Saturday, 17 January 2015

Advertising, Psychology and the Process of Persuasion videos from YouTube

Last week while doing some research on persuasion techniques, I came across a few useful videos, two of which I will write about here.  I really wish I had found these earlier as they would have helped me last semester!  Definitely some interesting points which I will have to take into consideration when creating my identity and advertisement.

The Process of Persuasive Design in Six Steps with Dr Eric Schaffer.  


This video explains how persuasive designs are crafted with regard to the way the consumer's mind works.  Though a series of steps, Schaffer explains the necessary factors for successful emotional persuasion in advertising.   Some I was aware of, but others were new pointers for me.



 Firstly, the issue of giving customers too much choice was addressed as this is usually where some companies fall down in their advertising or marketing.  "Using lots of methods results in persuasion clutter.  Capteen and Duplinksy in 2011 researched using more methods, and found that adding social proof, a weak method in that case, to advice from an authority figure resulted in less persuasion than the authority figure alone.  So the mastery of persuasion requires a more sophisticated approach." (Schaffer, 2012)



  The first step outlined is: "We need to understand the emotional battle that goes on inside our customers' heads." Schaffer explains that in order to make successfully persuasive adverts, we need to know what our audience's drives, blocks, beliefs and feelings are.  Looking for "strong" issues which resonate with many of the target demographic - the example used here are flu vaccinations, as "Getting vaccinated is driven by fear of getting sick, which is driven by fear of embarrassment, and guilt in getting other people sick." (Schaffer, 2012) By piquing the emotional factors which fuel a decision to buy, behave or think differently, an company can have more subtle influence over its consumers.  I will have to very soon figure out what the "strong" issues are among those who may be swayed into taking up mindfulness.

"Pick the emotional things that are most likely to work.  What drive or block becomes the theme?  What is the frame for the meme that will be the central point of the effort?" (Schaffer, 2012) Schaffer suggests focusing on the main message of the campaign and carefully selecting the methods in which it will be delivered.  For the example of the flu vaccine, a promotional leaflet is suggested, likely because it would be seen and read in doctor's surgeries and pharmacies where people could easily book a vaccine. Using testimonials by existing customers, or a message such as "only 4 days left!" so suggest scarcity, can sway people into a decision quickly.  During my meeting with Simone (which I will write about tomorrow), she asked me questions relating to this and suggested a series of posters and a mock website page was best suited to this.  I had suggested a leaflet too, however she made the point that a leaflet was something that people were likely to pick up at a health and wellbeing fair or conference.  This is not the kind of place my target audience would be going to as I am aiming this project at those who are perhaps more sceptical of the practice.


With regards to an online process, "There must be a strategy to pull people through the flow of an interaction." (Scahffer, 2012) This could involve elements such as gamification and other methods of making the content exciting.  In the preceding video to this one, what makes a customer return to the same points on a site is also addressed.  This is a key consideration as ideally a website would be used again and again, and this point will be useful to me when I begin to mock up the fictional website for the campaign.




And finally, Schaffer says "To get the customer to the point of certainly, we must remember that this is an emotional event." Ultimately, the message of the video is that in order to succeed, an advertiser must play on the emotional wants and needs of their audience.  This theme is also addressed in a second video I found, which you can watch here (as I was unable to link it to the page).  This video was great fun to watch as the vintage-style cartoon visuals are very charming and the audio-illustration combo was easy to follow. 

Psychology and Advertising by Lori Benoy and Sole Sander

This video was created by Benoy and Sander as an assignment for an applied psychology class, which makes for a very informative and useful video.  The video focuses on explaining the Elaboration Likelihood Model, a common method of persuasion in advertising.  

