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CREATIVE EXECUTION : Art and Copy

Celorico, Maria Dearby Quinio, Danhyl Lao, Erma Jean Mabalot, Lyle Kenneth Santos, Ma. Elaine

Delivering on the Big Idea: Integrating the Visual and the Verbal

y In advertising, what is shown is as

important as what is said, and sometimes more y This is an art called the nonverbal strategy y The nonverbal strategy has half of the life of the communication y It also helps position the product and create personality for the brand

The Art of Creating Print Advertising

Designing the Print

Ad

refers to how the art director and graphic artist choose and structure the artistic elements of an ad. y The designer sets the style or the manner in which a thought or image is expressed. y Some may put emphasis on photographs to capture attention.
y "Design

y Some uses sparse (scattered) texts to

give the ad breathability.


y Some may set copies in a net, easy-to-

read format and lots of white space to give the ad unity and balance in spite of the diversity of its various elements.

The Use of Layouts

layout is an overall orderly arrangement of all the format elements of an ad: visual (s), headline, subheads, body copy, slogan, seal, logo, and signature. y The layout serves several purposes and they are: First: It helps both the agency and the client develop and evaluate, in advance, how the ad will look and feel. It gives the client a tangible item to correct, change, comment on, and approve.
yA

Second: It helps the creative team develop the ad s psychological elements (nonverbal and symbolic components). y It helps make the look of the ad elicit an image or mood that reflects and enhances both the advertiser and the product

Third: It serves as a blueprint y It shows the size and placement of each element in the ad. y It shows the dimensions of the ad, the number of photos, the amount of typesetting, and the use of art elements such as color and illustrations. y And if all of these are determined, then the cost of producing the ad can also be determined.

 Advertising Design

and Production: The Creative and Approval Process

The design process is both a creative and approval process y In the creative phase, the designer uses nonfinal art to establish the ad s look and feel . y In the prepress phase (production process), the artist prepares a mechanical. y The approval process takes place at each step along the way. At any point in the design process and production process, the ad or the ad concept may be altered or even canceled.

Thumbnail Sketches y A very small (three-by-four-inch) rough, rapidly produced drawing that the artist uses to visualize layout approaches without wasting time on details. Rough Layout  The artist draws the actual size of the ad. Headlines and subheads suggest the final type style, illustrations and photos are sketched in, and body copy is simulated with lines.

Comprehensive Layout
y A highly refined facsimile (exact copy) of

the finished ad. y Generally quite elaborate, with colored photos, the final type styles and sizes, sub visuals, and a glossy spray coat.

Dummy
y Presents the handheld look and feel of the

brochures, multipage materials or pointof-purchase displays. y A dummy is like a drafted document (not finalized)

Mechanical (Pasteup)
y Camera-ready, final layout of all elements

of a work to be reproduced through a commercial printing process. y Printers refers to the mechanical or pasteup as camera-ready art because they photograph it using a large production camera before starting the reproduction process creating color keys, prints, and films of the finished ad.

Approval
The work of the copywriter and art director

is always subject to approval. A new concept is first approved by the agency s creative director. Then the account management team reviews it. Next, the client s product managers and marketing staff review it. Finally, the company s top executives review the final concept and text. The biggest challenge in approval is keeping approvers from corrupting the style of the ad.

responsible for the visual presentation of the ad. y Graphic Designers precision specialists preoccupied with shape and form. y Illustrators point or draw the visuals in the ad. y Photographers creates a nonverbal expression that reinforces the verbal message. y Production Artists assembles the various elements of an ad and mechanically put them together the way the art director indicates.
y Art Directors

Effect of Computers

on Graphic Design

y By using graphics or imaging programs on

computers, today s graphic artist or designer can do much of the work previously performed by staff artists. y Using the elements above, an entire page layout can be seen, complete with illustrations and photos, and easily alter any of them in a few minutes. y Designing before takes days to be completed. y And designs were not as complete and detailed as designs created today on the computer.

Principles of Design:

Which Design Formats Work Best

The Art Director s Guide to Layout Styles y Traditionally, the format that works best is the poster-style format (picture-window layout) with a single, dominant visual that occupies 60 to 70 percent of the ad s total area. y The next format is the Mondrian grid layout that uses a series of vertical and horizontal lines, rectangles, and squares.

