A SEMIOTICS ANALYSIS ON DAGADU'S PRODUCTS
A Thesis
Submitted to Adab and Humanities Faculty In Partial Fulfillment of One of The Requirements
For The Strata 1 Degree
Yunita Diah Ayurini 203026002112
ENGLISH LETTERS DEPARTMENT ADAB AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY "SYARIFHIDAYATLLAH" JAKARTA
May 2007.
The writer uses descriptive analysis where the writer describes the sign on the Dagadu's products. The signs can be words or pictures. And then the writer analyzes and describes the meaning of linguistic symbol and pictoral symbol based on the relevant theory.
Together with the increasing of advertisement, graphic design became famous because many people have already recognized its contribution in the field of sales especially at silk screening. A good design on T-shirt is often considered to be the key of success for the sales process besides the quality of cotton of course. On the contrary, a bad design is often believed to be the cause of the failure of selling product oritsometimes considered to destroy the image of the product themselves.
APPROVEMENT
A SEMIOTICS ANALYSIS ON DAGADU'S PRODUCTS
A Thesis
Submitted to Adab and Humanities Faculty
in Pmiial Fulfillment of the Requirement for the Stratal Degree
Yunita Diah Ayurini NIM.203026002112
Approved by:
ENGLISH LETTERS DEPARTMENT
ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY "SYARIF HIDAYATULLAH" JAKARTA
the paper has already been accepted as a partial fil1fillment of the requirement for the Strata I Degree.
Jakm1a, May 31, 2007 Examinition Committee
Chair Person,
ｾＢｾ
Drs. H. Munir Sonhaji, M. Ed. NIP. 150050682
Members:
Secretary,
Drs.Saefuddin, M. Pd. NIP. 150261 902
DECLARAnON
.k,- ..
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previollsly published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university 'or other institute of higher learning, except where due acknowledgment has been made in thl, text.
DALAM DIAM
dalam diam dalam hembus
dalam desah dalam nyeri: aku ingin kau
dalam diam, dalam hembus,
dalam desah, dalam seringai kusebut namamu
dalam diam dalam hembus
dalam desah dalam tawa kurobek nadiku
adakah kau?
Strata I Degree to The Faculty of Adab Humanities, English Letters Department State Islamic University Syarif Hidayatullah Jakarta. There are number of people who have given valuable assistance toward the successful completion of my study in general and this paper in particular. Without their helps, it would have been impossible for me to finish. The writer can mention but a few of those whom I am indebted.
In terms of completion of the writer's study, the writer wish to express my deepest gratitude to the Dean of Adab and Humanities Faculty, Dr. H. Abdul Chair, MA, The Head of English Letters Department, Dr. M. Farkhan, M. Pd., The Secretary of English Letters, Drs.Saefuddin, M. Pd", and to all my lecturers who can not be mentioned one by one in this paper.
My own family deserves more than can not be mentioned here. The writer offers everything to my parents whose guidances, sacrifies, stuggles, material and psychological supports complete me as human kind.
The writer owes a lot of thanks to Hendra Darmawan and Abay, thanks for the discussion, it really means to me.
Jakarta, June 2007
APPROVEMENT .
LEGALIZATION .
DECLARATION , .
DEDICATION PAGE .
PREFACE " .
TABLE OF CONTENTS ..
CHAPTER I INTRODUCTION ..
A. Background of The Study
B. Focus of The Study C. Research Question
D. Significances of The Study E. Research Methodology
I. Objectives of The Study 2. Method of Research 3. Data Analysis Technique 4. Unit Analysis
A. The Meaning of Semiotics B. Aspect of Semiotics
A. Data Description
A. Background of Study
"Dagadu Djokdja" is a branded product that produces exclusive souvenir of Jogja such as: I-shirt, block note, sticker, bag, socks, and so on. Dagadu was founded in 1994 by 25 college students that ever learned about architecture at UGM and have similar interestontourism business, having to do with the city and of course graphic design. For Jogja's people the word Dagadu has been existed since several decades ago as a curse word: your eyes! Dagadu is Jogja's slang language that is arranged by return four lines Javanese letters.
ha na ca ra ka
ｾ
ｇＰｾｾ
pa dha 'a waya lanyaGG
ba tha nga*)da
=
rna, ga=
ta, du=
mulJAnonymous,Bulcumungil Dagadu Djokdja(Yogyakarta: PT. Aseli Dagadu Djokdja, 2006),
2
To solve the code word is by return the first line to the third one and the
second line to the fourth one. The Indonesian word is cut into pieces based on its
syllable and then put based on the Javanese letters order without changed the vowel
letters "Da" in the second line is pronounced "Ma" in the fourth line, "Ga" in the
fourth line is pronounced "Ta" in the second line, and "Du" the word "Da" is form a
pair with "Ma" (Mu). So, Dagadu means your eyes!
