Modern Art's Psychological Effects and Advertising Development

6/4/2013
Sussex Downs College – Access to HE Business (Group G) – Project
Supervisor – Rosanna Francis & CLS Tutor – Alan Miller
Ashley Jones
FINAL
PROJECT
HAS MODERN ART AND ITS PSYCHOLOGICAL
EFFECTS AIDED THE DEVELOPMENT OF THE
ADVERTISING INDUSTRY?

HAS MODERN ART ANDITS PSYCHOLOGICALEFFECTS AIDEDTHE DEVELOPMENT OF
THE ADVERTISINGINDUSTRY?
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Abstract
Has modernart and itspsychological effectsaidedthe developmentof the advertisingindustry?This
projecthas takena deeperlookintoif thisistrue.There have beenvariousstudiesintothe effectsof
art and psychology. Propaganda art, Pop art and Modern Contemporary art have all shown use of
various psychological theories such as behaviourism, humanism, conformity and subliminal
messaging.
Results gathered in relation to this have shown evidence to argue advertising, art and psychology
have had a recurring relationship and as art has developed advertising has often followed. It has
beenfoundthatadvertisinghasoftenshownreliance onartand its psychological effects in order to
progressas an industryalthoughafurther look into other subject areas and a better understanding
of Semiotics(the studyof imagery) mayresultin conflictingvariables, whichinturncould leadto the
development of the industry. However due to the recurring relationship between art, psychology
and advertising it can be disclosed that if advertising uses art to gain use of psychology, it is more
effectivetherefore itwill use more artformsand theirpsychological effectsin order to progress and
develop more efficiently and effectively.

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Acknowledgments
I wouldlike toexpressmy very great appreciation to my project supervisor Rosanna Francis for her
highlyvaluableadvice andsuggestions throughoutall partsof the project.Herwillingnesstoactively
give hertime sogenerouslytome,especiallyinthatIhave spokentohereveryday about my project
for the past few months is greatly appreciated.
I wouldalsolike tothankmy tutorAlanMillerforhishelpto,he has givenme greatadvice onhow to
structure and write sucha large piece of workand has alwaysbeenreadytohelpwheneverneeded.
FinallyIwouldlike toextendmythankstomy Mother,Father,Charlotte Johnson,Mauro M’bala and
LeonardoHernandezaswithout there constantbackingIwouldnotof beenable toachieve all that I
have.
Thank you all for everything you have done for me.

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Table of Contents
Front Cover..................................................................................................................................0
Abstract.......................................................................................................................................1
Acknowledgments........................................................................................................................ 2
Introduction.................................................................................................................................4
Chapter 1 – Propaganda Art..........................................................................................................5
Chapter 2 – Pop Art .................................................................................................................... 11
Chapter 3 – Modern Contemporary Art........................................................................................ 17
Conclusion ................................................................................................................................. 24
Reference List............................................................................................................................. 26
Bibliography............................................................................................................................... 31
Critical Evaluation....................................................................................................................... 36

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Introduction
In modern history the application of art and psychology has aided the development of the
advertising industry. There have been various studies and books written looking into different art
forms and the psychology behind them to solidify this claim. For example Colour: The Secret
Influence writtenby KennethR.Fehrman andCherie Fehrman,thisbookgivesinsightintothe theory
of colour and how It can be used to influence individual’s needs, emotions and desires (Fehrman,
2010). When looking at the natural evolution of art, advertising has often followed and steadily
progressedwithit,thisisdue tothe psychological application given in art. The most notable of this
would be behaviourist theory as it branches into many different art forms, for example Modern
Contemporary Art and the application of positive reinforcement (a leading theory with in
behaviourism), the application of the theories is apparent when looking at various advertising
campaignsbyCoca-ColaespeciallywhentheyfirstlaunchedDiet Coke and more recently Coke Zero
givingthe ideaof the ideal self throughthe use of Athletesandorbeautymodels,this in turn falsely
givesconsumersthe ideathat if they drinkDietCoke or Coke Zerotheywill eventually look like the
athlete or beauty model.
As well asModern Contemporary Art, Propaganda Art and Pop Art have both shown a dependence
on psychology, when looking further into the art forms, it is apparent that both have been used in
advertisingduringtheirrespectedhistorical timeline.Respectivelyvariouscompanies have used the
art formsin ordergain use of the psychological effects they present in order to ultimately increase
sales be it via exploitation through subliminal messaging and brainwashing or the notion of
conforming the masses to follow popular ideas, products and cultures.
Psychologyandart have oftengone hand in hand and advertising has used this in order to progress
and develop, this is frequently due to the fact that psychology is the study of the mind and art is
active expressionandapplication of the mind oftenrepresentedinavisual formasis the application
of various different advertising techniques.
Therefore has the psychological effects of modern art aided the development of the advertising
industry? Looking into various advertising techniques and artist movements with the added
application of the study of imagery (semiotics) may give an answer and better understanding in
relation to this.

