesis is written by Purwanto (2009) entitled “The Analysis of Verbal and Visual signs in Advertisement Mike’s Famous in Cycle World Magazine”. His paper analyzed the signs which are used in the advertisement related to the context of situation. The theories applied in his study here are the theory proposed by Lund (1947), Dyer (1993), Leech (1966), Wandia (1997), and Janich (2001). The result of this study is the advertisement has five structural components. There are: Headline, Illustration, Body Copy, Signature Line, and Standing Details. His paper provides ideas to analyze the signs in the advertisement and take an advertisement that contains the five structural components of advertisement.

The third undergraduate theses is written by Shakuntala (2011) “Visual and Verbal sign of five Australian cartoons on “It’s All Happening book”. several points that are the focus of her study are the verbal and visual sign which are related to the context of situation, the messages of verbal and visual art and about the cartoon itself, the correlation between verbal into visual. The theories were used to analyze the data are from “Theory Language, Context and Text: Aspect of Language in Social Semiotic Perspective” by Halliday (1985). The second theory is theory of sign by Ferdinand de Saussure it is then combined with the theory on Verbal and Visual Sign. The last one is Theory of Types of Meaning by Leech (1974).Her paper is giving the point that verbal and visual signs explains to the reader about the meaning of the advertisement through the text and the picture.

The last undergraduate thesis is written by Vina Dwi Riyanti (2011) entitled “context of situation and text organization in shampoo advertisement”. The problem that is discussed in this

thesis is three kinds of features of context situation (field, tenor, and mode) and verbal and visual message presented in shampoo advertisements. The method that is used in analyzing the data is qualitative method. The data in this thesis were collected from English magazine that is Teen Vogue Magazine (2011). There were two advertisements selected as the data: Herbal essences advertisement, and Pantene advertisement. The theories applied in this thesis based on discourse analysis theory, mainly the theory of context of situation proposed by Halliday (1985), semiotic theory by Chandler (2001) structure of advertisement concept proposed by Leech (1966) theory of meaning by Leech (1977), concept of color term proposed by Wierzbicka (1996), and the other theory that related to the topic was used too. Based on analysis of the two advertisements, the result shows that the similarities and the differences in term of structure in printed advertisement can be shows as follows: the two have similarities in using general format of structure and advertisement. In terms of headlines, signature line, and slogan they look very short and meaningful to attract the attention of viewers. The difference of this advertisement is in using the icon as the frontline of the advertisement. First advertisement, they prefer to show the new product while the second advertisement they focus on the advantages after using the product it can be seen from the model with shinny hair. This undergraduate thesis is different with this writing in term of analyzing. The previous thesis focuses in analyzing context of situation of advertisement, while this writing focuses on analyzing semiotic sign of advertisement and its messages. While the similarities is both of this writing is analyzing advertisement.

Besides four undergraduate theses above, an article from an international journal of business and social science. Vol. 2 No. 9 was also reviewed. It was article entitled “The Impact of Visual and Verbal Rhetoric in Advertising on Mental Imagery and Recall” by Nabil (2011). This research focuses on studying the role of advertising rhetoric, both visual and verbal, in the

process of persuasion and recall and in which case it is the most appropriate. This involves checking the effect of rhetorical figures on mental imagery and recall. This approach relies on the importance of the imagination (Evrard et al, 2000) and on the process of mental imagery (Helme-Guizon, 1995) representing the first response considered in this research.

2.2 Concept

This concept in this study is the general idea about the definition of the title of this study. The concept consists of several parts that related to the topic. The first is the concept of Advertisement, second concept of Verbal and Visual Signs, and third concept of Meaning and Function. The advertisement which uses is adidas advertisement. Adidas, Inc. is the world’s leading innovator in athletic footwear, apparel, equipment and accessories. Adidas will be employed in this study because this product is very interesting and the signs can attract the reader’s eyes. Adidas advertisement can attract the reader’s eyes because in this advertisement there is a woman as the model that is using adidas product.

2.2.1 The Concept of Advertisement

Advertisement is something (such as a short film or a written notice) that is shown or presented to the public to help sell a product or to make an announcement. Dyer (1993) states that the word “advertising” means drawing attention to something, or notifying or informing somebody or something. In more specific definition he states: Advertising is one of the means used by manufacturing and service industries to ensure the distribution of commodities to people in society, at large and is designed to create demands for such goods and services. It helps the manufacturer or business to secure a section of the market by organizing and controlling people’s state and behavior in the interests of company profit and capital growth.