Eyes are the main medium of sight seeing. And by using eyes as a logo,
Dagadu hopes, Dagadu can delegate its care about the problems of tourism business.
Dagadu Djokdja as alternative souvenir from Jogja carries on the main therne:
everything about Jogja, such as: its artifact, its language, its culture, and also the
trivial in its daily life. The words and the picture on its desigus make Dagadu famous
and become an icon of tourism besidesgudeg, batik, bakpiaand silver.
This thesis is about analysis the meaning of linguistic symbols on dagadu's
products. In this research, the writer applies theory of semiotics to analyze the
meaning oflinguistic symbols on dagadu's product. Semiotics is study about sign and
all the things related with it; the way its function, its relation with the other signs, its
send, its received, by them who use.2
2Missriani & B.A Loeneto, "Analisis Struktural Semiotik Pnis; peIIlbawa Matabari Karya
B. Focus of Study
The products of PT. Aseli Dagadu Djokdja are not only T-shirt but also sticker, block note, bookmark, bag, etc. But Dagadu always gives its creative idea in its design like a fun writing, attractive and often make people: smile. The languages that Dagadu use are also various, from Javanese until English. And because the writer takes English letters department, so the writer focuses the research on the meaning of linguistic symbols on the design that using linguistic symbol on T-shirts, sticker and block notes.
C. Research Question
In fact, language is a system of signs. The system of signs have arbitrary and conventional characteristics. The system of signs in language are signifie and signifiant. Signifie and signifiant are like two sides of money which can not be separated and every sign has meaning. Then, the questions in this research are: What do the linguistic symbols used in dagadu's products mean?' How is the relation between the linguistic symbols and pictoral symbols?
D. Significances ofTheStudy
4
E. ResearchMethodology
I. Objectives of The Study
This research tries to analyze the meaning of linguistic symbols used on
Dagadu's products and the relation between the linguistic symbols and
pictoral symbols.
2. Method of Research
The method which is used in this researched is descriptive analysis where the
writer describes the sign on Dagadu's design. The signs can be words or
pictures. And then, the writer analyzes and describes thl, meaning of linguistic
symbol and pictoral symbol based on the relevant theory.
3. Data Analysis Technique
To analyzes the ､｡ｴｾ first, the writer collects thtl design using linguistic
symbol and then the writer classifies the pichlfe using bilingual, religion and
Yogya's community life as the theme, and find out the meaning or
interpretation of the sign using the semiotics theory. Then, the classified data
will be analyzed through descriptive analysis technique.
4. Unit Analysis
Unit analysis which is used on this research is the collection of Dagadu's
design from 15 pictures that using bilingual and the design that using Yogya's
community life as the theme. For examples, the writer gives the pictures,
which contain the signs such as, picture and linguistic symbol. Linguistic
•
•
•
•
•
CHAPTER II
THEORETICAL FRAMEWORK
A. The Meaning of Semiotics
The word "Semiotics" comes from the Greek root, seme, as in semiotilws, an interpreter of signs. Semiotics as a discipline is simply the analysis of signs or the
study of signs or the study of the functioning of sign systems.3 Semiotics and
semiology are two terminologies that refer to the same studies. The word semiotics is
used by scientist in America whereas semiology is more used in Europe.4
The primary function of signs is to create or generate the meaning. A specific
sign will generate different meanings depending on the l;ulture in which it takes
place. A sign can create multiple meanings or a single one; the relationship between
signs can generate a different set of meaning; a sign is active: and always generates
some meanings.
In this respect, we have to consider Charles Sanders Peirce's theory of
semiotics which emphasises on more about the study of sign. Peirce explains that a I
sign is "anything which determines something else (its interpretant) to refer to an
object to which itself refers (its object) in the same way, the interpretant becoming in
3Paul Cobley, Litza Jansz,Introducing Semiotics(Singapore: Tjen Wah Press Ltd, 1997), p.
4.
tum a sign, and so on ad infinitum"s. A sign is anything perceptible, knowable or imaginable, but to act as a sign, it must enter into a relationship with its object, be interpreted and thus produce a new sign, its interpretant.
