By

Hoor-Ul-Ain Fatima
Roll no: 23
Mphil (A)

(2023-2025)

Submitted to:
Dr. Sarwat Jabeen

Department of English
Bahauddin Zakariya University Multan,Pakistan
 UNVEILING THE POTENCY OF IMAGES IN FOOD
ADVERTISING THROUGH MULTIMODAL DISCOURSE
ANALYSIS
Abstract:

This paper aims at importance of food ads and how eye-catching images are used by companies
or restaurant owners. Advertisements on social media are being popularized and consumers are
actually attracted by slogans on food advertisements. People especially youngsters or kids are
highly obsessed with food mainly fast food ads and to satisfy their desires, they are willing to go
to great lengths. Based on Multimodal analysis, this research is a qualitative analysis of
linguistic features used by food owners in their advertisements. Fairclough’s 3D model (1992)
and Kress& T. Van Leeuwen (2006) models are used as theoretical framework of this research.
Twelve (12) Pakistani food advertisements, four from desi ,four commercial and four from fast
food taken from three social media platforms (google , facebook official pages of restaurants)
were being analyzed. This research explores that apart from language, many other
communicative modes are being used influencing people to consume food such as posture,
gesture, gaze, images, head movement, print and layout. Each mode portrays differently in the
advertisements and has significant effect on persuading advertisement viewers. The findings
demonstrated that there is a representation of consumerism, a marketing strategy used to attract
consumers towards ads. Diagrams are used to illustrate study findings, which suggest analyzing
food slogans . In conclusion, we identify that every restaurant considers them “unique” or
“entirely different” from others and most frequent vocabulary is used by different food
companies.

Keywords: Food advertisements, multimodal discourse analysis, communicative modes,

linguistic features

1. Introduction:

Multimodal discourse analysis is an approach that looks at multiple modes of communication

such as images, colour and text. It is a method that not only deals with how individuals interact
with one another but also explores semiotic meaning of their interaction. Multimodality is a
concept developed in the last two decades describes the many resources employed in
communication to convey meaning. Language plays a vital role in all aspects of human
endeavor. To understand the complexity of language and how language produces meaning, a
thorough scrutiny should be of prime consideration. Multimodal discourse analysis aims to
understand the power and meaning of texts. M. Halliday's theories, which emphasized the need
to transcend the "monomodality" of linguistic studies—which had historically solely examined
the verbal components of communication—were the source of the concept of multimodality in
linguistics. This method focuses on the interactions between several sign systems rather than just
the language as a collection of grammatical rules.

Due to rapidly changing norms and traditions of society, advertisements with various techniques
have been employed to attract consumers. Advertisements are important for business because
they are most direct and proven way to reach potential consumers. It is a subcategory of
marketing promoting a product or service to a targeted audience. One of the best advertisements
is food advertising mainly Pakistani food ads. An advertisement conveys a message that is
complicated in nature and is communicated through both verbal and visual elements. With the
semiotic system approach, the intricacy of the signals conveyed through advertisements may be
observed and examined. The study of signs is called semiotics. According to Eco in Chandler
(2017), everything that might be interpreted as a sign is the subject of semiotics. According to
Anstey and Bull (2019), a text can be classified as multimodal if it integrates two or more
semiotic systems. There are five semiotic systems for studying and examining multimodal
literature; linguistic, visual, auditory, gestural, and spatial.

The data is analyzed using a multimodal discourse analysis method described by Kress &
Leeuwen (1996).collected for this study, as food commercial ads visuals exhibit high
multimodality, characterized by a fusion of semiotic resources and textual elements. This study
delves into the language utilized within TV advertisements and other social media.

Over-all, the above stated premises are just but few of the ropes which tied our hands and pull us
to think to the very challenge of directing our qualitative experience to the deep comprehension
of the marketing strategic terms that attract the target clients. It primarily gives emphasis on how
triumph would be very much luscious if we take the hard road and if we will experience first the
trials before the success.

In conclusion, this study shows how the incorporation of multimodality within advertisements
serves to amplify the intended meaning and ultimately facilitate a more comprehensible
interpretation for readers (Kuswandini, 2018; Zhou, 2018). Hence, this study delves into the
analysis of multimodality within advertisements to exp ore its role in rendering
advertisements effective.

1.1. Research Questions:

The following questions will be answered in my article and this research will be analyzed based
on these questions.

1. How slogans on food ads attract the consumers?

2. What discourse techniques are used in food advertisements?

3. Which linguistic or textual elements are widely used in food ads?

1.2. Significance of research:

This research explores discursive strategies used in food ads. It explores multimodality on
ads such as textual, visual, gestural elements. It explores how picture layout is being made by
 food companies. This research analyzed Pakistani food ads so that we also become well-
acquainted that how desi or fast food ads are being advertised by Dhabas or Restaurants.

1.3. Objectives of research:

1. The analysis of language along with multimodal modes in food ads on different social
media mainly on TV commercials or on restaurants official page.
2. The analysis of visual elements in the effectiveness of advertisements.

1.4. Delimitations of study:

The present study analyzes Twelve (12) food advertisements, four(4) desi, four(4) commercial
food ads and four (4) fast food ads. The research is based on two models named Fairclough 3d
model (1992) and Kress and Van Leeuwen model (2006).

