Graphic design considers the following principles to be important:
Correspondence
Repetition of elements such as color, direction, value, shape, or texture creates correspondence among elements. Related to Correspondence is Continuity, which is the handling of these elements to create similarities of form.
Alignment
Visual connections are made between and among elements when their edges or axes align.
Flow
The arrangements of elements can lead viewers to read these elements in a particular order. This principle relates to rhythm, which is the sense of movement from one element to another.
We will look at how elements are organized in advertisements with specific case studies, focussing on three aspects:
- vectors and salience;
- perspective;
- framing;
- product placement.
Showing posts with label advertising. Show all posts
Showing posts with label advertising. Show all posts
Monday, April 28, 2008
Burger King's "Fiery Fries"
This very simple advertisement was created by Andrew Clarke of Saatchi & Saatchi (Singapore). The quotation below (from Aitchison 1999, p. 171) describes Clarke's thought processes.
"By putting Fiery Fries near the logo, it reduces the ad to two elements. I did try Fiery Fries just below the picture, and I also tried it centralised under the picture at the bottom, and both times the logo was in the corner. So there were three elements, picture and caption and logo, and what I did was break up the pureness of the white, so I just tucked it all in the corner."
You can see the different versions that (we presume) Clarke had in mind by clicking here. The visual disconnects that Clarke describes for the alternative versions also seem to alter the Ideal-Real perception that the reader has: "Fiery Fries" moves out of the Real to the Ideal. In other words, only the version that Clarke actually used has the form:
Image/Ideal: "What is this?"
Text/Real: Fiery Fries from Burger King.
"By putting Fiery Fries near the logo, it reduces the ad to two elements. I did try Fiery Fries just below the picture, and I also tried it centralised under the picture at the bottom, and both times the logo was in the corner. So there were three elements, picture and caption and logo, and what I did was break up the pureness of the white, so I just tucked it all in the corner."
You can see the different versions that (we presume) Clarke had in mind by clicking here. The visual disconnects that Clarke describes for the alternative versions also seem to alter the Ideal-Real perception that the reader has: "Fiery Fries" moves out of the Real to the Ideal. In other words, only the version that Clarke actually used has the form:
Image/Ideal: "What is this?"
Text/Real: Fiery Fries from Burger King.
People in advertising
Case study I: fear advertisements
In Liu and Westmorland's study of people in fear advertisements, they found that there tended to be more averted gazes in "before" advertisements and direct gazes in "after advertisements.
Before
Before and After
After
Before After
Averted Gaze 6/9 12/13 7/9 5/12
Direct Gaze 3/9 1/13 2/9 7/12
Smile Count 1/9 1/13 9/9 10/12
Liu and Westmoreland associate averted gazes to insecurity and low self-esteem; the high number of averted gazes in "before" advertisements reinforces the negativity of the situation.
Gunther Kress and Theo van Leeuwen's identification of "demand" and "offer" photographs can be also applied in the consideration of gazes in fear advertisements, where "demand" photos are those in which people have a direct gaze and "offer" photos are those involving averted gaze. The significance of the terms "demand" and "offer" are not directly applicable here; advertisers probably are not trying to directly "offer" you a problem in "before" advertisements. Instead, they give you a situation, or a peek into someone else's life, as if to say, "We are offering you a glimpse into this person's life. You don't have to be this person if you use our product." On the other hand, in "after" advertisements the person portrayed "demands" from the viewer an association with the solution, saying, "I want you to recognize the happiness I've found. You can share my happiness if you use this product."
Case Study II: energy bar advertisements
In a sense, the people depicted in energy bar advertisements are akin to the people of the "after" advertisements above. In constrast to the fear advertisements above, however, the photographs of energy bar advertisements mostly fall into the "offer" category with the participants looking away from the camera. The people in energy bar ads are presented as testimonials to the products' benefits; the advertiser says, "I offer you proof that this energy bar provides the energy and endurance you need. What can this product do for you?" The relationship between the reader and the depicted person is reinforced by text in ads like 60.09 PowerBar. The advertisement lets the reader know "What Peter Reid knows" without saying, "this is what you should know," offering the information without imposing it onto the reader. The general intimacy of these advertisements, shown by the close range of the camera, reminds the reader that the athletes depicted no different than anyone else; if they can achieve these physical feats, maybe you can too--if you use a certain product.
