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Journal articles on the topic 'Advertising in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Pryshchenko, Svitlana Valeriivna. "CREATIVE TECHNOLOGIES IN ADVERTISING DESIGN." Creativity Studies 12, no. 1 (May 24, 2019): 146–65. http://dx.doi.org/10.3846/cs.2019.8403.

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The purpose of this article was analyses the existing methodological approaches to art, culture, design, advertising for the further effective designing of advertising products, increasing its positive value orientations and aesthetic level. The research area is the visualization of advertising ideas taking into account of regional specificity and ethno-cultural identification. Scientific study of cultural-aesthetic component in advertising design has the aim to systematize visual means of information and make a complex definition of their functional specifics in contemporary society, which is much wider than thirty years ago. The advertising graphics presented as visual art, visual culture and visual communication. On examples, we considered the creative advertising technologies: metaphors, hyperbole, associations, allegories and metonymies using colour-graphic imaginative means. Orientation of products to regional consumer groups, significant change of market policy presupposed cardinal change in tasks and character of advertising: socio-psychological, cultural and art-aesthetical indices become actual. Definition of imagery as specific tool of creativity on the point of view different aesthetic ideals is a key to understanding the process of art projecting. So, our comprehensive research summarizes stylistics of advertising graphics in the context of cross-cultural communications from posters to new advertisings forms – digital media

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2

Parikh, Kashyap. "Graffiti in Relation to art & Advertising." Indian Journal of Applied Research 3, no. 1 (October 1, 2011): 63–64. http://dx.doi.org/10.15373/2249555x/jan2013/25.

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3

Hartlaub, G. F. "Art as Advertising (1928)." Design Issues 9, no. 2 (1993): 72. http://dx.doi.org/10.2307/1511678.

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4

Lambert, Julie Anne. "The Art of Advertising." Bodleian Library Record 34, no. 1-2 (April 2021): 13–15. http://dx.doi.org/10.3828/blr.2021.34.1-2.13.

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5

Bimo, Aryo. "Pengertian Art Direction dan Peranan Seorang Art Director dalam Periklanan." Humaniora 1, no. 2 (October 31, 2010): 388. http://dx.doi.org/10.21512/humaniora.v1i2.2881.

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Nowadays advertising is a field that is progressing rapidly and is quite popular majors marked by numerous educational institutions both private and the country that opened specialization advertising. One of the positions in the field of advertising that quite popular is Art Director. The skill of art directing is a bit much has been represented in the department of Visual Communication Design or Graphic design. But it is sometimes still confused between the duties and role of an art director and a graphic designer. This article gives a general overview of what is meant by Art Director as well as roles and duties.

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Zurstiege, Guido. "The pragmatics of calling advertising art: Four systems theoretical approaches to art and advertising." Empedocles: European Journal for the Philosophy of Communication 2, no. 1 (June 9, 2011): 3–17. http://dx.doi.org/10.1386/ejpc.2.1.3_1.

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7

Lee, Jieun, Junghyun Kim, and Jinhyun Yu. "Effects of Congruence of Product, Visual Image, and Consumer Self-Image on Art Infusion Advertising." Social Behavior and Personality: an international journal 43, no. 10 (November 19, 2015): 1725–40. http://dx.doi.org/10.2224/sbp.2015.43.10.1725.

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Although previous researchers have reported that use of visual art in advertising induces more positive responses in consumers than does no art, which variables are important in inducing these responses has been largely unexamined. We investigated the moderating effects on advertising of the congruence between product and visual image, and also the congruence between visual image and self-image. The sample consisted of 228 university students in Korea and the results showed that the students experienced stronger purchase intention when exposed to art infusion advertising with high levels of advertisement–product congruence and advertisement–self-image congruence than they did when the levels of congruence were low. Further, we found that positive emotion mediated the effects of art infusion advertising on attitude toward advertising only for a hedonic product, and that consumer response to art infusion advertising differed according to product type.

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8

Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.

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9

Zaytseva, Anastasia F. "Artistic Reception as a Field of Implementation of the Aesthetic Component of Advertising." Observatory of Culture, no. 4 (October 28, 2015): 29–33. http://dx.doi.org/10.25281/2072-3156-2015-0-4-29-33.

