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Journal articles on the topic 'Advertising poster'
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Kelly, Horace O. "Effectiveness of Alternative Advertising and Promotional Media Vehicles in Garden Center Advertising." Journal of Environmental Horticulture 8, no. 2 (June 1, 1990): 99–101. http://dx.doi.org/10.24266/0738-2898-8.2.99.
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Abstract These data, analyzed by different size population centers, show that there is a relationship between the effectiveness of different media vehicles and the size of the population center in which a garden center is located. In large metro areas (500K +), customer mailings, poster advertising specials, and radio are most effective; in small metro locations (lOO–499K), the most effective vehicles are customer mailings, poster advertising specials, posters in the store, and radio; in large cities/towns (50–99K), the optimum choices are posters in the store, poster advertising specials, neighborhood newspapers, customer mailings, and radio; in small cities/towns (−50K), the best media vehicles are posters in the store and neighborhood newspapers.
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Foulsham, Tom, and Alan Kingstone. "Look at My Poster! Active Gaze, Preference and Memory during a Poster Session." Perception 40, no. 11 (January 1, 2011): 1387–89. http://dx.doi.org/10.1068/p7015.
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In science, as in advertising, people often present information on a poster, yet little is known about attention during a poster session. A mobile eye-tracker was used to record participants' gaze during a mock poster session featuring a range of academic psychology posters. Participants spent the most time looking at introductions and conclusions. Larger posters were looked at for longer, as were posters rated more interesting (but not necessarily more aesthetically pleasing). Interestingly, gaze did not correlate with memory for poster details or liking, suggesting that attracting someone towards your poster may not be enough.
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Thi Viet Ha, Nguyen. "Urban environment factors in advertising poster in Ho Chi Minh City." MATEC Web of Conferences 193 (2018): 01020. http://dx.doi.org/10.1051/matecconf/201819301020.
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Poster design is an important part in graphic design and contributes considerably to the “green industry” – the modern advertising industry. In the era of International Integration of Vietnam, there is a large number of changes in advertising posters, and Urban Environment factors plays a very important role in this process. Advertising poster is integrated with visual languages, creating a totally new outlook on aestheticism. Special attention has given to the Urban Environment factors, and they have even become a trend, spreading to the art of design, particularly in advertising posters. The article analyses how Urban Environment factors have been expressed in advertising posters, especially in graphic elements, from concept to execution. The article focuses on Commercial Advertising Posters which is used for brands available in Vietnamese market from 2010 till now (2017). The area of research is Ho Chi Minh City, where there is a diversity of market trends and also a place which is greatly and quickly influenced by new trends in Art and Design. This is also considered as the place that can quickly absorb new trends of Arts and Culture in creating Advertising campaigns for Vietnamese market. Besides, Ho Chi Minh City is the leader in development of modern society for Vietnamese; there are many construction projects for skyscraper, plazas, living space, security for storage of belongings and for comfortable life and work of urban population.
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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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Mikhalkina, Ekaterina M. "The Historical and Source-Based Aspects of Studying Early Russian Silent Film Posters of 1908—1919." Observatory of Culture 19, no. 2 (April 13, 2022): 172–81. http://dx.doi.org/10.25281/2072-3156-2022-19-2-172-181.
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The Russian State Library holds one of the largest collections of Russian posters. Film posters from the time before the cinematography nationalization in 1919 are presented there in more than 250 sheets. Most of them advertise Russian films, more than a third — foreign ones, 25 sheets — documentary cinematography and newsreels of the Russian branch of the French firm “Pathé Brothers”.Recently, there has been a growing researchers’ interest in this period. Active popularization is being carried out by holding exhibitions and publishing catalogs of the largest collections, this phenomenon is discussed in detail at the beginning of the article.As well as cinematography, a film poster is a synthetic work. It represents a piece of graphic art, which is a commercial advertisement for another type of art. This research is aimed at studying film posters as a historical source that can tell us a lot: about characteristic social trends, about filmmaking as a process and about films themselves, about tendencies in the visual arts, about advertising of that period in general and about itself as a new type of advertising in particular.The article shows the history of the film poster formation as a product of commercial advertising and its subsequent development into a separate type of spectacular poster. There is analyzed its potential as a source on the history of cinema. In conclusion, the film posters are presented as a reflection of the era and society, which reacts to fundamental changes in the country.
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Ardhianto, Peter. "Tinjauan Desain pada Karya Poster; Studi Kasus Seri Poster “Marlyn Fish 2009”." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 01 (March 26, 2018): 15–22. http://dx.doi.org/10.33633/andharupa.v2i01.1040.
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AbstrakPoster merupakan salah satu media populer dalam desain komunikasi visual, poster juga marak sebagai media utama dalam berbagai macam pergerakan. Namun poster hanyalah suatu media, pesan dalam poster tersebut yang sebenarnya perlu menjadi perhatian. Selain iklan komersial poster juga sering digunakan sebagai iklan layanan masyarakat. Poster-poster Iklan layanan Masyarakat tersebut bertujuan untuk mengubah perilaku masyarakat melalui pesan yang ingin disampaikan oleh desainer poster tersebut. Salah satunya adalah poster Marlyn Fish Deep 2009 karya Sigit Setiawan dan Aditya Donny Suryawan. Karya tersebut berhasil menjuarai salah satu kompetisi poster bertajuk Deep Indonesia 2009, tujuan poster ini untuk mengubah perilaku masyarakat untuk lebih memperhatikan dan menjaga kelestarian terumbu karang di Indonesia. Penelitian ini bertujuan untuk membahas poster menggunakan analisis tinjauan desain melalui empat tahap yakni, tahap deskripsi, tahap analisa, tahap interpretasi, dan tahap evaluasi. Tinjauan desain tersebut diharapkan dapat menjadi jembatan bagi pembaca dalam mengartikan karya poster tersebut secara lebih terperinci. Kata Kunci: Poster, Tinjauan Desain, Iklan Layanan Masyarakat. AbstractPoster is one of the popular media in visual communication design, poster also rife as the main media in a wide range of movement. But the poster is just a medium, the message in the poster that actually need to be a concern. Besides commercial advertising posters are also frequently used as public service advertising. Posters of the public service ads aimed at changing people's behavior through the message to be conveyed by the poster designer. One of them is the poster Marlyn Fish Deep 2009 by Sigit Setiawan and Aditya Donny Suryawan. The art work succesfull to the first winner on poster competition titled Deep Indonesia 2009, the purpose of the poster is to change the behavior of the public to pay more attention and to preserve the coral reefs in Indonesia. This study aims to discuss the poster using analytical design review through four stages namely, stage descriptions, the analysis stage, the stage of interpretation and evaluation phase. The design review is expected to be a bridge for the reader in interpreting the poster works in more detail. Keywords: Poster, Design Review, Public Service Ads
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Uchida, Kazunori, Daisuke Kohara, Maho Yamada, and Kakuro Amasaka. "Making Compelling Movie Posters Using Statistical Science And An Eye Mark Recorder." Journal of Business Case Studies (JBCS) 7, no. 6 (October 27, 2011): 63. http://dx.doi.org/10.19030/jbcs.v7i6.6480.
