In this article you can explore how multimedia factors such as music, images, animations, and videos affect consumer response towards advertising in digital space.

1. Waleed Ahmed.
Factors affect consumer response towards digital advertising

2. 1
Factors affect consumer response towards digital advertising
Introduction
“Of course,advertising’suse of imagery andmusicmakesitaricher device of communicationthan
language alone.Indeed,partof advertising’suniquenessasa discourse formderivesfromitscapacityto
combine language withmusic,picturesandsubstance ormedium”(Cook,2001, pp.231) citedby
(Hackley2005). As well as,E-communicationsstrategyisanessentialcomponentof InternetAdvertising
because of the importantrole of advertisingtoinformandpersuade customers (Goldsmith&Lafferty
2002). Because people atthe momentare searchingforproduct,brand,companies,andetc.related
pictures(Solis2011).Furthermore,due to the lessphysical social interactioninourlives,peopleare
spendingmore time intechnologyandgadgets,whichisthe reasondigital advertising isplayinga
dominantrole.The bigrulingorganizationswillcontinuetofindandmodifyoldtheoriesabout
consumerbehaviorthatwill helpthemengage the consumermore efficientlyonthe digital
environment.
Accordingto a previousresearchitismentionedthat “Advertisementcreateslikenesstowardbrands
amongconsumersandinfluencesbuying behavior”(Goldsmith&Lafferty,2002) citedby (Rehmanetal.
2014). People showtheirinteresttowardcertainsubjectsbecause of the developmentof stimulus
(SissorsJackZ. and Barron RogerB. 2010). Promotingpositivefeelingsthroughthe use of humor,music,
and dramaticeffectsisthe essence of advertising. (Face &Korzenny2010).Because creatingan ad isa
long,detailed,collaborativeandaverycreative procedure andwhere itsmaintargetisto hitthe
consumerstimuluswithapositiveresponse towardsthe brand.
In contrast, the actual Advertisingdesign,logo,packagingandthe more recentadditionwebpage
designisconsideredone of the mostimportantcomponentof visual marketingtohave aneffective
visual communication (Michael &Rik1937). Similarly, Notonlyjustvisual phenomenonbutcolorhas
alsoa veryintriguingandemotional role thatislinkedtocultural dimensions,and itcan eitherenhance
or occlude the communicationefforts (Adams&Terry2006). Accordingto psychologiststhe impression
of colorscan account forthe acceptance andrejectionof the productor service by60%. It is true that
colorplaysa vital role ineveryaspectsof the designphase andact as a psychological response onthe
viewer/consumerandif itisnot plannedaccordingly,itcan turn successful campaignsinadisaster.
InternetAdvertisingiscreditedmore beneficialand effectiveoverthe traditionaladvertisingmedia.
(Green2014). Because of the customizable featuresthatare now available like,precise consumer
targeting,global reach,trackable campaignsandthe involvementof multimedia. Therefore,a
numerousnumberof digital advertisersare designingseveral versionsof online bannerads,andplaying
withelementslikecolor,font,image andmessage tocome upwiththe bestworkingstrategyto get
more clicks (Wang etal.2013). Bannerads have transformedthe conceptof digital advertisingandis
still evolvingandshapingindifferentsizes.
AfterAnalyzingall above points,thispresentstudywill focusthe importance onthe elementsof
multimediathataffectspsychologicallyon aconsumer’sstimulusontakingadecisioninthe digital
advertisingenvironment.