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In this article, the author examines the perception of art as a field of implementation of the aesthetic function of advertising. Being based on research works in the field of receptive aesthetics and phenomenology, the author analyzes the relevance of the aesthetic perception of advertising communications. The article examines the advertising communications as a complex phenomenon; there is presented a comparative analysis of the values of perception of works of art and of advertising samples. The article opens a new perspective on the aesthetic component in advertising. The author goes beyond the classical idea of its implementation through artistic techniques and shows a vast field of actualization of the aesthetic component in advertising.

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Szczęsna, Ewa. "Oblicza sterowania. O perswazji niewerbalnej w sztuce i reklamie." Załącznik Kulturoznawczy, no. 5 (2018): 23–36. http://dx.doi.org/10.21697/zk.2018.5.02.

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The article deals with the issue of non-verbal persuasion in art and advertising. It shows and characterises the difference in the goals that both representations of non-verbal persuasion pursue. The author depicts the distinct way of textual existence of persuasion resulting from this discrepancy. The ontical contrast between persuasion in art and advertising is shown on specific examples of fine arts and audiovisual advertising.

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11

M.S, Shajith, and G. Bhuvaneswari. "A Study of Cultural Dilution and Influencer Advertising in Samit Basu’s ‘Chosen Spirits’." World Journal of English Language 13, no. 8 (September 12, 2023): 257. http://dx.doi.org/10.5430/wjel.v13n8p257.

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The rapid growth of cultural consumption has led to a nearly seamless generation of hyperrealities. This generation is accentuated through the swift and inundated barrage of advertisements that have permeated all modes of expression in mainstream media. This article explores cultural dilution in the context of the convergence of art, advertising, and hyperrealities. Drawing on a textual analysis of Samit Basu's novel ‘Chosen Spirits’(2020), Baudrillard’s notions of hyperreality espoused in ‘Simulacra and Simulation’(1994), and a close study of influencer advertising and its effects, this study dissects the intricate relationship between art and commerce and its subsequent implications for cultural significance. The paper argues that blending art and advertising creates a continuous flow of hyperrealities, eventually diluting the represented culture. This process leads to the convergence of the once distinct realms of art, culture, and commerce, wherein culture becomes a consumable object. Advertising leeches, dilutes, and duplicates significant elements from its source, further blurring the boundaries between the two domains. The symbiotic relationship between advertising, culture and consumption is catalysed by technology. Consequently, the gormandised culture's value diminishes, and the communication gap between producers and consumers widens. In addition to transforming the nature of artistic expression, it impacts the authenticity and integrity of cultural production. The complex dynamics that shape contemporary cultural landscapes are unveiled by analysing how advertising and hyperrealities intertwine with art and culture. This subsequently invites critical reflection upon the implications of cultural dilution, the commodification of art, and the role of technology in reshaping cultural identities.

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12

Anissimova, T. "THE ROLE OF WORKS OF ART IN THE DISCOURSE OF SOCIAL ADVERTISING." EurasianUnionScientists 4, no. 10(79) (November 20, 2020): 33–40. http://dx.doi.org/10.31618/esu.2413-9335.2020.4.79.1061.

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The article discusses ways to use well-known works of painting, sculpture, and architecture in social advertising. There are three main ways: first, a work of art can be completely reproduced on a poster, second, when transferred to a poster, the work of art can undergo a significant transformation, and third, social advertising contains only an allusion to the work of art.

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13

Ruan, Xunmiao. "The Application of the Expression form of Contemporary Art in the Creative Advertisement of Dongguan Time-honored Brand." Learning & Education 10, no. 3 (November 7, 2021): 214. http://dx.doi.org/10.18282/l-e.v10i3.2458.

