TABLE OF CONTENTS

Contenido
TABLE OF CONTENTS..............................................................................1
SUMMARY..................................................................................................2
INTRODUCTION........................................................................................ 4
TALKING ABOUT APPEARANCE..............................................................5
1. Concept of appearance...........................................................................5
2. The personal appearance of a person....................................................6
3. Physical appearance in preschool children.............................................7
4. Physical appearance during adolescence...............................................8
5. Morphotypes / Biotypes..........................................................................8
6. Appearance and physical characteristics................................................9
7. Image....................................................................................................11
8. Importance of Image.............................................................................12
9. Corporate Identity.................................................................................14
10. Background Identity............................................................................15
11. Elements of Corporate Identity...........................................................15
12. Theory of Gestalt................................................................................17
13. Benefits of Corporate Identity.............................................................17
14. Application of Corporate Identity.........................................................18
15. Corporate Manuals.............................................................................19
16. Identity Manual....................................................................................21
CONCLUSIONS........................................................................................25
REFERENCES......................................................................................... 27

1
 SUMMARY

The ideal of beauty has been considered a fundamental part of every

culture and has varied over time.

In the Middle Ages we can distinguish several styles. In the Renaissance

beauty in art it is related to the representation of human figures.

In the Baroque it was characterized by excessive decorations on objects.

In the locker overlapping garments, bulky clothing, representing the
aesthetically pleasing. Giving rise to a time called rococo style in the
eighteenth century.

During the romanticism men should use galley, coat and cane as a symbol
of social status. Hats for both men and women were a fundamental part of
the attire of the time.

Today they are practically nonexistent, the barriers that used to

differentiate and / or highlight the qualities considered specific to women
and those attributed to men, for example, as a symbol of virility.

The methods used to achieve a good appearance can be used

interchangeably in females as in males. Are the young people who show
factly recognize that the physical appearance and the ideal of beauty is
totally intrinsic in modern Western society. The costumes, hairstyle,
features, tattoos, accessories, etc. They make the person in general, a
product that is always in sight.

In the text of Jean Tardif it explained that the exchange between the
different cultures of the world is consolidating more and more as we are at
a historic moment in which we have significant technological advances
such as the Internet: A communication channel which cultures can interact
in real time, bypassing the barrier of distance. The issue of technological
progress is inextricably linked with the model of capitalist economy. These

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are the aspects that refer to the "globalization": the tendency to expansion
of markets beyond national boundaries. Then, knowing that globalization
of the economy and technology that globalization is culture; Tardif raises
the existence of these industries of the imagination. With this refers to the
collective unconscious, the symbolic cultural heritage available.

When transnational corporations that landed in a country; these industries

determine local cultures and subjectivity. They shape and form the
ideology of the subject, that as people are grateful to be part of this global
culture. Another way in which this culture creates imaginary comes in
audiovisual content, messages that give cultural identity of the country
who produces, markets and all who use it as their own take on these
messages. The text clarifies that occupied by foreign productions markets
are especially Europe and South America; therefore as subjects identified
with cultural awareness Argentina must pay special attention to this; as it
may be being modified by messages cultures of other nations.

With the selection of these texts to show that we should be careful with the
message received from the media over the bodies.

It speaks to the power of seduction that have the means for the influence
that explodes in the symbolic order of the images.

3
 INTRODUCTION

Jobs The appearance and physical characteristics of advertising models:

nonverbal codes of reality in advertising discourse, as social media factor
in the male vigorexia influence, is but a reflection on the importance of an
aspect of communication, sometimes inconsiderate, as is the nonverbal
factor of it. Within the fascination with the study of communication, as a
way of understanding and comprehension, both external reality and the
self, we have been seduced by this slope less considered but equally
relevant.