3. 2
The relative importance of multimediato the users of digital advertisingand social media
The emotional impact of music
Accordingto Sloboda(2001), That musicispurelyassociatedtosymbolsandsignsandithas no natural
relationtoemotion.However,Incontrast Judi (1991) statesthat throughmusicimpactson the feelings,
emotionsandmood,andit alsointensifiesthe recall of the productorad usingelicitedimages. Ina
research (Binetetal.2013) mentionedthatJohnLewis(adepartmentstore chaininUnitedKingdom) is
famousforrunningextremelyemotionalTV advertisements,one example is“The Journey”inwhich
musicplayedamajor role. Notably, Itcan be understoodthatmusicdoeffectonthe humanemotions
and feelingandplaysacentral role in the decisionmakingprocess.Therefore itisimportantto
investigatethe musicfroma consumerbehaviorperspective thathow emotionsandmoodevokesa
consumerto create engagementormake anybuyingdecisions.
Similarly,Accordingto Sloboda(2001) he foundthat there isa massive evidence aboutlisteners
attributingspecificemotionstocertaintype of music,buthe founddifficulttofindconvincingevidence
aboutit. However,Incontrast;several researchershave presentedtheir viewsabouttempoandits
effectonemotionsoverthe pastfewyearsandcame to the conclusionthatfastmusichas different
emotional effectsthanslowmusic,fastmusicisperceivedasasymbol of happinessorpleasantthan
slowmusic.Whereasmusicwithaslowtempoor pace tendto elicit feelingof calm, orsentimental.
(Gorden& II 2014). However,the elicitpositive andnegative emotionscreatedinthe adwill make
sovereigncontributionstowardsthe mentationof adreactions.
In Contrast,All advertisementsare of differentnature andthemes,andnoteverymusicisgoingtofit
and workperfectlytodeliverpropercommunication, andthishasbeenacceptedbythe industry
professionalsaswell asthe academicresearchers. (Binetetal.2013). Likewise,inananotherresearcha
testfor twoads was conducted inthe U.K. fora car launch,boththe adswere identical butthe music
were differentinboth,one adusedthe well-knownsongAnything you can do andthe otherwasa less
renownedone called Alternative.Asaoutcome the responsestothe ad withthe songthat was less
renownedproducedmuchfavorableresultsthanthe versionthatwassuccessful Brown&Point, (2008).
Later, the resultswere brokendownin several questionsandtheywere;
(Brown & Point 2008)

4. 3
Howeveritisnowproventhat musicdo have a contributioninthe advertisingindustryandhave avital
role of capturingattentiontowardsads,apart fromjustgainingattention.
In the same way,Allandescribesthatonce the consumerattentionistakeninanadvertisement,then
memoryisthe nextimportantstepinthe sequentialcausal chain(Allan,2006 citedby Thorson et al,
1992). Therefore (April 2003) defines,toachieveit,musicinadvertisementworkwithseveral different
objectivesandcombinationslike,togainattentionorcreate mood,makingthe brandor the ad
unforgettable,orenjoyable,itcanalsobe usedto give energyandpace inthe ad.However, Young
(2014) statesthat Advertisersshouldbalance engagementwiththe conversionof brandintomemories
and because consumerchoose bymemorynotbyexperience.Tofurtherexplainthis, Brown&Point,
(2008) conducteda studyaskingthe consumersabout theirmemorieswiththe associationof Cornetto
ice cream, and25% of respondentssaiditsmusiccame firstintheirminds.He furthermentionedabout
a deodorantad that wasfeaturedfora song,and the song wasa rememberingfromthe ad.LastlyGorn
(1982) suggestthatincidental influencessuch asthe use of backgroundscore in the commercialscan
become associatedwiththe brand/product inthe memory,andlaterconsumercanbe persuadedonthe
productchoice by classical conditioning.
“Brilliant copy and art will never make a weak selling strategy succeed. But… once there is a sound
selling strategy, then good copy and art will multiply and its effectiveness”
(Arthur Tatham cited by Sissors Jack Z. and Barron Roger B, 2010)
Communicationthrough colors
Xu & Oh (2003) statesthat multimediacontentinclinetobe more attractive andit can impacton the
involvementof the sensesatthe same time.Furthermore,he addedthatthe elementsof multimedia
such as colorand graphicsdoessignificantlyaffectthe decisions forinformationprocessingin
advertising. the imagesthatare createdby the creative industryeitherinadvertising,sitcom, soapsor
newsreports, canhave a deepimpactonthe people’s attitude,belief andbehavior,and theyare far
fromthe realityasthe waywe perceive it,andthatiswhat we have recentlybegantouncover.SHRUM
(2004). Moreover,significanteffectsof intensifyinginformation throughcolorandgraphicswere also
foundinresearchthat leadtoa favorable evaluationof the advertising. Incontrast,Anothermediumof
visual communicationisusingof symbolsandsigns,(Berry,1980 citedby Mohr et al.2006).
Furthermore,(Hanson,1987 citedby Mohr etal. 2006) that 75% of informationthatwe perceive inour
dailylife throughoursensesisall visual. Thus,Accordingto Scott& Batra (2003) all emotional,semantic,
action-orientedandstrategicinformationisstoredinourvisual memory.Moreovertheymentionedthat
the constructionof the visual sketch,codingof informationandthe selectionof it,is ainteractive
processand thusthe interpretationof complex visual stimuli,thatisthe visual advertisementmay
dependandvaryfrom individual persontoperson.Asrevealed,the elementsof Multimediaisplayinga
significantrole inthe moderndigital advertisingtopersuade consumerstosomehow getattention
throughany technique and togetthe brand lockedintheirminds,andtheycan easilybe able torecall it,
by the helpof music,colorsand photographs.
“More than justa visual phenomenon,Colorhasemotional andcultural dimensionsthatcan enhance or
impede communication efforts” (Adams & Terry 2006, pp. 35)