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Excellent advertising creativity can enhance the value of a brand, and also represent a brand image.There are various forms of expression of contemporary art, and just because of this, the perfect collision between the charm of contemporary art and advertising creativity can burst out gorgeous sparks.Dongguan is the most representative city of Lingnan culture, which is rich in long history, culture and rich folk characteristics.The time-honored brands of Dongguan contain the warmth and memories of the city. The brand image with regional characteristics is deeply rooted in the hearts of people and it has become an immortal memory in the hearts of a generation.Dongguan’s old-fashioned brand creative advertisement conveys a new idea through the expression of contemporary art, it is necessary to start research from the origin of the brand.And according to the unique temperament of the time-honored brand, reasonable addition of innovative advertising ideas.Under the influence of the expression form of contemporary art, the creative advertising of time-honored brands must be changed to improve the innovation ability, so as to effectively comply with the trend of social development, achieve development goals, enhance the publicity of dongguan timehonored brands, and establish a positive corporate image.Make the advertising design of the Dongguan old brand brand in the market.In this paper, through the study of the expression of contemporary art in dongguan time-honored brand advertising creative application of the following research.

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14

Permana, Gandara. "Visualisasi Seni Sebagai Aspek Kreatif Periklanan." Jurnal Bahasa Rupa 1, no. 2 (April 21, 2018): 108–14. http://dx.doi.org/10.31598/bahasarupa.v1i2.216.

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Advertising is an in-depth creative process with a variety of supporting factors. One of the constituent elements is the creative strategy aspect. Advertising creative strategy is a tool to generate fresh and creative ideas that represent advertised products. The context of art as part of society's lifestyle becomes one of the commodities to be exploited. This study used descriptive qualitative method. This topic is analyzed by visual content approach through dissecting advertising visualization with the context of its art medium, message and linking visualization of art as creative aspect of advertisement so as to produce persuasion element for consumer audiences. The results obtained are the use of art medium in advertising as an approach to the audience by utilizing the momentum, situations and emotions that can persuade audiences. Visualization of the ad is a moment of celebration with the nuance of kinship or the expression of the life style of the young people who care about the traditional values of the nation.

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15

Moeran, Brian. "The organization of creativity in Japanese advertising production." Human Relations 62, no. 7 (June 19, 2009): 963–85. http://dx.doi.org/10.1177/0018726709335541.

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This article makes use of the results of ethnographic participant observation to analyze how creativity is organized in the production of Japanese advertising. An ad campaign, like many other creative products, is produced by `motley crews' of personnel from both within an agency contracted to conceptualize the campaign on behalf of its client (an account team) and freelance professionals hired to realize the account team's creative concept (a production team). The concepts of frame analysis and art worlds are used to analyze the symbolic space of the studio and the transformations that occur there, while that of field enables a comparative analysis of advertising's `space of possibles' in which different actors position themselves and their clients' products. Creativity is used to establish relations of power among advertising personnel, as well as over consumers, by means of the constant (re)positioning of advertisers' products. This is the function of advertising's motley crew.

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16

Bitaiev, V. "The evolution of the advertisement graphics in Ukraine: the ethnic art path." CONTEMPORARY ART, no. 18 (November 29, 2022): 329–36. http://dx.doi.org/10.31500/2309-8813.18.2022.273814.

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The study of the cultural and aesthetic component of advertising is aimed at determining the significant influence of ethno-artistic traditions of Ukraine on the stylistics of advertising graphics. The authors consider the problems of the national form and the reasons for pseudo-nationalization in design and advertising. As a result of the color-graphic and semantic analysis of numerous works of art, it was found that the visual components of advertising graphics are deeply rooted in Ukrainian folk art. At the same time, it was found that the separation of modern urban life from the experience of folk imagery gained over the centuries leads to the loss of ethnic artistic traditions. In the conclusion of the article, the author proves that advertising is subject to positive and negative effects of socio-cultural transformations, which is why the use of visual means in advertising must be conditioned by orientation on the target audience, taking into account the defined aesthetic ideals, national color and ethno-artistic traditions.

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17

Ye, Minhee, and Eunhyuk Yim. "Pastiche of Art-Works in Fashion Advertising." Journal of the Korean Society of Clothing and Textiles 40, no. 6 (December 31, 2016): 1072–84. http://dx.doi.org/10.5850/jksct.2016.40.6.1072.

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18

Tena Parera, Daniel. "Art and graphic design: the advertising boom." grafica 7, no. 14 (July 15, 2019): 129. http://dx.doi.org/10.5565/rev/grafica.156.