Case Study III: alcohol advertisements
The people shown in alcohol advertisements were noted for their establishment of the context of the images presented. Alcohol advertisements tended to depict wealthy living and sex appeal by characterizing the alcohol consumers as such. The use of "demand" and "offer" is much more potent in this context, where advertisers ask consumers to observe, desire and participate in social and psychological benefits of alcohol rather than the physical and nutritious benefits of energy bars. People in alcohol advertisements were mostly split between "demand" and "offer," both saying "Join us in enjoying this product" and "Look at how these people are enjoying this product." Overall, the use of people in advertisements was not overwhelmingly popular, as the product alone often provides a powerful enough message.
In Liu and Westmorland's study of people in fear advertisements, they found that there tended to be more averted gazes in "before" advertisements and direct gazes in "after advertisements.
Before
Before and After
After
Before After
Averted Gaze 6/9 12/13 7/9 5/12
Direct Gaze 3/9 1/13 2/9 7/12
Smile Count 1/9 1/13 9/9 10/12
Liu and Westmoreland associate averted gazes to insecurity and low self-esteem; the high number of averted gazes in "before" advertisements reinforces the negativity of the situation.
Gunther Kress and Theo van Leeuwen's identification of "demand" and "offer" photographs can be also applied in the consideration of gazes in fear advertisements, where "demand" photos are those in which people have a direct gaze and "offer" photos are those involving averted gaze. The significance of the terms "demand" and "offer" are not directly applicable here; advertisers probably are not trying to directly "offer" you a problem in "before" advertisements. Instead, they give you a situation, or a peek into someone else's life, as if to say, "We are offering you a glimpse into this person's life. You don't have to be this person if you use our product." On the other hand, in "after" advertisements the person portrayed "demands" from the viewer an association with the solution, saying, "I want you to recognize the happiness I've found. You can share my happiness if you use this product."
Case Study II: energy bar advertisements
In a sense, the people depicted in energy bar advertisements are akin to the people of the "after" advertisements above. In constrast to the fear advertisements above, however, the photographs of energy bar advertisements mostly fall into the "offer" category with the participants looking away from the camera. The people in energy bar ads are presented as testimonials to the products' benefits; the advertiser says, "I offer you proof that this energy bar provides the energy and endurance you need. What can this product do for you?" The relationship between the reader and the depicted person is reinforced by text in ads like 60.09 PowerBar. The advertisement lets the reader know "What Peter Reid knows" without saying, "this is what you should know," offering the information without imposing it onto the reader. The general intimacy of these advertisements, shown by the close range of the camera, reminds the reader that the athletes depicted no different than anyone else; if they can achieve these physical feats, maybe you can too--if you use a certain product.
Case Study III: alcohol advertisements
The people shown in alcohol advertisements were noted for their establishment of the context of the images presented. Alcohol advertisements tended to depict wealthy living and sex appeal by characterizing the alcohol consumers as such. The use of "demand" and "offer" is much more potent in this context, where advertisers ask consumers to observe, desire and participate in social and psychological benefits of alcohol rather than the physical and nutritious benefits of energy bars. People in alcohol advertisements were mostly split between "demand" and "offer," both saying "Join us in enjoying this product" and "Look at how these people are enjoying this product." Overall, the use of people in advertisements was not overwhelmingly popular, as the product alone often provides a powerful enough message.
