VISUAL RHETORIC
in Advertising
Copyright 2012, Akshay Dhingra. Book content and design created by Akshay Dhingra. For more information contact Akshay to: akshay.dhingra2@gmail.com
WWW
“
PICTURES MAY NOT CAPTURE EMOTIONS BETTER THAN WORDS, BUT THEY CERTAINLY DO IT QUICKER. SO, AS ADVERTISIING BECAME MORE EMOTIONAL, THE PICTURE BECAME MORE IMPORTANT. JONATHAN CRANIN WORLDWIDE CREATIVE DIRECTOR OF McCANN
”
This publication focuses on understanding of the importance of Visual Rhetoric that is quite often used to emphasize different communication solutions in advertising. The publication is aimed at students studying Visual Communication with specialism in Advertising during their Masters programme. Various chapters explore the detailed meaning of the term Visual Rhetoric and
1. Preface
its usage in different advertising campaigns from all over the world. It further defines the basic Visual Rhetoric devices with the help of some visual examples taken from existing advertising campaigns. 3
Visual Rhetoric is used in advertising and it holds an important role in a global context. To understand it further various advertising campaigns based Courier Services from around the world are studied, interpreted and analyzed. It will reflect the use of Visual Rhetoric devices and also, different approach towards advertising by the art directors. This publication is designed to inform the reader of the effectiveness of advertisement that uses rhetorical devices as a creative tool.
WWW
CONTENT 1.
Preface
3
2. Defining Visual Rhetoric and its usage in advertising. 2.1 Case Study 1 2.2 Case Study 2
7 9 11
3. Defining the list of 4 basic Visual Rhetoric devices. 3.1 Metaphor 3.2 Case Study 1 3.3 Case Study 2 3.4 Case Study 3 3.5 Hyperbole 3.6 Case Study 1 3.7 Case Study 2 3.8 Case Study 3 3.9 Metonyms 3.10 Case Study 1 3.11 Case Study 2 3.12 Case Study 3
13 15 17 19 21 23 25 27 29 31 33 35 37
3.16 Irony 3.17 Case Study 1 3.18 Case Study 2 3.19 Case Study 3
39 41 43 45
4. Analyzing the use of Visual Rhetoric in campaigns, advertising one services by agencies globally. 4.1 Case Study 1 49 4.2 Case Study 2 51 4.3 Case Study 3 53 4.4 Case Study 4 55 4.5 Case Study 5 57 5.
Task
58-62
6.
Learning Outcome
63
7.
Personal learning outcome
65 65-71
7.1 Professional Practice
2.
DEFINING VISUAL RHETORIC AND ITS USAGE IN ADVERTISING.
Visual Rhetoric is a form of communication that uses images to create meaning or construct an argument. Theoretically, Visual Rhetoric is a method to do a framework by describing how visual images communicate in advertising. Rhetoric is concerned not only with the message but also with the determination of the most eective persuasive methods of presentation and frequently incorporation rates the use of rhetorical devices. 7
Advertising is one of the most common forms of visual persuasions that utilize visual rhetoric. Have you ever thought about how they work? In the following pages are some case studies to support the statements.
WWW
Image Sourse: http://that-imta-blog.blogspot.co.uk/2006_04_01_archive.html
What does the picture of the Superman have to do with milk? Answer: Nothing The ‘GOT MILK’ advert has chosen character ‘Superman’ who is no less than a celebrity with whom the audience can be identified. The character has no link with the milk. But the ad is successful as it makes the consumer buy the milk just because one can relate milk with the character that is quite popular among the audience. The visualizer recognizes the power of persuasion in the character.
