Not so many years ago businesses used to grunt at using illustrations in their marketing materials. But today, the use and influence of illustrations is growing right along. An illustration, image or picture that does not express a distinct idea is a poor illustration. It should be clearly drawn with an abundance of ideas to be conveyed in the fewest line possible. Originality cannot help flowing from the pencil of the good artisthe will naturally give an original touch to every picture he makes. All the while he is not straining for this effect, but rather following the natural bent of his artistic nature in reproducing the material and hinting a thought as to its performances. Same way with the advertising writer. In telling his tale he need go over board in a wild desire to be original, because originality will naturally follow in the wake of clearness and conciseness, which are the first considerations he aims at. His mind, like the artist's, is trained in the direction of bringing out the best in the article being advertised. Both the artist and the writer have the creative faculty and the application of this creative faculty gives the illustrations and the ads all the originality necessary. So say for instance you wanted to create postcards to send out to your customers to let them know of your new products. When you are able to present your products in the simplest and most sincere way possible you are creating an impression that your prospective customer can rely and trust. Post cards are a great way to advertise your products while also giving your customers a way to remembering your business afterward. In all aspects of creating marketing materials for your business, an original and distinct material with the right illustrations can help boost your products. The first great point in advertising is to understand the art of drawing attention, then retaining it long enough to tell your story. The right images and illustrations will help you in this regard. It is like retailing. First you encourage the customer to come to your store then win him by the excellence of your values. Induce the reader to glance at your ad by your bright images and snappy catch line, then retain his attention by the brightness and good sense of your talkkeep him fastened to your ad until his head is filled with the tale you would impart. Keep in mind that the visual impression of your ad is very important. Being able to send a catchy, brilliant and crisp visual impression to your prospects can entice them to stop and take a closer look at your ad. So, forget about what others say that illustrations are not as important as the content. Understand that when images are created with a winsome, harmonious effect, originality and thought in an easy, artistic and natural manner an ordinary reader can in a second grasp its points and uses.
Looking for a new, innovative way to reach your target audience and increase brand awareness? In-game advertising may be the answer.According to a Nielson Interactive Entertainment study conducted in the fall of 2005, television viewership among men ages 18-34 has declined 12 percent, while this same audience spent 20 percent more time with video games. As a result, this highly elusive male demographic has become increasingly difficult to reach, especially through traditional advertising mediums. With market segments turning from traditional media to new forms of electronic entertainment, its time for brands to get in the game literally if they want to continue capturing audience share.Unlike television viewers, which tend to be more passive, video game players are focused and actively involved in the gaming experience. Constantly alert and responsive to every element on the screen, gamers are an intensely captive audience. Unlike television advertising, which is often dismissed or ignored by the audience, in-game advertising can actually enhance the realism of the game play, thereby creating a positive connection between brands and consumers.Companies looking to integrate their brand or products in "video games" will find a wide range of "target audience" advertising opportunities, including:-Dynamic ad placement Dynamic ad placement allows for static and video-based ads to be positioned in console, PC and online games. With the advent of live online gaming, ads can now be tracked and evaluated, offering time-sensitive messaging and geographic targeting, which allows brands to maximize their exposure among their target audience.-Product placement Situation or plot placement integrates products into the active game play. For example, you might see a vending machine featuring a popular cola brand displayed prominently in a video game, where a player might drink a can of cola to power up before completing the next challenge.-Advergaming Advergames are interactive games developed specifically for a brand where the plot and game-play revolve around a featured product. Advergames are generally posted to a corporate Web site or distributed through online game channels for download.In-game advertising is quickly becoming a mainstream medium for "target audience advertising" and is growing exponentially each year. Ad spending in video games totaled only about $75 million in 2005, but estimates have that figure rising to $1 billion by the end of the decade.The future of "in-game advertising" is bright, and now is the time for brands to start playing.
