Persuasive Advertising - J. Scott Armstrong [161]
Additional support was provided by an eye-tracking study on 88 subjects who viewed 65 full-page Dutch print ads for fast-moving (low-involvement) consumer goods. The logo received “by far the most eye fixations per unit of its surface, followed by the text elements [including headlines] and the pictorial.” Ads with a prominent placement and a larger area devoted to logos drew more attention to the brand with no negative net effects (Wedel and Pieters 2000; Pieters and Wedel 2004).
Analyses of non-experimental data from eye-tracking studies showed that ads with familiar logos drew more customer attention, and customers spent more time reading the text (Pieters and Wedel 2004; Rayner et al. 2001).
Hold the brand elements on screen. An analysis of non-experimental data on 30-second TV commercials segmented the data into three groups depending on how long the brand elements were legible on screen (Walker 2008). This table shows the responses relative to the typical ad in this sample. For example, when the product was on the screen at least 11 seconds, the persuasion score was 1.07 times that for the typical ad:
TV commercials that included the brand name at the end were above average in changing brand preferences (Ogilvy and Raphaelson 1982). Visual TV brand sign-offs were associated with higher persuasion, but auditory sign offs were not (Stewart and Furse 1986). In contrast, Stewart and Koslow (1989) found that TV commercials with auditory sign-offs were more persuasive.
8.5.2. Use logos to express meanings or emotions
Logos and mascots can be used to express meanings or emotions. This can be aided by use of an appropriate color or design.
In 1971, Phil Knight, one of the founders of Nike, asked designer Carolyn Davidson for a trademark expressing “movement.” She showed him some designs, among them the swoosh. Knight told Davidson, “I don’t love it, but it will grow on me.” Her fee was $35—however, she did receive more when the swoosh became a big success.
Messaris (1997, p. 59) quoted a creative director, Stephen Barker, who said, in 1961, “The harsh, angular effects of square objects … suggest masculine temper, while the round shape of a circle implies the gentleness of a woman.” Messaris asked 132 subjects to rate various shapes for potency (weak–strong, soft–hard, impotent–potent) and activity (passive–active, slow–fast, calm–excited). Consistent with Barker’s observation, the star, triangle, square and rectangle rated high on potency, while the circle and ellipse rated low. In addition, the star and triangle rated highest on “activity.” Keep in mind, however, that shapes may carry different meanings in different cultures.
8.6. Attractive visuals
The busy American is loath to read. His eye must be attracted, coaxed, cajoled [by visuals].
Printer’s Ink, 1898
In 1996, Parmalat and its Brazilian ad agency used children dressed as animals for milk ads. The slogan was “Parmalat—because we are mammals.” Not only did Parmalat’s sales increase markedly, but the company produced mammal dolls redeemable for 20 Parmalat bar codes plus $7, and, at its peak, sold 60,000 dolls per day (Berger 2001).
This section examines visuals that contain no information for potential customers. They are used simply to attract interest.
Attractive visuals might help gain attention for low-involvement and hedonic products that are widely used. Even if an ad provides no information to the customer, it would seem desirable that visuals be related to the product, service, or offer. For example, the milk-moustache ad campaign always included the product.
Consumers are more likely to stop and take notice when they see a picture. This is useful when a customer is not looking for ads, such as when reading newspapers or magazines. Analyses of eye-tracking studies show that the typical consumer viewing time of a full-page print ad is estimated to be 1.7 seconds; of this, consumers spend 0.6 seconds viewing the picture (Pieters and