2.1 Case Study 1
What makes the consumer buy the milk? 9
The character Superman is known for his strength and power. And it clearly conveys the message that even Superman needs his calcium diet to make the campaign effective. That’s how it works with all the Got Milk ads from those featuring Austin Powers, to those with Hillary Duff, Nelly, and Jason Kidd. What is making their audience buy milk isn’t the job of the celebrity as a spokesperson for milk, but rather their celebrity status and the fact that they are willing to look humorous to sell a dairy product. To a certain time, the ads themselves have become part of the argument: people are waiting to see who is famous or popular or cool enough to be in the latest Got Milk advert. Analyzing images in this way, is similar to analyzing VISUAL RHETORIC: the way the images convince or work on their own and collaborate with written text to create an argument designed to move a specific target audience.
WWW CAMPAIGN: VW Polo. AGENCY: DDB London. CLIENT: Volkswagen COUNTRY: United Kingdom, 2004. MEDIA: Magazine. CREATIVE DIRECTOR: Jeremy Craigen, Ewan Paterson. COPYWRITER: Feargal Balance, Simon Veksner. ART DIRECTOR: Nink Allsop, Dylan Harrison. PHOTOGRAPHER: Paul Murphy. AWARDS: Cannes Grand Prix.
CAMPAIGN: Nissan 350Z. AGENCY: DDB TBWA/Paris. CLIENT: Nissan. COUNTRY: France 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Erik Vervrogen. COPYWRITER: Jean-Francois Bouchet. ART DIRECTOR: Jessica Gernard-Huet. PHOTOGRAPHER: Richard Dobson. AWARDS: Cannes Shortlist.
What is the difference between both the ads? The drama that is happening in both ads is pursuing different unique selling proposition. Both the ads try convincing about their cars to the target audience. In the ad1, Nissan 350Z, visual stress on the cops covering the car from something by pointing guns on it and its copy which is supporting the visual is, Voted “ The most beautiful car of the year”. The visual image of the ad conveys the message in a humorous
2.2 Case Study 2
way by showing the cars parked in a lane and all cops are covering only Nissan 350Z to protect getting harm of something apart leaving all the other cars. 11
However, in Ad2 replacing the car from Volkswagen Polo plays with the same visual and now all cops are hiding at the back of it. Leaving all the cars cops choose to hide behind Polo because they believe that its strong, tough and keeps you protected. Therefore, comparing both the visual ads have tried to pursue their message to the audience by changing the drama in both to justify the selling point of the brand. When creating Visual Communication solutions it is important for us to place at least as much emphasis on the communication element as we do on the visual elements. The following offers you a variety of devices in Visual Rhetoric to serve as a technique in advertising.
3. ANALYZING AND INTERPRETING EACH DEVICE
WITH SOME EXISTING EXAMPLES IN ADVERTISING
The following oers you a variety of devices in Visual Rhetoric to serve as a technique in advertising. Each device starting from Metaphor is being explained with their relative examples in the advertising campaigns. 13
WWW
“
I SINCERELY FEEL THAT THE IMAGE IS THE MOST POWERFUL FORM OF COMMUNICATION THAT EXISTS, DESPITE THE FACT THAT I NEED WORDS TO EXPRESS THIS VIEW. EVER SINCE A CHILD, I HAVE BEEN ATTRACTED BY THE IMAGE, MORE THAN BY THE WORD. PERHAPS, DUE TO MY UNBELIEVING NATURE, I DOUBTED THE TRUTH OF WHAT I WAS TOLD AND BELIEVED ONLY WHAT I SAW. MARCELO SERPA CREATIVE DIRECTOR OF ALMAPBBDO
”
A word or phrase is applied to an object or action that it does not have as a meaning, in order to express a certain meaning characteristics.
3.1 Metaphor
Metaphor is an explanation of an object or idea through juxtaposition of disparate things with a similar characteristic that is a direct comparison between two or more seemingly unrelated subjects. 15
Or An implied comparison between two things of unlike nature that have yet something in common. Or Describe something new in terms of something we already know. For examples, ‘Having the strength of an ox’ to represent somebody of great strength ‘She is as pretty as a picture’ to represent a pretty female (assuming that most pictures are pretty. In the following pages are some case studies to identify Metaphor in the advertising campaigns.