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19

Coleman, Catherine E. B. "Instructional Resources: Advertising: Art as Society's Mirror." Art Education 51, no. 3 (May 1998): 25. http://dx.doi.org/10.2307/3193728.

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20

Lears, Jackson. "Uneasy Courtship: Modern Art and Modern Advertising." American Quarterly 39, no. 1 (1987): 133. http://dx.doi.org/10.2307/2712634.

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21

Timmerman, Gayle M. "The Art of Advertising For Research Subjects." Nursing Research 45, no. 6 (November 1996): 339–40. http://dx.doi.org/10.1097/00006199-199611000-00006.

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22

Beals, Kurt. "Dada: Art and the Discourse of Advertising." New German Critique 44, no. 2 131 (August 2017): 41–73. http://dx.doi.org/10.1215/0094033x-3860201.

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23

Roth, Marty. "Advertising/Pornography/Art: The French Drink Poster." Journal of Popular Culture 48, no. 5 (October 2015): 921–47. http://dx.doi.org/10.1111/jpcu.12334.

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24

MORRIS, E. "ADVERTISING AND THE ACQUISITION OF CONTEMPORARY ART." Journal of the History of Collections 4, no. 2 (January 1, 1992): 195–200. http://dx.doi.org/10.1093/jhc/4.2.195.

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25

Auerbach, Jeffrey. "Art, Advertising, and the Legacy of Empire." Journal of Popular Culture 35, no. 4 (March 2002): 1–23. http://dx.doi.org/10.1111/j.0022-3840.2002.3504_1.x.

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26

Laird, Pamela Walker, Michele H. Bogart, and Patricia Johnston. "Artists, Advertising, and the Borders of Art." Journal of American History 86, no. 1 (June 1999): 285. http://dx.doi.org/10.2307/2567513.

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27

Kracman, Kimberly, and Michele H. Bogart. "Artists, Advertising, and the Borders of Art." Contemporary Sociology 26, no. 3 (May 1997): 380. http://dx.doi.org/10.2307/2654064.

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28

Peluso, Alessandro M., Giovanni Pino, Cesare Amatulli, and Gianluigi Guido. "Luxury advertising and recognizable artworks." European Journal of Marketing 51, no. 11/12 (November 14, 2017): 2192–206. http://dx.doi.org/10.1108/ejm-09-2016-0496.

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Purpose This research advances current knowledge about art infusion, which is the ability of art to favorably influence the assessment of consumer products. In particular, the research aims to investigate the effectiveness of artworks that evoke their creators’ most recognizable style in luxury advertising. Design/methodology/approach The research encompasses three studies – two conducted online and one in a real consumption situation. The first study explores the effect that a recognizable vs non-recognizable painter’s style has on consumers’ judgments about luxury products. The second and third studies explore the moderating roles of desire to signal status and desire for distinction, respectively, which are relevant to advertisers interested in targeting these individual differences. Findings Advertisements that incorporate artworks that evoke a painter’s most recognizable style enhance the advertised products’ perceived luxuriousness. Consumers with a higher desire to signal status exhibit greater purchasing intention in response to recognizable artworks. By contrast, consumers with a higher desire for distinction exhibit greater purchasing intention when the painter’s style in the featured artwork is less recognizable. Practical implications The results provide marketers with suggestions on how to select and incorporate visual artworks into luxury brand communication: they could focus on recognizable vs non-recognizable artworks based on whether their main goal is to communicate status or distinctiveness. Originality/value This research offers novel insights into the practical value of art infusion by showing when and for whom the beneficial effects of pairing art with luxury products are more likely to occur.

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박서정 and 전종우. "Effects of Art Types and Brand Concepts on Art Infusion Advertising." Journal of Practical Research in Advertising and Public Relations 10, no. 3 (August 2017): 145–66. http://dx.doi.org/10.21331/jprapr.2017.10.3.006.

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30

Li, Xiaqing. "A Pragmatic Analysis of Humor Words in English Advertisements." English Language and Literature Studies 6, no. 2 (June 2, 2016): 193. http://dx.doi.org/10.5539/ells.v6n2p193.