2.2.2 Concept of Verbal and Visual Signs

A sign can be a word, a sound, and a visual image. The verbal and visual sign which are related to the context of situation, the point that verbal and visual signs explains to the reader about the meaning of the advertisement through the text and the picture. Saussure in Chandler (2001) divides a sign into two components the signifier “the sound, image, or word” and the signified, which is the concept the signifier represents, or the meaning. Saussure cited in Chandler (2001) defines:

A sign as the composition of a signifier and a signified. Signifier is the form that the skin takes. It is the material sign of the languages, actual letter, sound and symbol used to present what the speaker or writer wants to communicate. Signified is the concept of represent. It is not the material object but an abstract concept of what the signifier means.

A. Verbal Signs

Verbal Signs in an advertisement are about text. Dyer (1986 ) states there are two ways to identify the meaning of the text: non-textual analysis and textual analysis. In non-textual analysis, to identify the meaning of the text someone has to ask the producer or author what he or she meant and in textual analysis is based on meaning describe by an interpreter or analysis. Halliday (1989 ) states the text is language in operation and a product of its environment and function in that environment. The language used by advertisers illustrate that they think of people as targets on which they wish to make an impact, rather than as human beings. This is the reason of the difference between the language of advertisement and the language in everyday life of people.

Visual Sign is the picture of an advertisement. Dyer (1986 ) those pictures are easier to understand and had more impact than words, and they generally offer greater opportunity for the communication of excitement, mood, and imagination. A picture is used to lead the eye to written copy in magazine ads and in commercials language. Dyer (1993) states that visual aspect is associated mainly with actors but it must not be forgotten that there are other visual elements in advertisements: stage props and other object (such as rock, grass, etc.), the setting (including weather) and certainly the product.

2.2.3 The Components of Advertisements

Leech (1974) states that the standard components of press advertisement, as distinguished by function and lay out are:

1. Headline

Headline is the head/the opening of an advertisement which functioning as an eye catcher or attention gatherer.

2. Illustration

It is the background of the advertisement which the illustration of the advertisement. 3. Body Copy

It is the main part of the advertising message, which is often divided into various sections under subheads.

4. Signature Line (Logo)

This part mentions the brand name; it is often accompanied by a price tag, slogan, trademark, or picture of the brand pack.

It includes cut out coupon and strictly utilitarian information in small print, they usually appear unchanged in a series of different advertisements.

2.3 Theoretical Framework

The main theory that used in this study is the theory which proposed by Dyer (1982) in his book “Advertising as Communication “and Leech (1974) in his book “Semantics: The Study of Meaning”.

2.3.1 Theory of Sign

Saussure as cited in Chandler (2001) defines sign is the whole that results from the association of the signifier with the signified. The relationship between the signifier and the signified is referred to as 'signification’. Saussure cited in Chandler (2001) A sign must have both a signifier and a signified. You cannot have a totally meaningless signifier or a completely formless signified. A sign is recognizable combination of a signifier with a particular signified. The same signifier (the word 'open') could stand for a different signified (and thus be a different sign) if it were on a push-button inside a lift ('push to open door'). Similarly, many signifiers could stand for the concept 'open' (for instance, on top of a packing carton, a small outline of a box with an open flap for 'open this end') again, with each unique pairing constituting a different sign.

2.3.2 Verbal Aspect

The verbal aspect of an advertisement is the text. Advertisement has text in the form of sentences, phrases or even words. This form described the product itself and others related to the product. For example the brand name and the advantages of the product are crucial aspects in the advertisement. Chandler (2001) states the term text usually refers to a message

which is recorded in some way (e.g writing) so that it is physically independent of its sender and receiver. Almost all advertisements have text in the form of sentences, phrases or even words. This form described the product itself and others related to the product. Dyer (1993) states word not only describing things, communicates feelings, association attitudes, but they also bring ideas to our mind. For instance the name of these lipsticks bring certain ideas to maid sleek peach, hanky pink, quite flame, and warm coral. When we glance at advertisement in magazine, we will be subjected to a liberal sprinkling of adverbs and adjectives. These are the key parts of speech for advertiser. They are trigger words because they can stimulate envy, dreams and desires by evoking looks, touch, taste, smell and sound without actually misrepresenting a product.