WWW CAMPAIGN: Flash Car Wash. AGENCY: Grey London. CLIENT: Procter & Gamble COUNTRY: United Kingdom, 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Dave Albert. COPYWRITER: Lee Brook. ART DIRECTOR: Nick Rowland. PHOTOGRAPHER: Paul Reas. ADVERTISER SUPERVISOR: Nathan Homer.
What does the impressions on the car bonnet convey in the ad?
3.1 Case Study 1
In the advert of Flash Home Carwash System, visual describes with an impression of a women body and hands on the bonnet of a car. The ad demonstrates the position of making love on the bonnet of a car. The metaphor is applied on the visual with copy “Dirty Weekend?� which explains the USP (Unique Selling Proposition) of the product with an unrelated activity.
17
WWW CAMPAIGN: RFSU Condom. AGENCY: TBWA/Hong Kong. CLIENT: Tait Asia. COUNTRY: Hong Kong, 2002. CREATIVE DIRECTOR: Raymond Chau. COPYWRITER: Eliza Yick. ART DIRECTOR: Lavin Kwah.
What does this male symbol indicating?
3.2 Case Study 2
Showing the male icon, ad interprets the size of male private part by covering the gap between the legs. Metaphor in Visual Rhetoric represents the RFSU OKEIDO condoms with XL size by displaying the similar charactertics in the male private part.
19
WWW CAMPAIGN: Anti-sweat Foot Spray. AGENCY: TBWA/Paris. CLIENT: Ephydrol. COUNTRY: France, 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Erik Vervroegen. COPYWRITER: Jean-Francois Bouchet. ART DIRECTOR: Jessica GerardHuet, Javier Rodriguez. AWARDS: Cannes Bronze Lion for the Campaign.
What is the role of the sock in the ad? Ephydrol Anti-sweat Foot spray product promises to get rid of deadly
3.3 Case Study 3
foot odour. In the Ad campaign showing a sock as a tool of killing the enemy uses Metaphor. 21
All the above case studies tried to justify Metaphor device applied in their campaigns. Now, next we will read about the second device; Hyperbole with the supporting examples.
WWW
“
ONLY FOOD PRODUCTS NOT THOUGHT OF AS PRIMARY NEEDS, SUCH AS FAST FOODS OR THE GLOBALISED BRANDNAMES (WITH MORE MARKETING EXPERIENCE) DARE TO USE HUMOUR IN THEIR ADVERTISING.
“
”
YOU EAT WHAT YOU ARE. IF YOU HAVE DECIDED THAT YOU INTELLECTUAL, CRITICAL AND INDIFFERENT TO FASHIONS, YOU WILL CHOOSE DIFFERENT BRANDS TO SOMEONE WHO HAS DECIDED THAT HE OR SHE IS AGGERESIVE, SUCCESSFUL AND UNSCRUPULOUS. EVEN IF THE FOODSTUFF IS EXACTLY THE SAME, THE BRAND ARE DIFFERENT, AND SO IS THEIR ADVERTISING. ALL THESE FACTORS HELP IN ESTABLISHING ONE’S OWN SET OF ICONS
”
MIGUEL FURONES CHIEF CREATIVE OFFICER OF LEO BURNETT
Hyperbole is an exaggeration for the purpose of emphasis or dramatic
3.4 Hyperbole
eect. Largely synonymous with exaggeration and overstatement, hyperbole is a figure of speech in which statements are exaggerated or extravagant. 23
The use of exaggerated terms for the purpose of emphasis or heightened eect, emphasized by saying more than what is really meant, or more than is literally true. It may be used due to strong feelings or is used to create a strong impression and is not meant to be taken literally. It gives greater emphasis. When used in a visual sense hyperbole often utilizes metaphor. Here are some case studies to learn about Hyperbole in the advertising campaigns.
WWW
CAMPAIGN: Christmas Message. AGENCY: TBWA/Paris. CLIENT: Amora Tabasco. COUNTRY: France, 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Benoit Leroux. COPYWRITER: Benoit Leroux. ART DIRECTOR: Philippe Taroux.
