Print media

Creating the Fashion Retail Print Advertisement

 Requires a team effort to put together:
 Account executive (if using an agency)
 Buyer or merchandise manager
 Public relations person (for institutional ads)
 With an Ad Agency partnered with the Retail client (represented by the Marketing
Director or Advertising Manager) the team involved consists of the following people:
 1. The Retail Client (i.e. Marketing Director)
 2. The Ad Agency Account Representative
 3. Ad Agency Art Director
 4. The Ad Agency Copywriter – story writer
 5. The Fashion Photographer
 6. Models & Hair/Make up artist (if required)
 7. Photo Stylist

Components of a Print Advertisement

 1. The Headline
 Along with the Visuals (photo or illustration), the headline is the key attention-getting
device to make the reader stop and take notice of the print ad.
 If the headline, does not generate immediate interest the remainder of the ad will
probably not be examined by the reader and be forgotten.
 There are tried-and-true rules for effective headlines that copywriters adhere to:
Miller’s law - The magical number 7 ± 2
 George Miller – Harvard’s University; Department of Psychology
 The number of objects an average human can hold in working memory is 7 ± 2
 Short term memory capacity
 Memory span is limited to about 7 items (recall memory); think phone numbers
Rules for Effective Headlines:
 1. Keep it Simple with no more than 10 words. i.e. A headline for a New Collection launch
Fashion Ad “Want it!”.
2. Use a benefit to invite further inspection of the Ad (i.e. “Designer Collections at Discount
Prices” for Winners).
3. Provoke Curiosity from the reader. i.e. Guess which Designer is appearing at our Flagship
store today? )
4. Focus on a specific brand or label – i.e. “Introducing Ralph Lauren Black Label”.
5. Avoid Generalities – Target your Market by making your ad appeal to your key target
market by using words to which they relate. (i.e. “Dressing with Ease” for the busy career
woman).
6. Use the right “font” and “type size” – don’t use fonts that are difficult to read and
headlines must be in a larger type size than subheadlines or body copy.

 2. The Subheadline
 Set in smaller type beneath the Headline
 Longer than the headline and provides a little more information to engage the reader’s
interest.
 Used to convince the reader to read on.
 The subheadline further develops the intent of the ad before using body copy (if
needed) to complete the message.
 i.e. A Hudson’s Bay Clearance Sale Ad:
Headline: Save an Extra 40% off Today!
Subheadline: That’s an overall Savings of up to 70% the Regular Retail Price.

 3. The Body Copy

 The more detailed written portion of a print ad.
 Provides the reader more detailed information about the product offered including its
features and benefits or detailed information about SALE offerings.
 Note: Without a strong Headline, Subheadline, and Effective Visuals (Photos or
Illustrations) it is not possible to engage a consumer to read the body copy.

 4. Slogans
 Used by Retailers repeatedly in print ads so that it becomes embedded in Consumer’s
mind to increase their memorability of the Retailer.
 Great slogans, used repeatedly in print ads, can create widespread name recognition for
a Retailer.

 5. Logos
 Logos (or symbols) are a tradition in Advertising for brand name recognition.
 They are often used in conjunction with a Slogan to create a recognizable “signature” at
the end of a print ad which is often referred to as the “tagline”.

 6. Photos or Illustrations
  A retailer print may be strictly a Sale Message ad that does not require photos or
illustrations.
 i.e.
 Hudson’s Bay
 Headline: Boxing Week Sale
 Subheadline:Up to 50% off Everything in Our Stores!
 However, most print ads, to capture a reader’s attention will use photos or illustrations.
 The Art Director is responsible for overseeing the direction, choice, and creation of the
most suitable photos or illustrations.
 To achieve this, the Art Director will employ other professionals: photographer, model,
hair/make up artist, and photo stylist or an Ad agency or freelance Illustrator to create
the desired photo or illustration for the ad.

 Ads do not need to include all of these components

The Layout of an Ad
 The organization of all the preceding elements together forms the Layout of an Ad.
 Sound layout design involves understanding design principles and how white space or
negative space interacts with these elements to create a dynamic, attention-getting
print ad.

7 Principles of Good Design:

 1. Balance
 2. Emphasis
 3. Proportion
 4. Contrast
 5. Harmony
 6. Sequence
 7. White Space

Design principle: Balance

 Visual weight distribution of the elements in an ad.
 There are two types of weight distribution:
 Symmetrical or formal balance where each side of the ad is identical in layout to the
other side of the ad. These ads tend to be more conservative but could be percieved as
boring.
(i.e. Great for Insurance ads but boring for Fashion ads)
 Assymmetrical or informal balance where each side of the ad is different in layout (not
identical). This achieves more exciting, sophisticated, and dynamic ads which is great
for Fashion.

Design principle: Emphasis

 This is achieved by making one element in the ad much bigger in size than the other
elements to draw the eye’s attention.
  Also referred to as the “focal point” of the ad.
 The Emphasis or focal point could be the:
 Headline
 Logo
 Slogan
 Photo or Illustration
 If each element in an ad is the same size, the focal point or emphasis of the ad is lost.