Most people are not very aware of the amount of information in everyday
life is transmitted and received through nonverbal aspects such as
gestures, physical appearance, clothing or space and the influence thereof
on communicative construct. In the academic-scientific field studies find
that this aspect of human communication and its importance, have not
been until recently (from 1950), although some previous works settle the
foundations of future research This field of knowledge as the pioneering
work of Darwin (1872), The expression of emotions in animals and man.

As the study of nonverbal communication in all areas is overwhelming in a

job of this nature, we believe that at a time like the present, where raw
media omnipresence, communication and image, it would be interesting to
study the components nonverbal message in a communication where the
image and "unspoken but suggested" acquires its full significance:
advertising communication.

4
 TALKING ABOUT APPEARANCE

1. Concept of appearance

It is designated by the term appearance to appearance of a person or

thing. In this overview of the term it is clear that when we talk about
appearance we refer strictly to the outer self of a person or thing and not
as this or feeling that occurs outside us, that person will be so internally.

For example and to further clarify the point in question, usually as a result
of prejudice and innuendo to which we are sometimes subject or fall
humans, we tend, in most circumstances without any or apparent reason,
just based in that external view we do and we have other, to open
judgments about the possible behavior or actions of a person, just based
on the way in which he dresses or moved. A person who devotes much
attention to their physical, traditionally, it is regarded by the rest as
superfluous, hollow and unintelligent, but of course, not be and what is
worse or go near that guy. Meanwhile, a person who dresses extremely
formal and even to attend a party dresses in suits and ties, generally, will
think that this is an intelligent, serious and thoughtful, though of course the
case of the otherwise.

By this I mean that we are so overrun by general stereotypes and those

that we ourselves are we in our heads that usually they end conditioning
the idea we form of other individuals and obviously this situation in the
long run will not only generate problems Regarding the type of people with
appearances we mentioned, but also to ourselves, yet not belong to a
stereotype defined appearance, also hinder future relations because we
will probably not resist treating someone by their appearance and are in
final accounts making a mistake.

As goes the popular saying that appearances are deceiving, so it is good

that the outward appearance of someone to be a warning or a warning to

5
prevent problems or unpleasant situations, however, as you can see from
the comments, not always appearances tell us what the person really is
therefore always better to know first and then open a judge or value
judgment on something or someone.

2. The personal appearance of a person

Personal appearance refers to the outward appearance of a person.

Although there are innate traits, such as, the shape of the face, the body
structure, eye color, hair, etc., today can be transformed personal
appearance of people almost completely. Leaving aside the plastic
surgery and other medical interventions, we can change at will almost all
exterior elements of a person. Since dye your hair, makeup face, increase
height by means of shoes with heels to even change the color of your
eyes through contact lenses. Clothes and ornaments also play an
important role in personal appearance.

According Argyle (Argyle, 1975) "The appearance is managed and

deliberately manipulated, some people are very concerned about this form
of communication, however, others care very little. However, many people,
perhaps most, have little idea of what they are trying to communicate. "

The characteristics of the personal appearance provide information to

others about the attractiveness, status, the degree of conformity,
personality, class, style and taste, sex and age of the individual and
usually have an effect on the perceptions and reactions of others. "You
might think that is not worth knowing people who respond to these
external signals, because forget the" inner person ". However, people can
not get to never have a chance to see the inside of the person if they are
rejected by the external appearance "(Gambrill & Richey, 1985).

An element of personal appearance that is often grant considerable

importance but is not recognized, many times, is the physical
attractiveness. People continually asserts that the physical attractiveness

6
of the other has no effect on it, on their perceptions or their behavior when
in fact seems to be. Experimental research shows that the average person
drastically underestimates the influence of physical attractiveness on it.
Furthermore, although the money spent by some people in the
improvement of physical attractiveness is very high there is a widespread
tendency to deny, minimize or recognize this fact.

Our society, which constantly pursues physical attractiveness (ex .:

publicity, cinema) continues contradicting itself explicitly subscribe to the
honorable belief that physical appearance is a peripheral and superficial
characteristic with little influence on our lives.