Colors and people used in categories of advertising
Case study I: fear advertisements
Liu and Westmoreland found that "before" advertisements were generally darker, using shades of black and white, green and brown; in contrast, "after" advertisements used bright colors such as red, orange and yellow. The correlation between color and mood and attitude is clearly present in these ads, in which darker advertisements try to convey a problematic, sad or negative situation and brighter advertisements show the happiness and cheer that can be achieved once the problem has been solved.
Color choices can also correspond to levels of salience. Liu and Westmoreland note that "before" advertisements look somewhat bland, plain or dreary because of the use of neutral colors like black, white, brown and green. The bland colors give elements in the advertisement low salience because of the lack of contrast, and the problem is perceived as a whole, a completely undesirable situation. Brighter colors and the use of white space, on the other hand, can give elements more salience and the ad can more clearly focus on the bright attitude of the person that has been "cured."
Lastly, in "before and after" advertisements both dark and bright colors were used, though not as much as intermediate colors such as blue, purple and yellow. This selection of colors suggests balance between "before" and "after"--for every problem, there can be a solution.
Case study II: energy bar advertisements
The color swatches above were taken from 29 energy bar advertisements and loosely arranged by hue and brightness, showing the popularity of brown and blue tones. Brown was a popular choice as the color of chocolate, a common bar flavor, and in association with nature and health. Blue can also be associated with health, cleanliness and serenity, which appeals to lifestyle choices that energy bar users might make. Darker shades are more common, perhaps to emphasize the richness of flavor and nutrients energy bars provide.
Case study III: alcohol advertisements
In the sample of alcohol advertisements, red, black and blue were predominantly used. The bold, eye-catching reds were mostly an amber hue, the color of many of the products (whiskey and beer) themselves. Using the rich reds and ambers, advertisers could convey a sense of weight and even taste to the readers. Blue hues were mostly seen in in advertisements for clear liquors, such as vodka. Blues evoke a cool, clean, smooth sensation that vodka companies may want to associate with their products. Lastly, the use of black connotes the nightlife and sophistication in which alcohol may be consumed.
Liu and Westmoreland found that "before" advertisements were generally darker, using shades of black and white, green and brown; in contrast, "after" advertisements used bright colors such as red, orange and yellow. The correlation between color and mood and attitude is clearly present in these ads, in which darker advertisements try to convey a problematic, sad or negative situation and brighter advertisements show the happiness and cheer that can be achieved once the problem has been solved.
Color choices can also correspond to levels of salience. Liu and Westmoreland note that "before" advertisements look somewhat bland, plain or dreary because of the use of neutral colors like black, white, brown and green. The bland colors give elements in the advertisement low salience because of the lack of contrast, and the problem is perceived as a whole, a completely undesirable situation. Brighter colors and the use of white space, on the other hand, can give elements more salience and the ad can more clearly focus on the bright attitude of the person that has been "cured."
Lastly, in "before and after" advertisements both dark and bright colors were used, though not as much as intermediate colors such as blue, purple and yellow. This selection of colors suggests balance between "before" and "after"--for every problem, there can be a solution.
Case study II: energy bar advertisements
The color swatches above were taken from 29 energy bar advertisements and loosely arranged by hue and brightness, showing the popularity of brown and blue tones. Brown was a popular choice as the color of chocolate, a common bar flavor, and in association with nature and health. Blue can also be associated with health, cleanliness and serenity, which appeals to lifestyle choices that energy bar users might make. Darker shades are more common, perhaps to emphasize the richness of flavor and nutrients energy bars provide.
Case study III: alcohol advertisements
In the sample of alcohol advertisements, red, black and blue were predominantly used. The bold, eye-catching reds were mostly an amber hue, the color of many of the products (whiskey and beer) themselves. Using the rich reds and ambers, advertisers could convey a sense of weight and even taste to the readers. Blue hues were mostly seen in in advertisements for clear liquors, such as vodka. Blues evoke a cool, clean, smooth sensation that vodka companies may want to associate with their products. Lastly, the use of black connotes the nightlife and sophistication in which alcohol may be consumed.