In the ELM, there are two ways in which information can be persuasive - the central route and the peripheral route.    The central route is direct route of persuasion that appeals to logic and involves a great deal of thought.  It is associated with high involvement, meaning that the receiver is willing to put a lot of time and energy into the subject matter.  Facts and logic are used to make a decision, ultimately  leading to a more permanent attitude change.  The example used in the video is that of wanting a new car, and seeing a car commercial.  Because the receiver wants the car in the commercial (or a car in general), they are highly involved and are more likely to listen to the commercial than those who don't want a new car.  This is an interesting point for me, because I realise I will be aiming my project at those who could likely be inclined towards a low involvement towards the subject matter.

The peripheral route, on the other hand, uses techniques such as an emotional story, bright colours, sappy music, and an attractive speaker to create a situation where the receiver does not think carefully about a communication and is influenced instead by the aforementioned cues.  Involvement here is low, because due to the "wow" factor of the subtle techniques,  things like the message content, facts and logic are ignored.  This results in a more temporary attitude change and the receiver is less likely to change behaviour.  I found this really surprising given the cues are supposed to speak to emotions, senses and feelings.  Looks like logic is a winner here!


The video also goes over the affect of an advertisement - affect here refers to the experience of a feeling or emotion, which occurs rapidly and involuntarily in response to a stimulus.  Advertisers often rely on an affect heuristic which predicts how you might respond to an advertisement as well as corresponding behaviour.  The image below is an example of how a receiver might react to different affect heuristics.  If the stimulus yields negative affects, benefits will be seen as low and risk as high.  Conversely, if stimulus yields positive affects, benefits will be seen as high and risk as low.   As far as I can tell, my own project should only yield positive affects as the content is about mindfulness, which has virtually no downsides to it.  It was really interesting to look at persuasion this way as I was not familiar with all of these ins and outs of the psychology behind persuasive advertising.  There are some really useful points which I will take forward into my practical work in both videos.


References:

Benoy, Lori and Lander, Sole, 2009.  Psychology and Advertising [online video] Available at:
https://www.youtube.com/watch?v=EC7VLjIw8hY&spfreload=10
[Accessed 13th January 2015]

Schaffer, Eric, 2012.  The Process of Persuasive Design in Six Steps With Dr. Eric Schaffer [online video] Available at:
https://www.youtube.com/watch?v=Z1y-VcZ3JB8&spfreload=10
[Accessed 13th January 2015]


Friday, 16 January 2015

Typeface combination in design books

David Airey is a graphic designer from Norther Ireland who runs a great design blog, on which I found this article where Airey looks at the typography used in books about typography.

"…I was interested to know what typeface combinations were chosen to represent their words.  The comparative images in the post show mid-weight members of various type families.  Some of the books also use other weights, and a couple of examples use just one type family throughout."(Airey, 2014)

I haven't read any of these books yet so I can't speak for the content, but the titles and use of typography in each books could suggest the tone and detail in each.  Almost all books use a combination of serif and sans-serif, with some using italics and slab-serifs.  The list is a good indicator of fonts that would suit a print design as all featured are very legible.















All images are screenshots, available at: http://www.davidairey.com/typeface-combinations-in-design-books/ [Accessed 14th January]

Further reading for me: http://www.smashingmagazine.com/2010/11/04/best-practices-of-combining-typefaces/

Humour in graphic design - a device for persuasion

A couple of weeks ago I was looking at a few topics in an attempt to streamline what I was doing, specifically what and how I was going to produce my honours project.  While I have moved away a little bit from the things I discuss in this post, I felt it was important to chart them as they helped to inform the process that got me to the point I am at just now. At the point of starting to write this post, I was considering basing my honours project on the effectiveness of humour as a persuasive design tool. I ended up changing my mind slightly as you will have read, however I still feel the research I did here can be adapted to my new direction.

Following on from my previous blog post where I wrote a little about Karan Singh's work, I did a lot of reading of books and articles looking at humour in design. One really helpful book was A Smile In The Mind by Beryl McAlhone, which documents a lot of work which uses the element of wit or surprise in various works under the umbrella of graphic design.  There was a lot in there so I am going to make an upcoming post about the work featured in the book.