What happend to his beard?
3.5 Case Study 1
In the image, Tabasco depicts Santa Claus with the Christmas message. The picture demonstrates the burnt hairs around the lips in a humorous way. Tabasco is trying to exaggerate the eects of having it because it’s too hot and spicy.
25
WWW
CAMPAIGN: Nissan Pick-up Truck. AGENCY: TBWA/Paris. CLIENT: Nissan. COUNTRY: France, 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Erik Vervroegen. COPYWRITER: Ghislaine de Germon. ART DIRECTOR: Marianne Fonferrier.
What’s happening with the cars?
3.6 Case Study 2
Visuals in the ads exaggerate by showing the elephant, girae and rhinoceros hits by the truck headlamp and nothing happened or an Elephant pissing like a dog. The visualizer used Hyperbole device that adds a humour in the ad to show the quality of strong and big truck.
27
WWW
CAMPAIGN: Jeep. AGENCY: BBDO Canada. CLIENT: DIAMLER CHRYSLER. COUNTRY: Canada, 2001. MEDIA: Magazine. CREATIVE DIRECTOR: Michael McLaughlin, Mike Smith, Jack Neary, Steve Denvir. COPYWRITER: Michael Clowater. ART DIRECTOR: John Terry. ACCOUNT SUPERVISOR: Gary King, Erin Lies, Brian Jamieson. PHOTOGRAPHER: Bill Drumond. TYPOGRAPHER: John Rodrigues. AWARDS: Cannes Shortlist.
Why are these road facilities shown on the hill edges? Exaggerating the impossibility of driving Jeep on the edges of the hill. The copy in the visual “THERE”S ONLY ONE” conveys that the Jeep is
3.7 Case Study 3
unique which has a function to go on a rough environment by showing a regular facility and things on the road. 29
All the above case studies are examples of Hyperbole device applied in their campaigns as a creative tool. Following we will now learn about the third device; Metonym with the supporting examples.
WWW
“ “
NO ONE LIKES ADS LIKE THESE. INFACT, NO ONE REALLY LIKES ADS IN GENERAL. PEOPLE DO, HOWEVER, GENERALLY LIKE THINGS THAT ARE FRESH, INTERESTING, PROVOCATIVE OR COMPLETELY UNEXPECTED.
”
YOU HAVE TO BE OBSESSED ENOUGH TO BELIEVE THAT THE LATTER’S UNTRUE AND THAT THERE’S ALWAYS BETTER WORK TO BE DONE. YOU HAVE TO HAVE BALLS TO TRY THINGS THAT MIGHT FAIL.
”
ERIK VERVROEGEN PRESIDENT & EXECUTIVE CREATIVE DIRECTOR OF TWBA\PARIS
Metonym is a word or phrase that is used to substitute with another that are closely associated to each other. Substitution is a term based
3.8 Metonym
on the mental association between what is shown and its meaning due to a causal, spatial or temporal relationship. 31
In the following pages are some case studies to identify Metonym in the advertising campaigns.
WWW
CAMPAIGN: Rexona Lonely. AGENCY: LOWE & Partners, Kuala Lumpur. CLIENT: Rexona. COUNTRY: Malaysia, 2004. MEDIA: Magazine. CREATIVE DIRECTOR: Adrian Miller. COPYWRITER: Baldish Kaur, Adrian Miller. ART DIRECTOR: Kevin Sim. PHOTOGRAPHER: David Lok.
Why is this photo album incomplete for the second-son?
3.9 Case Study 1
The Advert tries to show Rexona that is closely related to family generations but those who don’t use can cause problem for them. So a family starts with two sons, the left one who consumed Rexona to prevent from body odour helped him to be in a relationship and carried forward the same thing in his family same as the other son who didn’t bothered to use it he couldn’t able to get into relationship. The campaign conveys message as a promising brand that helps to get rid of body odours.