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<p>As an independent discipline, pragmatics was through out thirty years’ development. It is also a young discipline. As a medium emerging commonly in advertising language art, humor has attracted wide attention of many producers. Previous scholars analyzed more from the perspective of grammar, vocabulary, rhetoric, etc. But the research of advertising language humor is lacking from the aspects of pragmatic rules. Our collection of data is quite open. Any advertisement that can be transcribed in to written form is our interest. They are excerpted from magazines, advertisement, collecting books, newspapers, TV and radio commercials. As we only focus on language humor, situational humor produced by visual performance is not involved this thesis. The advertising language art of humor has been widely paid attention. Based on the existing theories of humor research, author of this paper used many kinds of pragmatic theories to analyze English advertising humor language, and including reference, deixis, anaphora, presupposition, speech act theory, the cooperative principle, conversational implicatures, and the politeness principle. It can not only provide reference for the research of this field for later scholars, but also provide theoretical guidance for the AD makers of using humor language to produce a good advertising effect.</p>

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Lerlertyuttitham, Pananda. "Advertising Language and Persuasion." MANUSYA 18, no. 3 (2015): 50–59. http://dx.doi.org/10.1163/26659077-01803004.

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Persuasion is key to a successful advertisement. Persuasive advertisement is an art in using linguistic strategy to convince consumers. This studies aims to study persuasion language used in advertisement based on data collected from printed media as magazines and newspaper.

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32

Vélez Ochoa, Claudia, Omar Muñoz Sánchez, Maria Camila Cardona Elorza, and Sofía Velásquez Valencia. "Transformation of the advertising art director in the local context." Questiones publicitarias 5, no. 29 (January 12, 2022): 37–43. http://dx.doi.org/10.5565/rev/qp.369.

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This study is intended to make an approach to the background of the director of advertising art in the city of Medellín between 2000 and 2019. This will define the skills of this profile used in the local advertising industry where definitions related to the history of trade and the industry in Medellín are found. In addition, establish advertising behaviour in the city from the mid-twentieth century to the present. The transformation of this professional´s practices into multinational, small and medium-sized enterprises (SMEs) and micro agencies, including design studies, will be briefly analyzed.

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33

Védrine, Hélène. "Adverts in ‘Little Reviews’ (1890–1930): Networks, Poetry and Design." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 87. http://dx.doi.org/10.21825/jeps.v1i2.2648.

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Between the 1880s and the 1920s, advertising proved fundamental to art and literature reviews since it fostered a new link between visual and consumerist culture. This article is based on fin de siècle and avant-garde magazines read in dialogue. It samples French and Belgian magazines illustrating innovations to 1880s periodicals and 1920s modernist magazines. The paper highlights the use of visual techniques in advertisements (page design, typography, etc.) that strengthen aesthetic and political stances. Advertising rhetoric masks aesthetic manifestos but also social and political agenda, revealed by visual displays of text. Publicity is also an important medium for poetic experimentation, embedded in ordinary advertising design already in the 1890s. Its subversive use informs new means of artistic expression, considered avant-garde innovations (collage, cadavre exquis, or typographic combinations). Advertising later represents new modernist stances within avant-garde magazines. Surrealism and Dada exploited publicity to promote their revolutionary aesthetic. In the 1920s, advertising being increasingly professionalized, specific designers used new visual means, strengthened artistic exchanges, and gradually erased the division between art and commercial culture in magazines. Thus modernism became part of a visual culture resonant with consumer commodities. Advertising ultimately exemplifies an interesting change in periodicals’ patterns, across literature and art reviews to the mainstream press, through posters, and decorative or architectural designs.

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34

Zelinský, Miroslav, and Ivana Bulanda. "CONTEMPLATION ON RELATIONSHIPS BETWEEN AESTHETICS AND ADVERTISING." Zeszyty Naukowe Wyższej Szkoły Humanitas Zarządzanie 20, no. 2 (June 30, 2019): 239–47. http://dx.doi.org/10.5604/01.3001.0013.5228.

