"How & Why Your

Customers Remember You"

Turning ON the Human Brain
•The human brain does not have endless storage
capacity.

•The brain scans its environment, but it does not

memorize.
•
•You want your customers to remember your
advertising.

•But what you’re really asking is for them to

create a memory of your message in their brain.

•You want their brain to click OFF from “scan

environment”, and ON to “create memory”.
•The human brain will not create a memory unless
something significant occurs.

You must create that something significant with

your ad to get your customer's brain to pay
attention and create a memory of your message.

• There are three things that can get your

customer's brain to click ON: Significance,
Involvement, and Intrigue.

•Look at your advertising and ask yourself, “Is it

significant to the customer? Does it get them
involved? Is it intriguing to them?”
 The human brain can be a little funny once a
commitment is made.

•People can be fiercely loyal, and attempts to win

them away can only backfire.

•There is no room in their brain for any other

brand. You don’t want to keep sending your direct
mail piece to this customer.

•The lower the commitment in the marketplace,

the more effective your long-term advertising
will be.
 How committed are your customers to your
company?

•There is often a substantial time gap between

when a customer loses commitment and when
they actually change companies.

•If you let it get that far, it’s probably too late to
win them back.
Gender and the Human Brain
Men and women process information differently in
their brains.

•Men respond better when text is reinforced by

visual product demonstrations or visuals that
show benefits.
•
•If your audience is mostly male, you want very
strong visual reinforcement in your
advertisements.

•Messages directed to males should be fairly

simple and have a single theme.
•
•If women are your main audience, then the text
in the ad becomes more important.

•Women process verbally descriptive information

better.

•The text should be richer and more descriptive.

•In addition, ads for women should contain more

written product information.
Words and the Human Brain
 Research has shown us that the brain responds
differently to different words.

Some of the strongest and most influential words

in the English language are You, Free, Money,
Sex, New, Easy, Guaranteed, Save, and the list
goes on.

But don’t get caught thinking that a magic word

in your headline will get you a lot of new
customers.

Your advertising must do much more than just

use words that get attention.
 Words are strongest when used abstractly.

•Words that capture emotions are stronger than

words that capture logic.

•if you can connect your product with words like

“beauty” or “truth” or “love” or “faith”, then the
prospect's emotions about these words take over.

• If you can connect on an emotional level, your

competitors’ logic won’t work against your more
emotional ads.
Advertising and the Human
Brain
 Effective advertising can actually trigger the same
physical reaction that a real situation would.

•A photo of an attack dog can cause real fear.

•The opposite sex can cause real lust.

•A picture of a new baby can cause real joy.

•The stimulus from the advertisement triggers a

person’s instincts, and they experience real
feelings.
 The advertiser hopes to attach those instinctual
feelings to their product.

•The product would enhance the positive instinctual

feelings, or decrease the negative feelings.

•The pictures in the ad reinforce the product

benefits.

•The advertiser links the psychological appeal of the

ad's visual presentation to the product or service.

•The prospect then relates the product to the positive

instinctual feelings.
•A visual that gets attention but does not match
the message won’t work as well as a visual that
shows and demonstrates product benefits.

•A visual that creates lust when you are actually

selling a product that decreases fear is a
mismatch.

•The mixed messages will confuse all but the

most persistent readers.

•One of the best ways to fail in advertising is to

send mixed and contrasting messages in your
ads.
Advertising, creative
Elements
 Creativity
 Can yield parity for brands
 not sufficient alone
 vampire creativity
 Successful when combined with relevance,
surprise and emotion
Creative Pyramid

Action
Desire
Credibility
Interest
Attention
 Creative Pyramid
 Attention - the ad is a stimulus - break
through the psychological screens
 Interest - keep the prospect excited - add
facts related to the headline
 Credibility - back up claims with facts; well
- known presenters
 Desire - want prospects to picture
themselves enjoying the benefits!
Advertising Design: Attention Is Always
First
If people don’t notice your ad, your chance of success
is exactly zero.
Your advertising design absolutely must get attention
first.

Research indicates that 85% of ads don't get looked at,

no matter how much they cost to produce.

Just imagine losing 85% of your customers because

your ad doesn't stand out from the crowd.