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This study focuses on advertising posters for movies, investigating methods of designing compelling posters to encourage viewing. The results of questionnaire surveys were analyzed using statistical science to produce new movie poster designs. The effects of the new posters were then validated using an eye mark recorder. As a result, the authors have succeeded in creating a decision-making method to assist in designing compelling movie posters.
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Pryshchenko, Svitlana Valeriivna. "CULTURAL HERITAGE OF A POSTER: COMMUNICATIVE AND CREATIVE EXPERIENCE." Creativity Studies 14, no. 1 (January 15, 2021): 18–33. http://dx.doi.org/10.3846/cs.2021.12605.
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This study contributes to the history of poster connected with interdisciplinary conceptualization, where poster is examined as a design object and core advertising medium in the context of cross-cultural interaction, cultural integration and national identification. Artistic and stylistic features of famous poster schools (Swiss, German, Austrian, Polish, Japanese, French, Italian, Baltic, Ukrainian, etc.) are analyzed and theoretically summarized on the example of cultural-imagery and tourist posters from different countries. Communicative and aesthetic aspects of image creation are presented in socio-cultural dynamics according to certain stages of social development. Colour is highlighted as the most important and attractive means among compositional factors. Scientific novelty of this study is to justify the world’s cultural heritage of poster. It is proved that poster actively shapes public consciousness and has a powerful influence on public opinion. Also, poster is included in social sign system and represents past or present creative experience. Semantic role of poster is a visualization of relevant idea, general rendering of advertised object in visual form and content, perfect reflection of real or imaginary objects and phenomena in mind. The results of study indicate that present-day poster, as a product of culture should have accentuated aesthetics, non-standard vision, and variability of graphic communication and be interesting for the target audience. As advertising often borrows images from different arts, their creative interpretation and preservation of symbolic meanings are of great importance. Particular attention is focused on the relationship between art imagery and functionality in the process of poster designing.
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Watts, D. C. H. "Evaluating British Railway Poster Advertising." Journal of Transport History 25, no. 2 (September 2004): 23–56. http://dx.doi.org/10.7227/tjth.25.2.2.
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Garrido Lora, Manuel. "The avant-garde advertising poster." Questiones Publicitarias, no. 6 (July 31, 1997): 48. http://dx.doi.org/10.5565/rev/qp.304.
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Bystryakova, Valentyna, Yevhen Hula, and Alla Osadcha. "POSTER AS A SOCIAL ADVERTISING." Ethnology Notebooks 137, no. 5 (October 22, 2017): 1162–67. http://dx.doi.org/10.15407/nz2017.05.1162.
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Ciotola, Nicholas P. "Alonzo Earl Foringer’s Greatest Mother in the World: The New Jersey Roots of the Most Famous Poster of World War I." New Jersey Studies: An Interdisciplinary Journal 3, no. 2 (July 17, 2017): 215. http://dx.doi.org/10.14713/njs.v3i2.88.
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Despite renewed interest in the illustrated posters of World War I brought about by the commemoration of the war’s centennial, few extant works in either the academic or public history sectors offer comprehensive explorations of individual posters. This article provides a microhistory of The Greatest Mother in the World (1918), an impactful lithographic poster designed by New Jersey muralist Alonzo Earl Foringer and inspired by a slogan from a Princeton graduate turned advertising executive named Courtland Smith. Printed and distributed in the millions, Foringer’s poster reached a level of mass appeal unsurpassed by any other piece of American visual propaganda produced in the war years. A detailed look at the background and impact of this important poster explores a lesser-known and understudied aspect of World War I history, while also affording an interdisciplinary research model that can be utilized for future studies of additional posters and their place in American visual culture.
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Daou, Salma-Inès, and Amira Trabelsi-Zoghlami. "RHETORIC AND PERSUASIVE ADVERTISING: Role of Mental Imagery and Style of Processing." Australian Journal of Business and Management Research 05, no. 05 (February 3, 2016): 01–17. http://dx.doi.org/10.52283/nswrca.ajbmr.20160505a01.
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The purpose of the present research paper is to examine the effect of advertising rhetoric on advertising persuasion process and explore the role of mental imagery and style of processing. Experiments were conducted involving a sample of 360 Tunisian students who were exposed to six advertising posters: for every rhetorical poster we made another different one which has not rhetoric content. Structural equations modeling were used by applying the maximum of likelihood method. Results highlight the moderator effect of style of processing as well as the significant effect of the interaction between the advertising rhetoric and mental imagery. A cluster and a discriminant analysis helped us better know about the specificities of our sample: three groups were identified. They are different depending on the level of their mental imagery. The effect on advertising persuasion process differs from one group to another.
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Cochrane, Kelsey, Crystal Karakochuk, Chantal Mayer, Angela Devlin, Rajavel Elango, and Jennifer Hutcheon. "Assessing the Effectiveness of Targeted Social Media and Printed Posters as Tools to Recruit Pregnant Women to a Nutrition Trial in Vancouver, Canada." Current Developments in Nutrition 4, Supplement_2 (May 29, 2020): 1165. http://dx.doi.org/10.1093/cdn/nzaa056_012.
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Abstract Objectives To assess the effectiveness of targeted advertising on two social media platforms (Facebook and Instagram) compared to printed posters as tools to recruit pregnant women to a clinical trial. Methods Between September 2019 and January 2020 (16 weeks), 200 posters were distributed and three 10-day online campaigns were run. Online campaigns were targeted to reach pregnant women 19–42 years in Vancouver, Canada. A total of $225 was spent on online ads and $170 on printing posters. Outcomes described for each recruitment strategy include total reach (individuals who saw the ad), total inquiries and resulting enrollments. The odds of enrollment after inquiring from each strategy was evaluated with an odds ratio (OR) and 95% confidence interval (CI). Enrollments per week were calculated by dividing enrollments per group by the time frame of each strategy. Cost per enrollment was calculated by dividing enrollments in each group by their total cost. Results A total of 104 respondents inquired about participation, of whom 22.1% (n = 23) enrolled. Social media campaigns reached 7162 women. Of women reached, 1.2% (n = 84) inquired; 13% (n = 11) of those who inquired enrolled (∼2.5 enrollments/week). The total reach of the posters is unknown, but 16 women inquired after seeing the poster and 56% (n = 9) of these women enrolled (∼0.5 enrollments/week). The remaining 3 enrollments were via word of mouth. The odds of enrollment after seeing a poster was 8.5 times higher than after seeing an online ad (OR = 8.5, 95% CI 2.24–32.4). We speculate that this was because women who took down information from a poster and later inquired were more serious about enrolling than those who could immediately respond to an online ad via an e-mail link. However, online ads were more efficient than distribution of posters, requiring less manual labour and resulting in more enrollments per week. Cost per enrollment was similar between groups (∼$20 for online ads and ∼$19 for posters). Conclusions Online advertising was more efficient and led to higher total enrollment as compared to poster recruitment, despite the fact that women were less likely to enroll after seeing an online ad as compared to a poster. Costs were relatively similar for use of both tools. Funding Sources Healthy Starts Catalyst Grant (BC Children's Hospital Research Institute, Vancouver, Canada).
