3 chapter. I peculiarities of translation of advertising and presentation materials

1.2. Important principles for creating effective advertising
Attract attention. Be noticed. Stand out from the crowd. This is the main creative goal of any advertising message. Modern advertisers have to work very hard to get their creations noticed. With just one strategy - positioning, appeals, demographic and psychographic data - the product will not sell.
As obvious as it sounds, you will not be able to sell the goods produced until you attract the attention of consumers. In other words, if a person doesn't see the ad, they won't read it. Remember that your ad is competing with a lot of other commercial posts and articles. Many ads in most publications remain "invisible".
Art and design help break through the information chaos. A well-chosen image instantly conveys the idea and mood of the advertisement. It can quickly attract the attention of consumers, but should not be limited to solving this problem. The image should reflect the strategy. Good artistic performance creates strong emotional bonds, and does so in a short amount of time.
No study is able to answer the question of which creative approach will be most successful, because creativity has little to do with science. Studies allow us to conclude which of the methods used in a particular situation turned out to be very effective, but there are no criteria for assessing the degree of "breakthrough" advertising.
How to make your ad stand out? This is usually done through illustration. An ad either grabs attention or it doesn't, and oftentimes the image plays the main role.
Of course, you won’t be fed up with pictures alone - you won’t convey the message. To complete the picture, at least a title is needed. Thus, the title of the ad is extremely important to maintain reader interest.
Better to see once than hear a hundred times. But not only. The role of illustrations is not limited to this. The image should be closely related to the commercial concept. Using a shocking photo solely to attract attention is usually a mistake.
For example, you sell hammers, and your ad is dominated by a girl in a bikini. You are exploiting a sexual image that has nothing to do with the product. You fool people: "Yeah, since you fell for our bait, you must buy our hammer." Because most people don't like being fooled, they will hate your ads, and more often than not, your product along with them.
Usually there are three ways to attract the attention of the audience:
• With one illustration.
• With one header.
• Using a combination of illustration and title.
1. Basic principles of design
In the design of any advertisement, several general principles apply. Some may use slightly different terminology, but the essence of the techniques used does not change from this. The following design principles, when applied correctly, will capture the reader's attention and increase their chances of reading the sales message.
Unity of style. All creative advertising is distinguished by the unity of style. The composition is conceived as a single whole, the interconnections of the constituent elements of which (text, graphics, heading, logo, etc.) create a common, integral effect. In the absence of unity of execution, the announcement "falls apart", turning into a heap of separate parts. Perhaps, the unity of style can be considered the main principle of design, a necessary condition for a successful advertising appeal.
Harmony. Closely related to the unity of style is the idea that all elements of a composition should fit together. Harmony is precisely achieved by selecting compatible elements (a process that is very reminiscent of choosing toilet items in the morning). The composition is effective only if its elements are in harmony with each other. The ad should not have too many fonts of different types or sizes, illustrations, etc.
Order. The ad must be ordered so that it reads from left to right and top to bottom. This sequence of elements directs the reader's eye in the right direction. Arrange ad elements so that the eye initially falls where you intended and moves along a certain trajectory. The most common ordering is in the form of the letters Z and S.
Emphasis. Emphasis - accentuation of an element (or a group of them) to highlight it against the general background. Determine what you want to emphasize: on the illustration, title, logo, or body text. If all these elements are perceived as equivalent, you risk losing emphases.

Contrast. In order for an ad to not be visually boring, it should include different sizes, shapes, or tones. Bold, italic, and letter-spacing draw attention to a word or phrase and create contrast between type elements. The contrast makes the composition more interesting.