[Or think about increasing the response to your ads by

SIX times because they do get noticed].
 Advertising Design: Imagery
• Strong imagery is the best attention getter.
• . Ads that feature large visuals [60%-70% of the ad is
the photo] score the highest for stopping power.
• Don’t let a great picture dictate your advertising
design.
•It is critical for your imagery to match your message.
•Your pictures have to match your copy, and together
they must convey your intended message.
•
 Advertising Design: Contrast
• If imagery is the first way to get attention with your
advertising design, then contrast is definitely the second
way.
• Your ad must contrast with the other ads on the page.
That is why it is critical for designers to see the actual
medium you will be advertising in.

•If your ad just blends in with everything else on the page,

you are wasting your money.

• Even worse than blending in, your customers might

mistake your ad for your competitor's ad.

•
Advertising Design: Be Different
• If imagery is first, and contrast is second, then being
different is the third way to get attention with your
advertising design.
• People are attracted to unusual, new, funny, different
things.
•You need to push your advertising design as far away
from your conservative side as your willpower will let
you.
• This is about results. Get a little crazy with your
advertising design.
Creative Execution

Art and Copy

 Execution of the Big Idea
 To resonate with an audience, you have to
execute your ideas in a way that impacts your
audience.
 Nonverbal aspect of the ad is as important as
the copy.
 Creating Print Ads
 Designing the Print Ad
 how the artistic elements of an ad are chosen and
structured
 style is set by choosing artistic elements and
blending them in a unique way.

 Timberland
 big sweeping scenes, small and scarce type to give
impression of being in the wide open.
 Creating Print Ads
 Layouts
 overall orderly arrangement of all the format
elements of an ad (visuals, headlines, subheads, body
copy, slogan, seal, logo, and signature)
 Helps client and agency know how ad will look and
feel in advance.
 Helps create the mood for the ad.
 Serves as a blueprint
 shows size of pictures, # of pictures needed, can create
budget
 The Design Process
 Creative Phase
 Nonfinal art is submitted

 Prepress (or production art) Phase

 the artist prepares a mechanical, which is final
artwork with actual type in place along with all the
visuals the printer will need to reproduce the ad
 Design Process
 Thumbnail Sketches
 small, basic sketch w/o details
 Rough Layout
 drawn to actual size of ad, headlines show font to
be used, and photos sketched in, to be developed
later.
 Comprehensive Layout
 highly refined, uses colored photos, final type style
and size, glossy coat.
 The Design Process
 Dummy
 put together page by page to look like finished product
 Mechanical aka Pasteup
 shows printer exactly where type and visuals go
 mostly done on computers now
 some still actually paste type, line art, and colored paper on
paste boards
 Approval
 every ad must get a green light, and those who are not
experts have opportunity to change it all
 What Design Works Best
 74% of readers ignore ads.
 Top ads give 82% to the visual
 visuals get attention.
 Large headlines get attention
 10-15% of space, when below visual, most attention
 Readership drops if there are 50+ words
 high involvement, “more you tell, more you sell”
 Need company logo/name (5-10%)
 Basic Rules of Design
 Design must be in balance
 ad should be broken in “pleasing proportions”
 directional pattern to indicate sequence
 Unity--ad should be held together
 One element should dominate (emphasis)
 Purpose of the Visual
 Most readers look at picture, then headline,
then read copy.
 Visual should:
 get attention, clarify copy, identify subject, show
product, create favorable impression
 Purpose of the Visual
 Common subject or focus for visuals
 package containing product
 product alone
 product in use
 how to use the product
 product features
 comparison of products
 user benefit
 humor
 testimonial
 negative appeal
 Selecting the Visual
 If visuals are to be used, then:
 How many?
 How large?
 Drawing or photograph?
 Copy design elements
 Headline
 contains words in the leading position, will be
read first, draw most attention after visual
 good headlines attract attention, engage the
audience, explain the visual, lead into the body
of the ad, present the selling message.
 Most important thing you say to prospect
 should offer benefit easy to grasp
 over 10 words generally does better, aim for
one line… “At 60 mph the loudest noise in a
Rolls…”
 Headlines (cont.)
 Power words can be effective if they’re honest
 suddenly, announcing, introducing, it’s here, at last,
revolutionary, etc.
 Types of Headlines
 Benefit: promise reward, not too clever
 News/Information: Promises info
 Provocative: stimulates ?s or curiosity
 Question headline: encourages readers to answer some
question, needs to make them think
 Command Headline: orders readers to do something
 Headlines That Work

There are only three kinds of headlines that really work.