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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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Bloom, Derek. "Measuring the Audience to Poster Advertising." International Journal of Market Research 42, no. 4 (July 2000): 1–13. http://dx.doi.org/10.1177/147078530004200403.
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Pryshchenko, Svitlana. "Prospects for development of advertising graphics in the traditional and digital media." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 54–59. http://dx.doi.org/10.33838/naoma.29.2020.54-59.
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The visualization is becoming an increasingly important area of research and has a wide range of applications. The aim of this article is to compare the visual means of advertisements from traditional (print advertising, poster, outdoor) to digital media (internet ads). The trans system and multimodal methodological approaches are applied, which made it possible to using system-structural, socio-cultural, and comparative methods. The style and prospects for the development of Advertising Graphics in the first half of XXI cent. have been determined. Based on the analysis of modern trends, the stylistics of Advertising Graphics are noted: the preservation of distinct styles and monocultures; the dominance of compromise options (fusion, mixing, conscious eclecticism, variability of perception); the simultaneous coexistence of many styles (polystylism); the conceptual search for new styles; and conscious return to the origins of ethno-cultures, further rethinking of folk themes, generalization and decorativeness of Folk Art. We predict in Future the priority of functional, minimalist and polygonal styles, for some categories and services — ethno style (for food, clothing, footwear, accessories, tourism, etc.). Metaphor and other methods of visualization (hyperbole, metonymy, allegory, association) will remain the art-stylistic devices in Advertising. It is obvious that traditional media, in particular posters, will be preserved, but at the same time,there will be a gradual disappearance of print advertising and outdoor transformation towards increasing digitalization. The scientific results obtained will be great importance at the theoretical, practical and educational levels, and in general, will promote the development of Advertising Design in Ukraine. The author emphasizes that the Poster retains the position of the main advertising media, despite the rapid development of computer technologies and virtual space, and considers media design as a qualitatively new stage in the socio-cultural designing of communications and the most promising type of Design.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Wieloch, Grzegorz. "Bent chairs as poster inspiration." Annals of WULS, Forestry and Wood Technology 115 (September 26, 2021): 108–15. http://dx.doi.org/10.5604/01.3001.0015.6635.
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Bent chairs as poster inspiration. In 2020, an exhibition of posters based on seating equipment was presented at the National Museum in Poznań. The exhibition referred to the chair and the metamorphosis it underwent, that apart from the function of utility furniture, it became a part of art, Equipment basically used for sitting - to which we are used to everyday practice of its use, it is an indispensable element of the interior design of apartments, offices, waiting rooms, schools, stadiums, health clinics, shopping malls, cinemas, theatres and other public places. The posters on display showed chairs with a structure based on bent beech elements. Some of them accurately represented the types of bent chairs currently in production. A number of other chairs had bent elements in their design, e.g. backrests, legs or armrests, allowing for economical serial production of elements. The exhibition included works advertising films, theatre and opera performances, exhibition and party posters. They are mostly works by Polish designers.
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Safavi, Sarvenaz, and Agah Gümüş. "Context-based analysis of an advertising poster." Semiotica 2019, no. 229 (July 26, 2019): 101–22. http://dx.doi.org/10.1515/sem-2017-0096.
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AbstractThe purpose of this paper is to introduce a new perspective of analyzing advertising designs from a new semiotic approach based on a new definition of the context. In order to achieve this goal, we will first of all give a definition for advertising design, and then Peirce’s idea about signs and definition of the science called semiotics will be necessary for starting the discussion. This research is based on three levels of context and shows that understanding an advertising design is not absolute but somehow relative because of differences in the background knowledge of the receivers. The conclusion of this research is that people understand advertising design based on their three contexts, which means seeing a so-called Context A, or better, what is designed, the receiver of the message will use a so-called Context B, or the context of situation, and also receives a so-called Context C, or the background knowledge in order to interpret what is selected and combined in Context A.
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Alonso Dos Santos, Manuel, Ferran Calabuig Moreno, and Josep Crespo-Hervás. "Influence of perceived and effective congruence on recall and purchase intention in sponsored printed sports advertising." International Journal of Sports Marketing and Sponsorship 20, no. 4 (November 4, 2019): 617–33. http://dx.doi.org/10.1108/ijsms-10-2018-0099.
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Purpose The purpose of this paper is to examine the influence of congruence (perceived and effective) and the level of visual attention towards sponsors on recall and purchase intention in sports sponsorship by applying neurophysiological measures. Design/methodology/approach This study is part of neuromarketing research applied to sports. The experiment entails eye tracking with 111 men and 129 women (n=24) with 24 sports posters of three different disciplines (sailing, tennis and F1), varying the congruence, the number of sponsors and the position (2×2×2). The data are analyzed via analysis of covariance and regression using ordinary least squares. Findings Brand recall is influenced by the number of sponsors present on the poster and by the time of fixation. Effective and perceived congruence covariance the purchase intention, but the full time of fixation on the sponsor does not. The latter only, purchase intention indirectly. Practical implications The results enable managers to implement better poster designs and sponsors to have objective measures of sponsorship. Originality/value There are few studies that analyze print media in sponsorship using neurophysiological techniques. This research is a pioneer in considering attention to sports posters to examine recall and purchase intention.
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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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Clintberg, Mark. "Sticky: The Vazaleen Posters." Papers of The Bibliographical Society of Canada 57 (May 21, 2020): 67–84. http://dx.doi.org/10.33137/pbsc.v57i0.32901.
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Vazaleen was a monthly serial queer party in Toronto founded by artist and promoter Will Munro (1975-2010) in 2000. Munro commissioned Toronto-based artist Michael Comeau (1975-) to create many silkscreen poster advertisements for these parties. His designs include an array of typographic treatments, references to popular culture and queer icons, and vibrant colour schemes. This article discusses these posters in relationship to Michel Foucault’s theory of the heterotopia, Roland Barthes’ semiotic analysis of advertising, and Eve Kosofsky Sedgwick’s writing on camp.
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Mukhametshina, Dinara Rinatovna. "PRE-REVOLUTIONARY ADVERTISING POSTER AS A POLYCODE TEXT." Philology and Culture 62, no. 4 (2020): 49–54. http://dx.doi.org/10.26907/2074-0239-2020-62-4-49-54.