Therefore, it can be explained in the theory of semiotks based on the triangle of semiotics below, in which it consists of sign, reference, and interpretant. Each element depends on the others and can only be understood in relation to others. A sign or representamen, is anything that is used to stand for or represent something other than itself, such as words, pictures, gestures, and so forth. Referent is something used as an object of signs. Interpretant is an interpretation from people based on the sign and the referent. The semiotics triangle can be drawn as:
SIGN / REPRESENTAMEN (FIRSTNESS)
INTERPRETANT (THIRDNESS) OBJECT (SECONDNESS)6
5Umberto Eco,ATheory ofSemiotics(USA: Indiana University Press, 1976), p.69
8
The sign or representamen IS a first; the object is a second; and the
interpretant is a third. The interpretant here represents Ihe thirdness. But the
interpretant becomes the first for the next triad.
As a first then, the sign also act as a third, bringing the next interpretant into
relationship with the object, orrendering "inefficient relations efficient", establishing
"a habit or general rule" whereby (signs) will act on occasion.?
The triangle semiotics is used to find the meaning of linguistics symbol that
dagadu uses. For example is the design of Yoga. The sign is Yoga, and the object is
man or people and to make interpretation, it must go through the object (the concept
that is caught by our mind).
B.Aspects of Semiotics
The shortest definition of semantic is the study of signs. If the study focuses
on its classifications, in its relation with the other sigus, on ita way to work together
on perform of its effect, it is called syntax semiotics. If the study shows the sigus
relation with its reference and with interpretation that is resulted, it is called semantic
semiotics. And if the study emphasizes the relation between sig;ns with the sender and
the receiver, it is called pragmatic semiotics.8
Ferdinand de Saussure and Charles Sanders Peirce are the two pioneers of
semiotics. Ferdinand de Saussure and Charles Sanders Peirce did not recognize each
7Paul Cobley, Litza Jansz (1997),op.cit. 18
other, their background of study were also different. Ferdinlmd de Saussure was a
linguists whereas Charles Sanders Peirce was a logician, physicist and philosopher.
Because of that, their semiotic theories were different. According to Peirce
terminology, symbol is a sigu of arbitrary while according to Saussure, a symbol is a
sign that is not wholly arbitrary. In his theory, Saussure expands the basis of general
linguistic. His special characteristic of theory lies on the fact that he regards
linguistics as a sign system. Ferdinand de Saussure was famous for his dichotomy:
signifiant and signified.
Logic, in its general sense, is only another name for semiotic, the
quasi-necessary, or formal, doctrine of signs. By describing the doctrine as
"quasi-necessary," I mean that we observe the characters of such sign as we know, and from
such an observation, we are led to statements, eminently fallible, and therefore in one
sense by no means ｮ･｣･ｳｾ Charles Sanders Peirce compares sign with logic.
According to Peirce, logic has to study how peoplethink logically. The intellectual activity is done through the signs. And signs make us think, related to others, and give a meaning on what universe shows.
Charles Sanders Peirce, an American philosopher, developed pragmatism
philosophy through semiotics. The central point of Peirce's semiotics is based on
trichotomy about relation "stands for" between a signs and its object through
interpretant. The trichotomy ofPeirce are:
9KrisBudiman,Ikonisitas Semiotilra Sastra dan Seni Visual(Yogyakarlll: BukuBaik, 2005),
10
1. Qualisign, sinsign, and legisign.
a. Qualisign is a quality that is a sign, although it can't be a sign yet before embodied.
b. Sinsign is something that exists actually that has the shape of single sign. c. Legisign is a law that is a sign.10
2. Icon, index and symbol
a. An icon is a sign that denotes its objects by virtue of a quality that it shares with them. In other words, an icon thus "resembles" to its objects. It shares a character or an aspect with it, which allows to it to ｢Ｌｾ interpreted as a sign even if the object does not exist. It signifies essentially on the basis of its "ground".u For example: a cartoon, a portrait, and soOUI.
b. An index is a sign that denotes its objects by viltue of an existential connection that it has with them.12Itrefers to the object that denotes by virtue of being really affected by that object. This category can include such natural cooccurences as smoke and fire, dark clouds and impending rain, a human footprint and the presence of a human being, but it also encompasses more consciously controlled meanings. The imprint of a signed ring is an index of the ring itself, and of its weares (though its signification of the wearer's approval is arbitrary). A wedding ring, as well as a symbol, is also an index of
10Kris Budiman,op.cit.54
IIDaniel Chandler, Semiotics for Beginners. Accessed ou 6 November 2006.
hltp:/Iwww.semiotics.com
marriage. An advertisement is an index of the existence and availability of a product. A slurred voice can be an index of drunkenness, expensive clothing is an index of wealth, and so on.
c. A symbol is a sign that denotes its objects solely by virtue the fact that it is interpreted to do so. Therepresentamen does not resemble the object signified but is fundamentally conventional, so that the signiiYing relationship must be learned and agreed upon (e.g. the word "cat"). A symbol thus denotes, primarily, by virtue of its interpretant. Its action (semeiosis) is ruled by a convention, a more or less systematic set of associations that guarantees its interpretation, independently of any resemblance or any material relation with its object.13 A symbol stands in a signiiYing relationship with its object only because there exists a convention that it will be interpreted in that particular way. A flag at the beach may signifies that swimming is safe.