Another useful source of quotes was Stephen Heller's article for AIGA, "Is There Anything Funny About Graphic Design?"  The article is taken from Heller's book Design Humour: The Art of Graphic Wit and examines the role of wit in graphic design, especially through the use of visual puns, and asks if they are truly an effective method of communication.  The following quote I found really interesting:

"A picture is worth a thousand words because so much more information can be evoked through one image than in a sentence or a paragraph.  In visual language, it is often necessary to substitute one image with another, or one symbol from another.  Not just for purposes of jest - but to enhance meaning.  Therefore, the pun - at best a kind of shorthand, at worst a strained contortion - describes graphic symbols used to simplify complex concepts into accessible, often memorable images. " (Heller, 2002)

Hallie Bateman's New Year's Resolutions illustrations remind me of the works of David Shrigley and Gemma Correll.  The handwritten text works perfectly with the simplicity of the drawings to create a collection of charming, funny pictures.  Everyone has a voice in their head when they read words, and in these pictures I feel like the voice would be friendly, if a little sarcastic.  The type does not feel authoritative or even motivational, really!  The humorous element of the images is what makes them memorable - humour disarms the viewer and arguably makes them more perceptive towards what it is they are looking at.  If the typography was changed to a font more digital and rigid, the tone of the picture would change completely and potentially the funny element may be lessened.

Fig 1

Fig 2

Fig 3

Fig 4

Fig 5

Fig 6
Fig 7

Fig 8

Similarly, Eduardo Sales' Cinismo Ilustrado are sarcastic observations on human nature, which on one hand make us laugh, but on the other hand make us look at our bad habits.  These images depict our immersion of the online world as a little bit satirical and a little bit sad.

Fig 9

Fig 10

"When a visual pun works - specifically, when two distinct entities merge to form one idea - the effect stimulates thought and sensation." (Heller, 2002)  This drawing of a homeless person asking for likes pokes fun at the social media trend of "liking" pages for charities while not doing anything to actively help the problem.  

Fig 11

Fig 12

"Humour is mnemonic - something that helps (or forces us) to recollect.  This can be manifested in word play, like a slogan or jingle, or picture play, such as a logo or trademark." (Heller, 2002) Everyone knows Cinderella, but this very funny spin on the happy ending brings a satirical element to it.  Satire is used again below to mock how men and women objectify each other in this diagram about boobs.

Fig 13

Fig 14

This one is interesting; can't tell if it's depicting the digitally-led revolutions as a good thing or a bad thing.

Fig 15

This made me laugh.  Purely good fun here and some wise observations!

So while I am no longer looking specifically at techniques of humour, there is a lot to be taken from it in terms of styles of illustration and typography used.  Who knows, I may find a way to bring it in to my practical work somewhere down the line.

References

Articles:

Heller, Stephen. 2002.  AIGA Website. "Is There Anything Funny About Graphic Design?" [online] Available at:  http://www.aiga.org/is-there-anything-funny-about-graphic-design/
[Accessed 10th January 2015]

Images:

Figures 1-8:  Bateman, Hallie, 2014.  The Awl.  "Realistic New Year's Resolutions." [online]
Available at: http://www.theawl.com/2014/12/new-years-resolutions
[Accessed 11th January 2015]

Fig 9-15: Sales, Eduardo. 2014.  Lost At E Minor.  "Witty Illustrations By Eduardo Sales" [online]
Available at:  http://www.lostateminor.com/2014/02/06/witty-illustrations-eduardo-sales/
[Accessed 11th January 2015]




NHS health posters

I thought since I am doing what could effectively be an awareness campaign, it would be useful to look at existing NHS health posters.  The NHS campaigns are a mix of levels of warnings - some are gentle reminders for people to get checked up while others are cautionary tales of the effects of smoking/sunburn/heart disease etc.  Public health posters have to persuade people into taking action for themselves, whether through subtly implied warnings or those that are blatant and at time quite confronting to the viewer.  It will be helpful to look at the combination of type and image and whether or not one supports the other.