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Meng, Nan, and Jae Bum Yang. "Focus on car Advertising Poster Design : taking car sales Advertising as an example." Korea Institute of Design Research Society 6, no. 2 (June 30, 2021): 298–314. http://dx.doi.org/10.46248/kidrs.2021.2.298.
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Pryshchenko, Svitlana, Yevhen Antonovych, and Tetyana Senchuk. "Ecoposter as a Form of Socio-cultural Communications." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 126–42. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246806.
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The article reveals the role of the poster, which at the beginning of XXI century doesn’t lose the position of the main advertising medium for outdoor (especially in city lights), in interiors for various purposes, even as an element of the decor instead of paintings, in virtual competitions of various themes, and can be transformed into online ads banners.
Purpose of the study is environmental social advertising, an empirical analysis of visual language and stylistic trends in the poster was conducted. The research methodology is based on rethinking the results of the International Project “ECO-Culture”, whose objectives were the development of eco-thinking, popularization of eco-trends, the formation of poster art a new lifestyle in an urban environment, promoting the concept of clean cities and consumer culture. In this way, the role of education, art and design and the responsibility of each of us in the systemic changes for the environment is proved. To achieve this goal, scientific methods were used: system-structural, socio-cultural, axiological, comparative, method of theoretical generalization. Scientific novelty. Ecoposter has been actualized as a form of socio-cultural communication, strategically aimed at preserving the environment and creating comfortable conditions for human life and activity, changing consumer attitudes, strengthening social responsibility and positive values. Conclusions. The current state of ecoposter, in particular in Ukraine, motivates further initiatives and interdisciplinary approach to the development of ecoculture in society by means of Poster Art. In the arsenal of techniques to increase the efficiency and aesthetic level of ecoposters, the authors highlighted the use of creative advertising technologies – visual metaphors, hyperbole, associations, allegories and metonymy, focusing on the experience of famous poster artists and participants in international exhibitions and competitions.
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Hopkinson, Natalie. "Fluorescent Flags: Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s." Communication, Culture and Critique 13, no. 3 (May 23, 2020): 275–94. http://dx.doi.org/10.1093/ccc/tcz058.
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Abstract This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification.
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Zhu, Qing Yuan, Cheng Lu Wen, Wen Yi Xie, Jun Jun Ye, and Hui Yin. "Solar Powered Automatic Controlled Advertising Light Box System." Applied Mechanics and Materials 148-149 (December 2011): 101–5. http://dx.doi.org/10.4028/www.scientific.net/amm.148-149.101.
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This paper introduces a solar powered automatic controlled advertising light box system functioning box rotation and poster cycling displaying of each panel, which overcomes the disadvantages of ordinary advertising light boxes of humdrum displaying and high energy consumption. The system includes three parts which are box rotation system, poster scrolling system and single-axis sun tracking system which can improve the solar energy efficiency and reduce energy consumption. Sun tracking system which effectively combined the sun angle tracking and photoelectric tracking method can automatically switch between the work mode and hibernate mode according to time and weather condition so as to maximize energy efficiency. A hierarchical control strategy which contained main control system and sun tracking system is adopted to control light box rotation, panel displaying and sun tracking at the same time. The solar advertising light box system was verified by tests that with the hierarchical control strategy the power generated by solar panel increased 38.2% than fixed panel. Experiment results show that the light box works stably and has potential to apply under the situations where cable laying is not convenient.
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Dewi, Shella Puspita, and Khristianto Khristianto. "The Interactive Meaning of a Movie Poster: a Multimodality of Spiderman: No Way Home." JSSH (Jurnal Sains Sosial dan Humaniora) 6, no. 1 (March 21, 2022): 1. http://dx.doi.org/10.30595/jssh.v6i1.12806.
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This study aims to disclose the interpersonal meaning in movie posters. This is a semiotic study, applying Royce's (2001) intersemiotic complementarity framework. It is to analyze visual and verbal codes in the posters. The poster is taken from the official website of Marvel Studio. They are used as a medium for advertising the products. Based on the analysis, it can be identified that the visual contact is straighforward creating a demanding pose, a close-up mode presenting an emotional expression instead of the covered face, the frontal view emphasizing the bond of the character to the viewers, its eye-level presentation creating his equality to the on-lookers. All of this demanding pose was made clear by the situation informed by the verbal elements, that Spiderman had no way home. It is also a preview of the plot of the movie in this sequel. Thus, both semiotic elements in the poster have produced a unity of meaning, which puts the superhero as a part of the society in general, especially where he lives; he is not a different human being in spite of the super power he holds.
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Eskilson, Stephen. "The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s." Design and Culture 7, no. 2 (April 3, 2015): 270–71. http://dx.doi.org/10.1080/17547075.2015.1051845.
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Clarke, Eric F., and Nicola Dibben. "Sex, Pulp and critique." Popular Music 19, no. 2 (April 2000): 231–41. http://dx.doi.org/10.1017/s0261143000000131.
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In an article entitled ‘Sexist Pulp ads attacked’, the Independent on Sunday (IoS) reported public reaction to the posters advertising Pulp's new album This is Hardcore (posters had been defaced with the words ‘this is sexist’), and described the advertisements as part of a turn away from political correctness towards a new ‘anything goes’ realism (Kelly and Clay 1998). The poster shows the naked upper torso of a woman face down on a red leather cushion, in an awkward and ambivalent posture, with lipsticked, half-open mouth. Emblazoned across the centre of the image (which is a reproduction of the album cover) are the words ‘This is Hardcore’ in pink capitals. A leader in the paper on the same day, under the heading ‘This is violent. This is offensive’, interprets the image as a demeaning, sexist and violent representation of women and as an offence to the record-buying public. The leader asserts that ‘Just to sell a few songs, it shows a woman violated’, and concludes with the words: ‘To ban it [the poster] now would only generate more publicity for Pulp. So the only advice we have is for anyone thinking of buying the album. Don't bother.’ (IoS Leader, 1998, p. 4)
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Matul, Katarzyna. "The Transition to Art: Poster Exhibitions at the Outset of the Poster’s Institutionalisation." Ikonotheka 26 (June 26, 2017): 239–51. http://dx.doi.org/10.5604/01.3001.0010.1680.
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What happened when the poster, originally an advertising medium, became an object of appreciation in the museums of Communist Poland? What criteria did it have to comply with in order to be accepted into a temple of art, a museum? The article analyses poster exhibitions organised at the Zachęta Central Bureau of Art Exhibitions in the 1950s. During this period, the interest of museum curators, critics and art historians in this medium must be envisioned as always being underpinned by political and propagandist interests; the transition of the poster to the status of a work of art is analysed here in this double, i.e. cultural and political, perspective.
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Crous-Costa, Neus. "Self-Otherness in Tourism. A Semiotic Analysis of China Travel Posters." Rhetoric and Communications, no. 51 (April 30, 2022): 20–43. http://dx.doi.org/10.55206/gckv8809.
