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Symbolic Narratives in Graphic Design: Semiotic Perspectives on Advertising Visuals

Year 2025, Volume: 4 Issue: 1, 40 - 52, 01.02.2025
https://doi.org/10.58850/bodrum.1600537

Abstract

This study examines how consumer culture is reproduced through advertising visuals in the context of graphic design. Three different advertisements were selected, and the graphic design elements used in these visuals (such as color, composition, and symbols) were analyzed in terms of their impact on consumer perception. Employing the semiotic analysis method, the study reveals that advertising visuals are not merely aesthetic tools but also carriers of ideological and social meanings. The findings indicate that graphic design elements effectively convey the ideological messages of consumer culture and establish profound symbolic connections between brands and consumers. Additionally, the role of graphic design has become more prominent in the digital era, evolving into an interactive and multi-layered structure within modern consumer culture. This study underscores the critical function of graphic design as a communication tool that not only creates visual aesthetics but also shapes social values and consumer behaviors. In conclusion, advertising visuals are evaluated as strategic tools in the reproduction of consumer culture, contributing to theoretical and applied studies in this field.

References

  • Barthes, R. (2009). Mythologies. Vintage.
  • Barthes, R. (2012). The semiotic challenge. University of California.
  • Becer, E. (2015). Communication and graphic design. Dost Kitabevi.
  • Bican Şen, A. and Özdemir, E. (2017). Consumers’ color perception and gender: a research from marketing perspective. International Journal of Social Inquiry, 8(1), 183-221.
  • Chandler, D. (2017). Semiotics: The basics. Routledge.
  • Dyer, G. (1982). Advertising as communication. Routledge.
  • Featherstone, M. (2007). Consumer culture and postmodernism. SAGE.
  • Gümüş, Ç. and Kaya, B. (2022). Semiotic analysis of social media posts about witch victim animals. Korkut Ata Türkiyat Araştırmaları Dergisi, 7, 508-531.
  • Heller, S. and Vienne, V. (2018). Citizen designer: Perspectives on design responsibility. Allworth.
  • Kükrer, Ö. (2010). Myths and meaning in advertising. Akdeniz Üniversitesi İletişim Fakültesi Dergisi, (13), 25-43.
  • Miles, S. (2012). Consumerism as a way of life. SAGE.
  • Peirce, C. S. (1991). Philosophical writings of Peirce. Dover.
  • Saussure, F. (1916). Course in general linguistics. McGraw-Hill.
  • Singh, S. (2006). Impact of color on marketing. Management Decision, 44(6), 783-789. https://doi.org/10.1108/00251740610673332
  • Solis, B. and Breakenridge, D. (2009). Putting the public back in public relations: How social media is reinventing the aging business of Pr. FT.
  • Toker, A. (2022). A guide to qualitative data analysis in social sciences. Pamukkale University Journal of Social Sciences Institute, 51(Special Issue 1), Ö319-Ö345.
  • Tuncer, E. S. (2020). Advertising narratives in the light of semiotics analysis models. Atatürk İletişim Dergisi, (20), 73-102.
  • Uçar, T. F. (2004). Görsel iletişim ve grafik tasarım. İnkılap.
  • Wong, W. (1993). Principles of form and design. Wiley.
  • Yıldız, E., Kırmızıbiber, A. (2020). The effects of brand logos on brand authenticity, Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 10(3), 749-761.
  • Yüksel, D. (2023). Color selection in brand management: Color clustering model. Business and Economics Research Journal, 14(3), 433-444. http://dx.doi.org/10.20409/berj.2023.424

Symbolic Narratives in Graphic Design: Semiotic Perspectives on Advertising Visuals

Year 2025, Volume: 4 Issue: 1, 40 - 52, 01.02.2025
https://doi.org/10.58850/bodrum.1600537