Anti-Smoking

Smoking continues to be a major issue in the public health service, with well-known risks to health overall.  Anti-smoking campaigns tend to be quite visceral (Fig 2) and/or centred around risks to the health of children, due to the easy emotional hit parents can get from viewing images of children being badly affected by smoke (Figures 1, 2,).  Photography is used for it's sense of immediacy and realism - illustrations could work but photography is grittier if used in the right way, and helps to enforce the seriousness of the message to parents.

All the typography used here is sans-serif, which means the letters are more legible from a distance against the images.  The type is used as a secondary device to enforce the image - it could be argued that outwith the poster information regulations of the NHS, the images could be presented as is and speak for themselves.  I think the text is smaller and lets the image do the work.

Fig 1

Fig 2


Fig 3


Sexual Health

These posters use humorous, slightly sexualised images mimicking a fashion advertisement to playfully warn young people about the risks of catching STDs.  I like how the poster hints at the typical night out scenario when someone looks at another person they don't know and thinks about going home with them.  The mix of typographies is quite grungy, and the message of "I'll give you one" is shown in bold red letters to heed as a warning.  The informative text is placed at the bottom of the poster to give the image precedence.  Here, the image and text are equal in the image - without explanatory text, the image may be interpreted as a much cruder message.  

Fig 4

Fig 5

Childhood Obeisity

Fig 6

This poster is pretty grim - the child's face has been manipulated to look like that of a stroke sufferer, which in itself has shock value.  Then the text, outlined to look more child-like, predicts the future of the child if he were to continue having an unhealthy weight.  Like the other posters, informative text is placed at the bottom of the poster to give the image and main text precedence.  By contrast, the posters below (which are available from the NHS website as templates for local councils) are friendly and even pleasant to look at.  These posters encourage over-40s to go for a free health check, so there is no need for shock value imagery or punchy typography.  The type used here is sans-serif so it is legible from a distance, and feels informative but friendly.

Fig 7

Fig 8

Sun protection

This project is a little different - a final year project for graphic design student Chloe Joyce, who used peeling paper to literally present the effects of sunburn.  The editorial was done for Cancer Research rather than the NHS, but I still thought it would fit in with this post.  

The cover has been made to remind the reader of a vintage beach postcard, and has an effect of having been bleached by the sun.  The paper seems crackly and parched, which acts as a perfect secondary warning of the effects of spending too much time in the sun.   On the pages below, the paper literally peels off as sunburnt skin does, and in conjunction with the blocky type create a design that is not delicate in it's warnings.

Fig 9

Fig 10
I think this is great - the sunburn in bold type at the end works well as a kind of harsh full stop to the text.  Here readers can scratch the illustration, resulting in layers of it peeling off.  The image of the arm benefits from being an illustration as it works better with the worn look of the leaflet, and by interpreting sunburn with paint, Joyce has been able to make it look worse by giving it more layers and colours.
Fig 11

Fig 12

Looking at these images has been a good study of how images and text work with each other.  Some images rely on text to make them understood, while others use it only as an elaboration for the warning they serve to the public.  Analysing the typography has also helped me to think more about type in itself and what kind of message, mood or voice different fonts put across just by the way they are shaped.  While I will likely not be using images such as the ones in these campaigns, it was useful to look at what methods were used in the images (mostly photography for realism) and the nature of the photographs (manipulated and manipulating), as they are examples of the methods the NHS use to address public health issues in a way that intends to persuade the viewer into changing habits.