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Abstract: The aim of this paper is to contribute to the discussion of how otherness takes shape in the discipline of travel and tourism, and how it relates to neighbouring fields such as postcolonial and decolonial studies. First, we will expose how otherness is regarded in tourism research. Second, we will conduct a semiotic study of travel posters, focusing on the representation of otherness in advertising. Methodology includes the study of a sample made up of 29 travel posters using a table adapted from Vergara-Leyton, Garrido-Peña and Undurraga-Puelma (2013). The results of this analysis show some interesting points: China’s political – territorial complexities, appropriation of the Orientalist (folklorised ima¬ginary) for tourism promotion purposes, which can be linked to cultural diplomacy and changes in global power dynamics. Keywords: tourism, poster, marketing, otherness, self-Orientalism, postco¬lonial studies.
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MUHAMMAD, Ayah Muosa, and Sahar Ali SARHAN. "DESIGN STRUCTUR VARIABLES IN THE POSTERS OF THE INTERNATIONAL FILM AND TELEVISION FESTIVAL." RIMAK International Journal of Humanities and Social Sciences 03, no. 03 (March 1, 2021): 379–87. http://dx.doi.org/10.47832/2717-8293.3-3.34.
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Posters for cinematic festivals are an effective visual artistic way to address recipients (the audience), with their functional, aesthetic and expressive dimensions that contribute to spreading a variety of cultural awareness, especially those posters that specialize in their media and advertising performance, promotional and organizational, and cultural activities specified at certain time. Based on the foregoing, the researchers found that her research problem is summarized by the following question: What are the design structure variables in the designs of the film festival posters? The research consisted of four chapters as follows: The first chapter includes the research problem and the goal of the research, which is studying the variables of the design structure in the international film festival posters. As for its importance (theoretical importance / practical importance), the research limits (objective / spatial / temporal) and also include the most important terms. The second chapter includes the theoretical framework that the researcher divide into two topics, the first topic includes (the structure in the poster). As for the second topic (the variables in the poster structure) as well as previous studies and the most important indicators reached by the researcher, the third chapter includes research procedures that includes determining the method followed in analyzing samples for their scientific relevance in diagnosing the researched phenomenon, and the research community and the adult (6), and selecting a sample The research number (3) models after repeated exclusion from them, then the research tool, honesty and consistency. As for the fourth chapter, it includes the results of the research, conclusions, recommendations, and proposals, and the most important findings of the researcher were as follows: 1. The employment of the idea resulted in a fundamental variable in the structure of the poster, as the ideas differ according to the subject presented, in addition to the different idea from one designer to another. This is due to its frame of reference, which has a major impact in building the innovative idea that contributes to the presentation of the content. 2. Modern technologies have achieved the emergence of effective results in the design structure as an output variable that enhances the effectiveness of communication channels, and that this action has influential characteristics that have the ability to attract attention and direct impact on the recipient through the various technical treatments that the designer performs in constructing the poster and activating the role of technology in the structural display of the poster design elements. Either conclusion includes: 1. Structure variables are mainly related to the content of the design idea with the suitability of use, which is based on variable technical stylistic data.
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Chuprina, N. V., D. O. Malysh, Ye O. Golovchanska, D. O. Gerasymenko, and O. Yu Mykhajluk. "GRAPHIC FEATURES OF THE ADVERTISING POSTERS OF UKRAINIAN FOLK AND POP MUSIC OF THE SECOND HALF OF THE XX CENTURY." Art and Design, no. 3 (December 13, 2021): 105–13. http://dx.doi.org/10.30857/2617-0272.2021.3.10.
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The purposeof this work is to identify the characteristics of the visual language of posters of Ukrainian folk and pop music, the search for relevant graphic solutions for further use in modern design. Methodology.The research method is to observe and compare design objects.The study was based on posters of musical events and folk and pop music groups of Ukraine, developed in different stylistic, figurative and design variants and genres.The chronological boundaries of the study are determined by the period of poster art of Soviet Ukraine in the second half of the XX century and the post-Soviet period of the XX century (1960 – 1999). Results.Features of the development of the visual component of music and song posters of the second half of the XX century was divided into several genre trends in the specified time frame.The analysis of the composition, colors, plot, decorative elements and fonts of posters of folk and pop music of Soviet and post-Soviet Ukraine, in order to identify relevant and outdated graphic solutions. Scientific novelty.The analysis of stylistic features of music and song Ukrainian-Soviet posters according to certain features, elements of visual symbols and graphic components is carried out in the work.Relevant and outdated image-design solutions in the design of posters of the second half of the XX century are revealed. Practical significance.The proposed research and the results presented in the articles can be used in scientific works used with further study of the design elements of Ukrainian posters;in the educational process for the study of case studies.
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Collado Alonso, Rocío. "Marketing y publicidad cinematográfica El cartel de cine español." aDResearch ESIC International Journal of Communication Research 11, no. 11 (January 1, 2015): 58–77. http://dx.doi.org/10.7263/adresic-011-04.
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Rueda Ramírez, Pedro. "Carteles de libros en España: orígenes barrocos (con un apunte decimonónico)." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 107. http://dx.doi.org/10.7203/imago.9.10652.
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ABSTRACT: This article involves the study of Spanish posters that advertise the sale of publications printed by bookseller-publishers and printers in the modern world. The array of posters identified and preserved is not extensive, due to their ephemeral nature. However, their utilization is confirmed in documentary sources, references to these posters in gazettes, erudite correspondence, or literary testimonies themselves. I will attempt to demonstrate the role of the poster in the diffusion of publicity for these editorial novelties by considering walls as a space for public communication, serving the purpose of promoting new publications. In this study I consider the Baroque antecedents of the poster and concentrate on examples preserved from the eighteenth century as well as the graphic testimonies of their use, in this case by means of testimonies from the nineteenth century.
KEYWORDS: Posters; Edition; Ephemeral Publications; Editorial Novelties; Book Advertising.
RESUMEN: El trabajo se ocupa del estudio de los carteles españoles que anuncian publicaciones a la venta de libreros-editores e impresores en el mundo moderno. El ramillete de carteles identificados y conservados es corto, dado su carácter efímero. Aunque su uso está atestiguado en las fuentes documentales, las referencias en las gacetas a estos carteles, la correspondencia erudita o los propios testimonios literarios. Intentaremos demostrar el papel del cartel en la difusión de las noticias de las novedades, al considerar los muros un espacio de comunicación pública destinado a promocionar nuevas ediciones. En este trabajo nos ocuparemos de los antecedentes barrocos del cartel y nos centraremos en los ejemplares conservados en los siglos XVIII y los testimonios gráficos de su uso, en este último caso a través de testimonios del siglo XIX
PALABRAS CLAVES: carteles; edición; impresos efímeros; novedades editoriales; Publicidad del libro.