2. Literature review:

2.1. Advertising as a Discourse:

An essential component of marketing, the word "advertising" comes from the Medieval Latin
verb advertise, which means "to direct one's attention to" a good or service by a written or
spoken public declaration (Goddard 1998, p. 6). It's a paid advertisement meant to influence the
viewer to do what the advertisers want.

In “The Discourse of Advertising”, Cook defined advertisement as “the promotion of goods or

services through sale through impersonal media” (2013, p.5).

Advertising falls into two main categories: (1) consumer advertising (i.e. commercial or product
advertising), which is directed towards the promotion of some product or service to the general
public; and (2) public relations advertising (i.e. non-commercial or non-product advertising),
which is aimed at society by individuals, community organizations, or political figures in order
to further a social cause or political objective. Non-commercial advertisements are endorsed by a
charitable institution, political organization etc. The main objective of these ads is to create
awareness, raise funds, and change consumer behavior (MBA Skool Team, 2018).

According to Ikaria-Maina (2014), In the sense that it has shaped not just language structure and
lifestyle modality but also the substance of everyday routine acts of communication, advertising
can be considered a form of discourse. The entire cultural landscape is infused with advertising
messages. Newspaper and magazine pages are crammed with printed ads. Radio and TV shows
are frequently interrupted by commercials.

The discourse surrounding advertising is predicated on the idea that the text is created with the
purpose of either presenting a product or service to the audience as attractive as possible or
persuading them to purchase it (Karlsson, 2015). This supports Danesi's (2015) assertion that
advertising has developed into a type of social discourse that draws on philosophies and styles
that consumers unknowingly associate with everyday conversation. As part of its marketing plan,
every brand product has created a discourse style that corresponds with the societal image it
hopes to cultivate and spread. As a result, there are discourse styles that target specific audience
discourse levels or registers, such as those for cars, beer, cosmetics, and the like.
 Thus, advertising appropriates discourse styles to fit its objectives: A commercial can be in
many different formats, such as an interview discussing the product or a competition where the
winning product is the target product. This indicates that the discourse around advertising is
hybrid, incorporating and modifying pertinent social discourses or trends to suit its marketing
objectives. According to Danesi (2015), advertising discourse uses technology to bolster its
persuasive appeal. He continued by saying that multimodal, semiotic, and multimedia techniques
—that is, technologies that enable advertisers to combine many presentation modes—visual,
aesthetic, and narrative—with multiple media—text, audio, and visual—support this discourse in
the era of technology.

2.2. Social Semiotics and Multimodality:

Social semiotics is concerned with “the way people use semiotic resources“both to produce
communicative artefacts and events and to interpret them ... in the context of specific social
situations and practices” (Van Leeuwen, 2005). O’Halloran (2011) claimed that digital
technology provides a common platform for semiotic resources to combine and unfold in new
and innovative ways. Therefore, he concluded that digital technology is a multimodal social
semiotic technology.

The concept of multimodality pertains to the meaning that can be conveyed through multiple
forms of communication apart from language. According to Adams, Matu, and Oketch (2014), it
is the source or method of characterizing a practice and representation in full semiotics richness
and complexity. Semiotics like picture, gesture, etc. are a part of multimodality (Iedema, 2003
cited in Adams et al. 2014). Multimodal discourse analysis is credited to Kress and Van
Leeuwen as its forerunners (Adams et al. 2014).

Multimodality is originally borrowed from Kress’s notion of modes (1997, 2001). It refers to
integrating various types of modes, e.g, visual, audio, written, oral, spatial, etc. in human
communication (Kress and Leeuwen 1996, Kress 2003). It is a theory which looked at many
different modes that people used to communicate with each other and to express themselves
(Kress, 2009). It provides a method for analyzing the interaction between language and image
(quoted in Adams et al. 2014): As a result, multimodality gives us a way to study semiotics
about text-based messages, gestures, images, etc. It mainly focuses on studying the
interrelationships between various communicative modes; visual or auditory, words or image.
Furthermore, multimodality is an appropriate tool to measure and evaluate the extra-implied
meaning. Therefore, this approach is useful in the field of advertising as it described the
grammar of visual communication used by image designers.

Kress and van Leeuwen (1996) claimed that images have their own grammar and rules: “we
take the view that language and visual communication both realize the same more fundamental
and far-reaching systems of meaning that constitute our cultures, but that each does so by means
of its own specific forms, and independently” (Kress & van Leeuwen, 1996:17).

The distinction between theoretical (contemplative attitude) and practical (action-oriented

position) attitudes has existed from antiquity to the present. Since the turn of the nineteenth
century, however, this perspective has shifted, with many academics coming to hold that the
practical purposes of research shape every theory. Among the disciplines that fall under this
school of thinking is critical discourse analysis.

Fairclough (1995) asserts that the text ought to be considered a deemed part of human
communication. The foundation of Fairclough's model is a three-dimensional theory. Textual
analysis, process analysis, and social analysis make up this three-dimensional framework. The
first dimension is text analysis, whether it be verbal or visual. The second dimension, process
analysis, shows how individuals create and interpret meaning. The third component, social
analysis, is concerned with social, cultural, or historical processes that have an impact on how
people produce and comprehend processes.

