When talking about Advertising Psychology, perception is the most important. Your ads are about perception, so you'll need to use each of your ads. You need to know what works and what does not, so do not waste your time and money on the wrong copy. A number of attempts have been made to determine if the white or black type made the ads more attractive. We used more than 500 people in the experiment. In some cases, the white type background was gray, but in most cases it was black. The results show that the common reader is more likely to detect the display type, which is black as the same type of display that is white.
Another laboratory experiment was done on the same subject. We've shown particularly prepared pages for a seventh second. Part of the pages appear on a white background with black letters and white letters on the black background. In other cases, half of the page was black on a white background, and the other half on the white background with black words. They produced cards in which all sorts of white and black combinations were made and manifested for so many people in such a short period of time that no one was able to notice all the cards. In such circumstances, the subjects saw what attracted their attention first and what was the easiest to perceive. The final results showed that the black letters in the black background are larger than the white ones on a black background. This is true of the other colors as well. A dark font is detected on a light background more often than a light font on a dark background. Use the right combination unless you're looking for a certain "feeling" for your ad.
It's safe to see that if other things are equal, then the most readable ads will be printed, the most readable ones. In many cases, the difference in the appearance of a type can be so small that even people in the choice of the type can not tell which one is the most legitimate, but the difference between their values can be large enough for the advertiser to be certain which type to use.
If the question of proper use of the type is important to the advertiser, it is even more important to use the graphic wisely.
Graphics are often used as attention-grabbing and are ignored as symbolic illustrations. In some cases, this may be wise and necessary, but if we take into account the value of graphics as a symbol, we are surprised that the graphics are not used more intensively and even more thoroughly. The first form of writing was pictorial writing, the simplest and simplest form of graphics in the picture, not the printed word. At a glance we can usually read four words; that is, for example, the width of the detection of printed words is about four. In an illustration, at a glance, one can see as much as one can say on the entire page of a printed material. The perception of the illustrations is much broader than in the case of printed forms.
Illustration can perform one or both functions. The image may be a source of attention, or an "illustration", and it can provide real help for perception, helping the text to tell the story presented. In the first case, it would have been an irrelevant painting; the second is relevant. Numerous studies have been carried out to determine the relative value of relevant and unlawful illustrations. Although the results achieved so far are not as decisive as desirable, it seems that the perceived value of relevant illustrations is greater than it is supposed to be and that the irrelevant "image" is often not as effective as attracting attention than the relevant illustration. In such circumstances, it seems that the illustration in an advertisement is usually a dual function of raising awareness and promoting perception. Which of these functions is one of the most important, profitable questions for conversation, but when these two functions merge into the same illustration, the value increases twice. Irrelevant illustrations are merely made because they are expected to receive attention if they actually attract the designer and the unlucky person to whom they have to pay. Many illustrations are made and inserted into the ads because they need to help detect. They must tell about the history of the goods advertised and one form of reasoning. The designer of the illustration and the familiar goods know what the picture is and therefore is a symbol of these goods and tells the special benefits of the goods. For illustrative and non-familiar people, the illustration is not an illustration at all. Not only that, but an illustration can ignore the viewer from the actual message. Things are animated graphics that really draw your eyes and the viewer will never return to the actual message.
The advertiser is so familiar with the offer that he or she can not appreciate the difficulty with which the public receives a clear and comprehensive view of advertisements for advertisements. It is almost impossible to err on the side of clarity. A drawing illustration may seem to be an artist, but there is a danger that the viewer makes the observation meaningless and therefore does not get any other idea from them. Text and illustration must first be clear and should, in every possible way, help the prospect of potential customers in forming the right concept of the goods they exploit. This is what is about advertising psychology; so the viewer remembers your product and buys it.
Source by sbobet