3. Rheme, dicent and argument
a. Rheme is a sign of qualitative possibility, i.e anything of sign is not hue or false.
b. Decisign is a sign of fact usually in the form of a proposisi. Decisign is hue or false but without reason directly.
12
c. Argument is a law, is a sign of reason that is based on leading principle which
expressing that transfer from certain premises to the certain conc1ussion is
true.14
A. Data Description.
In this chapter, the writer is going to analyze the datas, that are the fifteen dagadu's designs that have been collected, based on the theory of semiotics by Peirce as it is explained in chapter II. TIle following table shows the use of semiotic on dagadu's designs.
No. Design Semiotic
I
1. Ring-Road Ring-road - Traffic Sign
2. Hot Jog Hot dog - Sausage
3. Themon Lets go! Beautiful- Girl
4. Yoga Yoga-Relax
5.
Dilarang Pipis Di sini Traffic sign - Pee anywhere6. Who Wants To Be APesinden Pesinden - Woman
7. MalioboroLesehanDinner Lesehan - No Chair
8.
Kerokan Kerokan - Catch a cold9. I'M Jogjaholic Jogja's people life style - Relaxed
14
II. Bunderan Sunday Morning Sunday morning -- Jogging
12. Mafia Pathuk Bakpia Pathuk - A specialty food from Jogja
13. Gorengan Snack such as bakwan. - gorengan
14. Satan Something Evil- Fasting People (Muslim)
15. He Will Be Back Next Month Something Evil- Fasting People (Muslim)
B.Analysis
As it has been mentioned in the first chapter that the purpose of the study is to find out what the linguistic symbols used in dagadu's product mean and how the relation between the linguistic symbols and pictoral symbols is. This paper is conducted emphasizing on more about semiotics.
a. The Design of Ring-Road.
ｂｲＩＧｩ［ｑｅＡｬＡｾＨ
i
MEftntOf-SOERI＿ｊ［［ｫｬｾ＾｜ KOljl,
"''C'".
r,0I14j\ll,ENlAH"oJ "'"[)J!,LAllM4 JMJG[W/,III WI;Clll}:!,$OESBAA H\!I'IｍｴｵｲｉｇｾＩ｜ｒｉ "W.ｄｊＨＩＧｾＺｉｽｪＬｉＬＮ
ＧｦｉＩｦｾＮ 'IOHmMl<.aiJARfiPAOo\ .1\LltlH,M01 Ollt/IM ':(11,1, I
....M'j.J.,....'.'..ＢｬｯＢＧ｟Ｎｾｬ＾ＡＧＧＧＢＧＧ［｜Ｎ ...,
1. The Linguistic Symbol
This design has a maximum use of text and is suppOited by the use of the
picture. "The road's like the ring" which means that it has supported the pictoral
design to give impression that the road is round like a ring. Moreover, it also explains
more clearly on the smaller-font sentence: "Djikalaoe ingin perdjalanan lantjar
menjeloesoeri pinggiran kota djokdja, goenakenlah ring-road djalanan jang
16
daripada kemaijetan di dalam kota." According to the sentence, it is clear that this design points out that the ring-road, the road that is round like the ring, is the
alternative way to avoid traffic jam in Jogja.
2. The Semiotic Analysis
Ring-road
(Sign)
Traffic sign
(Interpretant)
Street user
(Object)
The semiotics triangle above shows the relationship between street users (as
the object), the sign used is ring-road and the traffic sign is aslIIIlinterpretant. The use
of ring road in this design represents the Jogja's road and the design also tries to give
more attention to what the road looks like and its function. As the ring road iconic
with its function as the alternative way for the street users, it means that the value that
is intended to convey is the road that is designed as a ring that is round is to avoid
On the other hand, using blue as a background of traffic sign is to give
impression of peace. One of the blogger describes blue as purity, love, faithfulness,
peacefulness, belief, and inteJIigence. The blue is also a group of cool colour. So, blue
as the backgrOlmd of the traffic sign indicates that ring-road is peaceful, secure, and
fast.
b. The Design of HotJog
1. The Linguistic Symbol
The design has a minimum use of text and is supported by the use of the
picture. The word "Hot Jog" meails that it has supported the pictoral design to give
impression that the atmosphere in Jogja is extremely hot. As we saw in the picture,
18
mentions clearly on the smaller-font sentence "300
- 330 celc:ius! Jogja Gerah." It is
clear that the design points out that the atmosphere in Jogja is hot.