1. Appeal to the readers self-interest.

Offer a great benefit that the reader wants in the headline.

Example:

"Lose 10 Pounds In 10 Days"

• People are interested in themselves.

•Promise them what they want in the headline, and you have a
winner.
•In this case, the prospects, [people who want to lose weight] will
want to read about how to do it [in your ad copy].
2. Write a news headline.
People love news, and they want to read about it [in
your ad copy].
Example:
"Announcing A New Breakthrough In Household
Cleaners"
If you were in the market for household cleaners [your
target audience], you would want to read this news.
3. Offer to give people
information. 4. There is no #4, but there
are many successful
Example:
combinations of numbers
"How To Lose 10 Pounds one, two, and three.
In 10 Days"
Example:
"How To" is a magic
way to get people to read "Announcing A New Way To
your copy. Lose 10 Pounds In 10 Days!"
Just make sure you
deliver on your promise, You have combined a news
and give them good headline with a self-interest
information. headline, and bingo - you have
a winner.
 Want to do better still? OK.

Example:

"Announcing A New Way To Easily Lose 10

Pounds In 10 Days!"

•What people want more than anything is an

easy way to get hard things done.

• By adding the word "easily", or just by

implying that your method, product, or service
is easy, you have created a more effective
headline.
 Headlines That Don't Work

1. No headline. Never, never, never do this. Always

use a headline [and sub heads].
Example:
[Get the idea?]

2. Curiosity headlines don't work.

Example:
What Do You Get When You Mix A Greyhound And A
Car?

•
3. No No No. Negative headlines don't work.

People don't like them, and they often misinterpret

those negative feelings and direct them back toward the
company.

4. Meaningless, unrelated, or off-subject headlines

don't work.

Saying "The Quality Of Value" or "King Henrys

Favorite Fruit" or "Now Is The Time" are useless.

5. Hard-to-understand headlines don't work.

 More Things To
Think About:
Make An Offer
What do you say in your headline or introduction?
 Offer a discount.
Or a superior selection
. A better guarantee.
A longer warrantee.
Financing.
Cash discounts.
A better return policy. A nicer store.
A more convenient location.
Longer hours. Delivery. Personalized service.
How about better customer service?
More knowledgeable employees.
Faster service.
Guaranteed service.
Emergency service.
How about you can make them better looking. Sexier.
Richer. Healthier. Smarter. Thinner.
 Make them live longer.
Live better. Live with more security.
Live without worries.
Live an exciting life style.
Live like a king.

Hide that ugly mark.

Cover that bad breath.
Get rid of that dandruff.
Whiten those teeth.
Erase those lines.

One of these offers, and only one of these offers, will

get you more customers than any of the others.
Clearly there are many, many different offers you can
make. The trick is to find the one that works the best.
 Subheads
 Additional, smaller headline that may appear
either above (called a kicker) or below main
headline
 Usually smaller than headline, larger than copy
 usually bold-faced, italic, or different color than
headline.
 Longer than headlines, transition into body
copy.
 Body Copy
 Advertiser tells complete sales story in the body copy or text of
the ad.
 Typically read by one of ten
 need an appeal to consumers best-interest
 Copy styles
 straight-sell copy (straightforward, rational)
 institutional copy (promotes philosophy of of org)
 narrative copy (story, sets up problem then comes to rescue)
 dialog/monologue (characters tell story)
 picture-caption copy (picture tells main story, copy explains it)
 device copy (figures of speech, humor, exaggeration)
 Body copy
 Device Copy tools
 puns
 alliteration
 rhymes
 metaphor
 simile
 hyperbole
 double meanings (elements in Timberland)
 Key to good copy: simplicity, order, credibility, and
clarity
 Body Copy – Interest & Desire

You got your prospect's attention with your headline and

graphics. Now they will read the subheads in your ad, and
maybe the first fifty words.

Start with the climax, and then build on it.

You need to grab your reader and never let go.

Build an excitement and desire that they can feel.

Your offer must be hot to the touch, from start to finish.

.
 Body Copy – Interest & Desire

• . Start with the climax, and add to it.

• Build excitement until they can’t resist contacting you.