33
WWW
CAMPAIGN: Fiery Fries. AGENCY: Saatchi & Saatchi. CLIENT: Burger King. COUNTRY: Singapore, 1998. MEDIA: Magazine. CREATIVE DIRECTOR: David Droga. COPYWRITER: Andy Clarke. ART DIRECTOR: Andy Clarke. ACCOUNT SUPERVISOR: Michael Lee. PHOTOGRAPHER: Shaun Pettigrew. TYPOGRAPHER: Andy Clarke. AWARDS: Cannes Gold Lion.
3.10 Case Study 2
What is the role of a matchstick in the Burger King ad? The visual in the ad show a fries dipped with ketchup seems to be like matchstick that helps to ignite fire. So, the Burger King campaign of Fiery Fries depicts as a starter of your food. Metonym is used on a fiery fries as a substitute of matchstick that is closely related as a starter.
35
WWW
CAMPAIGN: Burger King Hamburgers. AGENCY: Sil Malaysia. CLIENT: Burger King. COUNTRY: Malaysia, 2005. MEDIA: Outdoor. CREATIVE DIRECTOR: Saad Hussein. COPYWRITER: Yang Mei Ling. ART DIRECTOR: Khor Kok Yang.
Is it a face expression or burger?
3.11 Case Study 3
By showing the layers in the burger the ads interprets an imaginary mouth that depicts water coming temptation out from it by seeing the delicious burger. Metonym simply indicates in the visual as substitute to closely relate with the taste.
37
WWW
“
IRONICALLYIT IS EXACTLY AT THIS TIME OF CREEPING GLOBALISATION THAT WE NEED THESE HERETICS AND POETS MOST. PRESS AND POSTER WORK ESPECIALLY MOURNS THEIR PASSING. WHEN WERE YOU LAST MOVED OR GENUINELY SURPRISED BY A HEADLINE?
”
GERRY MOIRA DIRECTOR OF CREATIVITY AT EURO RSCG LONDON
Irony is a sign employed to convey an oppositional meaning. The use
3.12 Irony
of a word in such a way as to convey a meaning opposite to the literal meaning, such as describing poverty as ‘good times’. “Saying one thing and meaning another.”
39
WWW
CAMPAIGN: ZZZ Nescafe. AGENCY: McCann Erickson. CLIENT: Nescafe. COUNTRY: Chile, 2005. MEDIA: Magazine. CREATIVE DIRECTOR: Guido Puch.
What’s the point of making “Z” to “N”?
3.13 Case Study 1
The sign “Z” repeatedly conveys as deep sleep but in the end the “Z” turns to “N” to relate it with Nescafe in the campaign that say, “Nothing wakes you up as Nescafe”. Using Irony in the visual what exactly it means that Nescafe makes you keep awake even when u are feeling sleepy.
41
WWW
CAMPAIGN: Anti-drink Driving. AGENCY: J. Walter Thompson Italiy. CLIENT: Heineken Italy. COUNTRY: Italy, 2004. MEDIA: Magazine. CREATIVE DIRECTOR: Pietro Maestri. COPYWRITER: Bruno Bertelli. ART DIRECTOR: Christiana Boccassini. ACCOUNT SUPERVISOR: Francesca Novarese. PHOTOGRAPHER: Giovanni Pirajna.
Why is Stop lane shown in the middle of the junction?
3.14 Case Study 2
Heineken is a liquor to enjoy and relax. Describing the visual, it shows a four-way junction with two Stop lanes however one of the lane is stretched to the middle of the junction. The visual interprets that drinking makes you unconscious that cause late reaction on applying the brakes. Line that supports the advert says, “When you drink your reaction time slows down” but what Heineken is trying to say is don’t drink while driving.
43
WWW
CAMPAIGN: Organ Donation. AGENCY: Giovanni FCB. CLIENT: Vizoo. COUNTRY: Brazil, 2004. MEDIA: Magazine. CREATIVE DIRECTOR: Adilson Xavier, Cristina Amorim, Fernando Campos. COPYWRITER: Fernanado Campos. ART DIRECTOR: Carlos Andre Eyer. PHOTOGRAPHER: Platinum.
