ANALYSIS OF INFOGRAPHICS OF THE ADVERTISING SPHERE: MULTIMODALITY AND COMPOSITIONAL METAFUNCTION

KNOLL, Graziela Frainer; FUZER, Cristiane

doi:10.1590/1981-5794-1911-5

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ORIGINAL ARTICLES • Alfa, Rev. Linguíst 63 (3) • Sep-Dec 2019 • https://doi.org/10.1590/1981-5794-1911-5 copy

ANALYSIS OF INFOGRAPHICS OF THE ADVERTISING SPHERE: MULTIMODALITY AND COMPOSITIONAL METAFUNCTION

Authorship SCIMAGO INSTITUTIONS RANKINGS

ABSTRACT

Multimodality, which is characteristic of texts that gather two or more semiotic codes (KRESS; van LEEUWEN, 2006van LEEUWEN, T. Introducing social semiotics. London; New York: Routledge, 2006.), requires an approach that emphasizes the verbal-visuality (BRAIT, 2013BRAIT, B. Olhar e ver: verbo-visualidade em perspectiva dialógica. Bakhtiniana, São Paulo, v. 8, n. 2, p. 43-66, 2013.) of these compositions. The aim of this study is to analyze categories of the compositional metafunction (KRESS; van LEEUWEN, 2006van LEEUWEN, T. Introducing social semiotics. London; New York: Routledge, 2006.) from the perspective of multimodality in infographics of the advertising sphere, with the purpose of understanding how the selected messages, configured in infographics, are organized. In order to do so, it is necessary to: (i) characterize the selected infographics based on categories of the compositional metafunction; (ii) understand how the multimodal and functional aspects relate to each other in these texts; (iii) investigate how the multimodal aspects act in the production of meaning. The sample consisted of five infographics from the advertising area selected from the Pinterest website. The multimodal analysis of the texts is carried out from categories of the compositional metafunction, from the Grammar of Visual Design (KRESS; van LEEUWEN, 2006van LEEUWEN, T. Introducing social semiotics. London; New York: Routledge, 2006.). The analysis shows that there is not only a visual focus but also a variable number of multimodal elements that, with their different sizes, colors, and communicative functions, contribute to the creation of various degrees of salience. Reading is done from the signifiers that stand out the most in the ad pieces, thus producing meanings.

Multimodality; Compositional metafunction; Infographic; Advertising

Leg.	Title/subtitle
C1	“The history of advertising”
C2	“What branding is: the personality of your brand”
C3	“Infographic - printed design x digital design”
C4	“10 kinds of incredible visual content that your brand should be creating right now.”
C5	“Neuromarketing: 6 characteristics of the consumer’s unconscious brain.”

COMPOSITIONAL METAFUNCTION
Information value	Relations between areas: left and right, top and bottom, center and margin.
Framing	Frames, lines, relationship between negative and positive space, continuity and discontinuity in colors.
Salience	Hierarchy of information: which elements stand out in visual importance?

	ELEMENTS (verbal or image-oriented)	SALIENCE
C1	Title and subtitles	Larger size than other blocks of verbal text, typography, upper position (Ideal).
	Icons and illustrations	Colorful and larger in size (height) than text framing.
	Year	Typography is different and larger than text blocks.
C2	Title and subtitles	Larger size than other blocks of verbal text, typography, upper position (Ideal).
	Character - male human being	Larger size than the other verbal text blocks, centralized and superior position in the infographic, color contrast with uniform background (the figure is repeated in another frame in the piece).
	Icon of smiling heart	Larger size than the other blocks of verbal text, red color, centralized position and the fact that it is not only an iconic element, but a symbolic one (cultural factor).
	Number 10 (numeral)	Size, color and centralized position.
	Product Brands	Larger size than other visual elements, colors that contrast with the uniform background and the fact that they are images recognized by Brazilian readers (cultural factor).
C3	Title and subtitles	Larger size than other blocks of verbal text, typography, upper position (Ideal).
	Double-framed visual information (versus symbol - X - and icons within rectangles and circles)	High color contrast between background and verbal text and images.
	Visual icons that move on the ad piece	Use of GIF image, which moves as the reader hovers the cursor over the screen, stands out in relation to the static elements of the infographic.
C4	Title and subtitles	Larger size than other blocks of verbal text, typography, upper position (Ideal).
	Pencil illustration	Larger size than other elements, color and upper position (Ideal).
	Sets of visual icons in each framing	Larger size than the other verbal text blocks, centralized position and colors.
	Percentages in each framing	Different typography of the rest of the verbal text, size, color and shadow effect.
C5	Title and subtitles	Larger size than the other verbal text blocks.
	Brain Illustration	Center position and size larger than other illustrations.
	Illustrations for each characteristic	Secondary salience, by the marginal position, by the light tones that contrast with the background and with the framing, by the use of culturally recognizable images.

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