2.4 Types of Meaning

Leech in his ‘Semantic ‘A Study of meaning’ (1974) proposes meaning into seven types or ingredients giving primacy to conceptual meaning. The Seven types of meaning according to Leech are as follows:

1. Conceptual Meaning:

Conceptual meaning is also called logical or cognitive meaning. Conceptual Meanings are the essential or core meaning while other six types are the peripheral. It is peripheral in a sense that it is non-essential. They are stylistically marked and subjective kind of meanings. Leech gives primacy to conceptual meaning because it has sophisticated organization based on the principle of contrastiveness and hierarchical structure. Boy = + human + male-adult. The hierarchical structure of ‘Boy’ = + Human + Male-Adult or “Boy” =Human – Male/Female-adult in a rough way. Conceptual meaning is the literal meaning of the word indicating the idea or concept to which it refers. The aim of conceptual meaning is to provide an appropriate semantic representation to a sentence or statement. A sentence is made of abstract symbols.

Conceptual meaning helps us to distinguish one meaning from the meaning of other sentences. Thus, conceptual meaning is an essential part of language. A language essentially depends on conceptual meaning for communication. The conceptual meaning is the base for all the other types of meaning.

2. Connotative Meaning:

Connotative meaning is the communicative value of an expression over and above its purely conceptual content. It is something that goes beyond mere referent of a word and hints at its attributes in the real world. It is something more than the dictionary meaning. Thus purely conceptual content of ‘woman’ is +human + female+ adult but the psychosocial connotations could be ‘gregarious’, ‘having maternal instinct’ or typical (rather than invariable) attributes of womanhood such as ‘babbling’,’ experienced in cookery’, ‘skirt or dress wearing ‘etc. Still further connotative meaning can embrace putative properties of a referent due to viewpoint adopted by individual, group, and society as a whole. So in the past woman was supposed to have attributes like frail, prone to tears, emotional, irrigational, inconstant , cowardly etc. as well as more positive qualities such gentle, sensitive, compassionate, hardworking etc. Connotations vary age to age and society to society.The boundary between conceptual and connotative seems to be analogous. Connotative meaning is regarded as incidental, comparatively unstable, in determinant, open ended, variable according to age, culture and individual, whereas conceptual meaning is not like that . It can be codified in terms of limited symbols.

3. Social Meaning:

The meaning conveyed by the piece of language about the social context of its use is called the social meaning. The decoding of a text is dependent on our knowledge of stylistics and

other variations of language. We recognize some words or pronunciation as being dialectical i.e. as telling us something about the regional or social origin of the speaker. Social meaning is related to the situation in which an utterance is used. It is concerned with the social circumstances of the use of a linguistic expression. For example, some dialectic words inform us about the regional and social background of the speaker. In the same way, some stylistic usages let us know something of the social relationship between the speaker and the hearer E.g. “I ain’t done nothing” The line tells us about the speaker and that is the speaker is probably a black American, underprivileged and uneducated. Another example can be “Come on yaar, be a sport. Don’t be Lallu” The social meaning can be that of Indian young close friends. Stylistic variation represents the social variation. This is because styles show the geographical region social class of the speaker. Style helps us to know about the period, field and status of the discourse. Some words are similar to others as far as their conceptual meaning is concerned. But they have different stylistic meaning. For example, ‘steed ’, ‘horse and ‘nag’ are synonymous. They all mean a kind of animal i.e. Horse. But they differ in style and so have various social meaning. ‘Steed’ is used in poetry; ‘horse’ is used in general, while ‘nag’ is slang. The word ‘Home’ can have many use also like domicile ( official), residence (formal) abode (poetic) , home (ordinary use). Thus we can understand that the connotative meaning plays a very vital role in the field of semantics and in understanding the utterances and sentences in different context.

4. Affective Meaning:

For some linguists it refers to emotive association or effects of words evoked in the reader, listener. It is what is conveyed about the personal feelings or attitude towards the listener. E.g. ‘home’ for a sailor/soldier or expatriate and ‘mother’ for a motherless child, a married woman

(esp. in Indian context) will have special effective, emotive quality. In affective meaning, language is used to express personal feelings or attitude to the listener or to the subject matter of his discourse.