5. 4
(Schroeder2005) describesthatbrandsare intrinsicallyvisual,thatisbaseduponlogos,packaging
design,productdesign,brandidentityandbrand marketingcampaigns. The brandsvisualidentityis
usuallyexplicitthroughalogo,whichisfairlyabalancedcomponentincommunicationof the brand (Pas
& Laar 2002). Thus, it is importantforbrandmanagersto keeponworkingonvisual identitiesbasedon
moderntrends.Hence,consumerdecisionsonmakingthe rightchoice isverymuch dependentonthe
style of a packagingor a particularlogo. (Pas& Laar 2002). Additionally, Colorcontributesamajorrole in
logodesigningincreatingawell-defined,recognizableidentity. (Romaniuketal.2014). Furthermore,
Accordingto a studyof Worldwide &Report (2010), 43% of consumersgive more attentiontothe
overall design, color,andfeelof the product (Worldwide &Report2010). The associationof colornot
justwiththe logos,butbrands as well showsthatitisone of the most significantmediumsthatisused
ina veryaestheticandinan extremelyclevermannertoevoke the consumer’sattention.
(WassilyKandinsky,1997 citedby Gabrielsenetal.2000) statesthat coloralso engenderfeelingsintheir
ownright. Furthermore colorcan alsogive rise tocertainemotions because of the inherentqualitiesof
Some colorscan have.(Wellsetal.,1992, Crowley,1993 citedby Gabrielsenetal.2000). Likewise,Ina
recentstudyitis discoveredthatlessmenhave afavorite colorthanwomen,furtherwhenaskedabout
the preference betweenbrightandsoftcolors,womenchoose toselectsoftcolorswhilementendto
pickthe brightones Adams& Terry (2006). However,the three technical componentsof colorthatis
hue or tint,Value/lightness/brightness,andsaturationorchromahas an effectonidiosyncratic.
Furthermore, Adams&Terry (2006) demonstratesthatage is a verycrucial factor associatedto color
interpretation,childrenandelderlyhave achemical attractiontobrightandintense colors.
In addition, Gabrielsenetal. (2000) describes colortobe one variousmodesof visualizations,thatis
communicatedthroughforms,curvature,shapes,symbols,andrepetitioneffectswhichmayimpactthe
sensoryandemotional impressionof the encoder.Furthermore,foracompany,or a categoryof a
product,colorsservesas a conveyance of identity.However,Incontrast Michael &Rik (1937, pp.282)
mentionedthatbecause of differentlife experiencesandlivingindifferentculturespeople cangenerate
differentmeanings.Likewise,colorsare usedbasedonthe cultural traditionsandconventions,colorsa
are noticed contextreceiverandplaysastrongrole for the cerebrationinthe mindaboutthe subject.
(Hansen2000). Asthe above discussionsignifiesthe importance of colorandhow it effectsonour
behavior,andemotionsall the time,andsubconsciouslywantustomake a decisionabouta certain
productor brand,therefore afteranalyzingthe above points, itisequallyimportanttodecode the
emotional responsesthatare communicatedthrougheachof the individual colors.
Adams& Terry (2006) mentionedthataccordingpsychologiststhe impactof colorcan accountfor the
acceptance or rejectionof the colorservice orof a product. Likewise,addingtoomanycolorsor too
much informationonthe packagingmaypetrifythe perceptionof the consumerandstopthemfrom
usingitbecause of a visual chaosonthe packaging. However,forsemioticandartisticreasonsdesigners
deliberatelychange andmanipulate colorperception (Adams&Terry2006, pp.64),VanGogh (a famous
painter) thoughtfullycapturedmoodandemotionsusingcolorsexceptcreatingrealisticreproductions.
It isnow clearto visualize thatthe impactof color on eachindividual isjusttopersuade usandgetting
our attention andconvertourattention.
However, (Hansen2000) mentionedthatcolorare usedaccordingto conventions,likewise (Eiseman,
2000 citedby Noiwan&Norcio2006) elaboratesthatlearnedreactionstocolorsare
a determinantfactorfromcultural backgrounds. Similarly,characteristicslike emotiveness,reflection,
remembrance are recognizedusingredandblue hues,andimportantlytheyare notclassifiedascolors
(Adams& Terry2006, pp.70). Onthe contrary, (NAz& Epps 2004) mentionedthatthere are negative