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The language of art could not be studied by a simple transposition of linguistic models, as Jakobson and certain structuralists still insisted. Parallel with concept of intertextuality, Lotman elaborated a notion of art as a „secondary modeling system”. Based on natural language, art is evertheless of another, „superstructural” order: it redistributes the primary logic of language according to new logical rules, conferring on humanity new mental (or, as one would say today, new cognitive) possibilities, different principles of logic for the reconstruction of the self and the world. The aim of the article is to show relevant relationships between aesthetics and advertising.

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35

Peseckienė, Dovilė. "Practice of applying visual advertising to Lithuanian contemporary art." Vilnius University Open Series, no. 2 (December 5, 2019): 62–66. http://dx.doi.org/10.15388/openseries.2019.18405.

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Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.

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Ezhova, Elena N. "Artifacts of culture in polycode advertising text: Types of quotation." Media Linguistics 10, no. 2 (2023): 179–208. http://dx.doi.org/10.21638/spbu22.2023.203.

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The article is devoted to the problem of using cultural artifacts — material or mental objects created by man, functioning in various areas of the cultural-semantic field- in the structure of a polycode advertising text. The research methodology is based on a structural-semiotic approach and functional analysis. The paper considers various approaches to the definition of the concept of artifact; the typology of cultural artifacts used in advertising is determined. Based on the dichotomy of artistic and non-artistic ways of human exploration of the world, the following types of artifacts are distinguished in the structure of creolized media and advertising discourse: artifacts of spatial art (fine arts, architecture, decorative and applied arts); artifacts of temporary art (literature, folklore and musical); artifacts of spatio-temporal syncretic art (theatrical, choreographic, cinematographic, comics, actually advertising, etc.); extra-artistic artifacts (artifacts of history, fashion, politics, mass media, visual and verbal memes, etc.). We can define the mechanism for including artifacts in the fabric of media and advertising text as quoting texts of a previous culture that can manifest themselves at various levels of depth of the semantic structure of advertising. In this sense, citation is understood as broadly as possible, as the actualization in the text structures of the content elements of past texts or formal ones. The types of artifactual citation are determined by us on the basis of the modality parameter: mono modal citation (citation in the advertising text of the text of the same medial rank); polymodal citation (citation in the text of an advertisement of a text of a different medial rank); auto-citation (quoting texts of previous advertisements in advertising); meta citation (citation in advertising of expressions containing a reflection on the advertisement itself).

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Horner, Kierran Argent. "The art of advertising happiness: Agnès Varda’s Le Bonheur and Pop Art." Studies in French Cinema 18, no. 2 (April 18, 2017): 133–55. http://dx.doi.org/10.1080/14715880.2017.1310576.

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38

Garipova, Galiya R. "Influence of Modern Advertising on Formation Information Picture of the World." Общество: философия, история, культура, no. 8 (August 23, 2023): 94–98. http://dx.doi.org/10.24158/fik.2023.8.13.

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In this study, the author carries out an ambiguous assessment and analysis of advertising, based on the asser-tion that it is part of the information picture of the world, has a comprehensive nature, a clear focus not only on economic, but also on socio-cultural tasks. Based on the analysis of modern forms of advertising activities, the author argues for the idea that advertising is firmly embedded in the daily life of society both as a production activity and as a socio-cultural phenomenon. The author stresses that advertising slogans do not simply contain a list of competitive properties of the product being sold, they are oriented to the culture of its potential consum-ers. Advertising aimed at a wide targeted audience is actively included in social relations, reproduced in the media, in works of art, performs in modern society not only an informative function, but a socializing one. It is organically interwoven into contemporary art, complementing and enriching it.

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Zarzosa, Jennifer. "ADS AS WORKS OF ART MEASURING ADVERTISING IMMERSION." Global Fashion Management Conference 2017 (July 6, 2017): 16–18. http://dx.doi.org/10.15444/gfmc2017.01.03.04.

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Sharma, Setu, and Ujjvala M. Tiwari. "DECIPHERING THE IMPRESSION OF ADVERTISING THROUGH CHILD ART." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (December 19, 2021): 144–53. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.55.