Great looking and promotional brochures create a compelling image of your company, its’ products and services. Whatever your promotional need be, the brochure format is the best answer to your needs. Brochures prove to be extremely versatile in content and use. You could hand them out at trade shows or provide them to your sales reps as selling aids. Whatever the mode of distribution of your brochure be, it’s printing has to be constant and attractive to gain the attention of the reader.Most of the brochures are flat sized. The number and types of folds in your brochure enables you to create a variety of print communications in terms of look and function. The folding of the brochure creates a great impact on the functionality of the brochure. Four page brochure displays a lot of information and the design concept of the brochure begin with the display of this information within the constraints of the size and layout of the brochure. Most brochures are printed with more than one color; and it is proven that people respond more positively, and longer, to full color promotional brochures. However, when using multiple colors for the brochure, you have to make sure that the colors used in the brochure complement each other to give your brochure a unique appearance. If necessary, you could use photographs and graphics to accentuate your brochure.Using images and pictures in the brochure adds spice to your brochure. In this way, they also draw the reader’s attention to read your brochure. There are many businesses that stick to a specific font or color for use in the entire brochure. This is because using the same color and font promotes uniformity in the brochure, and at the same time, makes it easier for the reader to read the brochure. You could also consider adding your logo in your brochure, as this proves to be an added advertisement to your company or product. It is always better to hire the services of an experienced brochure designer to create your brochure design for printing. This is because even if the cost may be a factor here, this cost can be compensated when the brochure reaches the masses, and there is an increase in sales! And remember the brochure designed by a professional will definitely be better than a brochure that you venture to create on your own!After creating the right design for your brochure, it is the right paper that has to be chosen. There are different varieties of paper to choose from; choose the paper that best suits your color and design of the brochure. Remember that printers offer great discounts on orders of large quantities of brochures. So it is beneficial to order brochures in large numbers. So choose the right designer, and printer to help you produce the most efficient brochure possible!
Spielberg's blockbuster, "Minority Report", is set in the year 2054. The future - at least according to a team of MIT futurologists, hired by the cinematic genius - is the captive of embarrassingly personalized and disturbingly intrusive, mostly outdoor, interactive advertising.The way Internet advertising has behaved lately, it may well take 50 years to get there.More than 1 billion people frequent the Internet daily. Americans alone spent $69 billion buying things online in 2004. eMarketer, a market research firm, predicts that e-commerce will climb to $139 billion in 2008. American Internet advertising revenues boomed to $7.3 billion in 2003 and $9.6 billion in 2004. Shares of companies like Yahoo! and Google - sellers of online advertising space and technologies - have skyrocketed.This is a remarkable reversal from just a few years ago.All forms of advertising - both online and print - have been in decline in 2000-2. A survey conducted by the New Media Group of PricewaterhouseCoopers (PwC) - the Internet Ad Revenue Report sponsored by the Interactive Advertising Bureau (IAB) - found a 12 percent decline - to $7.2 billion - in Internet advertising in 2001. CMR, The Myers Report, and McCann Erickson have all recorded drops of between 12 and 14 percent in broadcast advertising and of c. 20 percent in radio spots in 2001.The following year - 2002 - may have been the turning point. A March 2002 Nielsen NetRatings report registered a sharp turnaround in the first quarter of 2002. The number of unique online ads shot up by one third to 70,000. Jupiter Media Matrix predicted a 10 percent increase in online classified ads - to $1.2 billion in 2002. By 2007, it said, online ads will account for 7 percent of total advertising dollars - some $16 billion. Both IDC and INT Media Group spawned similar prognostications for the weaker Asia-Pacific market.CMR forecast a 5.3 percent growth in online ad revenues in 2002 - compared to an overall average of 2.5 percent. This optimistic projection is based on expected performance in the - hopefully, more buoyant - third and fourth quarters of 2002.Still, it was clear in early 2002 that ,even if this surge materializes, online advertising would be almost 7 percent below its level only two years before and vertiginously below projections touted by "professionals" as late as January 2001. Internet.com quoted another gloomy prediction, by Goldman Sachs analyst, Anthony Noto: "The likelihood of an online ad rebound remains questionable in the near term." Moreover, growth in advertising in local papers, radio spots, and TV spots was expected to outpace the recovery in online ads.In hindsight, some advertising categories indeed didn't make it. Cable, syndication, consumer magazines, national newspapers, outdoor, and B2B magazines continued to post sharp