2.3. Multimodal discourse analysis:

According to Li (2016), the multimodal discourse approach takes the stance that many semiotic
modes—such as language, visuals, music, sound, animation, and so forth—combine to increase
the meaning of multimodal texts or communicative events. The study of how different
communication modes interact and depend on one another within a particular situation is known
as multimodal discourse analysis. It is employed in many genres of modern writing and is a more
recent addition to the field of discourse analysis studies. Because multimodal texts transmit
information across a variety of modes, including written language, visual pictures, and design
elements, they are more complicated than written texts. Textual structure is expressed visually
through layout, color, and font at the discourse level. Additionally, it gave all of its attention to
interactive discourse elements that made communication easier for interactive participants.

The main reason multimodal discourse analysis matters is that it integrates language with other
reasonably important sources (Gibbon, 2000). In this field, the goal was to determine how mode
affects meaning in a particular situation by examining the co-occurrence and interplay of several
semiotic systems.

In advertising discourse, verbal and visual elements are equally important. According to
Widyahening (2015), they might stand for social links in society and aid in the development of
specific beliefs. Like other writing types, advertisements have never been objective. It is
therefore worthwhile to investigate. Among other forms of advertising, this article uses
persuasive advertising, which tries to sway potential buyers. This development of the growing
trends of online meal delivery services is influenced by a few factors and indicators. One of these
is a brand's capacity to attract clients and stimulate their desire to use their products for
purchases. This attempt to attract is demonstrated by advertising. Use an enticing style, tone, and
word choice to capture the attention of the general public—and, more importantly, that of
potential consumers. Message execution also describes the way the advertisement's several
elements are combined to effectively communicate the message to the viewer in a way that
appeals to their senses and attracts new clients. Consequently, the discussion surrounding
advertising will address these two subjects to reveal how the commercial generates meaning.

In the field of analyzing the visual component of printed texts, Theo Van Leeuwen and Gunther
Kress are considered pioneers. Texts are viewed from "a multimodal perspective," which takes
into account semiotic modalities that either accompany or realize language (Harrett and Bell in
Fairclough 1995:14). Textual analysis needs to explain how the verbal and visual interact and
properly analyze meaning that is revealed visually (Kress and Van Leeuwen 1996:186-7). the
reexamination and blurring of traditional boundaries between the functions assigned to language,
picture, page layout, document, design, etc.; the de-centering of language as the preferred means
of meaning-making.

"Social semiotics of visual communication involves the description of semiotic resources, what
can be said and done with images (and other visual means of communication), and how the
things people say and do with images can be interpreted," claim Jewitt and Oyama (2001:134),
who largely draw from the work of Kress and Van Leeuwen.

Previous Studies:

Vahid (2012) investigated the power behind images in advertisement discourse. His study
indicated techniques used by consumer product companies to reach more consumers and sell
more products. The results of his study showed that private producers tend to persuade
viewers to buy a special product by giving them the power to choose. When the producer of
the ad is the government, it tried to show its power. However, it could be understood from
the results that the producers, generally tend to use their power and ideology to change
people’s behavior and thought.

Liu (2013) studied the visual images and interpretive strategies in multimodal texts. His
paper, drawing on the theories of semiotics, art and visual communication grammar,
presented a framework of interpretive strategies. The results of his study analyzed and
comprehend the visual images in contemporary multimodal texts, so as to expand the
readers’

Maedeh and Saeed (2015) investigated the problems of Persian EFL learners encounter in
reading advertisements. Additionally, it explored the hidden strategies behind each
advertisement. The findings of the study indicated that Persian EFL learners had problems
not only with semantic, syntactic and phonological aspects of language of advertisements,
but also with non-linguistic elements such as colors in advertisements.

Liu (2019) explored the interactive meaning in three public service advertisement
multimodal discourses, and he found that various modalities work together to realize the
interactive meaning and to persuade the public in advertising discourse.

The present study seeks to investigate the multimodal discourse analysis approach applied on
four desi, four commercial and four fast food digital ads. In particular, it aims to describe
commercial and non-commercial ads in terms of gaze, spatial distance (high, medium shot),
salience, and color. The data analysis is based on Multimodal Discourse Analysis (MDA), a
theoretical framework by Kress and Van Leeuwen and Fairclough’s 3D model.
3. Methodology:
3.1. Kress and Van Leeuwen’s model:

Kress and van Leeuwen’s grammar of visual design and multimodal discourse analysis
model were used to analyze the collected digital advertisements in this paper. In other words,
a multi-modal semiotic analysis was conducted to examine the visual grammar of eight
digital advertisements and to decode their meaning potential. Kress and van Leeuwen (1996,
2006) assumed that “image, color, music, typography and other visual modes are similar to
language and they can simultaneously fulfill and realize the three broad communicative
malfunctions as language does”.

Based on Halliday’s theory of Functional Grammar, Kress and Van Leeuwen (1996,2006)
use different terminology for the three metafunctions of linguistics in discussing the meaning
of image in visual communication: representational instead of ideational; interactive instead
of interpersonal; and compositional instead of textual.