•Words that build excitement will bring you customers.

• This is one reason why larger ads work better than

smaller ads do.

Yes, they get more attention because of their size, but

the larger space also allows you to list more exciting
benefits.
 Body Copy – Interest & Desire

• With a bigger ad you can give your readers all of the

information they need to make a contact decision.

Remember, if you don’t provide the required

information, your advertising will fail.

• Your customers want and need that information, and

they have questions.

•You want to answer their questions as convincingly as

possible, while you let them feel the silky softness of the
fabric.
•When you start talking about research and
development, you've lost them.
•Talk about swinging in the hammock and the
warm summer breeze as you answer their
questions.
•Build trust with your facts, but create warmth
with your ideas.
•Let them picture themselves enjoying a perfect
life. And don’t let go.
•
 Copy Format
1. Keep sentences and paragraphs short.

2. Vary sentence and paragraph length.

Eight words per sentence will get the highest
readership. [Remember all of this stuff has been
tested].

3. Use simple, everyday language.

Don’t use technical jargon. You will lose way too
many readers.
4. Editorial style advertising increases readership
by over 50%.
•With editorial style advertising, the copy is laid out like a
regular news story.
•The word "advertisement" always appears above the
copy.
• If you have a story to tell, think about using editorial
style advertising.
5. Your ad should be easy to look at and easy to
read.
Poor use of capitalization, bolding, or italics will decrease
reading comprehension by 50%. Bad sentence structure
will also reduce comprehension.
6. Use only serif typeface for copy.
It boosts reading speed, and can increase comprehension
by up to 300% over other fonts.
Use #12 font for copy. Use #14 font if your customers are
senior citizens.
7. Use subheadings under your headline and
throughout your ad or letter to increase comprehension
and readership.
Just like a headline, a subhead will stop the the quick
glance, and start the reading.
8. Reversed copy gets attention, but it is hard to read.
read
If you use it, keep the copy very short, and the font very big.
9. A smaller ad should have a single focus – one
problem for one solution.
10. Use benefit captions under your photos. These will
get read.
11. Word your offer carefully and clearly.
•Your offer is a promise about the level of service you will
deliver to your customers.
•Your offer will set your customer's expectations, so you
want to be very clear.
 Slogans
 AKA themelines or taglines
 Many slogans come from successful headlines
 Reach out and touch someone.
 Breakfast of Champions
 Diamonds are forever
 Miller-lite
 “It’s it and that’s that.” didn’t go over.
 Logos
 Logo (logotypes) and Signature cuts:
 special design of advertiser’s company or product
name.
 Appear in all company ads and give product
individuality and provide quick recognition at the
point-of-purchase
 Think Nabisco.
 Copy for Electronic Media
 Radio
 scripts
 most listeners decide within 5-8 seconds if they’re going
to listen
 be intrusive, not offensive
 make script fit time slot
 electronic compression means you can include 10-30
more words in same time as live ads.
 Copy must be more clear b/c listener can’t go back and
listen again right away.
 Formats
 Demonstration
 don’t say it, show it. Before and after.
 Musical
 done well can be remembered for years, done
poorly, waste ad budget by annoying people
 Slice of Life
 dramatize real-life situations, must be believable
actors to get benefits across in a way that isn’t
cheesy.
 Formats
 Lifestyle
 focus on who uses the product rather than the
product.
 Animation
 cartoons, puppets, etc.
 Can help explain difficult concepts
The Art of Design and
Copywriting
How Do I Design the Perfect
Print Advertisement?
 Key Elements to Print Ads
 Copy
 headlines

 indirect - questions, provocation

 subheads - a “kicker”, smaller than
headline, larger than body copy
 underlines, overlines, body copy, the