6. 5
emotionsassociatedforall colors,butblue canbe readas a symbol of sadnessanddepression,whereas
the antagonisticaspectsforredcolor can be perceivedasevil,bloody,orsatanist. (Lichtlé2007) states
the hypothesisthatasingle personmaylikelytogothoroughfrom more pleasure while watchinganad
whichhas physiologicallystimulatingpossessive,saturatedandbrightcolors. Bynow we have analyzed
the importance of howcolor impactsof on the consumerdecisionmakingandworkasa main interestto
getattentiontowardsthe ad.
To supportall the above points (NAz& Epps2004) conducteda researchbasedonemotional responses
and attitudestowardscoloronthe digital interface,whichwasbasedon98 volunteersfromwhich44
were menand58 women,atpublicinstitutioninsouthwestandtheirdemographicswere18-25 withan
average age of 21, andit isimportantto include thatnone of themhadany color deficiencyastested
Ishiaracolordeficiencytest(1993).Tenfullysaturatedcolorswere chosenfromthe Munsell color
systemthatincludedred,yellow,green,blue,purple,yellow-red,green-blue,purple-blue,andred-blue
whichwere all preparedonthe digital interfacesonasoftware calledfreehand.All the participantswere
testedindividuallyandeachof themwere shownall the colorsamplesonthe computerscreenona
neutral graybackgroundand thenaskedto associate theirexperience basedonemotional response,
feeling,andwhydidyoufeel thisway,Moreoverthe dataforthis resultwascollectedthrougha
software programcalledstatistical package forsocial sciences(SPSS).Overall 64% of participants
expresspositive responsestocolors,where as34.2% were negative and3.6% expressednoemotion.
Colorgreenachievedthe highestnumberof positive responses of 95.9% followedbyyellow 93.9%,
whereasthe secondhighestwastakenbyblue 79.6% followedbypurple andred64.3%,In brief,the
responsesforall the participantsthatwere emotionallyassociatedwiththe principlehueswere positive
79.6% comparingwithintermediaryhues64.5% andwithachromatic hues29.2%. Thisabove research
by (NAz& Epps2004) helpedusvisualizethe importance of colorsthataffectusemotionally,basedon
howcleverlyandcreativelytheyare used,we then make purchase decisions,
Impact ofbanner animation and differentad formats
An animatedgraphicisanillusionof imageschangingsorapidlythatitlookslike asequence of a
continuespicturesdefinedby(Baeckerandsmall,1990 citedby Noiwan&Norcio2006). (Wang etal.
2013) Banneradsare essentiallyusedtogainwebcommunication,watchingbanneradshasbeen
associatedtoincrease brandawareness,brandpreference andpurchase intentionswithinconsumers.
Whereas, (Cho2003) definesthatinternetinteractivitycanbe definedinmanydifferentways,and
several differentconsumeractivitiesoninternetcanbe classifiedasinteractionsoninternet(forex.
Searching,givingfeedback,clicking). Equally (Rettie etal.2004, citedby Bany & Mohammed2012) that
the size of an advertisementhasa positive effectinthe increase of clickthroughrate,Inparticular,
these factorsthat are consideredveryimportanttothe marketersandtotestifythattheir
advertisementshave animpacttothe target audience (Palanisamy2004, citedby Manchanda etal.
2014). Because of the increasingpopularityindigitaladvertisinginthe formof banners,thatis square,
vertical andrectangle andeach of themresponddifferentlybasedontotheirtargetingpreferencesas
well ashowit isdesignedimportantly.
In contrast, (Cho2003) explainedthatbasedonthe hierarchyof effectsmodelconsumersenduphaving
eitheravoluntaryresponse oraninvoluntaryresponsetowardthe ad.The involuntaryresponse iswhen
consumershave choiceseithertoclickor skipthe ad, and if theyclickthe bannerand visitthe
product/service website they giveavoluntaryactivityonthatad. Onthe contrary basedon the selective
attentionandelaborationlikelihoodmodel (ELM),differentcognitive abilitiesandresourcesare needed
for differentinformationtypes(Hsiehandchen2011, citedby Barreto 2013). In the same way, (Young