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Kang, Tae-Yim. "Analysis of Styles and Characteristics in Poster Advertising Design - Focused on Political Propaganda and Social Protest Posters -." Journal of Digital Design 14, no. 1 (January 2014): 693–703. http://dx.doi.org/10.17280/jdd.2014.14.1.068.
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PEDLEY-HINDSON, CATHERINE. "Jane Avril and the Entertainment Lithograph: The Female Celebrity and fin-de-siècle Questions of Corporeality and Performance." Theatre Research International 30, no. 2 (July 2005): 107–23. http://dx.doi.org/10.1017/s0307883305001124.
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Celebrity status at the fin de siècle depended largely on the creation and sustenation of a high profile, easily recogniZable image and the entertainment lithograph offered the most powerful and culturally pervasive means to achieve this. Thanks to the poster collectors of the period, and the acceptance of this ephemeral form into the world of ‘high art’, many examples of advertising imagery exist, offering a visual record of the themes and the performers that dominated the popular stage. This article focuses on poster works created by Jules Chéret (1836–1933) and Henri de Toulouse-Lautrec's (1864–1901) images of the dancer and actress Jane Avril, to explore whether the entertainment lithograph can be employed to aid an understanding and contextualization of fin-de-siècle popular performance.
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Anisimova, Tatyana, Natalya Prigarina, and Svetlana Chubay. "Blending As a Mode of Ensuring Efficiency in Social Advertisement." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (March 2022): 30–43. http://dx.doi.org/10.15688/jvolsu2.2022.1.3.
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The article conveys the need to improve the efficiency of social advertisement. The relevance of the research undertaken is due to the lack of variety and low efficiency of most social-issue related advertisements, placed on posters and billboards, and the requirement for systematic assessment of impact means circulating in advertising. The authors dwell on the analysis of one of the most popular methods of increasing efficiency, namely blending, which is the formation of new words by combining their parts in unusual for the Russian language ways. In advertising this method is used mainly to enhance the expressiveness of the text due to the emergence of unusual associations that are easily created with this technique rather than to name new objects and phenomena. In the field of social advertising, purely graphic blends are distinguished, they are generated by the introduction of various graphic highlights of words or their parts, thus giving the slogan additional meaning; textual-and-graphic blends are constructed by imposing a part of one word onto another; text blends are presented in combining the name of the subject with the evaluative component. The authors also consider it reasonable to single out subject-logical contamination, the case when two completely different images of objects (or word forms) are merged into one image (or word form). Finally, visual blending is distinguished, parts of two objects are combined in one image to create a new image that realizes the idea of a poster; in textual-and-visual blending the meaning of a new combined visual image is explained with the text; lexical blending is formed by combining paronyms (sometimes rather loosely interpreted).
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Clampin, David, and Nicholas J. White. "“Is it essential that a steamship company’s poster must have a ship?”." Journal of Historical Research in Marketing 9, no. 4 (November 20, 2017): 386–424. http://dx.doi.org/10.1108/jhrm-06-2017-0027.
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Purpose The purpose of this paper is to explore the nature of marketing communications of British shipping lines in the period from c.1840 to c.1970 to establish the extent to which these outputs reflect extant scholarship which points to the lack of innovation as a key reason for the demise of these lines. Design/methodology/approach The research is built on a survey of >450 posters plotting the shifting nature of advertising messages over this long period in response to the market. This is supported by reading trade press contemporary to the period to establish broader trends in marketing and whether this product sector was aberrant. Findings What is revealed is a generally static response in the promotion of British shipping lines throughout the timeframe, at odds with trends elsewhere. What stands out is the widespread criticism of the time singling out the shipping poster. This suggests an advanced appreciation of the role of the poster and the effectiveness of promotional messages focussing on emotions- versus a product-centred approach. Originality/value Whilst there is an established literature which suggests that the British merchant marine was hamstrung by a pattern of family ownership making adaptation slow, no research to date has expressly read marketing as a window onto that culture. This paper shows that whilst there may have been change within the sector which these British shipping lines responded to, when it came to presenting themselves in public via their communications strategy, they adopted a staid, conservative approach. British shipping lines, throughout the period, had a very fixed idea about who they were and what best represented their business irrespective of dramatic shifts in attitudes concerning how best to reach consumers. Interrogating promotional material, and particularly the ubiquitous shipping poster, provides another insight into the conservative and debilitating corporate culture of British shipping.
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Miah, Rabiatul Sakban. "VARIASI KALIMAT, PROPOSISI, DAN FUNGSI WACANA IKLAN MEDIA LUAR RUANG DI KOTA BANJARMASIN (VARIATION OF SENTENCES, PROPOSITIONS, AND DISCOURSE FUNCTIONS OF OUTDOOR MEDIA ADVERTISING IN BANJARMASIN CITY)." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 12, no. 1 (April 1, 2022): 143. http://dx.doi.org/10.20527/jbsp.v12i1.13128.
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AbstractVariation of Sentences, Propositions, and Discourse Functions of Outdoor MediaAdvertising in Banjarmasin City. This study focuses on outdoor promotional media suchas banners, banners, billboards, posters, slogans, and trade name boards. This studyaims to describe the form of sentence variations based on their communicative function,describe the form of propositional advertising discourse, and show the functionscontained in outdoor media advertising discourse in Banjarmasin City. The approachused is a discourse approach with a descriptive qualitative research type and the use oflistening, reading, and note-taking methods. Sources of data in this study in the form ofoutdoor media in the city of Banjarmasin such as banners, banners, billboards, posters,slogans, and trade name boards. The data in this study are in the form of words andsentences listed in the discourse of outdoor media advertisements in the city ofBanjarmasin. The results of the study can be concluded that in the discourse of outdoormedia advertising in Banjarmasin City there are 33 data showing the use of declarativesentence variations, 1 data showing the use of interrogative sentence variations, and 3exclamative sentence data. In addition, there were also 16 data with propositions thatemphasized benefits for potential consumers, 20 data with propositions that aroused thecuriosity of potential consumers, and 1 data in the form of questions that demanded moreattention. The objective reason proposition was found as many as 28 data, the subjectivereason proposition 7 data, and mixed reasons of 2 data, as well as passive items as manyas 7 data.Key words: language functions, sentence variations, persuasion, advertisingpropositions, declarative AbstrakVariasi Kalimat, Proposisi, dan Fungsi Wacana Iklan Media Luar Ruang di KotaBanjarmasin. Penelitian ini berfokus pada media promosi luar ruang seperti spanduk,banner, baliho, poster, slogan, dan papan nama dagang. Penelitian ini bertujuan untukmendeskripsikan wujud variasi kalimat berdasar fungsi komunikatifnya, mendeskripsikanwujud proposisi wacana iklan, dan menunjukkan fungsi yang terkandung dalam wacanaiklan media luar ruang di Kota Banjarmasin. Pendekatan yang digunakan yaitupendekatan wacana dengan jenis penelitian kualitatif deskriptif serta penggunaan metodesimak, baca, dan catat. Sumber data pada penelitian ini berupa media luar ruang di kotaBanjarmasin seperti spanduk, banner, baliho, poster, slogan, dan papan nama dagang. Data dalam penelitian ini berupa kata-kata dan kalimat yang tercantum pada wacana iklanmedia luar ruang di kota Banjarmasin. Hasil penelitian dapat disimpulkan bahwa dalamwacana iklan media luar ruang di Kota Banjarmasin terdapat 33 data yang menunjukkanpenggunaan variasi kalimat deklaratif, 1 data menunjukkan penggunaan variasi kalimatintrogatif, dan 3 data kalimat ekslamatif. Selain itu juga ditemukan 16 data denganproposisi yang menekankan keuntungan bagi calon konsumen, 20 data dengan proposisiyang membangkitkan rasa ingin tahu kepada calon konsumen, dan 1 data berupapertanyaan yang menuntut perhatian lebih. Proposisi alasan objektif ditemukan sebanyak28 data, proposisi alasan subjektif 7 data, dan alasan campuran 2 data, serta butir pasifsebanyak 7 data.Kata-kata kunci: fungsi bahasa, variasi kalimat, persuasi, proposisi iklan, deklaratif
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Hahn, H. Hazel. "The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s, by Ruth Iskin." Visual Resources 32, no. 1-2 (March 16, 2016): 193–96. http://dx.doi.org/10.1080/01973762.2016.1132358.