Gaze: demand and offer
People in photographs can generally be divided into two categories: those who look at the camera and those who do not. Advertisers use the gaze of the people they picture to convey particular attitudes---pleasure at use of a product or displeasure at the absence of a product, for example. Kress and van Leeuwen characterize the gaze of a person as either a "demand" of or an "offer" to the viewer.
"Demand" pictures are those in which its participants are looking directly at the camera (and therefore, the reader). Kress and van Leeuwen assert that vectors, following the gaze of the photographed participant, connect participant with viewer. "Contact is established, even if it is only on an imaginary level." (p. 122) Using a "demand" picture acknowledges the viewer, "addressing them with a visual 'you.'" In addressing the reader directly, the participant's gaze demands an imaginary relation with the viewer.
In advertisements, the visual "demand" is usually one of participation or acknowlegement, where the picture seems to say, "I demand you to enjoy this product and its benefits." The woman in 25 Michelob says, "I demand you send me a beer---but only a Michelob."
On the other hand, pictures in which participants have a indirect gaze address the reader indirectly. "Here the viewer is not object, but subject of the look, and the represented participant is the object of the viewer's dispassionate scrutiny" (p. 124). The photographed participants are "offered" to the readers "as though they were specimens in a display case," and the relationship between participant and reader is one of unfamiliarity rather than the intimacy of a "demand" photograph. In contrast to the visual "you" presented in "demand" pictures, "offer" pictures lack the corresponding visual "I." Instead, just as the participant becomes the object of the picture, "I" is objectified into a visual "he" or "she."
In "offer" advertisements, the picture visually speaks to the reader through the author of the picture rather than the picture's participants. The author of 28.2 Rave says, "I offer you proof that Rave hair gel really does work."
"Demand" pictures are those in which its participants are looking directly at the camera (and therefore, the reader). Kress and van Leeuwen assert that vectors, following the gaze of the photographed participant, connect participant with viewer. "Contact is established, even if it is only on an imaginary level." (p. 122) Using a "demand" picture acknowledges the viewer, "addressing them with a visual 'you.'" In addressing the reader directly, the participant's gaze demands an imaginary relation with the viewer.
In advertisements, the visual "demand" is usually one of participation or acknowlegement, where the picture seems to say, "I demand you to enjoy this product and its benefits." The woman in 25 Michelob says, "I demand you send me a beer---but only a Michelob."
On the other hand, pictures in which participants have a indirect gaze address the reader indirectly. "Here the viewer is not object, but subject of the look, and the represented participant is the object of the viewer's dispassionate scrutiny" (p. 124). The photographed participants are "offered" to the readers "as though they were specimens in a display case," and the relationship between participant and reader is one of unfamiliarity rather than the intimacy of a "demand" photograph. In contrast to the visual "you" presented in "demand" pictures, "offer" pictures lack the corresponding visual "I." Instead, just as the participant becomes the object of the picture, "I" is objectified into a visual "he" or "she."
In "offer" advertisements, the picture visually speaks to the reader through the author of the picture rather than the picture's participants. The author of 28.2 Rave says, "I offer you proof that Rave hair gel really does work."
Information vs. persuasion in advertising
A very difficult question to address in the analysis of advertising is that concerning when information becomes persuasion. Is the function of an advertisement simply to provide information, possibly about the mere existence of some product, or is there necessarily some persuasive aspect?
It seems reasonable to say that most advertisements have a persuasive component, but are there some analytical criteria that we can use to decide where information ends and persuasion begins? As persuasion is a rather subjective effect, this may be difficult.
It seems reasonable to say that most advertisements have a persuasive component, but are there some analytical criteria that we can use to decide where information ends and persuasion begins? As persuasion is a rather subjective effect, this may be difficult.
Names in advertising
In the fear advertisements, product and brand names tended to follow the same trend as that the technology names. For many of the medical products in the advertisements studied, product names fell into one of the following categories:
- pseudo-scientific, with zs and xs (Zoloft, Plavix, Vioxx, Nexium)
- friendly and unassuming (GoodNites, Allegra)
- medically based (Serevent, Flonase, NicoDerm)
For more examples, see the pharmaceutical names.