Balance. By balance, we mean the size, tone, weight, and position of ad elements. Balanced elements look calm and natural. You can correct the balance by comparing the right and left halves of the ad. There are two forms of balance: formal and informal.
2. Other elements of the composition
Color. Color is one of the most versatile elements of an advertisement that a designer can use to grab attention and create a mood. Color can be applied in different ways depending on the product and the advertising call. The advertised product may seem completely uninteresting, but for someone whose well-being depends on its sale, it is wonderful.
A classic example of differentiating a product with color is the pain reliever Nuprin. Its market share has been expanded thanks to an apparent difference, the yellow color of the tablets. The idea to use color was born when the creative director poured a bunch of different painkillers on the table and discovered that only Nuprin was yellow. What is not a clear demonstration of the difference? Thus, the Yellow Pill advertising campaign was born. One ad was a black-and-white photograph of human hands holding two yellow Nuprin tablets. The title explained that it was a remedy for the most severe pain.
From a psychological point of view, color is extremely important in advertisements, and in the appearance of the product, and in the design of packaging. Research has proven year after year that color—colors themselves and contrast—can enhance the appeal of ads.
Color as a means of attracting attention. With rare exceptions, people notice ads in color more than black and white ads. The presence of full-color elements in an ad (a color photograph, for example) significantly increases the proportion of readers paying attention to it compared to two-color and black-and-white ads.
Some products may only be realistically depicted in color. Furniture, food, many items of clothing and fashion accessories, cosmetics will lose all their attractiveness if they are advertised in black and white. The Pantone Color Institute asked respondents to indicate their favorite colors in certain product categories (including future color preferences).
In addition, the questionnaire was required to provide demographic data and to identify themselves in one of five categories: "cautious", "impulsive", "pessimistic", "traditionalist" and "self-confident". Significant differences in color preferences were found between products such as luxury and economy class cars.
According to Leatrice Eiseman, Executive Director of the Pantone Color Institute, “The power of color can be used to draw attention to an advertisement or product. If an ad stands out against a general color background, it arouses increased interest among readers.” Product developers, in order to make their product look like new, try to use original, previously unused colors. The latest developments in this area include color hypsometry and chameleon paints that change color depending on the angle of view.
Free space. Some layout artists and designers get so carried away with illustrations that they forget the importance of white space. The main rule here is that “virgin” should be left on the periphery of the ad. Too much white in the middle of an ad can destroy the unity of the composition: the reader does not understand which way he should look.
3. Guidelines for creating ads
The following is written by Philip W. Sawyer, editor of Starch Tested Copy, who has spent years researching the effectiveness of Starch Advertising. He offers his thoughts and specific rules for developing successful advertising.
Sawyer lists 10 principles that we believe advertisers should keep in mind when undertaking advertising. We recognize that there are successful advertisements that do not adhere to these rules. Mark Twain in The Adventures of Huckleberry Finn also broke almost every grammar rule. But he knew them before he broke them. 1. Keep ads simple, even silly. The so-called KISS principle (Keep It Simple, Stupid) is nowhere so well applied as in advertising, and probably nowhere so often abused.
The best argument for simplicity is that the vast majority of magazine readers don't buy them for advertising. Therefore, advertising should catch the eye as quickly as possible, deliver the message faster and let the reader go faster. An advertisement that fills the page to the limit with many illustrations and fonts of different sizes and styles does not give you the opportunity to either stop your eyes on something or rest your eyes. Because of this intimidating visual excess of "fussy" advertising, readers will, as one would expect, pass it by with little or no time to read it.

2. You're not selling a product, you're selling the benefits of a product. Advertisers presumptuously assume that readers are just as interested in the product as they are. In fact, most readers are not willing to delve into the interests of the advertiser. They will only do this if they are convinced that the product will do something for them. If the advertisement does not answer the reader's question, which is implied: "What does this get me?" - it is unlikely to cause true interest.