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The easier and expressive forms of child art are scribbling and drawing. Drawing made by children, mirror their personality and understanding of their cultural environment. It also helps them in expressing their feelings, emotions, preferences, likes, dislikes, fears, joy, and so on. Sometimes the art and drawing unveil information which they do not express through verbal or written communication. In this digital era, children get exposed to a lot of advertisements through various media. Some of these advertisements have a long-lasting impact on them. The advertised message or some visuals of the advertisement may remain in their conscious or subconscious memory. Advertisers also make efforts to ensure that their message retains in the memory of young prospects. Because when these prospects make the buying decision, the probability of it being in the brand’s favour increases. Advertising has a huge influence on the young, tender, and impressionable minds of the children. It reflects in their action and personality. In this research study, I tried to understand the impact of advertisements on children through deciphering their drawings. The children under this research study are from the age group of 8 to 12 years. Their drawings were studied to understand the impression of advertisements on them. The result shows that the advertisements have a noticeable impact on the children which is visible in their drawings.

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Venkatesh, Sudhir. "The Myth of Advertising: The Art of Legitimacy." Public Culture 27, no. 3 77 (August 31, 2015): 409–18. http://dx.doi.org/10.1215/08992363-2896147.

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Borghini, Stefania, Luca Massimiliano Visconti, Laurel Anderson, and John F. Sherry, Jr. "Symbiotic Postures of Commercial Advertising and Street Art." Journal of Advertising 39, no. 3 (September 2010): 113–26. http://dx.doi.org/10.2753/joa0091-3367390308.

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Barton, Laurie. "Advertising, Art, and Arts Education: An Uneasy Association." Design For Arts in Education 90, no. 2 (December 1988): 14–19. http://dx.doi.org/10.1080/07320973.1988.9934801.

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Lahmidi, Zineb, and Achraf Dadouh. "UX with regard to interruptive advertising on YouTube: State of the art." International Journal of Engineering, Business and Management 7, no. 3 (2023): 31–40. http://dx.doi.org/10.22161/ijebm.7.3.6.

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Often attached to usability, design, utility, accessibility, ergonomics, system performance, marketing, human-machine interaction, etc., UX is a multidisciplinary concept in continuous evolution. Among the online platforms marking this evolution, we shed light on one of the most manipulated video content sharing websites in Morocco: YouTube having a growing popularity and proposing a diversified digital advertising offer. From this point of view, the current research is theoretical in nature. It attempts to address the concept of user experience from a marketing perspective in general and in light of the evolution of YouTube advertising in particular. The aim is to focus more on the influencing factors attached to interruptive advertising on YouTube.

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PİLİCİ, Elanur. "POSTMODERN REKLAM AFİŞİ TASARIMI." IEDSR Association 6, no. 11 (February 24, 2021): 329–42. http://dx.doi.org/10.46872/pj.245.

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The history of the art of graphic design and posters goes back to cave drawings during the Stone Age. Graphic design and posters are based on social needs and change in different stages of social development. They are now enjoying one of the apexes of their development. The art of graphic and poster design which developed and evolved in the historical and social development process, has taken on new dimensions during the transition from the modern to the postmodern period in accordance with the needs of our society of consumption and by using the technical/technological tools and methods within this period. In particular, the invention of the printing press, lithography, and the Industrial Revolution have led to great leaps in the art of graphic and poster design as in all other areas of life. Computer and digital technologies that were first developed in the middle of the 20th century almost brought about a revolution in the art of graphic and poster design. These great breakthroughs caused technical and technological innovations and changed the art of graphic design. While education in graphic design acquired an institutional dimension, its aims and objectives were transformed. Discussions of postmodernism, new forms of relationship, concepts and schools are reflected in the art. Relationships between postmodernism and graphic design, poster styles categorized as postmodern and advertising culture have caused new debates. Advertisements and advertising posters have acquired new forms to meet the needs of today’s consumer society, which are getting more and more complex. Its dynamics have changed posters and advertising. This study discusses the evolution of the art of graphic and poster design within the whole historical and social development process, its dimensions, postmodernism and striking examples of postmodern advertising posters.

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أ.د. ناصر بن فرحان الحريّص, أ. د. ناصر بن فرحان الحريّص. "A Linguistic Comparative Approach to the Internal Language Structure of Advertising Discourse." journal of King Abdulaziz University Arts And Humanities 28, no. 15 (June 9, 2020): 190–210. http://dx.doi.org/10.4197/art.28-15.9.

