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A sense of contrast
is presented through layouts based on the vertical axis. Elements in the upper
part of the page appeal to the viewer's emotions, expressing "what might
be." The bottom elements have an informative appeal, showing "what
is." These contrasting appeals can be assigned the values of ideal and
real, where "ideal" elements are more salient and simply contain
the general essence of information; "real" elements give practical
and specific information. 68. Torengos actually uses a double Ideal-Real format. First of all,
the Ideal "scientific" approach to dip capacity ("measured"
in grams of salsa) shows that one chip holds more than anything but
a bulldozer. In contrast to that potential Ideal, the Real is presented
as the chip holding some salsa. So, the advertisement invites the reader
to quit worrying about science and just eat something. Ideal:
You don't need to know the details of "dip capacity" to see
that Torengos holds a lot of dip./Advertisers can give you more information
than necessary. Real:
See the proof that Torengos holds a lot of dip./This is all you need
to know. Then, these two parts are presented as Ideal with the product container
as Real: now you know what you want (Ideal), here is what to look for
(and where).
68. Torengos
Ideal
and Real are expressed in an interesting way in 43 Aveda (right), which
has the product image, name and description on top, with an Image component
of 3 images in the bottom 60%. We can compare this with 43 Avedaflip
which has the "expected" arrangement.
43. Aveda
43. Aveda (flip)
| References | |
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Kress,
Gunther and Theo van Leeuwen (1996). Reading Images: The Grammar
of Visual Design. London: Routledge, 192-202. |
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