newspaper deconstruction

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Post on 23-Jul-2015




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  • Deconstruc*on of i Newspaper Adver*sements Courtney ODonnell

  • Exhibi*on I have decided that only deconstruc*ng is newspaper adver*sements is most construc*ve to the produc*on of this ancillary product, as I had determined that this would be my exhibitor within my market research, as it relates to my formal, educated product, and markets to my whole target audience alongside my TV lis*ngs magazine, as the Radio Times distributes to my older demographic, whilst i distributes to my young adult-adult demographic from its readers.

  • Marke*ng to its Audience The adver*sements market to young people as they include youthful products such as; technology smart phones and wi, and educa*on, as well as slightly older adults through a home company.

  • Overall Look and Format Portrait or landscape varying in propor*ons. Landscape: third of page at edge of top or boRom, width is xed 26cm,

    height at a maximum of 15.5cm. Terms and condi*ons in small print below if necessary for phones etc., included within height.

    Portrait: almost half of page on the outer edge so that the ar*cle is the focal point, xed height of 25cm, maximum width of 14.8cm (varying between 1-4mm).

    1 full page ar*cle on back cover. Similar simple, non-cursive/ pointed font for all adds e.g. Arial, Calibri,

    Tahoma. Backgrounds include either image (some*mes out of focus with organised

    colour scheme) or block primary colours, some*mes faded. Bold *tle which describes the product without naming it explicitly. O^en quite

    long, varying in mono-polysyllabic. Smaller, thin descrip*ve sub*tles in varying lengths and the same font.

  • Halifax Ad Out of focus background, blue and white

    colour scheme with white font/ background base, and blue shirt/ textbox. Landscape format ts the whole image.

    Symbol of in*mately close-up, large, friendly smiling model to represent happy customers. He also reects the target market; everyday man, older, working class due to casual, buRoned down, work-uniform polo-shirt and warm jacket.

    Background image symbolises sold homes to represent the product. The red SOLD sign breaks from/ contrasts the colour scheme, emphasising the product.

    Main *tle of an aRrac*ve, eye-catching oer to en*ce the reader.

    Smaller logo of the company, faded, in the centre of the boRom edge focal point, conven*onal posi*on at edge.

  • O2 iPhone Ad Faded light-dark blue background that is stylis*c, modern and

    sophis*cated. Creates colour scheme from blue image and white font, which is light, airy and ar*s*c.

    Simple, primary coloured background with no image presents a more sophis*cated look.

    The *tle draws customers in due to the aRrac*ve statement, like the Halifax adver*sement.

    Logo in the boRom right and top le^ corners conven*onally. Darker background at the top against the contras*ng white

    font to emphasise the main *tle, which is more eye-catching. Two sub*tles to explain and describe the main *tle and

    product. Contact details for the company in the boRom le^ corner

    engages readers with product. Circular, eye-catching textbox to emphasise the important

    details of dates. This informa*on also creates an urgency for the product.

    Layout of the main body is centred stylis*cally and sophis*catedly, whilst the portrait layout is in line with this body and the portrait image.

  • Visa Ad Conven*onal logo in the boRom corner, which presents

    emphasis on the adver*sement rather than the brand. Symbol of the happy customer, much like the Halifax

    adver*sement, reects the posi*ve experience of the product. Also sells the image of happiness and bliss through the relaxed and casual clothing, vast, scenic and empty beach, gentle *de, warm and muted colours, and language such as lazy lie-ins, gorgeous and winning drawing readers in.

    Text contras*ng the lighter areas of the background with no textbox less formal than the other adver*sements, crea*ng a more relaxed image reec*ng the product.

    Brand symbols in the top and boRom le^ corner. Colour scheme of calm and relaxed blue, and bright,

    fresh, warm colours of orange, white and yellow, crea*ng the blissful image.

    Related ins*tu*on logos and terms at the boRom of the adver*sement, which dont disturb the relaxed and aesthe*cally pleasing background.

  • Plusnet Ad Freshly colourful, bright, busy and vibrant

    background image which reects the posi*ve business environment of the product.

    Not out of focus like the Halifax adver*sement to emphasise the importance of the sedng.

    Banner draws aRen*on to the main *tle, and separates it clearly from the busy background. The aRrac*ve keyword free is bolded to emphasise it.

    Blue, red and white colour scheme to create the semio*c of patrio*c Britain, reected through the language of small Bri*sh, UKs and Britain.

    Sub*tle linked to the main *tle as it is cursively wrapped under it.

    Starred textbox like the O2 adver*sement emphasises the oer.

    Logo and contact details conven*onally separated underneath the adver*sement like Visas.

  • Conclusion

    From deconstruc*ng other designs, Ive decided that I will use a landscape adver*sement with a the image of Rowan against the busy, library background similarly to Plusnets and Halifaxs adver*sements. This allows the library background to begin to present my documentary main sedng and educated style without as many descrip*ons as the TV lis*ngs magazine which features an ar*cle. As the bookshelf is clearly dis*nguishable, I will also conven*onally edit it out of focus, drawing aRen*on to my presenter and her media, headphone mise en scene.

  • Op*on 1

  • Op*on 2

  • Finally, I will use the conven*onally descrip*ve large, bolded main *tle and smaller sub*tles against textboxes, and Channel 4 logo in the corner. I will use muted, sophis*cated monochrome colours as well as colours from the image to create a formal, modern, youthful and ar*s*c colour scheme.