The power of this feature may be because there is no other element that
easily observable, but variables such as race or sex (Patzer, 1985). When
people meet for the first time, your personal appearance is the most
obvious and accessible feature. The fact that a person can be intelligent,
educated, healthy, competent, etc., is more important throughout life and
more information, but this information is not readily available.

3. Physical appearance in preschool children

When children enter preschool, their bodies begin to take a more mature
and fine form. When we are babies, our bodies contain a lot of fat, but as
they grow, this fat disappears and becomes muscle, which gives you a
stronger, more solid appearance to the child's body; However, not all
children are developing in the same way or with the same speed. Children
often fail to develop good muscles at an early age and this makes them a
very fragile aspect, which is not alarming, since it achieved developing
their appearance over time by the simple fact that we are all fully different.

In the appearance of the child's face several changes were appreciated. It

is at this stage that the child will begin to define the traits and his face
grow; the skull can grow, your jawbone will have a pronunciation and
become wider for teeth that are about to have enough room to grow.

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Having begun this stage, changes in height, weight and carvings will be
felt. They can also noted some problems in the child's appearance, as
overweight when weight seems to increase more than the height, or if no
height increases may present a problem of growth.1

4. Physical appearance during adolescence

The concern for physical appearance is one of the crucial factors that
cause adolescents are more receptive to marketing. To be more sensitive
to issues they focused on nutrition and aesthetic causes the teen choose a
model with the ultimate goal of achieving a good physical appearance.
And that's when problems can occur alimenticios.2

5. Morphotypes / Biotypes

Morphotype (or biotype) is defined as the category in which the individual

is classified according to form.3

There are three types of human physical or morphs:

• Endomorph: soft, round, fat. Endomorphy is the predominance of

soft forms and there is a predisposition to obesity, for example,
Sancho Panza.
• Mesomorph: robust, muscular, athletic. In mesomorphy, there is a
predominance of muscle mass and bone, for example: Sylvester
Stallone.
• Ectomorph: tall, thin, fragile. Ectomorphy is the predominance of
linear forms, usually is thin and narrow people, for example: Don
Quijote.4

Although there is a classification of individual, people are not only a single

component, are usually combinations of these, which are genetically
determined. Morphotype also depends raza.5

8
6. Appearance and physical characteristics

Body Type: based on studies such as Sheldon (1954) and Bishop (2000)
distinguishes between three classes of body somatipos:

Mesomorph: muscular, athletic defined. or Endomorph: soft, round, fat. or

Ectomorphs: tall, thin, fragile.

Type of advertising model: here the same criteria and classification as

described in the same section within the "Model I" (bodybuilder
androgynous models antagonistic and not appreciable, fitness, etc.) are
maintained.

Attractive facial physical: the criteria established by works such as Ruiz

Pérez (1985) and Cunningham, Barbee and Pike (1990), the following
variables and criteria for analysis are determined:

Facial ratio (shape and size of the head)

• inverted pyramid, triangular, round, elongated

• Wide, narrow
• Angled, curviforme
• Features hard, soft features

Hair (color, length, hair type)

• Thick, Thin
• Long, short, intermediate
• Smooth, wavy, curly
• Rubio, tan, brown, red, white, wicks
• Windswept, hair (parted without streak, backward, forward, afro,
punk ...)

Front (size, distance)

• Wide, narrow

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 • Wrinkles, smooth
• Clean, blotchy

Cejas (size, thickness)

• Arched, straight
• populated profiled
• Together, separated
• Thick, thin

Eyes (size, color)

• Large, medium, small

• Straight, arched, ragged
• Color (blue, green, brown, etc.)
• Clean, reddish

Nose (type, length, size)

• Profiled, straight, hooked, blunt, upturned, Bourbon, crushed, bent,

rounded
• Large, provided, small
• Broad, well formed close

Mouth (lips)

• Oval, straight
• Large, medium, small
• Open, half open, closed
• Lips (fleshy, thick, thin)