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Hamdani, Musyarrafah, Sri Wahyuni, Ismi Sultan, M. Alimin Maidin, Ahmad Wadi, Hadijah Hasyim, and Achmad Mawardi Shabir. "EVALUATING TOBACCO ADVERTISING VIOLATIONS AND IT’S CONTRIBUTION TO LOCAL REVENUE IN MAKASSAR." Indonesian Journal of Public Health 16, no. 2 (August 30, 2021): 315. http://dx.doi.org/10.20473/ijph.v16i2.2021.315-326.
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ABSTRACT Around 50.82% of the age group 15-19 years were smokers in Makassar city, one of which was influenced by tobacco ads exposure (National Institute of Health Research and Development, 2019b). This study aimed to evaluate the violation of tobacco product advertising to Local Regulation of South Sulawesi No. 1 of 2015 on Smoke-Free Area (SFA) in 2019 and its contribution to local revenue of Makassar City in 2018. This was a descriptive study through a quantitative approach with cross sectional design. The observation was conducted on 21 major roads and the document review was performed by processing and analyzing the secondary data of the Regional Revenue Department of Makassar City 2018. Data were analyzed descriptively using IBM SPSS 22. This study found around 51% of 619 tobacco advertising (banner, billboard, name board, poster, pushcart, and video Tron) did not comply with the Local Regulation of South Sulawesi 1/2015. The violations were located in SFA (2%); near schools and healthcare facilities (14%); cut off the roads (16%); the size >72 m2 (6%); and near government offices (40%). The contribution of tobacco advertising was only IDR 736,643,634,-., which was around 0.02% of the local revenue. The violation of tobacco advertising to the Local Regulation 1/2015 and a very small contribution to local revenue showed that Mayor Regulation on Total Tobacco Advertising, Promotion, and Sponsorship (TAPS) Ban should be carried out immediately to prevent children to be the target tobacco industries in Makassar City.Keywords: tobacco advertising, TAPS contribution, local revenue
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Pryshchenko, Svitlana, Yevgen Antonovych, and Andryi Petrushevskyi. "A visualization of the energy-saving problems." E3S Web of Conferences 250 (2021): 07005. http://dx.doi.org/10.1051/e3sconf/202125007005.
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This paper focuses on the visualization of eco problems and the latest green technologies, including energy-saving. Today, there are four color-graphic means in advertising: photography, graphics (drawing or computer graphics), font compositions, and often a combination of these. Our study considers the imagery and stylistics of eco poster as a type of public advertising, and ascertains that in the subject of energy-saving a light bulb as the visual stereotype prevails. The paper indicates the importance of system design thinking, the use of creative approaches in the educational process of designers (metaphor, metonymy, hyperbole, association, allegory also) in creating social appeals for a wide audience – from young children to the older generation. Moreover, it emphasized the social value of design, and the aesthetic, moral as well as communicative aspects of visual information of environmental orientation within the context of this study.
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Syarif Agussaid Alkadrie and Firman Ardy Wahyudi. "ANALISIS PROMOTION MIX DALAM MENINGKATKAN VOLUME PENJUALAN PRODUK KACAMATA TOKO OPTIK NASIONAL TANJUNG HULU PONTIANAK TIMUR." Jurnal Ekonomi STIEP 5, no. 1 (May 16, 2020): 56–63. http://dx.doi.org/10.54526/jes.v5i1.32.
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Kacamata merupakan perangkat optik yang terdiri dari lensa dan bingkai kacamata. Promosi adalah untuk memberi informasi, membujuk, mengingatkan akan suatu produk. Dalam hal ini hendaknya perusahaan merencanakan strategi promosi secara matang baik advertising, sales promotion, personal selling, public relation, direct marketing sehingga meramaikan took-toko optik menarik minat. Tujuan penelitian ini adalah untuk mengetahui dan menganalisispengaruh advertising, sales promotion, personal selling, public relation, direct marketing terhadap penjualan Toko Optik Nasional Tanjung Hulu Pontianak Timur. Penelitian yang digunakan adalah penelitian survey dengan pendekatan deskriptif, jumlah sampel yang digunakan sebanyak 80 responden dari 460 konsumen sebagai populasi. Teknik pengambilan sampel dalam penelitian ini dilakukan dengan teknik Accidental Sampling.Hasil dari penelitian ini diperoleh bahwa secara parsial variabel Periklanan berpengaruh signifikan terhadap penjualan dengan nilai koefisien sebesar 0,449 dapat diartikan adanya pengaruh positif karena periklanan menggunakan model periklanan lewat media Media tampilan (billboard, papan iklan, poster).
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McCall, Hugh C., Angelo P. Sison, Jody L. Burnett, Janine D. Beahm, and Heather D. Hadjistavropoulos. "Exploring Perceptions of Internet-Delivered Cognitive Behaviour Therapy among Public Safety Personnel: Informing Dissemination Efforts." International Journal of Environmental Research and Public Health 17, no. 17 (August 19, 2020): 6026. http://dx.doi.org/10.3390/ijerph17176026.