5. Reflected Meaning:

Reflected meaning and collocative meaning involve interconnection At the lexical level of language, Reflected meaning arises when a word has more than one conceptual meaning or multiple conceptual meaning. In such cases while responding to one sense of the word we partly respond to another sense of the word too. Leech says that in church service ‘the comforter and the Holy Ghost ’refer to the third in Trinity. They are religious words. But unconsciously there is a response to their non-religious meanings too. Thus the ‘comforter’ sounds warm and comforting while the ‘Ghost’ sounds ‘awesome’ or even ‘dreadful’. One sense of the word seems to rub off on another especially through relative frequency and familiarity (e.g. a ghost is more frequent and familiar in no religious sense.).

6.Collocative Meaning:

Collocative meaning is the meaning which a word acquires in the company of certain words. Words collocate or co-occur with certain words only e.g. big business not large or great. Collocative meaning refers to associations of a word because of its usual or habitual co-occurrence with certain types of words. ‘Pretty’ and ‘handsome’ indicate ‘good looking’. However, they slightly differ from each other because of collocation or co-occurrence. The word ‘pretty’ collocates with – girls, woman, village, gardens, flowers, etc. Collocative meanings need to be invoked only when other categories of meaning don’t apply. Generalizations can be made in case of other meanings while collocative meaning is simply

on idiosyncratic property of individual words. Collocative meaning has its importance and it is a marginal kind of category.

7. Thematic Meaning:

It refers to what is communicated by the way in which a speaker or a writer organizes the message in terms of ordering focus and emphasis.Thus active is different from passive though its conceptual meaning is the same. Various parts of the sentence also can be used as subject, object or complement to show prominence. It is done through focus, theme (topic) or emotive emphasis. Thematic meaning helps us to understand the message and its implications properly. For example, the following statements in active and passive voice have same conceptual meaning but different communicative values.

2.4.1 Functions of Language

Leech (1974) declares five most communicative functions of language as follows :

1. Informational Function

This function tends to be the most important one, which conveys the information from speaker/writer to listener/reader. Conceptual meaning is predominant in the informational use of language.

2. Expressive Function

Language can have expressive function, that is, it can be used to express its originator’s feeling and attitudes, swear words and exclamations are the most obvious instances of this. For this function, affective meaning is clearly all-important.

The aim of this function is to influence the behavior or attitudes of others. The most straightforward examples of the directive function are commands and request. This function of social control places emphasis on the receiver’s end, rather than the originator’s end of the message, but it resembles the expressive function in giving less importance, on the whole, to conceptual meaning than to other types of meaning, particularly affective and connotative meaning.

4. Aesthetic Function

It can be defined as “the use of language for the sake of the linguistics artifact itself, and for no ulterior purpose”. Aesthetic function can have at least as much to do with conceptual as with affective meaning.

5. Phatic Function

This function is at the furthest remove from the aesthetic function, in that here, the communicative work done by language is at its lightest: It is not so much what one says, but the fact that one says it at all, that matters. Phatic function has the purpose to keep communication lines open and to keep social relationship.

2.4.2 Visual Aspect

The visual aspect is the picture of an advertisement. Dyer (1993 in Gemitri, 2012) states the picture are ‘easier’ to understand and have more impact than words, they generally often greater opportunity for the communication of excitement, mode imagination. The visual elements of the advertisement aimed to persuading the consumers capture the product. There are a lot of benefits in the advertiser using the visual advertisement which cannot be argued with the product and event becomes an understandable advertisement. The visual elements of the advertisement aimed at persuading the consumers capture on the product. The visual elements in

advertisement present interesting about photographs. There are a lot of benefits if the advertisers using the visual advertisement which cannot be argued with the products and events become an understandable.Dyer (1993:104-105) States the visual aspect is associated mainly with actors but it must not be forgotten that there are other visual elements in advertisement: stage props and other object (such as rock, grass,etc), the setting (including the weather) and certainly the product.

1.Props

Props are often applied in advertisement and can be as prominent as the product relatively insignificant. Props can be selected because they help to demonstrate the product’s use (i.e a paint brush in a pain commercial, a cup and a saucer in an instant coffee commercial) or results of usage (a damp cloth can be shown rubbing over a newly painted wall). They tend to appear, however, with a signifying as well as a functional role to play. For example, an advertisement of food product that shows it on a plate has a functional role. If the product is high in quality, then the prop is intended to convey a special meaning: good taste and superior quality. In this example the prop has both a functional and a symbolic meaning.