decreases. A sign of the times in 2002 may have been IAB's multi-million dollar advertising campaign. IAB is the online publishing and ad sales industry's largest trade association. In 2002, it tried to pitch the Internet to advertisers in what looked like a desperate effort to increase online ad spending.Internet.com reviewed the campaign in a June 24, 2002 article:"The gist of the work is that by encouraging consumers to interact with brand elements, marketers can foster greater awareness, favorability and purchase intent - more so than can static media. The executions share the tagline, 'Interactive is the active ingredient in the marketing mix.'"They quoted IAB President and Chief Executive Greg Stuart as saying:"As we continue to mature as a medium, we need to treat interactive as a brand, and the manner in which we position ourselves as an industry is critical to driving the success and adoption of interactive advertising and marketing in the years ahead. We have to speak with the same voice so that we clearly communicate our unique value to all parties."The collapse in Internet advertising had serious and, in some cases, irreversible implications.In a report for eBookWeb.org I wrote:"Most content dot.coms were based on ad-driven revenue models. Online advertising was supposed to amortize start-up and operational costs and lead to profitability even as it subsidized free access to costly content. A similar revenue model has been successfully propping up print periodicals for at least two centuries. But, as opposed to their online counterparts, print products have a few streams of income, not least among them paid subscriptions. Moreover, print media kept their costs down in good times and bad. Dot.coms devoured their investors' money in a self-destructive and avaricious bacchanalia."Surprisingly, online advertising did not shrivel only or mainly due to its inefficacy - or avant-garde nature. In a survey conducted in early 2002 by Stein Rogan and Insight Express, an overwhelming four fifths of brand marketers and agency executives felt the the Internet is a mainstream medium and an integral part of the conventional marketing mix. Close to 70 percent rated their opinion regarding the effectiveness of online advertising as more positive now than it was 12 months before. A full sixty percent said that their clients are less resistant to interactive marketing than they were.So, what went wrong?According to classical thinking, advertising is concerned with both information and motivation. It imparts information to potential consumers, users, suppliers, investors, the community, or other stakeholders. It motivates consumers to consume, investors to invest, voters to vote, and so on.Yet, modern economic signal theory allocates to advertising an entirely different - though by no means counterintuitive - role.From the eBookweb.org report:"Advertising signals to the marketplace the advertiser's resilience, longevity, wealth, clout, and dominance. By splurging money of advertising, the advertiser actually informs us - the 'eyeballs' - that it is here to stay, sufficiently affluent to finance its ads, stable, reliable, and dominant. If firm X invested a million bucks in advertising - it must be worth more than a million bucks - goes the signal. If it invested so much money in promoting its products, it is not a fly-by-night. If it can throw money at an ad campaign, it is stable and resilient."Online advertising dilutes this crucial signal and drowns it in noise. Advertisers stopped advertising online because the medium's noise to signal ratio rendered their ads ineffective or even repulsive. Internet users - a "captive audience" - not only became inured to the messages - both explicit and implicit - but found the technology irritating.Many react with hostility to pop-up ads, for instance. They simply tune off or install ad-filtering software. All major Web browsers allow their users to avoid pop-up ads altogether. But banner ads and embedded ads are an integral part of the Web page and cannot be avoided easily.Thus desensitized, users rebel."They resent the intrusion, are incensed by the coercive tactics of advertisers, nerve wrecked by protracted download times, and unnerved by the content of many of the ads. This is not an environment conducive to clinching deals or converting to sales."There are two sources of noise in Internet advertising.Free advertising misses a critical element in the aforementioned signal. Information about the purported financial health and future prospects of advertisers is conveyed only by paid ads. Free adverts tell us nothing about the advertiser. This simple lesson seems to be lost on the Internet which is swamped by free hoardings: free classifieds, free banner ads, free ad exchanges. Worse, it is often difficult to tell a paid ad from a free one.Then there is the issue of credibility. Dot.coms - the leading online advertisers - are rarely associated with truth in advertising. Internet ads are still afflicted by scams, false promises, faulty products, shoddy or non-existent customer care, broken links, or all of the above. Users distrust Web advertising and ignore it.The Internet is being appropriated by brick-and-mortar corporations and governments. Global branding will transform online ads into interactive renditions and facsimiles of offline fare. Revenue models are likely to change as well. Subscription fees and "author-pays" will substitute for ad revenues. The days of advertising-sponsored free content are numbered.
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