As for the representational meaning, it is related to the representational patterns. That is, the
way experience is encoded visually. There are two types of visual encoding: conceptual and/or
narrative structures. Story structures depict actions and events as they happen, as well as change
processes and ephemeral spatial arrangements. In terms of class, structure, or meaning,
conceptual structures represent participants (Kress & van Leeuwen 2006: 59).

As for the interactive meaning, using three perspectives—contact or gaze (demand or

offer), social distance (intimate, social, or impersonal), and attitude (involvement,
detachment, viewer power, equality, representation power, etc.)—Kress and Van Leeuwen
have suggested three techniques to investigate it. The last metafunction refers to the
meaning of composition, being related to “the way in which representations and
communicative acts cohere into the kind of meaningful whole we call ‘text’” (Kress & van
Leeuwen 1996,p.181). Meaning is built by three interrelated systems: “information value
(given or new, ideal or real, important or less), salience (achieved through size, color, tone,
focus, perspective, overlap, repetition, etc.), and framing. Furthermore, these techniques
apply to composite visuals—that is, visuals that incorporate text, images, and/or other
graphic elements—as well as their layouts. They are not limited to single photos.

3.2. Fairclough model:

Fairclough model consists of three stages:

 Textual analysis (description)

 Discourse practice (interpretation)
 Social practice (explanation)
The description of the text is covered by text analysis, which includes both linguistic and visual
elements. Examples of this include the language, images, symbols, shoots, angles, and other
observable modes used in the advertisement. Furthermore, the meaning that the advertiser
intends to convey through the text is contingent upon what is stated clearly as well as what is
inferred or assumed. As a result, the text's interpretation in order to investigate the discourse
practice of strategies comes next. It also shows how the advertisement tries to influence the
audience's purchasing behavior and how the content engages with the reader. Finally, the
literature depicts social interactions and social practices in society.

The explanation step, which is covered by social practice, looks at the social context and setting
that is connected to the text and how it is formed through the text. Widyahening (2015) asserts
that an ideology concealed in an advertisement may have an impact on people's attitudes,
behaviors, and perceptions, especially about how they view the goods or services being
marketed. Consequently, by exposing the social construction of the language, the ideology it
represents can also be found, leading to a more comprehensive comprehension of the advertiser's
intended message.

4. Data Collection:

Digital advertisements are highly multimodal in nature, consisting of different semiotic

resources coupled with written text. Twelve digital advertisements (four desi, four
commercial and fast food) ads had been selected for analysis within the theoretical
framework of Kress &Van Leeuwen and Fairclough. Thus, visual elements as gaze, color
saturations, shots, viewer distance, involvement and detachment, salience of the
advertisements, and other factors that attract the viewer are investigated.

The digital advertisements from facebook, youtube or official pages analyzed are as follows:

Desi ads Commercial ads Fast food ads

 Shahi Shinwari  Shan  Burger forest
 Rasoi  National  KFC
 Dera Haq  7up  McDonalds
 Karak  Sprite  Starbucks

5. Procedure:

In order to collect the data, following procedures were used:

Firstly, twelve advertisements, promoting product advertisements were selected carefully

from online resources such as google, you tube or facebook.
 Secondly, the choice of advertisements was based on the level of creativity, attraction, color,
viewer, and other elements of multimodal discourse analysis.

Thirdly, the multimodal discourse analysis approach of Kress and van Leeuwen (2006) and
Fairclough(1992) were applied on fifteen advertisements: Four from desi restaurants, four
commercial ads and four fast food ads.

6. Data analysis:
6.1. Desi advertisements:
6.1.1.1. Shahi Shinwari:

Fig.1

I analyze fig.1 showing how urdu slogan “PRESHANI KO BHOOL JAIN, KHANAY SE LUTF
ANDOZ HOON”, transcribed as “Savour foods-The real taste of life”, attract the consumers:

“Savour Foods - The real taste of life”

This is a catchy and appealing slogan that tries to attract consumers by associating the food brand
with a positive and enjoyable experience. It implies that the food is delicious, satisfying, and
fulfilling. It also suggests that the food can enhance one’s quality of life and happiness.

This is a slogan that appeals to the consumer’s values, needs, and identities by emphasizing the
quality and authenticity of the food offered. It suggests a connection to tradition and cultural
richness, aiming to attract individuals who value these aspects. Some of the ways to analyze this
slogan using Kress multimodal discourse analysis are:

• By drawing a contrast between the modern and the old, the tagline links to the
other modes in the image, including the culinary images, the logo, the layout, and
the colors. The food photos are realistic and detailed, but the motto is written in a
beautiful, simple font.
• The colors and layout are colorful and flamboyant, and the emblem is a stylized
depiction of a plate and a spoon. These components suggest that the cuisine is
 both genuine and cutting-edge by fostering a sense of harmony and balance
between the old and the new.
• The phrase highlights the food's flavor and tradition while appealing to the values,
requirements, and desires of the target audience. It suggests that the dish is
flavorful, filling, and gratifying. It also implies that for people who value their
cultural history, food can give them a sense of identity, belonging, and nostalgia.
For individuals who are curious to discover different foods and civilizations, the
motto piques their interest.
• The definite article "the" and the adjective "real" in the slogan set the producer
and the customer in terms of power, authority, and relationship. These statements
suggest that the producer has the know-how and authority to provide the greatest
and most genuine food available on the market, as well as confidence and pride in
their product. To build connection and trust, the phrase also asks the customer to
share and enjoy the meal with the manufacturer.
• The slogan uses a distinctive and catchy phrase that sums up the food's primary
selling point, fitting into the advertisement's genre and environment. The slogan
also uses a persuasive and informative tone that conveys the benefits and the
features of the food. The slogan also matches the purpose and the audience of the
advertisement, which is to promote and attract customers to the restaurant or the
food service.
• This image appears to be an advertisement for a restaurant or food service, as
suggested by the contact details and the address at the bottom. The image uses
multimodal resources to persuade potential customers to try their dishes, by
highlighting their variety and appeal. The logo and the decorative designs add an
aesthetic touch to the advertisement, as well as a possible cultural reference to the
dome-like structure and the white flag.