In 30 advertisements for energy bars, the bar's brand name or its parent name was mentioned an average of 3.7 times per ad in both graphical and textual form. The prominence of the product name on the packaging of the product itself played a large part in the number of name mentions per ad; advertisements for smaller products such as energy ads can afford to display the product (and hence the product name) many times.
The product names themselves lend to an interesting discussion:
- Harvest Bar and Nature Valley appeal to those who want to improve their bodies "naturally;
- ProMax, Centrum Energy and Carb Solutions bars are for serious athletes who know what their bodies need;
- Luna and Pria, energy bars targeted at women, have a soft yet clean or healthy feeling;
- PowerBar and Balance Bar let consumers know what they gain by usage of their products.
The product name appears fewer times in alcohol advertisements than in energy bar ads, averaging at 2 instances per advertisement.
The product names in alcohol advertisements share similar sources:
- names (Bacardi, Jack Daniels, Pete's Wicked Ale);
- locations (Beaulieu Vineyards, Knob Creek, Malibu);
- and descriptives related to he brewing/distilling process, location or (Skyy, Makers Mark, Grey Goose).
Even seemingly arbitrary names have significance in their structure. Lexicon Branding explores the anatomy of the name Zima on their website, noting that the letters in "Zima", Russian for "winter", reinforce the clarity and simplicity of this vodka drink.
- pseudo-scientific, with zs and xs (Zoloft, Plavix, Vioxx, Nexium)
- friendly and unassuming (GoodNites, Allegra)
- medically based (Serevent, Flonase, NicoDerm)
For more examples, see the pharmaceutical names.
In 30 advertisements for energy bars, the bar's brand name or its parent name was mentioned an average of 3.7 times per ad in both graphical and textual form. The prominence of the product name on the packaging of the product itself played a large part in the number of name mentions per ad; advertisements for smaller products such as energy ads can afford to display the product (and hence the product name) many times.
The product names themselves lend to an interesting discussion:
- Harvest Bar and Nature Valley appeal to those who want to improve their bodies "naturally;
- ProMax, Centrum Energy and Carb Solutions bars are for serious athletes who know what their bodies need;
- Luna and Pria, energy bars targeted at women, have a soft yet clean or healthy feeling;
- PowerBar and Balance Bar let consumers know what they gain by usage of their products.
The product name appears fewer times in alcohol advertisements than in energy bar ads, averaging at 2 instances per advertisement.
The product names in alcohol advertisements share similar sources:
- names (Bacardi, Jack Daniels, Pete's Wicked Ale);
- locations (Beaulieu Vineyards, Knob Creek, Malibu);
- and descriptives related to he brewing/distilling process, location or (Skyy, Makers Mark, Grey Goose).
Even seemingly arbitrary names have significance in their structure. Lexicon Branding explores the anatomy of the name Zima on their website, noting that the letters in "Zima", Russian for "winter", reinforce the clarity and simplicity of this vodka drink.
Words and names used in categories of advertising
This unit uses two product categories and one (sales tactic) category to discuss trends in the following aspects of magazine advertisements:
- common words, copy length and layout;
- names and name placement;
- "you" vs. "I" ads.
- common words, copy length and layout;
- names and name placement;
- "you" vs. "I" ads.
Names used in advertising
Needless to say, a powerful aspect of product marketing is the product name itself. Consequently, choosing a name for a product is very important, and companies which specialize in naming products find their services in high demand. A name can have up to three functions:
- to proclaim a benefit: DieHard, EasyOff, Inspiron, Achieva, Aspire
- to distinguish the company/product from the competition: Zest, fatbrain.com, Amazon
- to offer a new vision: Pentium, Swiffer, Yahoo
Start here to read about the experience and practice of one naming company, Lexicon Branding Inc. of Sausalito, California.