Design principle: Proportion

 All the elements of a print ad must fit within the size restrictions of space specified by
the newspaper or magazine.
 i.e. a huge out of proportion headline in a fixed space may leave little or no room for
other important elements which need placement in a print ad such as the subheadline,
photo, slogan and logo.

Design principle: Contrast

 The difference between light and dark tones (i.e. black, grey vs white in a black and
white newspaper ad) or
The difference between tints, shades, and tones of colour in a full colour magazine ad
can create desired contrast which draws the eye to the ad.

Design principle: Harmony

 All the elements of a print ad that we discussed must work and fit together to achieve
unity or harmony in the message to the consumer.
 If not, the ad will appear confusing, fragmented, and misunderstood by the reader.
 i.e. A fashion print ad highlighting trendy swimwear for young women yet showing a
visual of a conservative swimsuit on a much older model will not be effective in
attracting the desired target market of younger women.

Design principle: sequence

 The best print ads demonstrate an understanding of how our eyes move to read and
understand information.
 Generally eyes move from left to right and from top to bottom to read and understand
print ads.
 Print ad design which fail to understand this may fail to deliver the message to the
reader.

Design Principle: White Space (also known as Negative Space)

 Ineffective print ads have too much information and visuals in them.
 To the reader, these are visually unappealing and “cluttered” ads and do not keep the
reader’s attention as they difficult to read and understand.
 The best print ads have space for information & visuals and space without information,
known as white space or negative space.
  These ads have a balance of artwork (photos or illustrations) and copy with white or
negative space and are much easier to understand.

Enhancing the Advertisement Through the use of Colour

 An understanding of the power of colour in a newspaper or magazine ad and utilizing it
strategically, can
 enhance the understanding of the message of an ad
 strengthen a focal point in the ad
 strengthen brand awareness

The Psychology of Colour

 The human eye can percieve almost 1 million different shades, tints, and tones of
colours.
 Colour is the first element humans can percieve in the World at birth.
 We are daylight and not nocturnal creatures by evolution.
 Colour affects us in 3 ways:
 Emotionally
 Psychologically
 Physiologically
 Emotionally – some of us are emotionally attracted to certain colours. i.e. a
preference for warm vs cool colours.

 Psychologically – Depending on your culture, colours can have different meanings.

i.e. In the West, Red can signify Love, lust, as well as danger and violence. Yet, in India and
China, Red signifies celebration and good fortune.
 Physiologically - Certain colours can calm and relax but other colours can agitate us
physically.
 i.e. Placing a person in a red room will cause one to perspire, salivate, and increase
their heartbeat.
 Placing a violent criminal in a pink jail cell will calm down their violent tendencies.
 Studying in a blue room will increase one’s ability to concentrate and retain
information.
 Lifting weights in a blue coloured gym will increase one’s physical ability to lift heavier
weights.

Terminology of Colour You should know:

 1. Hue – the name of the colour
 Red, Yellow and Blue are Primary colours as they cannot be created by mixing any other
colours.
 Orange, Green, and Purple are Secondary colours created by mixing any two of the 3
primary colours as follows:
Yellow and Red mixed together = Orange
Yellow and Blue mixed togetheer = Green
Red and Blue mixed together = Purple (Violet)
Terminology of Colour You should know:
 2. Value – the lightness or darkness of a colour.
 Tints of a Hue have white added to it (i.e. pastel yellow has white added to yellow)
 Shades of a Hue have black added to it. (i.e. Indigo blue has black added to blue)
 Tones of a Hue have grey added to it. (i.e. Burgundy has grey added to red).

Value: Lightness or Darkness of a Hue (adding white, grey, or Black to a Hue)

 3. Intensity – the Brightness or Dullness of a Colour.

Colour Harmony
 Is a scheme of arrangement or combination of colours to achieve a desired effect in an
ad.
 There are generally 3 basic arrangements of colours for advertising you should know to
achieve different effects:
 Monochromatic colour arrangement.
 Analogous colour arrangement
 Complementary colour arrangement.

Colour Harmony: Monochromatic

 A monochromatic colour scheme in an ad uses one colour (or hue) in its tints, shades
and tones.
 This use of one colour in an ad enhances harmony and unity and can be perceived as
calming and pleasing to the reader.

Colour Harmony: analogous

 An analogous colour scheme in an ad that uses any two or three colours that sit next to
each other on the Artist’s colour wheel. i.e. red, orange, yellow (warm colours) or
green, blue, violet (cooler colours)
 An ad that uses analogous colours also creates a harmony of design and can indicate
elicit a sense of warmth or coolness in the viewer which can contribute to the ad’s
message.

Colour Harmony: Complementary

 Colour scheme based on two colours that sit directly across from each other on the
Artist’s Colour Wheel. The result is a complementary colour scheme.

Colour Harmony: complementary Colour Scheme Variations

 Split Complementary
 Double Complementary
 Triads

The Psychology of Colour: Warm vs. Cool Colours

 We perceive different colours as having different temperatures.
  Red, Yellow, and Orange are perceived as warming in temperature and therefore
could be used in ads that highlight Spring/Summer Fashions. (i.e. using yellow for a
swimsuit ad)
 Blue and Purple are perceived as cooling in temperatures and are more suited to
usage for ads highlighting Winter fashions. (i.e. using blue in an ad for Winter
skiwear).
 Green is considered a neutral colour and can be perceived as a warm colour when
placed next to warm colours and as a cool colour when placed next to cool colours.