Some of the key concepts are as follows:

Mode: A semiotic resource that allows the expressions of discourses and types of interaction.

Media: The material resources used for the production and dissemination of multimodal texts.

Design: The process of selecting and combining modes and media to create multimodal texts.
 6.1.2.Dera Haq ad:

Fig.2

This fig.2 is being analyzed using Kress model:

According to their framework, multimodal discourse can be analyzed in terms of three meta
functions: representational, interpersonal, and textual. The representational meta function deals
with how the image represents the world and its participants. The interpersonal meta function
deals with how the image establishes a relation between the producer and the viewer. The textual
meta function deals with how the image organizes its element into a coherent whole.

Applying this framework to the image, I can make some observations as follows:

• The picture is a restaurant's logo, conveying the establishment's identity through

text and graphic elements combined.
• The centerpiece of the logo is a serving platter with steam or a fragrance
emanating upwards, signifying the restaurant's warmth and service. It appears
from the utensils above the tray that the restaurant serves a range of foods and
cuisines. The name of the restaurant and the cultural setting are written in Arabic
letters beneath the tray. Beneath the Arabic script, the English term
 "RESTAURANT" makes the nature of the business clear and appeals to a larger
market.
• The warm hues, curving curves, and symmetrical composition of the logo create a
pleasant and welcoming relationship with the observer. The tray is placed in the
middle of the logo, creating a focal point and a sense of balance. The scent of
steam produces a captivating and lively effect that tempts the observer to sample
the cuisine. Whereas the English term conveys familiarity and accessibility, the
Arabic script conveys authenticity and exoticism.
• The logo uses contrast, alignment, and hierarchy to arrange its components into a
logical whole. The logo stands out and draws attention because of the contrast
between the red and yellow accents and the white background. Order and
harmony are produced by the elements' placement along the vertical and
horizontal axes. Size, placement, and typeface all determine the hierarchy of the
pieces, resulting in a coherent and understandable framework.
6.1.3.Rasoi ad:

Fig.3

I analyze fig.3 based on multimodal discourse analysis exploring ideology behind slogan, “WE
COOK HAPPINESS” and identifying different modes of communication:

Multimodal analysis is a method of studying how different modes of communication, such as

visual, verbal, and spatial, work together to create meaning In this instance, the graphic
communicates the meaning behind the slogan "WE COOK HAPPINESS" in both spoken and
visual forms.

The restaurant Rasoi's slogan, "WE COOK HAPPINESS," alludes to a philosophy that goes
beyond simply serving cuisine to include giving patrons a happy and fulfilling dining experience.
It emphasizes the emotional and experiential aspects of their service rather than just the physical
act of eating, implying that dining at this restaurant will provide happiness.
  The image's visual mode, which fosters a warm and welcoming ambiance, reinforces this
idea. A feeling of coziness and welcome is enhanced by the neon signboard, potted
plants, and soft lighting. The circle logo next to the word "RASOI" also represents
harmony and wholeness, which supports the notion of happiness.
 The image's spatial mode also contributes to the ideology's communication. The
restaurant's entryway is portrayed from a low viewpoint, giving it a more noticeable and
welcoming appearance. The stairs that lead to the entryway imply a feeling of
advancement and expectation, as though patrons are going to step into a happy place.

In order to provide a favorable and appealing impression of the restaurant and its service, the
picture use multimodal analysis to investigate the philosophy underlying the slogan "WE COOK
HAPPINESS" by fusing verbal, visual, and spatial modalities of communication.

6.1.4.Karak ad:

Fig.4

I analyze fig 4 using Kress multimodal discourse analysis:

 Representational (Ideational) Mode:

 The image represents a social setting, specifically an outdoor dining area
of “Karak Bar & Caviar”.
 The presence of tables, chairs, and umbrellas indicates a place where
people can sit, relax, and enjoy their time.
 Interpersonal Mode:
 The text addresses the potential customers directly, using the imperative
“Don’t let the heat spoil your appetite” and the inclusive “we”.
 The text also appeals to the customers’ needs and desires, by highlighting
the benefits of the cooling system and the quality of the food and drinks.
  Compositional Mode:
 The text is prominently placed in the center foreground, drawing
immediate attention. It communicates essential information about the
amenities offered by Karak Bar & Caviar to combat heat.
 The background showcases the actual setting of the bar, giving context to
the text’s message.