2.Setting

Advertisements do not always contain setting: even those with actor sometimes have non-specific backgrounds. Settings are carriers of meaning and are rarely value-free. They act as a context that qualifies the foreground. Sometimes, of course, the setting is the advertised product itself, as in travel/holiday advertisements. The more defined, obtrusive or cluttered the background, the more it will affect the main action or purpose of the advertisement. The setting of an advertisement can be quite vague and hazy or it can be collection specific props, but as far as impact goes the whole maybe greater than the sum of the part.

3.Product

The product is object (goods or services) that is advertised. There is a fact in which not every advertisement has pictures of the product. Some advertisers only put words on their advertisements since it seems simpler to be created that the pictures. This mostly applies for those who advertise services.

Pierce as cited in Chandler (2001) three modes of relation between signifier and signified.

1. Symbol/symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional - so that the relationship must be learnt e.g. language in general (plus specific languages, alphabetical letters, punctuation marks, words, phrases and sentences), numbers, morse code, traffic lights, national flags.

2. Icon/iconic: a mode in which the signifier is perceived as resembling or imitating the signified (recognizably looking, sounding, feeling, tasting or smelling like it) being similar in possessing some of its qualities: e.g. a portrait, a cartoon, a scale-model, onomatopoeia, metaphors, 'realistic' sounds in 'programme music', sound effects in radio drama, a dubbed film soundtrack, imitative gestures.

3. Index/indexical: a mode in which the signifier is not arbitrary but is directly connected in some way (physically or causally) to the signified - this link can be observed or inferred. Example:

a.natural signs' (smoke, thunder, footprints, echoes, non-synthetic odours and flavours), b.medical symptoms (pain, a rash, pulse-rate), measuring instruments (weathercock,

thermometer, clock, spirit-level),

c. 'signals' (a knock on a door, a phone ringing), pointers (a pointing 'index' finger, a directional signpost),

d. recordings (a photograph, a film, video or television shot, an audio-recorded voice), e. personal 'trademarks' (handwriting, catchphrase)

f. Indexical words ('that', 'this', 'here', 'there'). 2.5 Theory of Colours

According to Chapman (2010), Color in design is very subjective. “What evokes one reaction in one person may evoke a very different reaction in someone else”. Sometimes this is due to personal preference, and other times due to cultural background. Color theory is a science in itself. Studying how colors affect different people, either individually or as a group, is something some people build their careers on. And there’s a lot to it. Something as simple as changing the exact hue or saturation of a color can evoke a completely different feeling. Cultural differences mean that something.

2.5.1 The Meaning of Colours

a. Red: Energy, strength, passion, eroticism, cheerfulness, courage, element of fire, career goals, fast action, lust, desire, blood, vibrancy, driving forces, risk, fame, love, survival, war, revolution, danger, aggression, strength, power, determination, emotional intensity, sex, provoking, dynamic, stimulating, courage, bravery, good-tasting, force, leadership, drama, excitement, speed, heat, warmth, violence, attention, generosity, romance. Red stimulates metabolism, increases respiration rate, perspiration, appetite and raises blood pressure. Red is a strong masculine colour.

b. Pink: Romance, love, friendship, femininity, truth, passivity, good will, emotional healing, peace, calming, affection, emotional maturity, caring, nurturing, sweet tasting, sweet smelling, ethereal, delicacy.

c. Orange: warmth, energy, balance, enthusiasm, vibrancy, vitality, expansiveness, flamboyance, excitement, business goals, property deals, ambition, career, goals, general success, justice, legal matters, selling, action, attention-grabbing, the sun, friendly, inviting, intense, joy, strength, endurance, steadfastness, tropics, quick movement, wealth of the mind and knowledge, charity, growing things, fascination, friendliness, happiness, beginnings, heat, creativity, autumn, determination, attraction, success, encouragement, courage, earth, mental and appetite stimulatant, emotional lift, assurance, social force, health, warmth, attractiveness, cheerfulness, mood-lightening, uninhibited, independence, amiability, constructiveness, self-assuredness, cheap, low-budget, fun kids colour.

d. Brown: friendships, special events, earth, materialistic thoughts, hearth, home, outdoors, inexpensive, reliability, credibility, comfort, endurance, stability, simplicity, comfort, longevity, intimacy, tranquility, masculine, nurturing, contentment, strength, sensuality, productivity, passivity, fertility, generosity, dirt, substance, practicality, hard work.