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within a theoretical and applied framework, the current study discusses the linguistic structure of advertising discourse in its linguistic pattern, explaining its most significant features in all its linguistic levels that reveal its ability to intensify linguistic itensity and its role in controlling the semantics of the iconic pattern, the second important component of advertising discourse. This controlling can be seen in two possible functions. (i) Anchorage – images are prone to multiple meanings and interpretations. Anchorage occurs when text is used to focus on one of these meanings, or at least to direct the viewer through the maze of possible meanings in some way. (ii) Relay – the text adds meaning and both text and image work together to convey intended meaning. Both functions pay attention to the role of linguistic pattern in identifying the semantic dimensions of image in the iconic pattern so that the message of advertising discourse is being successful.

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Ksenzenko, Oksana A. "POLYLINGUALISM IN ADVERTISING COMMUNICATIVE SPACE." Humanities And Social Studies In The Far East 19, no. 1 (2022): 93–98. http://dx.doi.org/10.31079/1992-2868-2022-19-1-93-98.

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The study of multilingualism in advertising has a well-established tradition. The paper aims to analyze state of the art in the field under consideration; it also has the objective to highlight its dominant thematic vectors and to outline perspective areas of research. The paper provides comparative analysis of the use of foreign-language insertions in various types of advertising, and examines the patterns of organization of polylingual advertising texts

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Łuczaj, Kamil. "Reklama – popularna forma sztuki?" Załącznik Kulturoznawczy, no. 2 (2015): 256–86. http://dx.doi.org/10.21697/zk.2015.2.14.

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This article aims to analyze the similarities between the two fields of cultural production: commercial production (creative industries) and the art world. The paper indicates possible theoretical approaches to this issue, focusing on the ‘art as experience’ approach, originated by John Dewey. It discusses affinities such as the encoding/decoding process, aesthetic values and ideologies, collectable value, intertextual references, conventions, professional critique, and the significant role of artists and the creators of advertisements. In postmodernity, where we can observe the aestheticization of everyday life, there are sound reasons to consider advertising to be a popular art form. After all, advertising allows the broad audience to consume symbols.

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Wen, Jun. "Discussion and Practice of Online and Offline Mixed Teaching Reform of Advertising Art Design Major in Open Education." Journal of Contemporary Educational Research 7, no. 11 (November 23, 2023): 97–104. http://dx.doi.org/10.26689/jcer.v7i11.5559.

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Teaching reform is an important work indispensable for the long-term development of the open university, and it is also the development trend of the advertising art design major in open education to keep up with the new media era. Based on the current situation of advertising art design major in open education, this paper analyzes the necessity of implementing the online and offline mixed teaching reform in this major, and puts forward the specific teaching reform measures in three aspects.

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Śpiewla, Krzysztof, and Leszek Świeca. "Research on the identification of messages contained in the implicatures of advertisements of over-the-counter products sold in pharmacies in Poland." Media Biznes Kultura, no. 2 (9) (2020): 163–75. http://dx.doi.org/10.4467/25442554.mbk.20.023.13187.

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Reports by institutions monitoring this market show that of over PLN 7 billion spent annually in Poland on advertising, almost half is spent on advertising OTC medicines, medical devices and dietary supplements (Instytut Monitorowania Mediów, 2019). Considering this, and taking into account legal regulations that significantly limit promotion at the point of sale (Art. 93 of the Pharmaceutical Law Act), advertising seems to be the most important tool for stimulating demand for over-the-counter products as well as one a basic source of of the residents of Poland on ailments, their treatment and prevention. The study examined 71 advertisements, including 47 ads for medicines, 10 for medical devices, 12 for dietary supplements and 1 ad for food for special medical purposes. Among the sample, 27% ads contained manipulation in the marketing message. The current tools of market control institutions enable the analysis of explicit claims but not implied messages in advertising. Our analysis shows that this is not enough to protect patients and other market participants from misleading or false advertising. It is absolutely necessary to enhance the control over the advertising of medicines, dietary supplements and medical devices by analysing the implications contained in the advertisements.

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