6.2. Commercial advertisements:

6.2.1.7up ad:

Fig.5

I analyze fig 5 depicting textual, contextual and linguistic features:

This image is an advertisement for 7 Up, a popular brand of lemon-lime flavored, non-
caffeinated soft drink. The advertisement uses textual, visual, and linguistic features to convey its
intended message and persuade the viewer to buy the product.

Textual features:

The textual features include the following elements:

 "PUT THE CHILL" written in big, bold, green characters. This sentence uses imperative
mood to tell or invite the audience to unwind with a 7 Up. In addition to connoting
coolness and refreshment, which are connected to the product, the word "chill" also
Additionally, PepsiCo, the business that owns 7 Up, has trademarked the slogan,
emphasizing its exclusivity and originality.
  The information about the product's ingredients and quality that is printed in the tiny type
in the bottom left corner. It says that 7 Up has no artificial flavoring or coloring added,
and it has added lemon flavor. This suggests that the product appeals to the viewer's
sense of taste and well-being since it is genuine, healthy, and natural.
 The small wording in the lower right corner, identifies the character in the picture as 7
Up's well-known cartoon mascot, Fido Dido. Additionally, it says that "PUT THE
CHILL" and "Fido Dido" are PepsiCo trademarks that are shielded by copyright rules.
This suggests that the product is unique, imaginative, and captivating, appealing to the
novelty and curiosity of the audience.

Visual features:

The visual features include the following elements:

 The figure of Fido Dido, who is shown relaxing on a hammock at the beach that
is secured between two palm trees. He smiles at the audience while holding aloft
a bottle of 7 aloft. His carefree demeanor, carefree attire, and upbeat demeanor
convey that he is having a good time. He also stands in for the product's youthful,
stylish, and daring target market. He encourages the audience to follow him and
experience his lifestyle, acting as a spokesperson and role model for the product.
 The bottles of 7 Up, which are prominently placed to the right side of the
photograph. Their labels, which display the product's name and brand, are legible
and clear. In keeping with the image's color scheme and the product's branding,
the bottles are likewise green. A visual link is made between the product and the
message by positioning the bottles so that they seem to be pointing toward the
words "PUT THE CHILL." Additionally, the bottles contrast with the blue
background, which symbolizes the sea and the sky. The product and its
advantages are brought to the viewer's attention by this contrast.
 The background, which shows a beach landscape with clear sky, tranquil sea,
and white sand. The backdrop gives the visual context and implies that the object
is appropriate for summertime use, travel, and relaxation. Additionally, the
background establishes the image's mood by conveying emotions of joy, liberty,
and peace. Additionally, the background enhances the persona and the final
product, resulting in a well-balanced and cohesive whole.

Linguistic features:

The linguistic features include the following elements:

 The use of English as the language of the commercial. English is a widely spoken
and understood language, especially among the target audience of the product,
which is global, urban, and cosmopolitan. Additionally, English exudes a feeling
of modernity, sophistication, and prestige—qualities that both the product and its
customers would find appealing.
 The usage of slang, colloquial, and informal terms and idioms, such as "put,"
"chill," and "Fido Dido." The familiarity, warmth, and humor that these phrases
 and expressions convey appeal to the spectator and are by the image and character
of the product. Additionally, they foster a closeness and camaraderie that makes
the audience and the marketer seem like they belong to the same community or
culture.
 The use of assonance, rhyming, and alliteration in phrases like "7 Up," "Fido
Dido," and "Put the chill." The advertisement is memorable and visually
appealing because of the rhythm, melody, and catchy effect produced by these
sound effects. They also produce a feeling of balance and harmony, which reflects
the flavor and quality of the product.

6.2.2. Sprite:

Fig.6

I can examine the verbal and visual components of the image. This is what I found out:

This image is a commercial for Mirchi Bhaga, a brand of spicy soft drink. The commercial
combines written and graphic elements to entice the audience to purchase the goods and deliver
its desired message.

Visual features:

The visual features are as follows:

 The character of a person whose face is pixelated, holding a green bottle branded
“MIRCHI BHAGA THAND RAKH” up to their mouth as if they are drinking. The
character's pixelated face evokes a feeling of mystery and intrigue that allows the
audience to put themselves in the character's shoes. The drink gesture alludes to how
tasty and refreshing the product is, appealing to the viewer's thirst and sense of taste.
 The scene is being set in an interior area with warm lighting. The environment contrasts
with the product's name and tagline, which convey a sense of coolness and relaxation.
The location also suggests that the product is suitable for use in any context, regardless of
the season or weather.
 The color scheme of green and white, which matches the product’s branding and label.
The green color conveys the idea of spiciness and flavor, as well as freshness and
 naturalness. The white color conveys the idea of purity and quality, as well as simplicity
and elegance.

Textual features:

The textual features are as follows:

 Big, bold, white lettering that read "MIRCHI BHAGA THAND RAKH" on the bottle.
This expression is a pun on the Hindi terms "bag" and "chili," as well as the English
terms "keep" and "chill." The play on the contrast between chilly and hot suggests that
the product might deliver a unique and pleasurable experience by balancing both senses.
Additionally, the statement makes use of imperative mood, urging or telling the audience
to test the product and keep it cool.
 The small print at the bottom of the image, which provides a disclaimer about the
product’s label design. It states that the label design is for reference only and that the
actual label design on the products available in the market may be different. This implies
that the product is new and innovative, and that the advertisement is a teaser or a preview
of what is to come. It also implies that the product is in high demand and that the viewer
should act fast to get it before it runs out.