Cheeks / cheekbones

• Prominent, slightly prominent, not prominent (cheeks)

• Angled, soft (cheeks)
• terse, with wrinkles (cheeks)

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 • Clean with freckles (cheeks)

Chin / chin

• Square, angular, rounded (chin)

• Starting, not starting (chin)
• No hole, with hole (chin)
• Large, medium, small (chin)

Beard

• With beard, goatee, mustache, goatee, beard or without ears (size

ratio)
• Large, proportionate, small
• Separate, glued
• Lobe (large, medium, small)

Skin (color, wrinkles)

• White, black, yellow

• smooth, wrinkled
• Clean with freckles
• Artifacts

Clothing (pants, shirts, t.) And Accessories (shoes, belts, jewelry,

watches.)

• Psychological Attributes
• Here the values that emerge from the ad are shown.

7. Image

Over time, every business needs a renewal or change, which becomes

obsolete or just do not communicate anything, not saying anything. In the
opinion we have of the company is known as corporate image, ie
everything that the company is for customers, employees, suppliers, etc.

11
That is why it is so important that a new image and through it
communicate and display the changes made.

Klaus Schmidt defines image as a set of beliefs and public associations

have received direct or indirect communication of people, products
services, brands, companies or institutions. The image is a mental and
virtual representation. It is an emotional outlet position. There may be
cases where a logical and material reason has disclosed a positive or
negative image, but transforms this reason in all cases in beliefs and
associations; and image setting is always an emotional event (Schmidt,
1995: 59).

The image of a company has a denotative and connotative message type,

the denotative meaning are all elements that serve to show the image,
such as stationery, staff, etc. And the connotative meaning the perception
of the public due to the commitment that puts the company to show its
image.

The definition of corporate image provides that persons, goods, services,

brands, companies and institutions generated image. All Things to
generate an image, the everyday and also do not know even know exist.
There are events planned communication as such (the dress, a brand, a
warning) and others that communicate though this is not their main
mission (the price of a product, how to express the opinion of a third
party). (James, 1991: 27)

8. Importance of Image

To keep alive an image it must be renewed at the same time make that
image being projected is positive, because it will stay in the mind of the
recipient and will bring good results for the company, they will be in the
future or through research.

12
The image of a company may or may not correspond to the image she
wants to be but the public will have a totally different perception and this is
due to the actions you take, it occurs from individual to group.

The visual elements of the corporation are the letter to the client, who
does not know. If the first impression is negative, that image will remain in
the mind and it is very hard it can be changed. The corporate image is
formed largely of corporate identity, affecting things, such as a vendor,
how to answer the phone, answer to complaints, etc.

And it is important to achieve a good image, compare the company with a

person; instinctively Mostly judges by appearance having such a person,
that is the first impression, now let's move it to the company, depending on
the image with the company's product will be accepted, ie using the
facilities or customer relations by phone or by letter, the client will make a
judgment without having really known the service. It will take its decisions
based on the first impression or image that the company projected it.

The image of the company will be judged and may be constructive or

destructive, will accept either positive or negative, for that reason is so
much insistence on keeping present, current and total care.

As mentioned Paul Hefting, a corporate image is determined first by its

visual characteristics, logo, colors and typography. This iconography
involved for the company to be recognized as the same shield makes the
same company. The public build in his mind the brand recognition to do so
only (Hefting, 1991: 19).

Managers should not only worry about increasing sales and profits, but
must be aware of the social responsibility for its employees, customers,
and society as a whole (Visser, 1991: 153)..

13
9. Corporate Identity

Corporate image as mentioned in the previous section is comprised of

logo, corporate colors, etc. and everything related to corporate identity is
the impact of the combination of all planned and unplanned, visual and
verbal components generated by the corporation. Shows the corporate
image through visual units, the customer receives.

