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Appendices

Appendix 1

Survey via Instagram poll

Appendix 2

Survey via Google Documents

Appendix 3

Survey Results via Google Documents

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Email Interview Transcript: Greg Rowland – Member of the Semiotic Alliance 19/11/20

1. In your opinion do you believe semiotics aids logo design. And why? I’d hardly say ‘no’! Semiotics can help evaluate designs according to traditional semiotic principles. However Commercial Semiotics, a broader field of study, can help inspire a distinct change, using the method to change ‘texts’, which is something never anticipated by academics.

2. How does the use of semiotics in logo design benefit the target audience? Perhaps by not resenting them with something ridiculous or annoying in the role of disaster preventer – or adding to the visual pleasure of the brand landscape in a positive way.

3. How do you think a better understanding of semiotics will be beneficial to designers? It allows them to step outside of their own preferences and prejudices whether that’s aesthetic or unconsciously ideological or so on.

4. Can you see graphic designers and semioticians working together? If so, then in which kind of projects? We have done a great deal, on 3D pack design, logo work, NPD and retail signage (I’ve worked variously for brands like KFC, Dove, Lynx deo, Guinness, Ballantine’s whisky and a host of others in this context.)

5. Do you believe semiotics have an effect on consumers mind when they view a brands identity? Yes, because semiotics is a way of understanding how meaning is generated and processed so it’s there when people look at brands. It’s also there when people look at a painting or a table or a tree.

6. What are great examples of work relating to semiotics and graphic design? Saving the Colonels form disappearing from KFC (2004) Baby Dove, Dove Pro Age, Pot Noodle Bombay Bad Boy, Euphoria by Calvin k

7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Yes

8. In what ways would good graphic design be beneficial towards your own projects, studies or work? It creates better case studies if somebody of real talent takes our inspiration and runs with it.

9. Do you believe semiotics and linguistics have a similar impact on logo design? Not really – linguistics doesn’t take in the whole design, just the words. In my version of semiotics, we’d pretty much cover off the linguistic stuff, but also consider every other visual and often tactile or heft elements.

Appendix 5

Email Interview Transcript: Paul Cobley – Professor in Language and Media at Middlesex University 20/11/20

1. In your opinion do you believe semiotics aids logo design. And why? Yes and no. A version of semiotics is probably used in all logo design. Any careful consideration of design is a form of semiotics. Formal semiotics, referring to the literature in the field in order to generate a design, seldom takes place.

2. How does the use of semiotics in logo design benefit the target audience? See above. Again, there will always be some consideration of audiences in logo design. Incidentally, don’t fall for the myth that semiotics is not interested in audiences. As Peirce said, a sign is always “for someone”.

3. How do you think a better understanding of semiotics will be beneficial to designers? It’s not guaranteed that understanding formal semiotics will necessarily produce better designs. After all, many designs are created without it. However, what semiotics does provide, I think, is the ability to make quick, analytic decisions and to be able to articulate the reasons for creative decisions. Some designers probably learn to do these things through experience. Semiotics should give less experienced designers a head start.

4. Can you see graphic designers and semioticians working together? If so, then in which kind of projects? They do quite often. Have you not researched commercial semiotics companies like Space Doctors, Sign Salad, Creative Semiotics and many others (largely based in London)?

5. Do you believe semiotics have an effect on consumers mind when they view a brands identity? If you mean “does the semiotics of a visual communication have an effect on consumer’s mind”, that would be a more apt phrasing. However, the answer would have to be qualified because the issue of media/communication effects is a greatly vexed one. Who can ever be sure that there is an effect on consumers, let alone say what it is? Brand strategists and advertisers have routines and procedures, but they can never predict with absolute conviction what effect their communications have. What can be said is that

the semiotics of a visual communication may invite certain kinds of reading and attempt to restrict or forbid other kinds of reading.

6. What are great examples of work relating to semiotics and graphic design? You should contact Lucia Neva lucia.neva@visualsigno.com to discuss this. She is probably the best-informed commercial semiotician in this respect. Personally, I would say that the simplest of logos are often the most striking examples of semiotics and graphic design. However, these often involve an initial creative inspiration which is then confirmed by what might be a semiotic assessment of the design’s suitability for purpose. Think of the Nike swoosh. It seems relatively inconsequential at first. At its very basic level, I think it was probably meant to be an icon of movement. Yet, almost immediately, it begins to take on a rich range of associations – so rich, in fact, that it becomes susceptible of copying and parody.