captions, slogans or taglines

 Key Elements to Print
Advertisements
 Art/Visuals
 visual elements

 illustrations,

photography,
logotypes,
signatures,
layout itself
 Layout Design
 Orderly arrangement of all the copy elements
plus all the art work on a sheet of paper
 Comparable effort for a TV ad is the
storyboard
 Multiple Stages lead to finished product
 Purposes of the Layout
 Roughest layout shows the design for
all to see and evaluate
 Blueprint for the production of the
Ad
 Can be shown to client for final
approval
 finished layout gives the overall
mood or feeling to the reader -
provides gauge for effectiveness
 Illustrations And Visuals
 along with the headline
- most likely to stop the
reader
 pictures are worth a
thousand words
 gradual shift away from
copy only ads
 shift represents power
of visual
 Tasks of the Illustration
 Grab Attention!
 Convey Main Ideas or Benefits
 example - with liquor - show the good time to be had!
 Attract attention to relevant benefits - yet
generate the right emotion and feel
 Tell the Story!
 Show product In Use
 Create favorable impression
 Guidelines to Achieve This
Task!
 Photography seems to work better than other
art forms.
 Exceptions - newspapers (line drawings)
 Color works better than black and white
 may not be cost effective
 Action illustrations enhance readership -
product in use
 Size and arrangement important - series of
smaller can work
 Options for the Art Director
 The product or
package alone
 Product in use
 Benefits of Using or
not using the product
 Dramatization of
Product’s features
 Developing a mood
 Cartoon characters
 Design Principles
 Proportion
 space according to importance
 avoid monotony and consistency
 Contrast
 reverse the ad and print
 borders
 Focal Points
 main product benefit, draw in the reader, can be
copy or visual
 Design Principles
 Unity
 singular impression
 use borders to hold together
 overlap

 use of white spa

 Continuity
 same tone. design format, consistent slogans
 Psychological Impact of Color
 Red - symbol of blood
 Green - symbol of health
and fire; 2nd favorite; and freshness; mint
denotes action, strong products, soda
masculine appeal  Blue - coldest color with
 brown - also masculine, most appeal; frozen
associated with the foods, in lighter tones
Earth, woods, age, viewed as sweet
warmth, comfort  Black - sophistication,
 Yellow - eye catching, high end; background
good with black  Orange - most edible
color
Don’t forget that every season has its’ own
colors, and fashion changes [every few
minutes].

If you are trying to be trendy with your

advertising design, then you have to keep up
with the trends.

When color is used correctly, it adds impact

and clarity to your message.

When color is used incorrectly, it can

compromise your message and confuse your
target audience.
Color can draw attention, lead the eye, and
add emphasis.

It can be used to show continuation and

relatedness, or it can differentiate.

Color certainly generates emotions and

associations.

Color has meaning for people, and you need

to make sure that your colors say the right
thing to your customers.
example.
In finance, the color red means loss.

In engineering, it means hot or danger.

In the medical field, it means danger or

emergency or health.

You want to make sure that you don’t send

the wrong message by using the wrong
color.
 Content Approaches
 Informational
 messages built on logic or fact

 Emotional
 built on psychological appeals

such as fear or love

 Image Appeals

 linking image or products to

lifestyle
 Types of Rational Appeals
 Feature  Continental Airlines
 Competitive  Avis vs. Hertz
advantage
 Favorable price  Wal-Mart
 News
 Quaker Oatmeal
 Product/service
 Ford Taurus
popularity

Irwin/McGraw-Hill ©The McGraw-Hill Companies, Inc., 1998

Slide 9-1
 Emotional Appeals
 Based on psychological
states
 sex
 status/image
 fear
 belongingness
 pleasure/self
 commercials are
excellent for emotional
appeals
 Emotion In Advertising

Your advertising objective is to get people to

respond. You want them to call, or make contact,
or walk in the door.

•Emotions are stronger than logic.

logic

•You don’t want to make a logical argument in your

ads. You want to generate an emotional response.

•The stronger the emotional response you can get

the higher the response rate you will get from your
ads.
•
 Emotion In Advertising

Your advertising objective is to get people to respond.

You want them to call, or make contact, or walk in the
door.

• People are likely to respond if your ads create an

emotional response or desire within them.
•Emotions are stronger than logic.
logic
•.
• The stronger the emotional response you can get
from your readers, the higher the response rate you
will get from your ads.
• And your advertising must be significant to each
individual customer if you want them to respond.
•It must be significant, involving, and intriguing.
Facts are critical to the believability of your ad.
•But cold facts and blanket statements alone do not sell.
•Your facts must point out and prove the benefits which will
generate an emotional reaction in your prospects.

•Advertising can make people laugh, cry, sing, scream,

lust, get angry, get happy, long for days gone by, or any
other human emotion. It’s in the words that you use.

What’s the best way to stir this emotional pot of gold?

