Which is to say that connotation is suggestive of signification. The audience for the sign naturally makes associations not only between color and gender in the particular ad, but also attributions to the behavioral states of the entire gender class. Color serves as a cue toward such states. These states are clearest, perhaps, when viewing men and women in interaction. When we do we may see men as drones, at times, suave, at others; but women we see full of spark, passion, energy, and sexuality at all times.

The paradigmatic example of how the color-female sign is employed to connote emotive-physical state is the gAnna-Aka-Rossoh ad detailed in other published work.
A woman checks her red face in the mirror	She poses in her red clothes in front of a red car	She catches the eye of an Italian man sitting nearby
His blood begins to boil. The steam he emits lifts the woman's skirt	Turning red, himself, he exclaims "Red!" As the woman struggles to hold her skirt down	She places a finger to her lips. "Shh," she says "our secret"

In an ad for beer a woman dashes along a boardwalk, dressed in a red top and a billowing, patterned skirt	Sweating profusely, she douses her head under a faucet	Then shakes out her mane vigorously
Next she lustily quaffs the product in one continuous	In the final frames she reclines on a wooden bench on a pier, staring at the ocean in a kind of stupor	Her ankles crossed, her arms outstretched, she giggles uncontrollably: drunk, giddy, in a state suggestive nothing less than post-orgasmic splendor

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