Advertising is mostly descriptive: it explains what a product or service is. The worst ads tell you about the company's long history, values, accomplishments, and growth—as if anyone cares. But good advertising goes straight to the problems that the product or service solves and suggests how that problem solving will improve the life of the potential consumer.
3. If appropriate, it can be seasoned with sex. In fact, modern publications that publish erotic advertisements are intended for women. This type of advertising attracts increased attention of the readership and will attract it as long as people do not reproduce exclusively by parthenogenesis.
At the same time, it should be noted that sexual advertising is usually simple, which is understandable. Good ads of this type feature nudity, but are not overtly erotic. Let's say politically correct: sex helps sell goods. Use it.
4. Use celebrities. Opinion polls show that people do not believe advertising based on a well-known person touting a product. However, according to Starch Advertising, celebrity ads earn 13% more "Attention Points" than the average. They are particularly successful in affecting women - a figure of 15% above average. For comparison: in men, it exceeds this figure by 10%.
Overall, celebrity-recommended ads are 13% above average, while lesser-known ads are actually below average. Celebrities may not be believed, but they attract the attention of the reader, and this is the first task of any advertising.
5. Use the power of color. Print advertising has opportunities that allow it to compete with television. Moving images are an extremely powerful means of communication. Anyone who has ever tried to entertain a child knows that their gaze is bound to attract movement. At the same time, the attention can also be attracted by rich, bright and beautiful color. Full-page color ads get 45% more attention, and two-page color ads get 53% more attention than similar black and white ads. In general, the more colorful it is, the better (as long as the advertiser keeps the other nine principles in mind).
Television, with its moving images, is unsurpassed, but the ability of print to create amazing, eye-catching colors is essential.
6. Go with the flow. Each advertisement has its own flow, and it is determined by the position of different creative components. A well-flowing ad guides the reader's eye across the page so that they stop at all the important components: illustration, headline, ad text, and brand name. Poorly flowing ads can grab a lot of attention at first, but then take the reader off the page.
For example, some advertisers make the mistake of placing a brilliant illustration at the bottom and text and title at the top of the page. In this case, the most significant component of the advertisement may become the most flawed, because this charming illustration will steal attention from the text of the advertisement.
Another example has to do with the automotive industry and how some advertisers place a picture of a car on a page. Our data show that the gaze tends to follow from the back to the front of the car. Therefore, if the image of the appearance of the car is placed on the page to the right and above the ad text, the eye, moving from the back to the front, will stop at the beginning of the ad text.

This is a necessary placement for the illustration if you want the text to be read. But consider how many advertisers place out of displaying the appearance of their car on the left side, thus "leading" the reader to the right half of the page, the point from which the reader is most likely to proceed to the next page without having studied the rest of the advertisement text.

7. Avoid ambiguity. A few years ago, Benson & Hedges garnered some attention with an ad that showed a man, dressed only in pajama pants, standing in the middle of a dining room during a morning reception, looking embarrassed. Trade publications, no doubt, this ad attracted much more than readers, who were confused by it because their star was in a difficult position. The advertisement evoked negative reactions from readers towards the advertiser who dared to embarrass them. They do not find it necessary to devote much time to thinking about a particular advertisement. If the meaning of the advertisement is not clear, the typical reader will turn to the next page.
8. Boost the contrast. We exist in a visual culture, and one of the things that pleases the eye is contrast. Therefore, it would be a good idea for an advertiser to apply the so-called visual irony in their advertising. One way of implementing this principle is by contrasting the components, for example in color advertising. Using black as a background color allows you to highlight the elements located in the foreground. Stolichnaya received an average rating for the ad, which featured a horizontal shot of the product on a white background. When the background was changed from white to black in the same composition, the score increased by 50%.
9. Use children and animals. Almost every ad can be successful if it appeals to emotion, showing children and animals that appeal to all but the most insensitive. There is no doubt that it is logical to use close-ups of children when selling toys. (However, flip through an issue of parenting magazine and notice how many ads for children's clothing don't use images of children—how many missed opportunities!) Pets are, of course, a natural use in pet food ads.
The trick is to find an excuse to use a baby or furry animal in an ad when your product isn't even remotely related to those models. Hewlett-Packard did a great job of this when it starred a Dalmatian in an ad with the headline: "Now HP LaserJet Is Totally Irresistible."
10. If your ad has a lot of text, make it as attractive as possible. An inexhaustible source of our surprise is the advertiser who compresses the text and squeezes it into the cramped corner of the advertisement to expand to the limit of "white space". It's a triumph of style over common sense. Others place the text on a colorful background, making it almost unreadable.
Two other widespread difficult situations are reverse printing on a light background, also lacking contrast; and two-way text alignment (i.e. unnecessarily hard limiting it to the left and right), which forces the reader to work hard to find the beginning of each line. An advertiser who includes a fair amount of text in an ad obviously hopes it will be read.
Relatively few readers find it necessary to spend time reading most of the text of each advertisement; if 20% of readers delve into the text, it means that its author has done a good job. So, the meaning of the problem is to make the whole process of reading as easy as possible. Good content alone will not attract readers. The best-written, witty, and brightest advertising text will be invisible until it is found in a suitable place and printed large enough and clear enough.