You help people to picture themselves blissfully enjoying
the benefits of owning your product or service.

Benefits generate positive emotions. Features do not.

 Advertising
Advertising Execution
Execution
 Straight sell or factual message
 Scientific/technical evidence
 Demonstration
 Comparison
 Testimonial -Experts or Unknown
Man on the Street
 Slice of Life - package goods
Irwin/McGraw-Hill ©The McGraw-Hill Companies, Inc., 1998
Slide 9-4
 Advertising
Advertising Execution
Execution (cont.)
(cont.)
 Animation - Green Giant, Claymation
Raisins
 Personality symbol - Mr. Whipple, Tony the

Tiger
 Fantasy - escapism

 Dramatization

 Humor

 Combinations
©The McGraw-Hill Companies, Inc., 1998
Irwin/McGraw-Hill Slide 9-5
 Benefits Versus Features

• The extra strong motor on your new vacuum

cleaner is a feature, not a benefit.

•The fact that all the dirt will be removed from your
carpet is the benefit.

Now let's get a little more complicated.

• A low price is a feature, not a benefit.

• What your customers can do with the money they

save is the benefit.
Example: If you just say "save money", you have
not given your customers anything to think about.

•But if you say "Save Enough Money To Take An

Extra Vacation", you have really given them
something to think about - A Great Big Benefit.

• A great guarantee is also not a benefit.

•The security and peace of mind that your guarantee
provides is the benefit.

•A "one year guarantee" is fine, but not worrying

about being stranded at the side of the road on a
dark and stormy night because your car won't start
is the benefit.
 Find The Benefits

 Make a list of all the features of your products or services

 Now pretend you are the customer, and ask the question
“What does this do for me?” for each feature
The answer is the BENEFIT to the customer.

People buy benefits, not features. People get emotional over

benefits, not features.
“Saves Three Hours” is a feature.
“Three Hours To Relax In The Hammock” is a benefit.
 Radio Copy
 Radio Scripts are two  Make every word count
column, with Speaker - be conversational
names and SFX on the  be outrageous
left, dialogue to right  presentation counts
 make the idea crystal  paint pictures with
clear - main selling words
point
 take time to set the
 advertiser’s name early
scene - 60 seconds good
 use familiar SFX
 Creating Effective TV

Commercials
Begin at the finish! Concentrate on the final
impression desired.
 Attention grabbing opening
 Use a situation that grows naturally out of the sales
story
 Keep it simple
 Concise audio copy
 Be conversational and fresh
 use believable drama
 Criteria
Criteria for
for Evaluating
Evaluating Creative
Creative
Approaches
Approaches
 Is the creative approach consistent with the brand's
marketing and advertising objectives?
 Is the creative approach consistent with the creative
strategy and objectives and does it communicate what it is
supposed to?
 Is the creative approach appropriate for the target
audience?
 Does the creative approach communicate a clear and
convincing message to the customer?
 Does the creative execution overwhelm the message?
 Is the creative approach appropriate for the media
environment in which it is likely to be seen?
 Is the advertisement truthful and tasteful?
Slide 9-7
©The McGraw-Hill Companies, Inc., 1998
Advertising Design: The Elements
Of Design
The elements of advertising design are the
components of an advertisement that the
graphic designer plans.
plans
 LINE

 Line is a mark made by a pointed tool such as a

brush, pencil, stick, pen, etc., and is often
defined as a moving dot.
 It has length and width, but it's width is very
tiny compared to it's length.
 A line is created by the movement of a tool and
pigment, and often suggests movement in a
drawing or painting.
•This picture shows
line very well
because the whole
picture is made up
of lines, as is every
picture, although
this picture depicts
it very well.
 SHAPE
 Shape is an area that is contained within an
implied line or is seen and identified
because of colour or value changes.
 Shapes have two dimensions, length and

width, and can be geometric of free-form.

 Design in painting is basically the planned

arrangement of shapes in a work of art.