7. 6
2014) describes thislowversushighinvolvementprocessingastwosystems,one isfastandthe otheris
slow.The systemone (fast) towhichhe calledisourdefaultmode anditusesimages,words,feelings
and actions,ideasandmemoriestocreate connections inmemory,whereasthe systemtwo(slow)
whichdependsonmore logical thinking,lookfornew informationforbetterdecisionmakingability,and
ismore energyexquisite.Itcanbe relatedfromour previousexperiencesthatforcertainads
(S.Rodgersand Thorson2000, citedby Faber2004) recognizedfivetypesof adformats on the online
worldof advertising,andthose were banners,interstitialsandpop-ups,hypertextlinks,sponsorshipand
websites. Bannershave become the mostrife advertisingformatinthe digital advertisingbusinessright
afterthe firstsimulationof commercial bannersonhotwired.com in1994 (Cho2003).The standard
space of a Bannerad. is usually480x60 pixels,whichisacombinationof graphicsandtextual
informationthatwhichishyperlinkedtothe product/advertiserswebsite. (Manchandaetal.2014).
(EllsowrthandEllsworth,1995 ciedby Yoo et al.2004) mentionedthat,one of the unique featuresof
banneradvertisingisanimationthatsimplifyandenhance the persuasivenessof messages. Moreover
(Noiwan&Norcio2006) also agreedthatan animatedismore effectiveandpersuasive ratherastaticad
to increase clickthroughrate. However, (Wells,Burnett,andMoriarty,2000, p. 277 citedby
Hershbergeretal.2003) that bannerads have transformedoutstandinglythroughnew technologies
such as pluginscalledjava,andstreamingmedia. (Fortinetal.2003) addedthat animationisused
comprehensivelybyadvertisers,because the use of animationalwaysappearedadvantageousin
improvingthe clickthroughrate.
Conversely, Kuismaetal. (2010) designedanexperimenttomeasure attentiononbanneradsandsky
scrapperads, andtheireffectsonthe memorywhile readingtextinthese fourconditions,1) Whenboth
ads were static,2) Whenbothads were animated,3) The bannerwasstatic but the sky scrapperwas
animated,4) The sky scrapperstatic butthe banneranimated.The abnormal datafor thisexperiment
was gatheredbyeye trackingina laboratoryenvironmenttoaccomplishbestcontrol overthe research
condition.However,inresult,therewere nosignificanteffectonattentionwasfoundthrough
animation,althoughthere isastronginteractionbetweenanimatedskyscrapersadsthatincrease
attention,onthe contraryanimatedbannersdecrease attention.
(Kuisma et al. 2010)