2. The Semiotic Analysis
HotDog (Sign) Sausage (Interpretant) Jogja's Temperature (Object)
The semiotic triangle above shows the relationship between Jogja's
temperature as the object, hot dog as the sign and sausage as the intetpretant. The use
of hot dog that fresh from the oven by this design in representing the hot weather in
Jogja is that the design tries to describe the tenlperature in Jogja to the tourist both of
domestic and foreign that temperature in Jogja is not cool as before but now it
becomes hot like the hot dog that fresh from the oven. As the hot dog that fresh from
the oven is iconic with its function as the representation of the hot temperature in
Jogja. It means that the value that is intended to convey is the air or the hot
Meanwhile, the use of red and orange, a group of warm colour, as the
dominant colours are to give impression of warm. Red and orange can increase the
passion for them who see it. These colours also can raise the anger, violence, and also
intensity. In short, red and orange as the dominant colour really explain that the
athmosphere is very hot.
C. The Design ofThemon Let's Go!
keep
djokcl;a cantik ,
ｬｾｦｬＧ ｷｾｴ､ｯ ﾷｩｾｎＡＧｽ ＮＨｩＢＮＧｯｾ ＧＱｎ＾ｾｾ ＢｾｖｊｴｦｬﾷＮ［ｲＮｯｪｦｲﾷ
20
1. The Linguistic Symbol
This design has a maximum use of text and is supported by the use of the
picture. The words "Themon, Lets Go! Keep, Djogdja cantik!" are supported the pictoral design to give impression that the girls try to keep djokdja's environment
clean, and look beautiful. Moreover, it is also mentioned more clearly on the
sl11aller-font sentence when it says that : "themon
=
wedhok=
jethell=
cewek=
awewe' = denyom=
gadis=
girl=
vrouweljk=
madchen=
ragazza=
muchacha=
menina =otome = fan sak panunggafe." It is clear that this design points out that only the girl who have to keep Jogja beautiful. The design only uses the word girl because girl is
identical with beauty.
2. The Semiotic Analysis
Beautiful (Sign) Girl (Interpretant) Jogja's envirorrrnent (Object)
Through the semiotics triangle above, we can see the' relationship between
interpretant. The use of girls by this design in representing the Jogja's environment is that the design wants to give more attention on the environment of Jogja. As the girl is iconic with its function to describe the effort of ladies to keep Jogja clean and beautiful. We can also see that the ladies bring the cleaner equipment such as broom of split coconut midribs. This kind of broom is used to sweep the street or yard, garden, etc. And it means that the girl who brings the broom of split coconut midribs wants to sweep the street to keep it clean. Beside that, we also see the girls bring the flower and the tool to watering the flower. This picture wants to show the effort to replant the barren land.
On the other hand, the three figure in Charles Angels, the movie that had been popular in 2000 is used as an icon in this design.
D. The Design Of Yoga
22
I The Linguistic Symbol
The design has a very minimum use of text and is 8upported by using the
picture. We can see the words "Yoga for relaxation" which means that it has
supported the pictoral design to give impression that yoga can make us relax.
Moreover, the smaller font : "zzzzzzz" support the word relaxation. People who do
Yoga will feel relax even sleeping.
However, beside doing yoga for relaxation we can also go to Yogya. Both
yoga and Yogya can give us relaxation when we feel terrible. lmd if you want to have
a long life you can live in Yogya because Yogya's life style (relaxed) can make you
have a long life.
2. The Semiotic Analysis
Yoga (Sign) Relax (Interpretant) Man (Object)
Through the semiotics triangle above, we can see the relationship between
design in representing the way of relaxation is that the design wants to show to the
public that do yoga can make us relax. As yoga is iconic with its function as the way
for relaxation, it means that the value that is intended to convey is yoga can make us
relax.
On the other hand, the use of yellow and green as the dominant colour give
impression of healing, healthy, fresh, energy and happy. Yellow means happy,
creativity, energy, sun, smart, and bright. Meanwhile, green means money, healing,
fresh, healthy, and growth. Yellow is a group of warm colour whereas green is a
group of cool colour.