6.2.3. Shan ad:

Fig.7

I analyze this image using Fairclough 3D multimodal discourse analysis:

 The image appears to be an advertisement or promotional material for “Shan” brand food
products, which are popular in Pakistan and other countries. The Arabic text at the top of
the image translates to “Shan” recipes.
  The image uses a combination of text, image, and color to create a certain effect on the
viewers. The text is written in white against a red banner, which contrasts with the warm
golden hue of the background. The red color may suggest excitement, passion, or
appetite. The white color may suggest purity, freshness, or quality. The golden hue may
suggest coziness, warmth, or richness.
 The image shows a person in the process of cooking, but their face is obscured by a beige
rectangle. This may imply that the person is not important, but the food products are. The
person may also represent a generic or idealized cook, who could be anyone. The beige
rectangle may also serve as a placeholder for the viewers to imagine themselves in the
scene.
 The image displays three boxes of “Shan” brand food products in the foreground:
“Karahi,” “Biryani,” and “Chicken Tikka.” These are all traditional dishes from South
Asia, especially Pakistan and India. The boxes are prominently placed to attract the
viewers’ attention and to suggest that they are the main ingredients or the secret to
making these dishes. The boxes also have pictures of the dishes on them, which may
appeal to the viewers’ senses and emotions.

6.2.4. National ad:

Fig.8

This fig is being analyzed highlighting linguistic, textual or contextual features:

Some of the linguistic, textual, and contextual features that are used in this image are:

 Linguistic features: The usage of both English and Arabic languages, indicating a
bilingual or multicultural context. "National full of flavors" is the tagline that appeals to
the viewer's taste and preference and translates to that in Arabic script. The product
names and brand name "National" are displayed in the English text. These are names of
prepared food varieties that are common in South Asian cuisine.
 Textual features: The text's arrangement and placement within the picture. The tagline
and brand name are positioned at the top to grab attention, establish authority, and form
an identity. A link is made between the text and the image by positioning the product
names next to the appropriate packets. To provide emphasis and contrast, the text is also
presented in a variety of sizes, colors, and typefaces.
  Contextual features: The image's background and surroundings , evoke a feeling of
familiarity and reality. The picture depicts a family or group dining situation, with two
individuals seated and enjoying a meal together in a domestic setting. In addition to
suggesting a fondness for spicy and tasty food, the image also suggests a cultural or
social value of sharing food and happiness. The image might also be connected to global
trends or current affairs, like the appeal of South Asian food or the need for high-quality,
convenient food.

6.3 Fast food advertisements:

6.3.1. Burger Forest ad:

Fig.9

I analyze this ad using Fairclough 3D model:

I provide some basic information about the image, based on the visible elements and text in the
image. Here is what I found:

 The image features a logo or emblem design.

 At its center is a highly detailed illustration of a burger with lettuce, tomato, and cheese
visible.
 Surrounding the burger are two pine cones connected to branches extending from either
side.
 Behind these elements is a circular background featuring an intricate design reminiscent
of a coin or seal.
 Above this central design are large bold letters spelling out “BURGER FOREST”.
 Below it reads “EXTREME WILDNESS” in smaller but still prominent lettering.
 The entire emblem is surrounded by illustrated pine trees giving it an outdoor, wilderness
theme.
Based on these elements, I can infer that the image is related to a restaurant or a food brand that
offers burgers with a theme of wilderness or nature. The text and the visual elements suggest that
the burgers are made with fresh and natural ingredients, and that they are large and satisfying.
The image also conveys a sense of adventure and excitement for the customers.

6.3.2. KFC ad:

Fig.10

 The image features a red background with vertical lines creating texture.
 A neon sign in cursive writing reads “It’s finger lickin’ good,” glowing in white against
the red backdrop.
 To the right of the neon sign is an iconic fast-food logo (KFC), but the face has been
obscured with grey color for anonymity.
 The overall mood conveyed by the image is bold and vibrant due to the contrasting
colors.

Based on these elements, I can infer that the image is related to a fast-food brand that uses a
catchy slogan and a recognizable logo to attract customers. The neon sign and the red color
suggest a sense of excitement and energy, while the obscured face might imply a sense of
mystery or intrigue. Because the brand was founded in the US and has since grown
internationally, the picture also captures the cultural and historical background of the company.

McDonald ad:
 Fig.11

I apply Kress's multimodal analysis to this image. This approach to evaluating visual
communication takes language, layout, and color into account. Here is my interpretation of the
picture:

 Against a red backdrop, the image displays the recognizable McDonald's emblem, a giant
yellow "M."
 "I'm lovin' it" is the phrase inscribed beneath the 'M' in white lowercase letters.
 The red background generates a contrast that helps the yellow "M" and white text stand
out. • The "M" is bold and occupies the majority of the image.