Why are these men taking out their organs? Men are shown oering their body parts like an eye, heart or liver easily. But the Irony in the campaign shows that when we ask for an organ donation it doesn’t mean taking out your organ to donate as a gift by
3.15 Case Study 3
hurting yourself. The adverts are conveying the message after one’s death the body parts save other people lives. 45
All the above case studies are examples of Irony device applied in their campaigns as a creative tool. The next step will be looking to the Visual Rhetoric tools used in the in campaigns, advertising one services by agencies globally.
4. ANALYZING THE USE OF VISUAL RHETORIC IN
CAMPAIGNS, ADVERTISING ONE SERVICES BY AGENCIES GLOBALLY.
To experience the use of Visual Rhetoric in advertising, I have analyzed some of courier service advertising campaigns based in all over world following their unique selling proposition of fast and safe courier service. Following we’ll start with DHL campaign identifying the use of visual language done by Ogilvy & Mather, London.
47
WWW AD1. The copy of the advertisements reads, ‘Nothing Stop Us’. Place shown is Hong Kong because of the red taxi. DHL van is stucked in the traffic jam on Hong Kong Street. The visual interprets that the driver came out from the van and went into the sewage by showing DHL van with open door. It reflects the craziness and loyalty of DHL services by delivering the package on time in what so ever conditions.
AD 2. Place shown is New York because of the yellow taxi’s on the streets and the tall buildings. The footprints outside on the building and an open window of the room with the DHL box kept in there reflect the brand promise of delivering the package in any conditions
AD 3. An island is shown in the visual from a distance. Visual interprets the courier guy left his clothes to swim all the way to the island just to do the delivery.
DHL Ogilvy & Mather London, UK.
4.1 Case Study 1
The copy of the advertisements reads, ‘Nothing Stop Us’. This campaign was undertaken with a view to focus that how much concerned DHL is to ensure about deliveries are arriving on time. The advertisement is quite indicative in nature and not being explicit is something what makes it impressive. The approach of the campaign is extremely light and presents the idea in a humorous way. Therefore, the Visual Rhetoric creative tool used in this is HYPERBOLE.
49
WWW
Advertising Agency: Memac Ogilvy, Manama, Bahrain Creative Director / Art Director: Peter Holt Copywriter: R. E. Jameson Photography: Sky Images Published: 2006
http://adsoftheworld.com/media/print/dhl_afghanistan?size=_original
DHL Memac Ogilvy, Manama, Bahrain This is actually a smart print advertisement campaign launched by
4.2 Case Study 2
DHL in Afghanistan announcing their office. The advertisement clearly focuses at conveying that even in difficult landscapes where locating things are difficult DHL will find its destination to deliver. The advertisement has used aerial view to show an extremely complex and confusing map where spotting things are almost impossible. Here the ad trying to showing the difficulty of finding the address in Afghanistan but on the other hand DHL is promising of their sincerity in their service, Visual Rhetoric creative tool used in this is IRONY.
51
WWW Advertising Agency: AAA School of Advertising, Johannesburg, South Africa Creative: Rory Welgemoed
Image Source: http://adsoftheworld.com/media/print/dhl_ice?size=_original
DHL AAA School of Advertising, Johannesburg, South Africa.
4.3 Case Study 3
The ad campaign tries to project DHL intelligence and sincerity service even in the remotest places in the world and the copy reads, “If there is an address, we will find it. The campaign conveys an over promising message to its audience which is exaggerating the visual as well. The device used in here is HYPERBOLE.
53
WWW AD1. Showing world map on the wall with two windows depicting one window in China and other in Australia.
Advertising Agency: AAA School of Advertising, Johannesburg, South Africa Creative: Rory Welgemoed
AD2. Same as in this ad the visual interprets two individuals man and women sharing FedEx pack interpreting quick sharing from London to Spain. Image Source: http://adsoftheworld.com/media/print/fedex_londonspain?size=_original
FedEx DDB, Sao Paulo, Brazil.