Yoga is one of the art of breathing. If you feel bored, stress, depreession,
annoyed, irritated, and what ever that make you unhappytry to do yoga. If you do
this you will feel better. Beside yoga gives you fresh, happy, and relax, yoga also
gives you energy, healthy and you can healing your self because the positive energy
from yoga can bring out the negative energy in your body. Yoga also detox your
body. That's why if you do yoga you will feel better. You will feel fresh, happy,
healthy and so on. And the colur of yellow and green are very suitable to represent
24
E. The Design ofDilarang Pipis di Sini
.
••
e
e
IT'S NOT THE QUESTION
1. The Linguistic Symbol.
The design has minimum text but it is full of meaning. '''Dilarang pipis di sini kecuali aku ... ". It means that only animal can pee anywhem where as human can not do that. Because human has norm, regulation and of course shame.
wants. Every little things that he wants to do, he has to think before he did it, whether it damages the other or not.
2. The Semiotic Analysis
Traffic sign (Sign)
Pee anywhere (Interpretant)
Dog (Object)
26
F. The Design of Who Wants To Be APesinden
WHO WANTS
TO BE
a
PESINDEN?
doesn'l needchalr,lustlesehan
1. The Lingustic Symbol
The desigu has a minimum text but meaningful. The word "Who wants to be a
pesinden?" supported the pictural desigu to give the alternative choise for political
party because at that time every party fought for a seat in parliament especially a
chair for nation's president. Meanwhile a pesinden does not need even a chair. The
2 The Semiotic Analysis
Pesinden (Sign)
Woman (Interpretant)
Chair (position) (Object)
28
G. The Design of The MalioboroLesehanDinner
I. The Linguistic Symbol
Although the text in this design is so short, we can understand exactly by seeing the picture. The sentence "The Malioboro Lesehan Dinner" supported the pictural design to give impression that the consument does not need chair to dine in. moreover, it is also mentioned more clearly on the smaller-font sentence: "Sorry, Sir. No chair available!"
Italso has been already commons known, by public that lesehan restaurant does not need a chair. The consument just sit on the place that have been preparedby
2. The Semiotic Analysis
Lesehan
(Sign)
No chair
(Interpretant)
Consument
(Object)
Through the semiotics triangle above, it is shown that the relationship
between consument as the object, the sign used that is lesehan and no chair as
interpretant. The use of traffic line and the chair that is crossed as we can see in the
picture is that the design tries to give more attention on how the form ofthe restaurant
is. As the traffic line and the chair that is crossed is iconic with its function as the
equipment to announce the consumers or customers, it means that the value that is
30
H The Design ofKerokan
1. The linguistic Symbol
This design has a short text but meaningful. The word body painting in "body
paintinguntuk yang masuk angin" refers to kerokan (have one's back rubbed with a coin) as we can see in the picture. The only healing that is always done when
someone got a cold and had been famous and is applied by common people is
painting. Body painting was familiar at that time. And the words body painting is
used to replace the word kerokan because if we glance, it looks like body painting.
2. The Semiotic Analysis
Kerokan
(Sign)
Catch a cold
(Interpretant)
People who catch a cold
(Object)
The semiotics triangle above shows the relationship between people who
catch a cold (as the object), the sign used that is kerokan and catch a cold as interpretant. The use of body painting by this design in representing the healing of
catch a cold is that the design tries to give more attention on what the people do if
they catch a cold. Thekerokan is iconic with its function as tlhe way to heal catch a cold and the value that is intended to convey is kerokan is the one and the only healing for catch a cold.
However, red as a background of the picture gives impression of suffering.
32
The two stars that we can see in the picture represent the dizzy that is suffering by the people who catch a cold. Meanwhile, the use of green as the colour of the word
"kerikan" is so suitable because green as a group of cool colour give impression of healing, healthy and freshness.
1. The Design ofI'M JOGJAHOLIC
1. The Linguistic Symbol
impression that Jogja's people and people who loves Jogja's life style is relaxed.
Moreover, it is also mentioned more clearly on the smaller font-sentence: "zzzzz", it
is clear that this designed points out that Jogja's people and people who loves Jogja's
life style is relaxed but can reach their goal or in other meaning they can meet their
needs.
Consumtive life style does not influence them to follow it. So, they look more
relaxed, younger and happier than person who forced his self to follow the life style
whereas he can not afford to follow it. Beside that, they do not exert themselves in
going through their life. That is why they look happy and have a long life.
2. The Semiotic Analysis
Jogja's People Life Style
(Sign)
Relaxed The man who is sleeping
(Interpretant) (Object)
According to the semiotics triangle above, we can see the relationship
34
relaxed as interpretant. The use of the man who is sleeping by this design in
representing the Jogja's people life style is that the design wants to give more
attention on how Jogja's people and people who loves Jogja in going through their
life. As the man who is sleeping is iconic with its function as the tool to describes
Jogja's people and people who loves Jogja's life style, it means that the value that is
intended to convey is they through their life with relaxed but at the same time, they
can meet their needs.