To see short lists of product names, go to our product name page.
We are grateful to Prof. Will Leben of Stanford University for assistance with this Unit.
- to proclaim a benefit: DieHard, EasyOff, Inspiron, Achieva, Aspire
- to distinguish the company/product from the competition: Zest, fatbrain.com, Amazon
- to offer a new vision: Pentium, Swiffer, Yahoo
Start here to read about the experience and practice of one naming company, Lexicon Branding Inc. of Sausalito, California.
To see short lists of product names, go to our product name page.
We are grateful to Prof. Will Leben of Stanford University for assistance with this Unit.
Text layout and fonts
Text layout, meaning the organization of the text with respect to itself, not within the whole advertisement.
Offline text stands out: this is very clearly illustrated in 32 State Farm (Fast Company, June 2001) and 33 Symantec (Rolling Stone, May 9, 2002), where one line that is out of the shape defined by the others is a key component in the meaning of the whole advertisement. Notice also the text in 41 Riders (Glamour, August 2002), curving symmetrically in and out.
Now, consider the font choices in the following ads, then click on the images for the full advertisement and an alternate font arrangement.
Offline text stands out: this is very clearly illustrated in 32 State Farm (Fast Company, June 2001) and 33 Symantec (Rolling Stone, May 9, 2002), where one line that is out of the shape defined by the others is a key component in the meaning of the whole advertisement. Notice also the text in 41 Riders (Glamour, August 2002), curving symmetrically in and out.
Now, consider the font choices in the following ads, then click on the images for the full advertisement and an alternate font arrangement.
Words used in advertising
The main copy of advertising language probably uses words from a restricted sub-set of English---common words, often with some emotional as well as literal value. In advertisements aimed at teenagers, the pronouns "you" and "he/him" (for advertisements aimed at girls) are highly frequent. In other advertising domains, we can find some interesting contrasts in the use of pronouns (see Unit 7). Leech (1966) provides a thorough overview from the point of view of a practicising linguist of how language is used in advertising.
It is probably more useful to look at word usage and statistics in restricted domains of advertising, as we do in Unit 7, rather than to generalize across all cases. However, to give an indication of what we typically find, here is what Leech found out about the frequency of words in a sample of television advertisements (from the 1960s).
The twenty most frequent adjectives:
1. new
2. good/better/best
3. free
4. fresh
5. delicious
6. full
6. sure
8. clean
8. wonderful
10. special
11. crisp
12. fine
13. big
14. great
15. real
16. easy
16. bright
18. extra
18. safe
20. rich
The twenty most frequent verbs:
1. make
2. get
3. give
4. have
5. see
6. buy
7. come
8. go
9. know
10. keep
10. look
12. need
13. love
14. use
15. feel
15. like
17. choose
18. take
19. start
19. taste
It is probably more useful to look at word usage and statistics in restricted domains of advertising, as we do in Unit 7, rather than to generalize across all cases. However, to give an indication of what we typically find, here is what Leech found out about the frequency of words in a sample of television advertisements (from the 1960s).
The twenty most frequent adjectives:
1. new
2. good/better/best
3. free
4. fresh
5. delicious
6. full
6. sure
8. clean
8. wonderful
10. special
11. crisp
12. fine
13. big
14. great
15. real
16. easy
16. bright
18. extra
18. safe
20. rich
The twenty most frequent verbs:
1. make
2. get
3. give
4. have
5. see
6. buy
7. come
8. go
9. know
10. keep
10. look
12. need
13. love
14. use
15. feel
15. like
17. choose
18. take
19. start
19. taste
Words and phrases used in advertising
Preamble text:
- common words and phrases used;
- layout of text, fonts, size of text, etc.;
- borrowed phrases and constructions;
- Novel Words and Phrases used in advertising.
- Is advertising language "normal language"?
- common words and phrases used;
- layout of text, fonts, size of text, etc.;
- borrowed phrases and constructions;
- Novel Words and Phrases used in advertising.