7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Frequently – particularly when I see poor designs. I have been involved in consultations where a choice over one graphic design over another might be chosen and the process has been similar to that with the Nike swoosh, above. I must say, though, that I lack the creativity and inspiration, as well as the graphic acumen, to generate a memorable design myself.

8. In what ways would good graphic design be beneficial towards your own projects, studies, or work? The nature of my work seldom requires graphic design but if it did, I would be attentive to it.

9. Do you believe semiotics and linguistics have a similar impact on logo design? I don’t think linguistics does.

Appendix 6

Email Interview Transcript: Josiah Kahane, Professor Emeritus, Faculty of Design, HIT Holon Institute of Technology, Israel. 23/11/20

1. In your opinion do you believe linguistics aids logo design. And why? The term linguistics is quite wide-ranging and cover several areas (phonetics, grammar, semiotics, world languages etc.) so I am not sure which aspect of traditional linguistics will aid logo design. On one hand I agree with the philosopher Ludwig Wittgenstein famous claim “ The limits of my language mean the limits of my world”. On the other hand, linguistics does not inquire into the visual language as art and design do. As my professional expertise is industrial design, I deal less with the interaction between language and visual signs, but I do use a well-known analogy method– Product Semantics.

2. How does the use of linguistics in logo design benefit the target audience? Logo recognition is about familiarity. We cannot identify a logo that we have not seen before and there are so many similar logos to confuse us. Therefore, the consumer needs a clue. A logotype is one solution (e.g., Marks & Spenser). A logo that is a part of a broader advertisement is another.

3. How do you think a better understanding of linguistics will be beneficial to designers? Very much so. Please read part I of my book on the topic – J. Kahane, The Form Of design (BIS Publ. 2015)

4.Can you see graphic designers and linguists working together? If so, then in which kind of projects? Unfortunately, designers are not at their best dealing with text and meaning. As an example of such cooperation, here is a short excerpt from my book: The Sapir-Whorf hypothesis is significant to designers, not only in the context of design for global markets. It was already suggested that a novel product is not entirely understood until it is given a proper name and that name turns familiar. The early cars were called “horseless carriage” – a good description before the word automobile (move on its own) was invented. More recent, the Japanese word Kawaii (cute) has taken on the additional meanings of “cool”, “groovy”, “acceptable”, “desirable”, “charming” and “non-threatening”. This awareness brought about a whole class of kawaii plump and sweet products exclusive to Japan, almost a culture in itself, from cupcakes to Hello Kitty figures, even to cute small cars.

5. Do you believe linguistics have an effect on consumers mind when they view a brands identity? Yes, but rather not consciously, and not via logo alone. We are so used to seeing moving images, hearing vocal music, and reading short text at the same time. Corporate identity is evolving into a more and more dynamic context. Just try seeing an old silent movie, so much is missing without hearing actors talk and a story-telling music.

6. What are great examples of work relating to linguistics and graphic design? No exemplary comes to mind, so here is a good advice: All living language change. They have to. Languages have no existence apart from the people who use them. And because people are changing all the time, their language changes too, to keep up with them. Quoting David Crystal, A little book of language, Yale 2010

7. Has there ever been a situation where you’ve felt that your skill and knowledge would have significantly improved and enhanced a graphic design piece? Very much so, in both design teaching and in practice. Innovation is all about ever expanding one’s horizon. It is true in all design fields, not just in graphic design.

8. In what ways would good graphic design be beneficial towards your own projects, studies or work? Sorry to admit. Product designers are not that good in graphic design. They feel better in designing 3D forms.

9. Do you believe semiotics and linguistics have a similar impact on logo design? Semiotics has more impact on logo design but the more you understand the great picture of linguistics, and evermore, culture in general, the more you understand what you do. See the marked sentences below:

Semiotics is the branch of knowledge dedicated to the study of signs and sign processes. Designers are likely to assume that the word sign has to do with what we professionally call signage systems. Actually, directional signs are just a narrow constituent of semiotics. Semiotics is by far wider in scope, having to do with philosophy, linguistics, cultural studies and the gamut of psychological, biological, and sociological phenomena which occur in understanding signs. Semiotics also deals with terms such as indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication. Semiotics is frequently seen as having important anthropological dimensions too.

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