We will start by defining what it means to Corporate Identity: "It is the

coordinated set of visual signs through which the public recognizes and
memorizes an entity, group or an institution." (Gregory J., 1991: 60¬61 ).

Corporate identity is a valuable tool in the life of a company. The art of

business is to penetrate this barrier selection with your corporate image,
but only succeed with a small percentage of the public. In the design
forum, experts mentioned several definitions of corporate identity.
Everything is quoted in the book Corporate Identity Manual:

"It is a vehicle that provides a coherent and cohesive screening of an

organization ... unambiguous visual communication."

"Corporate identity is an emotional glue that holds the company ... is a

blend of style and structure, it affects what you do, where you do and how
you explain what you do".

"All a company has, does and says is an expression of corporate identity."

"The corporate identity or corporate image includes both visual

manifestations. Forms of behavior in relation to the social, business and
political issues, which can be rendered visible"

The corporate identity is designed to have a positive overall effect on the

corporate image. One goal is to impact corporate identity, and continue to
do so, constantly positively.

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A good corporate identity influences a favorable market position and
continue to maintain this well-kept image are invaluable aids for an
organization to succeed against the competition. A general discussion of
the term corporate identity involves an investigation of the various types of
human behavior that define the image and identity of an individual in
relation to its surroundings.

10. Background Identity

This concept was developed during the Second World War or after it. The
term evolved during the first half of the century. By 1850, several
companies of British railroads, spurred on by stiff competition, sought
uniformity and identity not only in the architecture of railway stations, but
also inside the trains and equipment in certain graphical forms. Around
1900 they began to appear artistic products produced industrially and,
from 1946, in the postwar years in the Netherlands, this production really
began to take wings. Also in those days they were born the terms identity
and corporate image, and designers are engaged in producing a well-
defined identity for the company. (Hefting, P. 1991: 13).

11. Elements of Corporate Identity

Gregory J. in the book Marketing Corporate Image (1991: 60-61) says that
the basic elements of corporate identity are the name and logo (brand and
symbol) hallmark of the company. Are the visuals, which are restated in
order to find one suited to the identity of the company, these symbols
indicate in some way what the company. Corporate identity is also a
regulation of the company which is a document that establishes how the
company sees itself, and the general perception of how the public views
the company.

Corporate identity is basically divided into five groups of signs, which

complement and mediates communication.

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 • Signs Language: is the verbal part, the name of the company that
the designer becomes a write-only mode, called logo.
• Logo: is the characteristic form of writing with the nomenclatures
are represented: company name or legal name, trade name, group
name, etc.
• Iconic signs: the figurative mark or figurative mark of the company

"The way to make known one object to another, is to present the object
itself, so that it can perceive by sight, hearing, smell, taste and touch
everything that is the nature of that object. Failing can present an image
that is another object resembling the former as much as possible and
awaken the senses in the same way. In this second object we call icon.
"Roland Barthes [1964]

"The icon is linked to the object signified by the similarity, an object or be

represented by a drawing, a painting, a sculpture, etc. the principle is the
similarity, the reproduction of forms, exact or approximate. (Roland
Barthes, 1964)

Barthes also mentions that when speaking of degrees of iconicity of an

icon are referring to grades or levels of similarity to the object, ie these
levels are of the faithful representation of an object, where their
representation and greater iconicidad presented in a photograph of the
object, passing an analytical drawing and then distancing in their fidelity
model, as that is losing the "realism" and reaches its lower degree of
iconicity, the benchmark when it comes to a schematic representation,
where only have their relevant traits and we call pictogram.

Symbol: the visual identity, the symbol is a distinctive graphic that has
three kinds of functions: symbolic identifier and aesthetics

Chromatic element: the color or colors that the company adopts as

distinctive landmark. (Gregory, 1991)

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12. Theory of Gestalt

"Gestalt" in German means "configuration" or "form" and arises in the

context of psychology of the century.