e. Gold: wealth, god, winning, safety, masculine power, happiness, playful humour, prestige, wisdom, love of spirit, meaning, purpose, awe, spiritual love, quests of the heart, desire for power, mystic powers, higher mathematics, sciences, attainment, concentration.

f. Yellow: sun, intelligence, light, accelerated learning, memory, logical imagination, social energy, cooperation, organisation, breaking mental blocks, sunshine, joy, happiness, intellect, energy, cheerfulness, optimism, purity, enthusiasm, warmth, honour, loyalty, mental force, clarity, perception, understanding, wisdom, dishonesty, betrayal, jealousy, covetousness, deceit, disease, weakness, caution, cowardice, follower, curiosity, mellowness, confidence, humour, dreams, creativity, desire to improve, action, idealism, optimism, imagination, hope, summer, philosophy, uncertainty, restlessness, glory, enlightenment.

g. Green: earth mother, physical healing, monetary success, abundance, fertility, tree & plant magic, growth, food, hope, personal goals, resurrection, renewal, youth, stability, endurance, freshness, nature, environment, tranquil, refreshing, quiet, hope, immortality, health, healing, good luck, renewal, youth, jealousy, inexperience, trees, grass, vigour, growth, harmony, responsiveness, generosity, safety, envy, misfortune, quietude, compassion, renewal, moderation, nurturing, diplomacy, calm, contemplation, joy, love, abundance, balance, self-control, inexperience, hope, good omens, soothing, sharing, dependability, friendliness.

h. Turquoise: calming, emotional healing, protection, refreshing, sophisticated. Turquoise is equally popular with men and women. Mixes well with pale pinks and lavenders for a feminine look. Create a retro scenario with turquoise and pink or art deco by combining it with white and black. Combined with grey, silver, terra cotta and tans, it produces a southwestern USA look. With orange or yellow, it creates an innovative, fresh image suitable for sports-oriented sites.

i. Purple: influence, third eye, psychic ability, spiritual power, self-assurance, hidden knowledge, dignity, high aspirations, royalty, spirituality, nobility, ceremony, mystery, transformation, wisdom, enlightenment, sophistication, cruelty, arrogance, intuition, dreams, unconscious, invisible, telepathy, empathy, imagination, deja vu, universal spirit, spiritual connection, deeper truth, nobility, wealth, extravagance, dignity, independence, magic, creativity, energy, self-confidence, ego, ambition, fame, luxury, big profits, richness, sensuality, elegance, contemplation, meditation, majesty, lesbianism, Wicca, New Age spirituality, paganism, conceit, arrogance, nausea.

j. White: spirituality, goddess, peace, higher self, purity, virginity, reverence, simplicity, cleanliness, humility, precision, innocence, youth, birth, winter, snow, good, sterility, cold, clinical, sterility, clarity, perfection, innocence, virginity, goodness, light, fairness, safety,

positivity, faith, coolness, charity, successful innovations, union, self-sacrifice, holiness, feminine divinity, pristine, chastity, positivity.

k. Silver: glamous, distinguishment, high tech, industrial, graceful aging, telepathy, clairvoyance, clairaudience, psychometry, intuition, dreams, astral energies, female power, communication, goddess, ornate riches, sleekness, modernity.

l. Grey : security, reliability, intelligence, staid, modesty, dignity, maturity, solid, conservative, practical, old age, sadness, boring, practicality, professional, sophisticated, durability, quality, quiet, conservativeness, gloominess, sadness.

m. Black : protection, repelling negativity, binding, shapeshifting, power, sexuality, sophistication, formality, elegance, classy, wealth, power, mystery, fear, evil, anonymity, unhappiness, depth, style, evil, sadness, remorse, anger, underground, modern music, space, high quality, bad luck, formality, dignity, elegance, secretiveness, fear of the unknown, night, emptiness, dirtiness, sophistication, strength of character, dramatic, authority, prestige, grief, anger, reliability, strong.

advertisement present interesting about photographs. There are a lot of benefits if the advertisers using the visual advertisement which cannot be argued with the products and events become an understandable.Dyer (1993:104-105) States the visual aspect is associated mainly with actors but it must not be forgotten that there are other visual elements in advertisement: stage props and other object (such as rock, grass,etc), the setting (including the weather) and certainly the product.