- Is advertising language "normal language"?
The components of an advertisement
Case study of advertising components: 33 Symantec
Consider the Symantec advertisement on the left (Rolling Stone, May 9, 2002, p.7). There is a very strong diagonal effect in the images, from the Symantec symbol to the yellow square to the woman's head to the cat. The yellow straight lines connect "System Repair" through the yellow square to the laptop computer that the woman is using.
A person is necessary here to show that the computer is being used, and therefore, in a usable state. So, if it had been broken, it is now fixed. From the reader's perspective, the advertisement is a message which is being presented, and under the assumption of rational and cooperative communication, there must be a reason (or reasons) why each part of the advertisement is the way it is, and why it is where it is. The reader must infer the relevance of these parts to the whole message. And if the creator of the advertisement has been successful, the reader will make the inferences that the creator intended.
After you have thought about the different versions of the advertisement that are presented in this section, think what you could conclude about how the parts of an advertisement relate to each other. The text may perform the function of anchorage, indicating how you might interpret the image. To accomplish this in the way the creator of the advertisement intended, though, you must be able to calculate the relevance of the text to the image(s), and if there are multiple images or symbols, their relevance to each other would be considered to be important (and therefore something that, as a reader, you must calculate).
Consider the Symantec advertisement on the left (Rolling Stone, May 9, 2002, p.7). There is a very strong diagonal effect in the images, from the Symantec symbol to the yellow square to the woman's head to the cat. The yellow straight lines connect "System Repair" through the yellow square to the laptop computer that the woman is using.
A person is necessary here to show that the computer is being used, and therefore, in a usable state. So, if it had been broken, it is now fixed. From the reader's perspective, the advertisement is a message which is being presented, and under the assumption of rational and cooperative communication, there must be a reason (or reasons) why each part of the advertisement is the way it is, and why it is where it is. The reader must infer the relevance of these parts to the whole message. And if the creator of the advertisement has been successful, the reader will make the inferences that the creator intended.
After you have thought about the different versions of the advertisement that are presented in this section, think what you could conclude about how the parts of an advertisement relate to each other. The text may perform the function of anchorage, indicating how you might interpret the image. To accomplish this in the way the creator of the advertisement intended, though, you must be able to calculate the relevance of the text to the image(s), and if there are multiple images or symbols, their relevance to each other would be considered to be important (and therefore something that, as a reader, you must calculate).
Friday, March 14, 2008
Mobile Billboard Advertising
Mobile Billboards are flat-panel campaign units in which their sole purpose is to carry advertisements along dedicated routes selected by clients prior to the start of a campaign. Mobile Billboard companies do not typically carry third-party cargo or freight. Mobile displays are used for various situations in metropolitan areas throughout the world, including:
* Target advertising;
* One day, and long term campaigns;
* Convention;
* Sporting events;
* Store openings or other similar promotional events;
* Big advertisements from smaller companies.
Advertise history part 2
When radio stations began broadcasting in the early 1920s, the programs were however nearly exploded. This was so because the first radio stations were established by radio equipment manufacturers and retailers who offered programs in order to sell more radios to consumers. As time passed, many non-profit organizations followed suit in setting up their own radio stations, and included: schools, clubs and civic groups. When the practice of sponsoring programs was popularised, each individual radio program was usually sponsored by a single business in exchange for a brief mention of the business' name at the beginning and end of the sponsored shows. However, radio station owners soon realised they could earn more money by selling sponsorship rights in small time allocations to multiple businesses throughout their radio station's broadcasts, rather than selling the sponsorship rights to single businesses per show. This practice was carried over to television in the late 1940s and early 1950s. A fierce battle was fought between those seeking to commercialise the radio and people who argued that the radio spectrum should be considered a part of the commons – to be used only non-commercially and for the public good. The United Kingdom pursued a public funding model for the BBC, originally a private company but incorporated as a public body by Royal Charter in 1927. In Canada, advocates like Graham Spry were likewise able to persuade the federal government to adopt a public funding model. However, in the United States, the capitalist model prevailed with the passage of the 1934 Communications Act which created the Federal Communications Commission. To placate the socialists, the U.S. Congress did require commercial broadcasters to operate in the "public interest, convenience, and necessity". Nevertheless, public radio does exist in the United States of America. In the early 1950s, the Dumont television network began the modern trend of selling advertisement time to multiple sponsors. Previously, Dumont had trouble finding sponsors for many of their programs and compensated by selling smaller blocks of advertising time to several businesses. This eventually became the norm for the commercial television industry in the United States. However, it was still a common practice to have single sponsor shows, such as the U.S. Steel Hour. In some instances the sponsors exercised great control over the content of the show - up to and including having one's advertising agency actually writing the show. The single sponsor model is much less prevalent now, a notable exception being the Hallmark Hall of Fame.
