Free Transcript of Episode 2.7 Creative Hacks to Semiotically Communicate Anything to Anyone
Semiosis 101 Season 2, Video 7 Transcript
Hello readers.
In this free transcript for the video published on Semiosis 101 on 31 May 2023, we continue our discussion from last week about what semiotics can do for ‘me,’ onto encoding richer meaning instead.
Watch the free video on YouTube for the full impact…
…and here is the video’s transcript.
NOTE: As with any video transcript the tone used is conversational. The following transcript text features ad libs, and therefore should be read in the spirit of any semi-scripted video.
So what can semiotics do to help creatives encode richer meaning?
Obviously, on Semiosis 101 we are only focussing on Peirce’s semiotic theory. If you want to know why I am not including Sausserian semiotic theory then check back to my first three season 1 videos.
Encode. Richer. Meaning.
These are three words that deceptively frame a lot of specialist creative ability.
So let us expand what we first mean by these three words in the context of Visual Communication Design. If a creative produces a piece of visual communication work there is an embedded purpose for its creation - to communicate something to someone for some purpose. Even in the simplest piece of throwaway design of a flyer there is an intended desired action embedded
- buy,
- come to,
- do this,
- protest that, etc.
Meaning can be intended to be denotatively attained…
“This is this!”
But in our socio-cultural existence these forms of visual communication can be quickly ignored by a sophisticated audience as part of the visual noise of third-parties vying for their valuable attention every minute of the waking day. This brings us to the connotative level of communication of messages and meaning. It brings the creative to their discipline’s starting point of the client’s brief’s requirements, but more importantly it brings the creative to semiotics and encoding meaning.
In the context of Semiosis 101 this is obviously in the crafting of visual representations to connect with the target audience, to make the connotative communication more effective. This happens during the ideation period, where the aesthetic is crafted. This visual language can be enhanced with more mindful application of Semiosis. To enhance the aesthetic, the visual language chosen by the creative that will attract the attention of the target audience, needs to be semiotically considered.
We are not talking about a creative’s subjective ‘style’ here. Or what the creative likes/prefers/always does. We are discussing effective visual communication. We are discussing what the target audience needs to see, needs to know, and how they will positively respond.
Hence encoding, qualitatively speaking.
Semiosis or sign-action says it as it is. The action of the sign. What is the desired action? One that reinforces the message to be visually communicated. How does the visual element of the communication begin to do this? Well that is where the chosen visual aesthetic can be crafted, through the nesting of various levels of semiotic signs to codify the message.
In Peirce’s determination flow within the sign-action, he uses three obtuse theoretical terms. I will quickly refer to them to then reframe them using more designer-centric terms. Peirce’s determination flows between the Object, its Representamen to the Interpretant. Which leads the sign-action to ‘reveal’ the Object, and on the Semiosis continues.
Let me use two analogues to explain determination flow within a typical design process.
First example is a broad brush, macro example of the intwined relationship flow between a client and brief, the creative, and the target audience.The client and brief has the meaning/message to be communicated (i.e. responsible for the Object). The creative controls how to visually represent this message (i.e. Representamen). The audience interprets the representation (i.e. Interpretant). If effectively encoded through the chosen representation the audience interprets the intended message.
The second analogue to Peirce’s determination flow between Object, Representamen to the Interpretant is at more micro level.
Using a more designer-centric terminology, the creative’s semiotic determination flow to encode richer meaning into their visual communication outcomes can be described as Concept > Representation > Interpretation. This simpler designer-centric model can be seen to be a rich semiotic framework, in which the message (Concept) can be aesthetically rendered (Representation). If the Representation is crafted to appeal to the target audience - to hook and retain their attention - then this facilitates the audience’s Interpretation of the intended Concept.
A well crafted sign-action will visually communicate to the target audience the principle message the client needs to be made
e.g. buy this,
- go here,
- do that,
- avoid this, etc.
What Peirce’s Semiosis offers the creative are rich layers to encode meaning. Within the Pragmatic semiotic Represention of a Concept (Peirce’s Object’s Representamen) there are three levels of intensity, from simple to complex. We have discussed these levels at length in season one (so check out episodes 1.9 - 1.12, and 1.16) but for now the three levels are from simple to complex: Iconic representation, Indexical representation and Symbolic representation.
At the Iconic level representation is no more than visible possibilities of resemblances and shared qualities to things. At the Indexical level we are representing Index, through existential connections, in other words, the visual representation ‘points’ the audience to existential things.
Indexical…
Index…
index finger…
pointing… geddit?
Finally, the highest level of Representation is Symbolic, and this is socio-culturally learnt and agreed. Now I deal in season one episodes with the other meanings of these words. Therefore let us not repeat pre-existing ground when you can catch up (maybe pause this video until you have watched the season one episodes?) What is crucial to understand, even only partially, that the target audience is crucial here to any semiotic sign-action creatives may encode.
A semiotic sign, no matter how long a creative has taken to encode in their aesthetic will not begin to function semiotically until the audience perceive it as something. In 21st century cultures around the world people are bombarded with visual ‘noise’ with every poster, magazine, advert, branding, packaging, etc. they encounter. Each piece of visual communication competing for their attention. We can call this perception overload where too much ‘noise’ prevents communication.
It is the quiet moments when audience attention can rest and be piqued that we are discussing here. We are discussing ‘targeted’ attention here (I discussed target audiences at length in season two, episode 2.2). In the ‘quiet’ moment when the audience’s attention is subconsciously triggered, for them to begin to perceive something they are observing maybe meaning something more than its denotative level, semiotic sign-action begins.
What visually triggers this commencement of sign-action can be a shared quality or resemblance to something that has a familiarity to something the audience knows. This could be a simple line in a particular shape, a shape in a particular colour, a mark, etc. It is simply a part of the overall visual language the creative has selected, to shape the aesthetic of the visual communication outputs that their client has tasked them with. These, semiotically-speaking, are the basic visual building blocks that sketching begins with, and that ideation develops.
Iconic representation elements are the basic triggers encoded to begin the greater and deeper Interpretation of the message by the target audience. They are also nested inside the higher Representation levels. A creative may encode into their designs or illustrations a Symbolic level, but for the audience to unlock this richer level of meaning, their Interpretation would be based on a deeper set of experiential reference points. Therefore, from a creative’s point of view, a single design, encoded to semiotically communicate across different levels of perception, can be experienced differently by three audience members.
The quick example I have previously used is a single image. One person sees a panda and know this IS the WWF organisation (A). Another sees a panda (B). A third sees shapes defining some sort of animal (C).
(A) Symbolic*
(B) Indexical*
(C) Iconic*
*All can be encoded in the same image.
To conclude this eighth season two video, by reframing the question from “do for me” to “encode richer meaning,” the sign-action power of Semiosis opens up huge control over the creative’s aesthetic and visual language choices. By removing from the process the self-indulgence of ‘me’ and flipping it to how to trigger perception in the target audience, the value of the creative has just been repositioned. Then by re-examining ‘do’ in a new framework of encoding meaning, through three levels of semiotic Representation, the creative’s purpose in visually communicating has just become more focused.
Come back next week for the next Semiosis 101 episode on crafting your semiotic signs where we will answer the question on how to use sign-action to not only hook, but to retain, the target audience’s attention to give them more Interpretation time.
Watch the free video on YouTube for the full impact…