The Psychology of Colour: Advancing & Receding Colours

 Some colours appear to advance toward the viewer whereas other colours appear to
recede from the viewer.
 Yellows, Reds, and Oranges are perceived as advancing (active) colours.
 Elements in an ad using these colours appear larger and closer to the viewer.
 Blues and Purples are perceived as passive and receding from the viewer.
 Elements in an ad using these colours appear smaller and farther away from the
viewer.

The Psychology of Colour: Emotional Effects of Colour

 Colours can create a mood in us.
 The most popular colour in the World is Blue and it is also considered to be the most
restful, serene, calming and relaxing colour (followed by Green).
 The shade of Orange (when black is added) gives us Brown which imparts earthiness.
 Purple connotates Royalty & Drama as it has been associated with Aristocracy since
the time of the ancient Roman Emperors.
 Note: Art Directors will also take the Image of their Client’s Brand into consideration
before choosing colours for Ads. (i.e. Ads for athletic brands would not lend
themselves to using restful colours).

Layout Preparation by the Layout Artist:

A 3 Stage Process:
1. Thumbnails – miniature rough drawings as part of the brainstorming of ideas process.
2. Roughs – Chosen thumbnails are made into more detailed drawings after having been
reviewed with the Art Director and copywriter.
3. Comprehensives or Mechanicals – The final layout of the ad accurate in terms of size,
colour, font/type, and any other details necessary to show how the actual
advertisement will appear. Rather than hand rendering, these are now done with
computer software.

Printing Processes
 1. Offset Lithography – Highlights details and colour. Great for print ads using
photography, detailed illustrations and colour. (i.e. magazine ads, catalogues,
brochures, and full colour fashion inserts). Quantity: Large runs. Cost: Expensive.
  2. Rotogravure – The best printing process for excellent detail and colour quality.
Again most suitable for print ads utilizing photography and detailed illustrations. (i.e.
high quality magazine ads) Quantity: Limited Runs. Cost: Very Expensive.
 3. Screen Printing – Message Ads and posters requiring saturated hues with little need
for design detail are best created using this process.( Sale ads and Store Clearance
poster message ads) Quantity: High Runs Cost: Relatively Inexpensive.
 4. Digital Printing – Full colour photographic and message ads/banners with limited
numbers run can be produced effectively using this type of electronic printing.
Quantity: Small Runs Cost: Relatively Inexpensive.

Typography
 Refers to the selection of type/font for an ad as well as type measurement.
 Appropriate Type selection by an Art Director is very important for an effective ad.
 Different fonts can convey a meaning and either enhance or detract from a Brand
message.
 Serifed fonts convey traditionalism and formality and are appropriate for more
conservative brands and brands that appeal to older consumers.
 Non-serifed fonts convey modernity and are more suitable for usage in ads appealing to
younger or more active consumers.

Typography: Type Measurement

 The standard measurement for the size (height and width) of type/fonts in an ad is
measured in points and picas.
 A Point is the unit for measuring the height of the type. There are 72 points to the inch.
i.e. 72 point high type = 1 inch
36 point high type = ½ inch.
 A Pica is a unit for measuring the width of the type. There is 6 picas to the inch.
 i.e. 12 picas = 2 inch width type.

Ad Artwork: Use of Photos or Illustration

 Most retail product advertising makes extensive use of artwork in illustrative or
photographic formats along with the written message to convey a message effectively
to the consumer.
 Before printing, photographs and drawings must be converted to a photoengraving for
effective reproduction in newspaper, magazine, poster print production.

Artwork Format : halftones

 Most suitable for preparation of black and white photographs consisting of tonal values
in a range of grey tones between black and white.
 The artwork is broken up into dots, producing the halftones.
 The differences in the size and concentration of dots convey different values of gray.
 Results in better reproduction of black and white photographs when used in advertising
for newspapers and magazines.
Artwork format : 4 Colour Art
 This four-color process involves the use of red, yellow, blue, and black to achieve an
infinite number of colors for excellent reproduction of colour photographs for ads in
magazines.
 The four colors are referred to as CMYK :
 Cyan (blue)
 Magenta (red)
 Yellow
 Black
 Careful inspection or proofing is necessary to ensure that the desired color accuracy
has been achieved. This is particular true for colour accuracy for fashions shown in mail
order catalogues.

Paper Selection
 The final stage is to choose the paper grade most appropriate for the print
advertisement. Printing on an appropriate paperstock reinforces and enhances quality
(where needed).
 Offset paper – for lithography - magazines
 Cover paper – thicker stock for catalogue and magazine front and back covers.
 Text paper – body copy in books
 Newsprint – for newspapers
 Glossy coated stock – magazines, catalogues, brochures.

Broadcast MEdia
Television
 3 stages:
 Preproduction
 Production
 postproduction