The slogan made famous Gestalt theorists, "the whole is more than the
sum of its parts" sums up this theory: "objects and events are perceived as
an organized whole." The basic organization comprises a "figure" (in which
we focus) on a "bottom".
(Http://www.turemanso.com.ar/fuego/psi/gestalt.html)

Gestalt psychologists introduced the concept of "organization" between

stimulus and behavioral response. The latter considered the environment
as a series of independent stimuli. Gestalt for the phenomena perceived
organized forms really are not groups of sensory elements. (Mill, 1987)

The individual uses various principles to organize their perceptions.

Beginning of the relationship between figure and ground: states that any
perceptual field can be divided into figure against a background. The
figure is distinguished from background characteristics such as size,
shape, color, position, etc.

13. Benefits of Corporate Identity

The expected benefits of effective corporate communications strategy:

 Increased recognizability
 Increased recordabilidad

Increased confidence or employee

 or cost savings through standardization

 or a more dominant presence in the market
 Increased confidence among funding sources
 Increased public awareness
 In short, more appropriate image. (F. H. K Henrion, 1991: 47)

17
A corporate identity program can achieve many things, including:

1. ago that workers have a sense of pride in the company, a company

that looks like a place to work.
2. Help to intimidate the competition
3. Improving the views of workers on company image positively.
(Carter, D. 1993, 80)

Carter mentioned two drawbacks to know if you need to apply in a

company program identity, make a collection of samples of the company
such as pictures, signs, envelopes, business cards, uniforms, etc. In order
to compare products and identify if they have a guideline or are related to
business requirements. If this is not the case it is necessary to apply a
corporate identity program. The second is to see the logo of the company
and if not look according to the guidelines of the company is when you
need the same applications.

14. Application of Corporate Identity

Henrion mentioned identity when a program should be launched. "It's

problematic situations that can confront a company":

1. A new company is launched.

2. A company has merged with another or others.
3. A company diversifies its product range.
4. A company is growing awareness that current business style is not
appropriate for a company that is developing, modernizing and
catching up. (Rejuvenation of its image)
5. A company offers almost identical to those offered by competing
services and almost indistinguishable prices.
6. products of a company are known worldwide, but the parent
company is in fact unknown.

18
 7. A company has a new president and CEO begins a new regime
with new concepts and strategies and wishes to express these
changes.
8. A company is identified with too many elements that break up what
should be a strong and integrated impact.
9. A company hires some management consultants to advise on
reorganization.
10. The subsidiaries of a parent are well known, but not the house itself
matrix.
11. The parent company has an identity that is so powerful and,
therefore, restrictive, that individual subsidiaries may not develop
their own identity, which need to meet specific market needs.
12. A company has many subdivisions that need to be identified
individually, but each must be seen as belonging to the other. (F. H.
K. Henrion, 1991: 46-47)

But once it has recognized the problem you need to decide how this
should be addressed, if it appeals to external assistance or resources of
the house are used. There are two aspects to the concept of organization
in relation to the corporate identity. The first refers to the company as an
organization and the second as corporate identity is organized within the
company. Of course, the first significant influence on the latter. Along with
the company culture, both determine the quality and extent of corporate
identity. This identity has to be tailored to each company and the method
of organization must adapt.

15. Corporate Manuals

In the Corporate Manual talking about the commercial definition of the

company or brand, the main activity and secondary of the company
(product definition and characteristics), the time to market and location,
type of market (classification), competition analysis image he has,
compatibility between image and market (demonstrated by surveys), what

19
to improve, how and why, how, when, and where they should use the
image, why. (Visser, 1993) .

"To introduce and implement a corporate identity is always a long and

complex process. The manual can not solve everything: there are always
shades of meaning in which misunderstandings may arise, or unforeseen
contingencies that require individual decisions "(Henrion, 1991: 50).

The manuals will be responsible for the function of communicating

important aspects of the company to both managers and workers, in order
to raise awareness of the culture of the company.