On the other hand, Jogja's life style that is relaxed has been caused by the
simplicity and beside that they are not stubborn to follow the life style that soared sky
ward. However, this attitude can make them have a long life.
I. The Linguistic Symbol
Same as the other design, this design also has a minimum text and supported
by the use of the picture. The text "Di sini A Jog's Life: Nyantai, nglaras, leyeh-leyeh"wants to describe how relaxed lifeinJogja is. Jogja's people usually relaxed in going through their life. They are not exert their self and carl accept what ever they
get with sincere. It means that when they do not get what they want but they had tried
to get it with his maximum effort they will accept it wholeheartedly because they
believe everything has wisdom.
Moreover, the words"Nyantai, ng/aras, leyeh-/eyeh"have the same meaning, that is, relaxed. Ng/aras and leyeh-leyeh are used to suppOli the word nyantai. May be this design wants to describe how relaxed life in Jogja is. Everything we need is
prepared and everything we can get with the low price. For example, if we want to
follow the fashion, we do not have to spend a lot of money because we can go to
Malioboro and get it with the low price. However, the word nyantai does not mean that Jogja's people are lazy but they do not exert themselves to meet their need that
soared sky ward. Besides, acquiescent to their life as their attitude make them look
36
2. The Semiotic Analysis
Jogja' slife (Sign)
relaxed, prinsipal (interpretant)
jogja's community (object)
Through the semiotic triangle above, it is shown that the relationship between Jogja's community, the sign used that is Jogja's life and relaxed as interpretant. Leaf as an icon in this design wants to explain that green leaf indicates something that is leafy, contented or quiet, it means that jogja's people do not exert themselves to meet their demand that soared sky life. Besides everything they need is prepared, there is tendency to enjoy everything and they are not doing something in a hurry.
K. The Design ofBunderanSunday Morning
1. The Linguistic Symbol
38
are many people on that place. Some of them are jogging, playing badminton, just
walking around and so on. Smaller-font sentence: "Jogging sembari shopping" is supported the pictural design to give irnression that besides jogging at traffic circle in
Gadjah Mada University, the people can also shopping because many traveling
salesmen sell their products at that place.
2. The Semiotic Analysis
Sunday Morning
(Sign)
Jogging
(Interpretant)
Jogja's people
(Object)
Through the srniotics triangle above, it is shown that the relationship between
Jogja's People as the object, Sunday morning as the sign and jogging as interpretant.
The use of the man who is jogging and brings some things at the same time by this
design
in
representing what is going on at traffic circle at Gadjah mada UniversityallSunday morning is that the design wants to describe that besides jogging or doing
sight seeing. As the man who is jogging and brings some things at the same time is iconic with its function as the tool to describe what is going on at traffic circle UGM, it means that the value that is intended to convey is while jogging we can also shopping and sight seeing.
40
1. The Linguistic Symbol
This design has a maximum text and supported by the pictural symbol. The
big font-sentence: Mafia Pathuk(read: perantara). If you visit Jogja and walk around at Malioboro you will see many people who will be glad to accompany you to buy
bakpia pathuk. Because of too manybakpiatrade network, it i.s look likemqfia.1bis explanation is supported by the sentence:"Bakpia Pathuk Teritary Guard."
The small font-sentence: "Bakpia Aseli" means that there is Bakpia
counterfeit. 1bis indicates that not only electronic, cds, cassettes and clothes which is
counterfeited but also food. Counterfeit means imitation. The sweetness of the
original Bakpia is on the right measuring and there is no mixing in the green peanuts.
Whereas the taste of counterfeit one is too sweet and there is mixing in the green
peanuts.
2. The Semiotic Analysis
Bakpia Pathuk
(Sign)
A specialty food of Jogja
(Interpretant)
Bakpia Pathuk
According to the semiotics triangle above, we can see the relationship
between bakpia pathuk as the object, Bakpia Pathuk as a sign and a specialty food of
Jogja as interpretant. The man who is standing in front of Tugu station is supported
the sentence: Bakpia Theritory Guard and Mafia Pathuk. As the writer explained above, mafia means mediator. And the man as an icon of this design isa mediator
that usually accompanies people who want to buy Bakpia and of course this man will
bring them to the Bakpia factory where he works.