8. 7
Additionallyinanothertestforrecognitionmemory,inwhichindividual adswere showntoall of the
participantsseparatelywhichall togethercontained 32ads,half takenfrom the firsttestand the rest
were newforthem,equallytheywereall presentedwiththose fourexperimental conditionsas
discussedinthe previoustestforattention,andaftereachad participantssignaledif theyhadseenthe
ad usinga correspondingbox onthe screen. Interestingly,the resultsformemory effectsonanimation
were nearopposite of the attentioneffects,andoverstaticbanners,animatedbannerswere
rememberedmore whereasithadnoeffectonthe recognitionof sky scrapers.
Banner size and formats
All advertisementsare notthe same,whichiswhytheirsize,format,designandcontentdissentinthese
characteristics(manchandaetal.2002 citedby Bany & Mohammed2012). Likewise (Rettie etal.2004
citedby Bany & Mohammed2012) foundthatthe size of advertisingcontributespositivelyinincreasing
the clickthroughrates. Moreover(Baltas,2003 citedby Bany & Mohammed2012) explainedaboutthe
usersof internetadvertising,thatbiggeradsare betterandmore powerful incapturingattentionand
are more expectedtogetresponded.Accordingtomypersonal experience withthe differentformatsof
digital advertising,Iammore likelytorespondandgetattentive becauseof the large displayof the ads,
and as previouslymentionedbecause of the othermultimediafactorsthatare involved,andif itis
relevanttomyinterest,Iwill more likelytoexplore andlearnmore aboutthe productor service.
In Particular, (Baronetal.2014) mentionedthat,these highimpactadsare equippedwithgreat
engagingfeaturesandare bestknownfordrivingconsumerresponserateshigherthanthe standard
displayformat.He furthercategorizedthathighimpactadsconsistof three groups,1). Full screen
interactive,whichisrepresentedbyscreenshiftandcantake over the entire webpage.2).Large canvas
displayunits,whichisrepresentedbythe six InteractiveAdvertisingBureau(IAB)risingstar,with
formatsincludedbillboard,filmstrip,portraitand etc. withsynergisticfunctionality andprominentpixel
size.3).Skinsor wrap formats,thatremainonthe page while scrollingasa staticunit.Otherresearchers
have measuredthe effectof highimpactadson brandrecall byorganizinga testwhere participants
were askedtokeyout a brand correctly,whichtheyremembered watchingadvertisedinatest
environment,howeveritisobviousthatlargerads will take more space ona clutteredwebpage and
whichmay leave abrandedimpression.

9. 8
(Baron et al. 2014)
As perthe results,the full screeninteractiveformatproduce 124% higherunaidedbrandrecall which
occupiedthe mostthan the standarddisplay. Because of theircontinuityonthe page,skinunitsalso
deliverhighestlevelof unaidedbrandrecall of 82%.In the last,Most likelybecause of the factthat
canvas displayformatissimilarinsize withthe standarddisplay,whichisthe reasonsidekickwasthe
onlyad formatthat failedtoshowanyincrease inthe unaidedbrandrecall. Indeed,the followingresults
confirmthat highimpactad formatsdo performwell thanthe standarddisplay becauseof theirlarge
sizesanddifferentformatsthathelptocreate brand awareness.
Conclusion
As we have reachedtothe conclusionof ourresearch,inwhichwe have coveredthe multimediafactors
that influenceconsumeringettingattentiontowardsthe ad. Throughoutthe researchwe primarily
focusedonmusic,color,banneranimationandthe impactof its differentsizesandformatson
consumerattentionandbrand recalling. Ouraimsformusicisto brieflylookitfroman emotional
perspectivesandhowitcan create an impact onmemoryand recall oldexperiencesthroughdifferent
typesof musicwhichisexplainedinclearpicture byshowinganexperimentbetweentwosongs.
Likewise asemphasizedinabove studythatthe role of multimediaplayingasignificantcontributionin
the digital advertisingindustryandcertainelementsthatare associatedwithmultimediaforexample
color, whichplaysa cleverrole toget attentionandmake uscuriousto take action,furthermore for
animationandad sizeswe have lookedonastudyon how consumersreactedontwodifferenttypesof
animatedandstaticbannersbasedon certainconditions,aswell how differentthe adsizes can
influencethe consumerinrecallingthe brandthroughanalyzingdifferenttypesof highimpactads.

10. 9
In contrast,the weaknessesforthisresearchisthatnotall aspectsof multimediawere covered,like
effectsof Videography,Digital imaging,2d/3dAnimationandtypography.As (Morning&Prize 2014)
Statesthe importance of these elements,cognitive activityispromotedthroughimages,language,
shapes,colors, andart whichisfocusedonthe intuitiveperceptionandisintegral partof brand
creativity.Furthermore, (Dobrianetal.2011) Understandingof how videoqualityaffectconsumer
engagementiscruciallyimportant.Lastly, (Adams&Terry2006, pp.64) mentionedthatcolor
perceptionsmaybe altereddeliberatelybydesignersforartisticandsemioticreasons.The highlighted
pointsraise the importance of multimediaasitis an integral partinbetweenthe communication
process,and the componentsof multimediadoaffectthe consumercognitivelyoraffectivelybasedon
howit iscreated.Thus,it wouldbe importanttocoverthe remainingcomponentsasmentionedabove
for furtherresearch.

11. 10
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