Abstract

This study examines how consumer culture is reproduced through advertising visuals in the context of graphic design. Three different advertisements were selected, and the graphic design elements used in these visuals (such as color, composition, and symbols) were analyzed in terms of their impact on consumer perception. Employing the semiotic analysis method, the study reveals that advertising visuals are not merely aesthetic tools but also carriers of ideological and social meanings. The findings indicate that graphic design elements effectively convey the ideological messages of consumer culture and establish profound symbolic connections between brands and consumers. Additionally, the role of graphic design has become more prominent in the digital era, evolving into an interactive and multi-layered structure within modern consumer culture. This study underscores the critical function of graphic design as a communication tool that not only creates visual aesthetics but also shapes social values and consumer behaviors. In conclusion, advertising visuals are evaluated as strategic tools in the reproduction of consumer culture, contributing to theoretical and applied studies in this field.

References

  • Barthes, R. (2009). Mythologies. Vintage.
  • Barthes, R. (2012). The semiotic challenge. University of California.
  • Becer, E. (2015). Communication and graphic design. Dost Kitabevi.
  • Bican Şen, A. and Özdemir, E. (2017). Consumers’ color perception and gender: a research from marketing perspective. International Journal of Social Inquiry, 8(1), 183-221.
  • Chandler, D. (2017). Semiotics: The basics. Routledge.
  • Dyer, G. (1982). Advertising as communication. Routledge.
  • Featherstone, M. (2007). Consumer culture and postmodernism. SAGE.
  • Gümüş, Ç. and Kaya, B. (2022). Semiotic analysis of social media posts about witch victim animals. Korkut Ata Türkiyat Araştırmaları Dergisi, 7, 508-531.
  • Heller, S. and Vienne, V. (2018). Citizen designer: Perspectives on design responsibility. Allworth.
  • Kükrer, Ö. (2010). Myths and meaning in advertising. Akdeniz Üniversitesi İletişim Fakültesi Dergisi, (13), 25-43.
  • Miles, S. (2012). Consumerism as a way of life. SAGE.
  • Peirce, C. S. (1991). Philosophical writings of Peirce. Dover.
  • Saussure, F. (1916). Course in general linguistics. McGraw-Hill.
  • Singh, S. (2006). Impact of color on marketing. Management Decision, 44(6), 783-789. https://doi.org/10.1108/00251740610673332
  • Solis, B. and Breakenridge, D. (2009). Putting the public back in public relations: How social media is reinventing the aging business of Pr. FT.
  • Toker, A. (2022). A guide to qualitative data analysis in social sciences. Pamukkale University Journal of Social Sciences Institute, 51(Special Issue 1), Ö319-Ö345.
  • Tuncer, E. S. (2020). Advertising narratives in the light of semiotics analysis models. Atatürk İletişim Dergisi, (20), 73-102.
  • Uçar, T. F. (2004). Görsel iletişim ve grafik tasarım. İnkılap.
  • Wong, W. (1993). Principles of form and design. Wiley.
  • Yıldız, E., Kırmızıbiber, A. (2020). The effects of brand logos on brand authenticity, Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 10(3), 749-761.
  • Yüksel, D. (2023). Color selection in brand management: Color clustering model. Business and Economics Research Journal, 14(3), 433-444. http://dx.doi.org/10.20409/berj.2023.424
There are 21 citations in total.

Details

Primary Language English
Subjects Semiotics, Graphic Design, Visual Communication Design (Other)
Journal Section Research Articles
Authors

Ayça Yılmaz 0000-0002-9350-4675

Bilal Kır 0000-0001-9778-1453

Publication Date February 1, 2025
Submission Date December 12, 2024
Acceptance Date January 10, 2025
Published in Issue Year 2025 Volume: 4 Issue: 1

Cite

APA Yılmaz, A., & Kır, B. (2025). Symbolic Narratives in Graphic Design: Semiotic Perspectives on Advertising Visuals. Bodrum Journal of Art and Design, 4(1), 40-52. https://doi.org/10.58850/bodrum.1600537