•I think that
this picture
shows shape
in that the
shape is
contained
within the
toothpaste
 This picture
describes
shape
because the
three is fully
enclosed in a
line
 FORM
 Form describes volume and mass, or the
three dimensional aspects of objects that
take up space.
 Forms can and should be viewed from
many angles.
 When you hold a baseball, shoe, or small
sculpture, you are aware of their curves,
angles, indentations, extensions, and edges;
their forms.
 I chose this
picture
because I think
it depicts form
really well in
that you can
see the many
different
angles, and
curves of the
tea pots.
 COLOUR
 Monochrome-One colour, lightest tone to darkest
tone
 Colour depends on light because it is made of light.
 There must be light for us to see colour.
 A red shirt will not look red in the dark, where there
is no light. The whiter the light, the more true the
colours will be.
 A yellow light on a full colour painting will change
the appearance of all the colours.
 I chose this
for
monochrome
because the
colours on
the house go
from a white,
or light gray,
to a black.
 this picture
describes
monochrome
color in the
sky.
 this picture for
monochrome
because the
person looking
at the picture
can tell that it's
monochrome
CLOSE UP POINT OF VIEW

 This art work

appears close to
the viewer.
 the puppy is up
very close to the
camera, a close
up view
 this picture
REALLY
shows
close up.
 This picture
describes close
up because the
picture is taken
from a very
close range and
shows the object
in a bigger form
than normal.
 CLEVER USE OF ITEMS
 Items that are placed
in a clever or unique
way.
 this picture cleverly
uses the roller blades
to make the picture
funny and to say that
when the baby grows
up he might roller
blade in the house and
scuff up the floor.
 DIAGONAL
 This is artwork
that appears on
a slant.
 Both the car
and the road are
on a steep slant
or diagonal.
 this picture
represents
diagonal
because the
picture is
diagonal to
the viewer
 Cool colours

 Cool colours in a picture or photo would be a

mixture of blues, purples, and greens. They
give the observer a feeling of coldness.
 this picture is
for cool colours
because the
main colours
are blue and
purple which
are two of the
main cool
colours.
 Primary Colors
 Primary colours are
the basice colours;
blue yellow, and
red.

 this picture
represents Primary
Colours because the
main colours in this
picture are the
primary colours.
 This picture
describes
primary
colors
because it has
the colors
red, blue, and
yellow.
 Warm Colors

 Warm Colours are basically the colours red,

orange and yellow.
 this picture
represents warm
colours because
when the person
reading the
magazine would
feel warm not
cold.
 Space

 Space can be empty or filled with objects. It

is a three-dimensional value.
 In this picture
we the box
really
represents
space, and
the child in it
represents the
object that
fills space.
Value
 refers to dark and

light. It also helps

us see and
understand a two-
dimensional work
of art.
 this picture shows

value because you

can see that it is
two-dimensional
 Reflection
 Reflection is the
act of throwing
back; as, the
reflection of light.
 In this picture you
can see the
reflection of the
object.
 Texture
 Texture refers to the surface quality both
simulated and actual of artwork. techniques
used in painting serve to shwo texture.
 IE. They dry brush technique produces a
rough stinmulated quality and heavy
application of pigment with a brush or other
implement produces a rough actual quality.
 This picture
describes
texture because
you can almost
feel the
softness in the
picture.
 Comedy
 Comedy is
something you find
amusing or funny.
 this picture was
picked because this
a very comical
picture.
Examples in Advertising
(Principles)
 PATTERN

 Pattern uses the art elements in planned or

random repetitions to enhance surfaces of
paintings or sculptures.
 Patterns often occur in nature, and artists
use similar repeated motifs to create pattern
in their work.
 Pattern increases visual excitement by
enriching surface interest.
 I think this
picture shows
pattern well in
the constant
arrangement of
jars or shelves
 This picture
describes
pattern
because there
is a pattern of
bears on the
picture of the
baby wipes.
 MOVEMENT
 Visual movement is used by artists to direct
viewers through their work, often to focal
area.
 Such movement can be directed along lines,
shapes, edges, and colours within the
works, but moves the eye most easily along
lines of equal value.
 I think this
picture shows
movement well
in that if you
look around the
car, you see trees
and the road are
all blurry which
makes the car
appear to be in
motion.
 The reason
we picked this
picture for
motion is
because we
felt that it
showed
motion very
well.
 BALANCE

 Balance refers to the distribution of visual

weight in a work of art.
 In painting, it is the visual equilibrium of
the elements that causes the total image to
appear balanced.
 Balance can be either symmetrical or
asymmetrical in a work of art.
 This picture, to
me, just seems
evenly
balanced to the
eye. I chose it
because I think
it is very nice.