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| orderliness and compatibility of presentation: either components on one side of axis are repated in apprximate size/shape on other side, or the optical weighing of non-similar sizes and shapes in a more complex relationship |
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| has to do with size and tonal relationships btw different elements in an ad. includes the relationship of the width of an ad to its depth, the width of each element relative to the depth of each element, the size of one element relative to size of another, the space btw 2 elements relative to size of another, and the space btw 2 elements and the relationship of that space to a third element |
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| establishing a relationship among elements that leads the reader through the ad in some controlled fashion; goal is to establish a visual format that results in a focus or several focuses. up/down, large/small, light/dark, color/noncolor |
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| all elements tied together and appear to be related. results in harmony among the headline, subhead, body copy, and illustration. (border, white space and axis contribute to it) |
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| either visual or headline should be dominant ....headline dominant = direct response, visual = delayed response |
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| busy ad, informal balance (lot going on in page...like that nailpolish ad_) and paint brush ad |
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| border or something frames the page/product |
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| pictures used to substitute words (eye heart you) |
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| visual is dominant (delayed response) |
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| several different images used to tell a story |
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| all elements on page form a letter (ex T: the watch ad, neutrogena Z, jordache X, intel pluck a hair from your head |
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| formally balanced--when you fold it in half, it's a mirror of right side/left side (ex: GMC Jimmy) |
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| services provided by distribution (credit, delivery, installation, training) |
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| number and type of wholesalers |
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| inventories (extent/location) |
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| adveritsing, sales people, personal selling, sales promotion, (coupons, contests, sweepsakes), trade shows, PR activities, direct mail/telemarketing, event sponorships, internet communications |
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| geographic selectivity, timeliness, creative opportunities, credibility, audience interest, cost |
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| limited segmentation, creative constraints, cluttered environment, short life |
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| audience selectivity*, shelf life* audience interest, creative opportunities, |
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| long lead times*, cost*, limited reach and frequency, clutter, |
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| creative opportunitites; coverage reach and repetition; cost per contact, audience selectivity; and narrowcasting (the development and delivery of specialized programming to well-defined audiences), OFFERS BROADEST REACH!! |
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| fleeting message**, high absolute cost (cost per contact is best, but overall cost may be the worst), poor geographic selectivity, poor audience attitude and attentiveness (zipping, zapping***, and channel grazing), clutter |
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| frequency—most people leave on while doing other things ; cost, reach and frequency (has widest reach of any medium), target audience selectivity, flexibility and timeliness (most flexible bc of short closing periods). creative opportunities (theater of the mind) |
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| poor audience attentiveness, creative limitations, fragmented audiences, chaotic buying procedures |
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