Layout that is filled with multiple illustrations, oversize type, reverse blocks, tilts or other gimmicks to bring the ad alive and make it interesting. y Picture Frame Layout which means that the copy is surrounded by the visual, and sometimes the opposite. y Copy-heavy Layout means using texts when visuals can t say it in any way possible.
y Circus

Layout similar to Circus Layout, the montage brings multiple illustrations together and arranges them by superimposing overlapping to make a single composition. y Combo Layout combining of two or more unrelated elements to make a new element.
y Montage

Advertising author Roy Paul Nelson points out that the principles of design are to the layout artist what the rules of grammar are to the writer. The basic rules include the following: y The design must be in balance y The space within the ad should be broken up into pleasing proportions

directional pattern should be evident so the reader knows in what sequence to read y Some force should hold the ad together and give it unity y One element, or one part of the ad, should have enough emphasis to dominate all others
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 The Use of

Visuals in Print Advertising

Illustrators the artist who paint, sketch, and draw in advertising. Photographers the artist who produce pictures with a camera. Together they are responsible for all the visuals or pictures we see in advertising

Purpose for Visuals y Capture the readers attention. y Clarify claims made by the copy. y Identify the subject of the ad. y Show the product actually being used. y Qualify readers by stopping those who are legitimate prospects. y Help convince the reader of the truth of copy claims .

the reader s interest in the headline. y Emphasize the product s unique features y Create a favorable impression of the product or advertiser. y Provide continuity for the campaign by using a unified visual technique in each ad.
y Arouse

y The visuals capture a mood and create a

feeling, a context for the consumer s perception of the product. y Print advertising uses many standard subjects for ad visuals, including:  The package containing the product.  The product alone  The product in use.  How to use the product.  Product features.

 Comparison of products  User benefit  Humor  Testimonial  Negative Appeal

Selecting the Visual


The kind of picture used is often determined

during the conceptualization process. But frequently the visual is not determined until art director or designer actually lays out the ad. y Selecting an appropriate photo or visual is difficult creative task.

yCopywriting and

Formats for Print Advertising

y The key format elements are: y Visuals y Headlines y Subheads y Body copy y Slogans y Seals y Logos y Signatures

Headlines contain the words in the leading position in the advertisement Types of Headlines: y Benefit Headlines to promise the audience that experiencing the utility of the product or service will be rewarding

Information Headline announces news or promises information. y Provocative Headline provokes the reader s curiosity y Question Headline asks a question, encouraging readers to search for the answer in the body of the ad y Command Headline orders the reader to do something so it might seem negative, but readers still pay attention to such headlines
y News

Body Copy is the complete story-teller! y The body copy comprises the interest, credibility, desire, and the action steps y Covers the features, benefits, and utility of the product or service Body Copy Styles: y Straight Sell y Institutional y Narrative y Dialogue/Monologue y Picture Caption y Device

Sell Copy writers immediately explain or develop the headline and visual in a straightforward, factual presentation y Institutional Copy to promote a philosophy or extol the merits of an organization rather than product features y Narrative Copy to tell a story y Dialogue/Monologue Copy can add the believability that narrative copy sometimes lacks y Picture Caption Copy useful for products that have a number of different uses y Device uses figures of speech
y Straight

Slogans (themelines or taglines) Two Basic Purposes: y To provide continuity to a series of ads in a campaign y To reduce an advertising message strategy to a brief, repeatable, and memorable positioning statement

y Seal is awarded only when a product

meets standards established by a particular organization y Logotypes (logos) and Signature Cuts are special designs of the advertiser s company or product name y They appear in all company ads y Gives the product individuality and provide quick recognition at the point of purchase

yCopywriting

for Electronic Media

y Make the big idea crystal clear y Mention the advertiser s name early and often y Take time to set the scene and establish the

premise y Use familiar sound effects y Paint pictures with your words y Make every word count y Be outrageous y Ask for the order y Remember that radio is a local medium y Presentation counts a lot

y Script resembles a two-column list y On the left side, speakers names are

arranged vertically, along with descriptions of any sound effects and music y The right column contains the dialogue called audio

y10 Seconds y20 Seconds y30 Seconds y60 Seconds

20-25 words 40-45 words 60-70 words


130-150 words

y Begin at the finish y Create an attention-getting opening y Use a situation that grows naturally out of the sales

story y Characters are the living symbol of the product y Keep it simple y Write concise audio story y Make demonstrations dramatic but believable y Let the words interpret the picture and prepare viewers for the next scene y Run scenes five or six seconds in average y Keep the look of the video fresh and new

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