The manuals are channels of information within the company, therefore it

is necessary to explain the concepts of corporate image and corporate
identity emphasizing that they are two totally different concepts but are
closely linked, and each has a function and importance. Over time, they
begin to appear or formed new companies looking to display images firmly
planted identity.

Henrion mentioned that a manual is a tool to manage the submission

guidelines of institutional messages, as a means to ensure the respect
and promotion of the identity of the institution, in each of the information
programs. (Henrion, 1993)

Manual Basics "is the behavior of a company and the members that
comprise it, which explains clearly and briefly the concepts that govern life
within the corporation, and the expectations we have of business and
people. (Gordoa, 2003)

Content and Format

As part of the analysis of organizational culture it is mentioned that the

mission, vision, values, goals, motto and philosophy are very important
because they are concepts that every worker know sebe for identification
with the company.

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Mission

"It is the raison d'etre of the company or specific organization. His long-
term purpose. A do you do and / or dedicated. The mission defines the
scope to concentrate resources and efforts of the organization. " (Notes
from the Design class communication strategies, given by Dr. José
Cisneros Espinosa, Fall 2004).

View

"It refers to the stage that the organization wants for itself in the future,
how you want to be considered in its environment, by its own members
and for others (competitors, customers and society in general" (Notes of
the Design class communication strategies , given by Dr. José Cisneros
Espinosa, Fall 2004)

Values

"Qualities that the corporation wants to achieve and / or maintain in

practice: respect, discipline, punctuality, effectiveness, efficiency, etc."
(Notes of the communication strategy design class taught by Dr. José
Cisneros Espinosa, Fall 2004 )

16. Identity Manual

The Corporate Identity Manual is the collection of Image and Corporate

Identity, which is responsible for facilitating global everything concerning
the company or organization. (Braham, 1991)

David Carter in Corporative Designing Small Corporations, mentions that

"the content of textbooks should include: elements of corporate identity,
system design, implementation rules and organization. The result is a
book containing very attractive aspect based on the elements of corporate
identity design. "

21
This manual should be available to all departments of the company and
who might be interested or influence the project. In large companies, the
corporate manual is usually very comprehensive, including all situations
that will use the fonts, logo and images.

To design the corporate identity we can manipulate the image permanent

and infinite variations trying to keep the same design. Within a corporate
identity program we can identify what the visual expressions of the
company that should be uniform and which can be interpreted freely by
the designer are.

Corporate communications are the means of bringing this strategy to the

respective groups to which it is intended. Corporate identity, corporate
strategy and corporate communications are interdependent: each
influences the other.

What must have a manual identity is:

1. A general introduction to explain the reasons for the makeover.

2. a representative sample of new stationery: letterheads, business
cards, invoices and all kinds of forms.
3. A page in the new distinctive typeface of the company to appear in
different bodies and styles.
4. A typewritten letter with the new letterhead, to serve as a role
model. You must show the ideal spacing between paragraphs e
proper indentation for the first line, standard tabs to properly align
the text with parts of the design; the correct position of the date,
sender, signature and initials of one type the letter, and any other
details considered important.
5. Copies line logo in different sizes
6. color samples for printers to match the livery of the company.
7. details of the typeface families, bodies and styles used, and its
position relative to the logo. Often, if the printer does not know the

22
 exact type of letter, replaces it with another like that is not always
appropriate.
1. 8 tips on how to use the logo and typeface on posters for outdoor or
indoor.
8. Guidelines on the design on the vehicles of the company and on
making enlargements for exhibitions.
9. instructions for use of corporate style in brochures and
advertisements. (Braham B., 1991: 144)

Ben Boss, Cees de Jong, Ernst Schilp define various elements for the
implementation of identity, proposing sizes and formats: (Boss, 1993: 163-
212)

Brand

The company is recognized by the brand, it is a symbol that expresses the

brand identity that makes it unique. As mentioned in the book Ben Boss
Graphic Designer Manual (1991) "brand is a sign: you are dealing with us,
our products or our services." (Boss, de Jong, Schilp 1993: 168)

Brands are a product of their time, even the designer attempts to create a
lasting mark, this is often overwhelmed by the changing trends and
fashions. Brands like AEG or Olivetti have been modified numerous times
since they were created. The brand can be typeset in different sizes or
enlarged linearly. The unit length chosen for this imaginary corporate
identity is inches.