4.4 Case Study 4
The idea is simple and fastest way of delivering the package to your loved ones who are staying far away. The campaign conveys an over promising message by showing quick sharing from one floor to another interpreting two countries which is exaggerating the visual as well. The device used in here is HYPERBOLE.
55
WWW
Credit: CLM-BBDO France Source: Goodness
Image Source: : http://adsoftheworld.com/media/print/fedex_cap?size=_original
FedEx BBDO, Boulogne, France.
4.5 Case Study 5
A Fedex courier guy exchanges the three wheels bike from the kid by giving him his cap. The visual demonstrate two things in here, one the kid knows the popularity of Fedex that made him give his bike and secondly, the sincerity of the courier guy delivering the package on time. The device used in here is METAPHOR.
57
5. TASK The following task will oer you to identify and revise your understanding on the Visual Rhetoric creative devices. This activity will try to engage by looking to the existing advertising campaigns and answering the correct creative tool applied in the visual.
WWW
1. Tick the *correct Visual Rhetoric Tool.
59 47
METAPHOR
HYPERBOLE
IRONY
METONYM
*CORRECT ANSWERS AT PAGE NO. 74
WWW
2. Tick the *correct Visual Rhetoric Tool.
METAPHOR
HYPERBOLE
IRONY
METONYM *CORRECT ANSWERS AT PAGE NO. 74
3. Tick the *correct Visual Rhetoric Tool.
61
METAPHOR
HYPERBOLE
IRONY
METONYM *CORRECT ANSWERS AT PAGE NO. 74
WWW
4. Tick the *correct Visual Rhetoric Tool.
METAPHOR
HYPERBOLE
IRONY
METONYM
*CORRECT ANSWERS AT PAGE NO. 74
This publication focuses on understanding of the importance of Visual Rhetoric that is quite often used to emphasize different communication solutions in advertising. Firstly, we explored the detailed meaning of the term Visual Rhetoric and its usage in different advertising campaigns from all over the world. Then, further we decoded the basic Visual Rhetoric devices with the help of some visual examples taken from existing advertising campaigns. Secondly, we learnt about Visual Rhetoric used in advertising and that holds an important role in a global context. To understand it further various advertising campaigns based Courier Services from around the
6. LEARNING OUTCOME
world are studied, interpreted and analyzed. It reflected the use of Visual Rhetoric devices and also, different approach towards advertising by the art directors. Thirdly, to revise the learning on Visual Rhetoric and its creative elements we experienced an activity. Therefore, the purpose of this publication was to inform the reader of the effectiveness of advertisement that uses rhetorical devices as a creative tool. The next chapter, I have tried to apply these visual creative thinking tools in my professional practice on my course. By applying these methods I have learnt to think of an ideas to create a humor visually in advertising to engage the audience.
63
7. PROFESSIONAL PRACTICE
The module supports the advancement of your professional standing, through engagement with externally generated briefs. It will develop your critical awareness of contemporary practice and advance your subject knowledge, as well as engage you with a range of subject related external associates. 65
Students will be required to demonstrate self-direction and originality in solving problems, and act autonomously in planning and implementing solutions at a professional level. The response for this module I have worked on many of professional brief. In this publication I will choose one of this project to show the processes that have been applied and results.
YCN: ESPN DESIGN BRIEF OUTLINE 1. To create a Campaign targeting young audience in Uk. 2. To recognise ESPN as most relevant Sports channel in UK. 3. Target audience: Men under 35years.
WHY ESPN? To develop a broad understanding of problemsolving within the area of Advertising 1. Challenging Brief. 2. To attain both strategic and visual understanding in design and brand.
PROPOSED TONE OF VOICE
PROPOSED BRAND VALUES
1. Attract . 2. Passion 3. Convincing 4. Direct communication
1. Bold and Energetic . 2. Modern and contempary. 3. 100% Sports broadcast
CREATIVE THINKING TECHNIQUES The creative thinking techniques that I have used were Random input and Brainstorming. I have generated and developed a series of visual concepts that are informed by clear evaluative criteria that respond to the brief.
