|
|
|
Advertisements
can usually be divided into sections which are either explicitly defined by
the borders of graphic elements or implied in the elements' positioning. These
sections, or frames, give an advertisement a level of unity and progression.
The framing of an element suggests its differentiation and individuality,
and the lack of framing suggests unity and presents the picture as a whole. Framing can be
realized through: Compare the framing in 27.1 Pontiac and the lack of framing in 50 Dove. The
separation of "a good vibe" and "a new Vibe" in the Pontiac
advertisement emphasizes a contrast and encourages the reader to compare the
two definitions of "vibe." (Note, however, that the repetition of
a green background in each frame gives the layout unity
so that elements are not lost in their individuality.) In contrast, 50 Dove
lacks frames and presents its message as a whole concept. The chocolate seems
to extend beyond the page, and the question of "Should I? Shouldn't I?"
is about more than the ice cream bar---it is about whether the someone should
indulge their sweet tooth. What does the
absence or presence of framing in the following layouts add to the message
of these advertisements? Can you find any advertisements for fragrance that have clearly defined framing
in them? If not, why do you think that is?
-physical frame lines
-discontinuities in color or shape
-white or empty space between elements
-elements positioned to create a division of other elements
27.1 Pontiac
50 Dove
38. Vent-A-Hood
15. Dunhill
| References | |
|
Kress,
Gunther and Theo van Leeuwen (1996). Reading Images: The Grammar
of Visual Design. London: Routledge, 214-218. |
|
<home>