1.Props

Props are often applied in advertisement and can be as prominent as the product relatively insignificant. Props can be selected because they help to demonstrate the product’s use (i.e a paint brush in a pain commercial, a cup and a saucer in an instant coffee commercial) or results of usage (a damp cloth can be shown rubbing over a newly painted wall). They tend to appear, however, with a signifying as well as a functional role to play. For example, an advertisement of food product that shows it on a plate has a functional role. If the product is high in quality, then the prop is intended to convey a special meaning: good taste and superior quality. In this example the prop has both a functional and a symbolic meaning.

2.Setting

Advertisements do not always contain setting: even those with actor sometimes have non-specific backgrounds. Settings are carriers of meaning and are rarely value-free. They act as a context that qualifies the foreground. Sometimes, of course, the setting is the advertised product itself, as in travel/holiday advertisements. The more defined, obtrusive or cluttered the background, the more it will affect the main action or purpose of the advertisement. The setting of an advertisement can be quite vague and hazy or it can be collection specific props, but as far as impact goes the whole maybe greater than the sum of the part.

3.Product

The product is object (goods or services) that is advertised. There is a fact in which not every advertisement has pictures of the product. Some advertisers only put words on their advertisements since it seems simpler to be created that the pictures. This mostly applies for those who advertise services.

Pierce as cited in Chandler (2001) three modes of relation between signifier and signified.

1. Symbol/symbolic: a mode in which the signifier does not resemble the signified but which is fundamentally arbitrary or purely conventional - so that the relationship must be learnt e.g. language in general (plus specific languages, alphabetical letters, punctuation marks, words, phrases and sentences), numbers, morse code, traffic lights, national flags.

2. Icon/iconic: a mode in which the signifier is perceived as resembling or imitating the signified (recognizably looking, sounding, feeling, tasting or smelling like it) being similar in possessing some of its qualities: e.g. a portrait, a cartoon, a scale-model, onomatopoeia, metaphors, 'realistic' sounds in 'programme music', sound effects in radio drama, a dubbed film soundtrack, imitative gestures.

3. Index/indexical: a mode in which the signifier is not arbitrary but is directly connected in some way (physically or causally) to the signified - this link can be observed or inferred. Example:

a.natural signs' (smoke, thunder, footprints, echoes, non-synthetic odours and flavours), b.medical symptoms (pain, a rash, pulse-rate), measuring instruments (weathercock,

thermometer, clock, spirit-level),

c. 'signals' (a knock on a door, a phone ringing), pointers (a pointing 'index' finger, a directional signpost),

d. recordings (a photograph, a film, video or television shot, an audio-recorded voice), e. personal 'trademarks' (handwriting, catchphrase)

f. Indexical words ('that', 'this', 'here', 'there'). 2.5 Theory of Colours

According to Chapman (2010), Color in design is very subjective. “What evokes one reaction in one person may evoke a very different reaction in someone else”. Sometimes this is due to personal preference, and other times due to cultural background. Color theory is a science in itself. Studying how colors affect different people, either individually or as a group, is something some people build their careers on. And there’s a lot to it. Something as simple as changing the exact hue or saturation of a color can evoke a completely different feeling. Cultural differences mean that something.

2.5.1 The Meaning of Colours

a. Red: Energy, strength, passion, eroticism, cheerfulness, courage, element of fire, career goals, fast action, lust, desire, blood, vibrancy, driving forces, risk, fame, love, survival, war, revolution, danger, aggression, strength, power, determination, emotional intensity, sex, provoking, dynamic, stimulating, courage, bravery, good-tasting, force, leadership, drama, excitement, speed, heat, warmth, violence, attention, generosity, romance. Red stimulates metabolism, increases respiration rate, perspiration, appetite and raises blood pressure. Red is a strong masculine colour.

b. Pink: Romance, love, friendship, femininity, truth, passivity, good will, emotional healing, peace, calming, affection, emotional maturity, caring, nurturing, sweet tasting, sweet smelling, ethereal, delicacy.

c. Orange: warmth, energy, balance, enthusiasm, vibrancy, vitality, expansiveness, flamboyance, excitement, business goals, property deals, ambition, career, goals, general success, justice, legal matters, selling, action, attention-grabbing, the sun, friendly, inviting, intense, joy, strength, endurance, steadfastness, tropics, quick movement, wealth of the mind and knowledge, charity, growing things, fascination, friendliness, happiness, beginnings, heat, creativity, autumn, determination, attraction, success, encouragement, courage, earth, mental and appetite stimulatant, emotional lift, assurance, social force, health, warmth, attractiveness, cheerfulness, mood-lightening, uninhibited, independence, amiability, constructiveness, self-assuredness, cheap, low-budget, fun kids colour.

