By Jean-Marie Floch
The six essays of visible Identities are a big contribution to the becoming box of business semiotics. Floch's significant power is his research of indicators in a manner that's either industrially appropriate and textually specific. till lately there were fairly various and particular methods of knowing commerical symptoms, corresponding to trademarks and ads. Industry-based paintings has tended to examine questions of selling and has usually been decreased to the mass psychology of 'appeal' and viewers study, while the textual research of commerical symptoms has tended to return from restricted positions of identification politics and feedback (Marxism, feminism, etc). Floch manages to discover a manner among (and additionally outdoor) those traditions. In doing so he has produced a e-book that allows you to curiosity business practitioners in ads, advertising and layout in addition to scholars and lecturers in semiotics.
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Additional resources for Visual Identities
Because its (hi)story is in itself very semiotic. That is, it tells us how a pen can be considered as an object of meaning. This way of thinking is already characteristic of semiotics as distinct from technical, sociological or historical approaches, for example. By referring to a pen in particular, the story of the twins suggests that texts and images are not the only possible objects of meaning [sens]; concrete and material objects can also be meaningful [signifiant], not only because of the added value conferred on them by their producers — a question we will take up later in the case of the Opinel knife (Chapter 6) — but also because they are situated in a narrative of use or consumption (in this instance, in a relation of gift and return-gift).
But the gift in question is not merely a pen; it's a Waterman, a brand-name pen, the first letter of which is also a logo. And what is the most striking aspect of that letter, of that logo? Again, it is its twinship (gemellity) (Figure 5). It is a double 'U' (or double V), both literally and visually. Moreover, in Waterman's logo-initial the shape represents not only gemellity but also a kind of 'accolade'; it is made up of a line through which one form joins another identical to itself. The contrast with the handwritten 'W in the letter by T (Figure 6) is enough of an indication of this: the calligraphic 'W of the Waterman logo — in the trademark at the bottom of the advertisement — takes on the function of the mischievous brother in the photograph, drawing the twins together in a single character.
It is a disorderly version of the colours of the rainbow. Traditionally, the rainbow is represented by a sequence of polychromatic bands going from warm to cold colours, or vice versa. Indeed this is how company logos, such as Steelcase Strafor's or NBC's, and region council logos, Lorraine's for example, use the rainbow symbol (Figures 9 and 10). - In the Apple logo the warm colours are privileged, at the centre of the configuration. And there are more warm colours than cold - violet, red, oran and yellow, as against blue and green.
Visual Identities by Jean-Marie Floch