BRAINSTORMING
DEVELOP A SERIES OF VISUAL DESIGN CONCEPTS 67
CRITERIA
WWW
1. Inclined more towards brand. 2. Undefined target audience. 3. Complicated 4. Visual appeal missing.
EVALUATING FIRST ATTEMPT BY REVIEWING CRITERIA
DESIGN VISUAL WORK: APPLIED VISUAL RHETORIC CREATIVE THINKING METHOD, IRONY. 69
DEVELOPMENT IN LAYOUTING
WWW
FINAL OUTCOME
1. Developing the series of visual design concepts that are informed
LEARNING OUTCOME
by clear evaluative criteria and formal feedback methods, implying an informed iterative approach to design. 71
2. Design and answering to a professional brief, including evaluation, which gives critical awareness of professional design standards and production values.
WWW
BIBLIOGRAPHY BOOKS 1. Lupton, E, 2011. Visual Research. 2nd ed. United Kingdom: AVA Publishing. 2. Wiedemann, Ju, 2006. Advertising Now. Print. 1st ed. Germany: China. 3. Hall, S, 2007. This means this this means that. 1st ed. London: Laurence King. 4 Biggs, M, 2011. The Routledge Companion to Research in the Arts. 1st ed. New York: Taylor & Francis. 5. Messaris, P, 1997. Visual Persuasion: The Role of Images in Advertising. 1st ed. United Kingdom: SAGE Publications Inc.
WEBSITE 1. stanford.edu. 2002. Visual Rhetoric and Strategies of persuasion. [ONLINE] Available at: http://www.stanford.edu/~steener/f03/PWR1/whatisvisrhet.htm. [Accessed 20 July 12]. 2. Wikipedia. 2012. Visual Rhetoric. [ONLINE] Available at: http://en.wikipedia.org/ wiki/Visual_rhetoric. [Accessed 05 July 12].
3. stanford.edu. 2010. Visual Rhetoric and Strategies of persuasion. [ONLINE] Available at: http://www.stanford.edu/~steener/f03/PWR1/whatisvisrhet4.htm. [Accessed 31 July 12]. 4. adpunch.org. 2007. DHL: We’ll still find you, DHL now in Afghanistan. [ONLINE] Available at: http://www.adpunch.org/entry/dhl-well-still-find-you-dhl-now-in-afghanistan/. [Accessed 25 July 12]. 5. adpunch.org. 2009. DHL promise. [ONLINE] Available at: http://www.adpunch. org/entry/dhl-promise/. [Accessed 25 August 12]. 6. adpunch.org. 2007. DHL: Nothing Stop Us. [ONLINE] Available at: http://www. adpunch.org/entry/dhl-nothing-stop-us/. [Accessed 25 August 12].
IMAGES 1. Image Sourse: http://that-imta-blog.blogspot.co.uk/2006_04_01_archive.html 2. Image Source: http://adsoftheworld.com/media/print/dhl_determined_1 3.http://adsoftheworld.com/media/print/dhl_afghanistan?size=_original 4. Image Source: http://adsoftheworld.com/media/print/dhl_ice?size=_original 5. Image Source: : http://adsoftheworld.com/media/print/fedex_cap?size=_original Wiedemann, Ju, 2006. Advertising Now. Print. 1st ed. Germany: China. *CORRECT ANSWERS : 1. Metonym, 2. Hyperbole, 3. Metaphir, 4. Irony
WWW
ABOUT THE AUTHOR I am Akshay Dhingra , and have done Masters in Visual Communiation specialising in Advetising from Birmingham City University UK. I have my Bachelors in Fine Arts specialised in Appilied Art from Apeejay College of Design, New Delhi, India. I also have a large interest and strong practice in Advertising and Brand awareness. My Objective is to create art works that takes care of thoughts and interests of the viewers about the subject matter . This book is acompilation of my learning and work during my Masters.