Visual Communication

This work has been produced by a student at York St John University as part of their university work and is intended as an educational output. Where necessary, the student has considered copyright and appropriate credit has been given where reference has been made to the work of others.

The narratives of advertising and editorial imagery

In advertising, the goal is to get the target consumer’s attention, create a desire for the product, and get the consumer to recognize the product and buy it (Armstrong,  Ivas, & Armstrong, W. 2006). In the editorial, the brand does not have as much control in the portrayal of the brand in a photoshoot but there is still the storytelling aspect such as Tim Walker has done for Vogue.

Visual Communications !Converse - Get Chucked We Call It Life | Cool  converse, Converse, Converse shoes
Converse advertisement

Storytelling and advertising analysis.

1. Casting of the model?

The model is a white young blond women. This model has been chosen to contrast with the black background. The model has not a massive importance.

2. The sourcing of the location?

The photo has been taken in a parking during the night.

3. The lifestyle of choice of your customer?

Converse’s customers prefer to live their lives without taking care of their shoes. As Converse says; “Dirty shoes have better stories”.

4. The use of colour?

The advert use the basics colours of Converse, white, black with a small touch of red.

5. Art direction?

The advert tells the customer that they must live their life no matter what they wear. The right to be real, to be yourself and not pretend. The photo could have been taken by anyone. The art directors are Hadley Adams and Simone Bilotta.

G. Vanbosterhaut

References

Ads of the World (2011). Converse : Fall/Winter 2011. [online] Available at : www.adsoftheworld.com/campaigns/fall-winter-2011. [Accessed 10 May 2022].

Armstrong, J. , Ivas, L. , & Armstrong, W. (2006). The Evolution of the Fashion Image. In From Pencil to Pen Tool: Understanding and Creating the Digital Fashion Image (pp. 1–30)

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