Advertising Presentation
presented by: Maryam Malik
and Umer Sheikh
Planning the Advertisement
Importance of teamwork between
copywriter and art director
Visual thinking from both roles improves
effectiveness
Poor collaboration = cluttered, unreadable
ads
AIDCA Formula Overview
AIDCA = Attention, Interest, Desire, Conviction, Action Used for
ad planning across copy, layout, and medium choice
1. Attention
Must stand out from editorial and other ads
Achieved through: position, size, shape, headline, color, layout
Top right-hand page positions are most effective
[Link] Gained through relevance to target readers (e.g.,
cosmetics, cars)
Driven by visuals, offers, impactful wording
[Link] Show benefits and appeal to personal gain
Create a reason for readers to want the product or
service
4. Conviction Build trust with facts, proof, testimonials
Include key details (e.g., price) to reinforce value and
credibility
5. Action Encourage immediate response (e.g., call, visit,
order)
Use calls to action, coupons, credit card logos,
dealer lists
Stages in Design
Layout Suggestion: Timeline or Step-by-Step Flowchart Summary
Design begins with rough sketches (scamps).
Multiple drafts are created before selecting a final concept.
Layouts use placeholders and are shown to clients before finalizing.
Final layout includes typography and commissions for artwork/photography.
Increasing use of DTP and digital workflows.
Final output is camera-ready for litho printing with digital-to-plate systems.
Example – Traditional Layout
Example from National Army Museum ad (Figure 12.1)
showing headline/image layout.
Ad copy emphasizes impact with strong, emotive language.
Exam layouts should clearly separate:
Copy: All written text (headline, subheads, etc.)
Layout:
Visual arrangement with display lines/placeholders
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The Eight Laws of Design in Advertising 5. Law of Harmony
Design elements should work
together naturally Avoid harsh contrasts
1. Law of Unity unless deliberately intended
All parts must work together as a
cohesive whole Avoid clashing typefaces, 6. Law of Proportion
messy borders, or poor spacing Match type size to layout width Wider layouts
need larger text and more spacing (leading)
2. Law of Variety Use contrast: bold vs. regular type,
white space, images Prevents monotony 7. Law of Scale
and adds visual interest Use size and color contrast to controlvisibility
Bold colors advance, pale colors recede (e.g.
3. Law of Balance Optically balance elements black > grey)
(e.g. 1/3 image, 2/3 text) Avoid splitting the
8. Law of Emphasis
ad into two competing halves
Highlight key elements without
4. Law of Rhythm Create visual flow to guide the overdoing it Use bold type, second color,
eye through the layout Use indents, or white space effectively Avoid all caps or reversing large
spacing, and layout repetition smoothly blocks of text
Typography and Visual Design Elements
1. White Space 3. Illustrations
Enhances clarity and legibility—not just for emphasis.
Includes photos, wash, or line drawings.
Two main uses: Match art to paper and printing method:
Indented paragraphs (book style) vs. business block style. Glossy magazine: sharp photo reproduction.
Leading: spacing between lines. Newsprint: may reduce image clarity.
Common processes: Offset-litho, Flexography
2. Headline Arrangement Finer dot screens improve photo quality.
Shape and spacing affect legibility and impact.
Long headlines can be stepped for narrow layouts. 4. Display Typefaces
Goudy Extra Bold
Horatio Medium
Futura Demi Bold
Rockwell Bold
Proteus Bold
Microgramma Medium Extended
Typography and Typesetting in Advertising
1. Typography Basics: 5. Corporate Typography
Typography = Art of choosing & arranging type Custom fonts for branding consistency
Fount: Full set of characters Issue: Printer compatibility
Family: All variants of a typeface Solution: Use camera-ready copy
6. Typesetting Evolution
2. Typeface Categories
Traditional: Hand-set metal type
Display: Bold, decorative (headlines)
Hot Metal: Linotype (lines), Monotype (letters)
Text: Readable, often serif (body text)
Modern: Photo & digital typesetting
3. Serif vs. Sans Serif 7. Visual Example
Serif: Best for small sizes, glossy print Woolwich ad + “We've Got to Get Out of This Place”
Sans Serif: Clear for headlines/display Typography + music = emotional tone
4. Anatomy of Type
Key parts: Ascender, Cap height, x-height,
Baseline, Descender
Serif = finishing stroke
Television Commercials – Production & Effects Storyboard
‘A storyboard is a sequence of drawings in TV-screen frames
Visually outlines the storyline and action of the commercial Approveby the client before filming begins’
Special Effects
TV producer (from the agency) conceives the idea
TV director & production unit execute the filming
Commercials made on film or videotape; edited using:
Stop-motion: Objects appear to move by themselves
Animation: Cartoon drawings filmed frame-by-frame
Morphing: Digital technique to distort/transform shapes
Computer graphics & video effects enhance appeal
Married print: Final version with picture + sound
Reviewed and corrected post-approval by TV authorities
THANKS
for the consentration:]