Sunday, March 2, 2008
Form of communication
Advertising is a form of communication whose purpose is to inform potential customers about products and services and how to obtain and use them. Many advertisements are also designed to generate increased consumption of those products and services through the creation and reinforcement of brand image and brand loyalty. For these purposes advertisements often contain both factual information and persuasive messages. Every major medium is used to deliver these messages, including: television, radio, movies, magazines, newspapers, video games, the Internet (see Internet advertising), and billboards. Advertising is often placed by an advertising agency on behalf of a company.
Advertisements can also be seen on the seats of grocery carts, on the walls of an airport walkway, on the sides of buses, heard in telephone hold messages and in-store public address systems. Advertisements are usually placed anywhere an audience can easily and/or frequently access visuals and/or audio and print
Organizations which frequently spend large sums of money on advertising but do not strictly sell a product or service to the general public include: political parties, interest groups, religion-supporting organizations, and militaries looking for new recruits. Additionally, some non-profit organizations are not typical advertising clients and rely upon free channels, such as public service announcements.
Advertising spending has increased dramatically in recent years. In the United States alone in 2006, spending on advertising reached $155 billion, reported TNS Media Intelligence. That same year, according to a report titled Global Entertainment and Media Outlook: 2006-2010 issued by global accounting firm PricewaterhouseCoopers, worldwide advertising spending was $385 billion. The accounting firm's report projected worldwide advertisement spending to exceed half-a-trillion dollars by 2010.
While advertising can be seen as necessary for economic growth, it is not without social costs. Unsolicited Commercial Email and other forms of spam have become so prevalent as to have become a major nuisance to users of these services, as well as being a financial burden on internet service providers. Advertising is increasingly invading public spaces, such as schools, which some critics argue is a form of child exploitation.
Advertisements can also be seen on the seats of grocery carts, on the walls of an airport walkway, on the sides of buses, heard in telephone hold messages and in-store public address systems. Advertisements are usually placed anywhere an audience can easily and/or frequently access visuals and/or audio and print
Organizations which frequently spend large sums of money on advertising but do not strictly sell a product or service to the general public include: political parties, interest groups, religion-supporting organizations, and militaries looking for new recruits. Additionally, some non-profit organizations are not typical advertising clients and rely upon free channels, such as public service announcements.
Advertising spending has increased dramatically in recent years. In the United States alone in 2006, spending on advertising reached $155 billion, reported TNS Media Intelligence. That same year, according to a report titled Global Entertainment and Media Outlook: 2006-2010 issued by global accounting firm PricewaterhouseCoopers, worldwide advertising spending was $385 billion. The accounting firm's report projected worldwide advertisement spending to exceed half-a-trillion dollars by 2010.
While advertising can be seen as necessary for economic growth, it is not without social costs. Unsolicited Commercial Email and other forms of spam have become so prevalent as to have become a major nuisance to users of these services, as well as being a financial burden on internet service providers. Advertising is increasingly invading public spaces, such as schools, which some critics argue is a form of child exploitation.
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