References

Fig 1- Smokefree by National Health Service, 2005.  Secondhand Smoke is a Killer. [online] Available at:
http://resources.smokefree.nhs.uk/news/campaigns/2005-smokefree-campaign-secondhand-smoke-is-a-killer/
[Accessed 15th January]

Fig 2 - Smokefree by National Health Service, 2012.  Smokefree homes and cars. [online] Available at:
http://resources.smokefree.nhs.uk/news/campaigns/smokefree-homes-cars-secondhand-smoke/
[Accessed 15th January]

Fig 3 - Smokefree by National Health Service, 2013.  NHS Smokefree Health Harms [online] Available at:  http://blog.solopress.com/printing/posters/new-anti-smoking-advertising-campaign-is-another-shocker/
[Accessed 15th January]

Fig 4 - Department of Health, 2007.  Condom Essential Wear [online] Available at:
http://www.healthresources.ssotp.nhs.uk/HPAC/MoreDetails.jsp?id=6356&dsn=hpstoke&subjectId=24&referrer=http://www.healthresources.ssotp.nhs.uk/HPAC/BrowseSearch.jsp?subjectId=24&typeId=P&submit=true&sort=dater&page=1
[Accessed 15th January]

Fig 5 - Department of Health, 2007.  Condom Essential Wear [online] Available at:
http://www.healthresources.ssotp.nhs.uk/HPAC/MoreDetails.jsp?id=6356&dsn=hpstoke&subjectId=24&referrer=http://www.healthresources.ssotp.nhs.uk/HPAC/BrowseSearch.jsp?subjectId=24&typeId=P&submit=true&sort=dater&page=1
[Accessed 15th January]

Fig 6 - National Health Service and Rankin, 2010.  Kids on Track [online] Available at:
https://kanwalkalim.wordpress.com/2010/10/02/nhs-recruits-rankin-to-tackle-child-obesity/
[Accessed 15th January]

Fig 7 - National Health Service, 2014.  NHS Health Check Roller Banner [online] Available at:
http://www.healthcheck.nhs.uk/commissioners_and_healthcare_professionals/marketing_and_branding/visuals_and_posters/
[Accessed 15th January]

Fig 8 - National Health Service, 2014. NHS Health Check Advert [online] Available at:
http://www.healthcheck.nhs.uk/commissioners_and_healthcare_professionals/marketing_and_branding/visuals_and_posters/
[Accessed 15th January]

Fig 9 - Joyce, Chloe, 2014. Editorial front page [online] Available at:
http://www.chloejoycedesign.com/#/editorial/
[Accessed 15th January]

Fig 10 - Joyce, Chloe, 2014. Editorial pages 1-2 [online] Available at:
http://www.chloejoycedesign.com/#/editorial/
[Accessed 15th January]

Fig 11 - Joyce, Chloe, 2014. Editorial pages 3-4 [online] Available at:
http://www.chloejoycedesign.com/#/editorial/
[Accessed 15th January]

Fig 12 -  Joyce, Chloe, 2014. Editorial pages 5-6 [online] Available at:
http://www.chloejoycedesign.com/#/editorial/
[Accessed 15th January]


Thursday, 15 January 2015

Art influences? Diftype by Niklas Lundberg


I found the work of Niklas Lundberg through Karan Singh, who I wrote about last week and who runs a site called Big Pimpin' where he curates the work of other artists and writes about art-related events and issues.  Lundberg's work is, to me, reflective of what is going on in the mind.  While it's a much darker approach than I would take to the subject of mental health and mindfulness, the illustrations are lovely and complex enough to make me think of the thought process of someone who thinks a lot or who has a lot going on in their head.  It's clear that in some pieces, Lundberg seems to be thinking of the same, especially in Figure 1.  I love the detail and mash up of digital and hand-drawn - this mix can often make illustrations look a little more personal so it is something to keep in mind.  I love drawing on paper, but I don't do it enough, so perhaps visual development for the honours project would be a chance to try mixing it with some Illustrator or Photoshop work.





All images by Niklas Lundberg, 2011.  You can find more of his lovely work at his website.

Images taken from http://www.pigbimpin.com/niklas-lundberg-diftype/