42
I. The Linguistic Symbol
This design has a minimum use of text. The gorengan's companion means
that without gorengan coming together with friends is not exciting and eating
gorengan without a small chilly is not lively, this explanation is supported by the small-font sentence"ndak ada lombok ndak rame ... "
2. The Semiotic Analysis
Gorengan (Sign)
Snack such as bakwan
(Interpretant)
Gorengan
(Object)
From the semiotics triangle above, we can see the relation betweengorengan
as a sign,gorenganas the object and snack such asbakwanas :interpretant. The use of a small chilli by this design :in representing how lively eats gorengan with a small chilly.. As the small chilly is iconic with its function as the representation of how
N, The Design of Satan
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COmln
gambar depan
gambar belakang
1. The Linguistic SymboL
Although the design has short text, we can understandl what it means. Even
less it is supported by the pictural design. "Someone leaving when ramadhan
comin'." Every muslim who reads this sentence will understand exactly what is
"someone" meaning, In Islam, the devils will be in jail when Ramadhan coming. But
it does not mean that no more devils are wandering around the world. Because the
word "devil" here is not the truely devil but desire. When ramadhan is coming, we
44
have to restrain their desire such as, angry, sad, impatient, hungry, thirsty and so on.
Besides fasting can train us to be more patient, fasting can also increase the quality of
our faith.
However, the word "when" in the sentence "someone leavingwhen ramadhan
comin'" is written with red. This case indicates that only in ramadhan the devil is in
jailor in another word only in ramadhan we as a muslim who is fasting have to
restrain our passion.
2. The Semiotic Analysis
Devil
(Sign)
Something evil
(Interpretant)
Fasting people (Muslim)
(Object)
The semiotic triangle above shows the relationship between the fasting
people, in this case is muslim, as the object, the sign used that is devil and the
the message wants to convey is that every muslim who is fasting has to restrain his paSSIOn.
On the other hand, the use of white as the background of the picture is to give impression of purified. Ramadhan is a pure month, full of God's mercy, and also full of forgiveness. Therefore, in this month every muslim compete to do the good things and try to restrain his passion. Because only in this month, muslim can puriJY him self from the bad things that he has done and return as a new baby born in the next month (Syawal).
Moreover, the use of red in the picture of the devil is to give impression that devil made fi·om fire. And negative meaning from red (anger, danger, and impatient) is suitable for a devil who has bad characters.
O. The Design of He Will Be Back Next Month.
Be'll Be
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Next
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46
1. The Linguistic Symbol
This design still has the relationship with the design G. The theme for this
design also about ramadhan. In design G, every muslim has to restrain his passion
whereas this design describes that the devil will be back next month or the devil will
be back in Syawal. As we read the sentence on the design "He'll be back next
month", it is very clear that the design wants to remind us (Muslim) to be carefull in
next month. Itmeans that in ramadhan there is regulation for muslim to do fasting in
one month whereas in the other months there is no regulation that fasting is an
obligation. And the desire that muslim had restrained in ramadhan may be out of
controll in next month. That is why the designer wrote "He'll be back next month"
2. The Pictural Symbol
Devil
(Sign)
Something evil
(Interpretant)
Fasting people (Muslim)
The semiotics triangle above shows the relationship between fasting people as the object, the devil as the sign and something evil as interpretant. From the picture, we can take conclution from the message that a muslim must be able to restrain his passion although the ramadhan has passed.Inthe picture we <:an see the devil stay in jail. As the writer described in the picture F, that the devil means here is not the truly devil but desire. And the picture above means that a muslim has to restrain his passion in ramadhan.
CHAPTER IV
CONCLUSIONS AND SUGESTIONS
A. Conclusions
Itis already mentioned in the chapter I that the purpose of the stndy is to find out the meaning of linguistic symbols used on Dagadu's products and the relation between the linguistic symbols and pictural symbols. The corpus of data are 15 dagadu's design taken from the collection of PT. Aseli Dagadu Djokdja. Based on the analysis process in the chapter III, using the theory by Peirce, as it is explained in the chapter 11, the writer comes to conclusion:
1. Through the 15 dagadu's design used as the data to be analyzed in this research, it is found that the design that use religion as theme is lesser than the use ofJogja's community life as the theme.
3. Many dagadu's design use both the picture and text altogether to support each other. The design put emphasizes on signs to attracts the consuments to pay more attention by usingfun writing, interesting and attractive colours.
contrary, a bad design is often believed to be the cause of the failure of selling product or it sometimes considered to destroy the image of the products themselves. Therefore, making a good design has become an essential thing to do by those who want to sell or promote their product or companies.
B.Suggestions
APPENDICES
A. The Designs That Use Bilingual Text
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