Size

Font size (point) refers to the total height of the character and includes a
measure of space above and below the actual shape of the letter that
corresponds to the piece of metal on which sits the type that is the size he
is seated to the letter. (Boss, de Jong, Schilp 1993: 170)

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Firmin Didot (1712 - 1768) improved scoring system invented in 1675 by
Fournier. It is Didot system spread throughout Europe and has preserved
to the present application. This system adjusts the French foot length of 30
cm. French typometer corresponds to the foot. He is 30 cm long and
measures 798 typographical points. (Notes from the kind of editorial
design, with Lic. Samuel Barrueta, spring 2004)

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 CONCLUSIONS

The type of male model used in advertising (mainly of products and / or

services relating to the care, treatment or modification of body and
physical appearance) has the characteristics of being a young man,
Caucasian, with very angular facial features and profiled, mesomorph,
athletic body with defined muscles and marked (not inflated), no fat or very
little.

With the analysis we have found corroboration of this first course in non-
specialized magazines. Most models have analyzed the results of these
characteristics. However, it is noted that the fitness model (with ripped
muscles (not inflated), fat-free or very little), although highlighted as main
model is found in several of the magazines in a balanced proportion to the
adversarial model (of mesomorphic build, muscular but not defined). One
possible explanation for this fact can be found in the type of advertised
products, advertising and fashion and accessories (majority in magazines,
as discussed below) before taken over by androgynous type models, has
evolved into a type most male model, more defined, but without
strengthening the muscle itself significant development of fitness models.

In the journals that have analyzed (Muscle & Fitness, Bodyfitness

Musclemag and) the type of body composition defended this hypothesis is
varied. Advertising models of these magazines continue to meet the
described generic features, but their bodies show an exaggerated
muscular development (model builder) away therefore fitness model body.
This change in results is justified by the type of contents of the magazine
and the target audience you are targeting, as they focus exclusively on the
world of bodybuilding and are aimed at an audience that is already
immersed in this field or that enter the same arises.

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Nonverbal communication is part of the advertising discourse constituting
a language, coded enough in some cases to study it systematically and
accurately.

As seen throughout this thesis, nonverbal communication in the

advertising codes are an inherent part of it. Progress in research and
studies in the field of nonverbal communication, has made possible the
identification, classification and coding of their areas, thus facilitating the
analysis of these elements applied in any communicative phenomenon,
including advertising.

It distinguishes between advertising nonverbal communication, nonverbal

codes between reality and discourse. The first refers to those aspects that
relate to human beings and what surrounds it (physical characteristics,
artifacts, gestures, spaces, distances, visual behavior, etc.); Alongside
these are other codes that belong to the world of visual or audiovisual
speech (approach shots, lighting, framing, camera movement and
position, etc.).

Advertising, by using characters in most of your ads, you need to consider

all the elements of non-verbal codes of reality, and that "from the moment
there is a person, man or woman on the scene, nonverbal communication
takes effect "(Pérez Ruiz, 1979: 271). Therefore, the study of human
nonverbal communication is essential to the effectiveness of advertising
communication.

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 ALVAREZ, T. (2006), Some details of the Internet advertising, its

evolution and traditional differences.
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of Behavior in Face-to-Face Interaction. The Hague: Mouton.
 BENITO, A. (1982), Fundamentals of General Theory of
Information. Madrid: Pyramid.
 CARRILLO, MV (2004), Influence of advertising and other social
factors in eating disorder: anorexia nervosa and bulimia. Doctoral
Thesis, Universitat Jaume I. Defended in 2001.
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