Kress and van Leeuwen suggest the following interpretation for these elements:

 The company name and its merchandise are symbolically represented by the yellow letter
"M." Additionally, it is a prominent feature that grabs the attention of onlookers and
exudes status and strength.
 The warm hue of red in the background conjures up sensations of vigor, passion, and
hunger. Additionally, it instills a sense of urgency and action in the spectator, motivating
them to purchase the goods.
 The casual and intimate statement "I'm lovin' it" speaks to the feelings and morals of the
audience. It also implies a favorable and contented encounter with the company and its
offerings.
 The slogan's use of lowercase letters and an apostrophe sets a lighthearted and
approachable tone that builds rapport and a relationship with the audience. They also
suggest a contemporary and young image for the company.

In conclusion, the image conveys the brand's strength, energy, enthusiasm, positivity,
satisfaction, casualness, friendliness, modernity, and youthfulness through the use of color,
layout, and text. It also seeks to influence the audience's purchasing decisions by appealing to
their values and emotions.
 6.3.3. Starbucks ad:

Fig.12

I analyze this fig using Fairclough model:

This approach to visual communication interpretation takes the image's social and cultural
surroundings and effects into account. The following

• A green-designed Starbucks logo may be seen in the picture.

• The recognizable mermaid-adorned green circle still exists, although it has been modified.

• The sentence "We serve you decaf if you're rude" appears beneath the logo in a black typeface.

• A gradient of pale yellow at the top and darker yellow at the bottom makes up the backdrop
color.
According to Fairclough, these elements can be interpreted as follows:

• The Starbucks logo serves as a symbol for the company's name and goods. It also
represents the corporation's strength and influence globally and is a prominent
symbol.
• The alteration of the logo is a kind of criticism and resistance that questions the
legitimacy and authority of the brand. It also suggests a mocking sense of irony
and humor directed against the brand's image and principles.
• The discourse that appears beneath the emblem conveys information regarding
customer service and the dynamic between staff members and clients.
Additionally, it conveys a threat and a penalty that are contingent on the
customer's actions. The mood of the backdrop color contrasts with the light and
dark hues.

In summation, the image conveys the idea that the brand is strong, worldwide, and dominant, but
it is also subject to criticism, resistance, and mockery through the use of symbols, discourse, and
mood. Additionally, it threatens to serve nasty customers decaf in an attempt to change their
behavior.

Results and Discussions:

We discussed above how semiotic features of multimodal discourse analysis depicted in different
ads of food. We see that how slogans on ads attract the consumers especially youngsters or kids.

Desi, commercial or fast food ads depict different ideas or concepts. Different spatial, gestural or
contextual features are depicted in different ads. Every restaurant owner tries to become unique
and entirely different. They then tried to focus on picture layout which compels the consumers. I
analyze all thses features based on multimodal discourse analysis using theoretical framework of
Kress and Fairclough model that how semiotic features is used in all advertisements.

Graphology Olaosun (2001) asserts that the phonological information of written texts is carried
by their graphological characteristics. To observe how the marketers have used language in the
verbal anchorages to convey their messages to the viewing/reading public, some linguistics-
related topics will be highlighted in this part.

Conclusion:

This study has been able to take into account the linguistic and visual components of multimodal
discourse analysis. This is possible because of the theoretical framework we used in our
investigation. Nonetheless, it is crucial to keep in mind that visual perception is inherently
subjective and that one picture may have multiple meanings depending on the society
interpreting it. According to Kress and Van Leeuwen (Kress and Van Leuuwen 1996:153),
"...social interactions and social relations can be encoded in images so that we are instructed
silently regarding a set of implicit norms." In general, we hope that this study has contributed to
a range of scholarly writings in the discourse of Pakistani media. The study emphasizes how
crucial visual components are as advertising tools. It illustrates how many visual cues, such as
color gaze, posture, and others, can be used to convince readers or viewers of the value and
potency of the promoted meals by cementing the advertisers' claims in their brains. Furthermore,
this study amply illustrates the power of visual imagery to convey meaning in human
civilizations outside the realm of spoken language.

This study used the Fairclough 3D model and Kress and van Leeuwen's (2006) multimodal
semiotic discourse (also known as visual grammar) model to examine twelve online
advertisement graphics. The meaning transmitted by various semiotic modes in conjunction with
verbal elements in context was better understood by the researcher thanks to the three meta-
functions of representational, interactional, and compositional meaning. When viewed in context,
each semiotic element has significance and strengthens the image's persuasiveness and aesthetic
appeal. As a result, the process of interpreting these visuals—digital advertisements—involves
both verbal and semiotic factors.

To analyze these photos, the researcher first gave a description of the participants (both depicted
and interactive). Second, three aspects are used to explore the interactive meaning: attitude
(involvement, detachment, viewer power, equality, representation power, etc.), social distance
(intimate, social, or impersonal), and contact or gaze (demand or offer). Thirdly, the researcher
looked at how the objects were arranged in the picture. In advertisements, colors are a major
factor in increasing sales.A thoughtful color scheme proved to be crucial to the advertisement's
visual appeal and persuasiveness. In order to understand the meaning of the photographs, the
researcher consequently concentrated on the colors utilized in them. Lastly, an analysis of the
linguistic components utilized to convey the attributes and characteristics of the product was
conducted, paying particular attention to the typeface, capitalization, and positioning within the
image. The results supported the hypothesis that using additional semiotic modes in digital ads to
supplement language aspects improved persuasion. Advertisements are therefore purposefully
made in this manner to draw in and influence viewers and buyers.

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