d. Brown: friendships, special events, earth, materialistic thoughts, hearth, home, outdoors, inexpensive, reliability, credibility, comfort, endurance, stability, simplicity, comfort, longevity, intimacy, tranquility, masculine, nurturing, contentment, strength, sensuality, productivity, passivity, fertility, generosity, dirt, substance, practicality, hard work.

e. Gold: wealth, god, winning, safety, masculine power, happiness, playful humour, prestige, wisdom, love of spirit, meaning, purpose, awe, spiritual love, quests of the heart, desire for power, mystic powers, higher mathematics, sciences, attainment, concentration.

f. Yellow: sun, intelligence, light, accelerated learning, memory, logical imagination, social energy, cooperation, organisation, breaking mental blocks, sunshine, joy, happiness, intellect, energy, cheerfulness, optimism, purity, enthusiasm, warmth, honour, loyalty, mental force, clarity, perception, understanding, wisdom, dishonesty, betrayal, jealousy, covetousness, deceit, disease, weakness, caution, cowardice, follower, curiosity, mellowness, confidence, humour, dreams, creativity, desire to improve, action, idealism, optimism, imagination, hope, summer, philosophy, uncertainty, restlessness, glory, enlightenment.

g. Green: earth mother, physical healing, monetary success, abundance, fertility, tree & plant magic, growth, food, hope, personal goals, resurrection, renewal, youth, stability, endurance, freshness, nature, environment, tranquil, refreshing, quiet, hope, immortality, health, healing, good luck, renewal, youth, jealousy, inexperience, trees, grass, vigour, growth, harmony, responsiveness, generosity, safety, envy, misfortune, quietude, compassion, renewal, moderation, nurturing, diplomacy, calm, contemplation, joy, love, abundance, balance, self-control, inexperience, hope, good omens, soothing, sharing, dependability, friendliness.

h. Turquoise: calming, emotional healing, protection, refreshing, sophisticated. Turquoise is equally popular with men and women. Mixes well with pale pinks and lavenders for a feminine look. Create a retro scenario with turquoise and pink or art deco by combining it with white and black. Combined with grey, silver, terra cotta and tans, it produces a southwestern USA look. With orange or yellow, it creates an innovative, fresh image suitable for sports-oriented sites.

i. Purple: influence, third eye, psychic ability, spiritual power, self-assurance, hidden knowledge, dignity, high aspirations, royalty, spirituality, nobility, ceremony, mystery, transformation, wisdom, enlightenment, sophistication, cruelty, arrogance, intuition, dreams, unconscious, invisible, telepathy, empathy, imagination, deja vu, universal spirit, spiritual connection, deeper truth, nobility, wealth, extravagance, dignity, independence, magic, creativity, energy, self-confidence, ego, ambition, fame, luxury, big profits, richness, sensuality, elegance, contemplation, meditation, majesty, lesbianism, Wicca, New Age spirituality, paganism, conceit, arrogance, nausea.

j. White: spirituality, goddess, peace, higher self, purity, virginity, reverence, simplicity, cleanliness, humility, precision, innocence, youth, birth, winter, snow, good, sterility, cold, clinical, sterility, clarity, perfection, innocence, virginity, goodness, light, fairness, safety,

positivity, faith, coolness, charity, successful innovations, union, self-sacrifice, holiness, feminine divinity, pristine, chastity, positivity.

k. Silver: glamous, distinguishment, high tech, industrial, graceful aging, telepathy, clairvoyance, clairaudience, psychometry, intuition, dreams, astral energies, female power, communication, goddess, ornate riches, sleekness, modernity.

l. Grey : security, reliability, intelligence, staid, modesty, dignity, maturity, solid, conservative, practical, old age, sadness, boring, practicality, professional, sophisticated, durability, quality, quiet, conservativeness, gloominess, sadness.

m. Black : protection, repelling negativity, binding, shapeshifting, power, sexuality, sophistication, formality, elegance, classy, wealth, power, mystery, fear, evil, anonymity, unhappiness, depth, style, evil, sadness, remorse, anger, underground, modern music, space, high quality, bad luck, formality, dignity, elegance, secretiveness, fear of the unknown, night, emptiness, dirtiness, sophistication, strength of character, dramatic, authority, prestige, grief, anger, reliability, strong.