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Background Public safety personnel (PSP) experience high rates of mental health disorders but have limited access to treatment. To improve treatment access, there is a growing interest in offering internet-delivered cognitive behaviour therapy (ICBT) to PSP. As attitudes towards ICBT can both impact and inform ICBT implementation efforts, this study examines perceptions of ICBT among PSP who viewed a poster (a commonly used method of advertising ICBT) or a poster supplemented with a story of a PSP who benefitted from ICBT. Methods Participants (N = 132) from various PSP sectors were randomly assigned to view a poster or a poster and a story. Participants then completed an online survey assessing their perceptions of ICBT using both qualitative and quantitative questions. We used a mixed-methods approach to analyze the data. Results No differences in perceptions of ICBT were identified between the conditions. Ratings of credibility, treatment expectancy, anticipated treatment adherence, and acceptability suggested that PSP had positive perceptions of ICBT. Most participants (93%) reported that they would access ICBT if they needed help with mental health concerns. Participants ranked therapist-guided ICBT as their second most preferred treatment, with psychologists ranked first. Female participants found ICBT more credible than male participants. More experienced PSP reported lower acceptability and anticipated adherence to ICBT. Conclusions The findings suggest that many PSP are likely to be receptive to ICBT even when a simple poster is used as a method of informing PSP of this treatment option. Further attention to improving the perceptions of ICBT among certain groups may be warranted.
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Ng, Snady. "Cultural Appropriation, Design, and Gender in Calendar Posters in China (1912-1949)." Cubic Journal, no. 2 (September 2019): 68–75. http://dx.doi.org/10.31182/cubic.2019.2.018.
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This three image-essay looks at how depictions of modern woman were central in advertising designs and imported products in the context of gender, identity, and design in early twentieth-century China. The adaptation of EuroAmerican concepts, linked to modernisation in local contexts resulted in both the production of hybrid poster designs to promote merchandise, they embody gender fluid design. This essay uses three specific images to situate objects, image and context, before highlighting specific elements contained within each as examples of mid-century gender narratives.
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Apolloni, Rodrigo Wolff, and Chang Yuan Chiang. "Símbolos arcaicos, mágicos e religiosos em um cartaz da revolução cultural chinesa." Revista de Estudos da Religião (REVER). ISSN 1677-1222 11, no. 2 (August 20, 2015): 195. http://dx.doi.org/10.21724/rever.v11i2.8140.
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O artigo investiga a presença de elementos simbólicos, muitos deles associados ao pensamento religioso chinês, em um cartaz da Revolução Cultural Chinesa. Para tanto, utiliza uma metodologia que associa diferentes áreas do conhecimento: Estudos Chineses (dentro dos quais, Estudos da Religiosidade Chinesa), Língua Chinesa e os símbolos a ela associados, Simbolismo, História, Teoria do Cartaz e Sociologia da Imagem. A aproximação em relação à temática chinesa no cartaz passou por um esforço de tradução e análise do texto escrito que o compõe. Para se aproximar de elementos da História, cultura e simbolismo religioso sínico presentes na peça de propaganda, utilizaram-se trabalhos de scholars como M. Granet, A. Cheng (Escolas de Pensamento, Simbolismo Religioso), K. Stevens (Religiosidade Popular e Iconografia Religiosa) e J. Spence (História), bem como obras literárias e cinematográficas chinesas. No que respeita aos símbolos (em seu caráter universal), ajudaram as observações de M. Eliade. Em relação aos aspectos associados specificamente aos cartazes, apelou-se a L. Gervereau (História), A. Moles (Teoria do Cartaz) e V. Flusser (Sociologia da Imagem; Teoria da Leitura Imagética). Com base no cruzamento dos referenciais teóricos, demonstra-se que a intelligentsia da Revolução Cultural utilizou símbolos arcaicos – religiosos e políticos – em peças de propaganda devotadas a promover um discurso de destruição e substituição dos antigos valores. Archaic, magical and religious symbols in a Chinese cultural revolution poster This article investigates the presence of symbolic elements, many of them associated with Chinese religious thought, in a propaganda poster of the Chinese Cultural Revolution. To this end, using a methodology that combines different areas of knowledge: Chinese Studies (within which, the study of religiosity Chinese), Chinese language and symbols associated with it, Symbolism, History, Theory and Sociology Poster Image. The rapprochement with the Chinese theme became the poster, at first, by an effort of translation and analysis of written text that compose it. To approximate the elements of history, culture and religious symbolism present in the Sinic piece of propaganda, the authors used the work of scholars such as M. Granet, A. Cheng (Schools of Thought, Religious Symbolism), K. Stevens (Popular Religiosity and religious iconography) and J.Spence (History) as well as Chinese literary works and films. With regard to the symbols (in their universality), appealed to the observations of M. Eliade. In relation to issues associated specifically with posters, appealed to L. Gervereau (History), A. Moles (Poster Theory) and Flusser (Sociology of the Image, Imagery Theory of Reading. Based on the intersection of the theoretical, the authors have demonstrate that the intelligentsia of the Cultural Revolution used archaic symbols - religious and political - in advertising devoted to promoting a discourse of destruction and replacement of old values. Keywords: Chinese Cultural Revolution, Symbolism, Iconography, Chinese Religions, Poster Theory, Imagetic Reading.
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MacDonald, Megan. "Veiled Constellations." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 143–46. http://dx.doi.org/10.35632/ajis.v27i3.1322.
Full textAbstract:
The “Veiled Constellations: The Veil, Critical Theory, Politics, and ContemporarySociety” conference took place at York University’s Keele Campusand at the University of Toronto on 3-5 June 2010. Sponsors included theSocial Sciences and Humanities Research Council of Canada, the TorontoInitiative for Iranian Studies, the Noor Cultural Centre, the Canadian Councilof Muslim Women, the Canadian Council on American-Islamic Relations,and multiple departments and associations at both universities. The two graduate students who co-organized the conference, Melissa Finn and ArshavezMozafari, did an excellent job in choosing papers that highlighted the veil’smulti-faceted appearances both in contemporary society and academic discoursesas something that is under-theorized and overlooked at the same time.The event’s advertising and signage played with the tropes of overwrittenand overlooked, suggesting that veiled women can be both silenced andsubjected to “therapeutic, punitive attention” (Edward Said, Covering Islam,xxxv-vi). For example, www.veiledconstellations.com shows two facelesswomen veiled in black, a torrent of water flooding the scene and pouring overthem and through the ovals where their faces should be. This serves as a kindof natural disaster or Armageddon trope on the body of Muslim women. Aprominent poster pictured a profiled woman wearing hijab, her face overwrittenwith overlapping Arabic words, while alternating pink lines radiatefrom behind her face, as if it were giving off light. A third poster offers thecommon image of the exotic woman behind-the-veil, a partial photo of awoman wearing niqab, her perfectly arched eyebrows perhaps challengingthe viewer to respond with the intrigued gaze, the desire to unveil her. Whilethese posters meant to undo tired images of Muslim women, their ambiguousnature sometimes reinforced those very stereotypes ...