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Chapter 1 – Propaganda Art
(Zec, 1941)
“Women of Britain come into the Factories”.

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Propaganda is the notion of distorting and corrupting the views of the public and masses by
spreadinginformationand rumours through various means (Miffin, 2013) but it can also be used to
aidand helpa cause in a positive light.Propagandaisusedthroughthe mediabeingradio,television,
newspapers, magazines and through posters or various other art forms.
Propaganda was at one of its most prominent stages through World War 2, With Propaganda Art
standing at the forefront for both the Allied forces and the Nazi movement (See figures 1, 2 and 3
belowforexamples). Howeveritisarguedit was at its most prominent during the 1950s to 1960s by
the Soviet Union (Lafont, 2007).
Figure 1 (Zec, 1941) Figure 2 (Goebells, 1939) Figure 3 (Clarke, 1943)
Above figures 1, 2 and 3 show examples from Britain, Nazi Germany and America, each example
showsempowermentto the individual, with women being asked to help defeat the Nazis through
working in the factories to produce arms and war machines such as tanks and gunner aircraft (see
figure 1), the US citizen asked to buy more War Bonds and Stamps to help fund the forces punch a
hole in the Nazi movement (see figure 2) and finally expression to the young in Nazi Germany
stating, they are the future and they are the people who will make the Nazis great (see figure 3).
The arts were impacted by the war and Propaganda Art, with major authors, animation artists and
cartoon illustratorsshowingtheiraffiliation to certain movements. Perhaps most notable was Walt
Disney withhisalliance tothe Allied Forces. He used his position to target the Nazi regime through
his illustrations and movies for example the ‘Education for Death’ video and his war insignia (see
figure 4) (Cabrera, 2011). Disney had always portrayed a huge dependency upon psychology in
relation to his films and animations and naturally the use of propaganda was added to his works
(Foutsetal, 2006). AlthoughdisputeditisarguedbyRussell and Cohn (2012) that Disney had added
a psychological edge through subliminal methods for very different political reasons. This has led
many professionalswithinthe arthistory, illustrationandcartoonsectors to claim that Disney’s use
of subliminal messagingaimedto expose Nazi ideology to the Allied nations, given his background

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and views on racism. Subliminal messaging is the application of hidden messages passed to the
human mind without the mind being consciously aware of it and is used to stimulate subliminal
stimuli,withthe termsubliminal meaning‘below the threshold’, this is applied via various forms of
imagery or sound (Sinclair, 2012; Smith et al, 2005).
Figure 4 (Disney, 1939).
Subliminalmessagingwasata boom duringthe war andwas usedto advertise productstohelpfund
the conflictthroughthe people andtaxes.Itcould be argued that more products bought in times of
struggle the harderlife getsforthe individual (eventually),the easier it is for the political powers to
‘Help’ the individual and ultimately intensify the grip held on the masses (Cited in Encyclopaedia,
2010). This was most evident with the birth of the Volkswagen beetle in Nazi Germany. The
VolkswagenBeetle wasoftenlabelledas‘the people’scar’inNazi Germanyand was highlyendorsed
by Hitler himself. The process of Hitler endorsing ‘the peoples car’ was used to target the
subconscious mind and control the German people without them actually realising that it was
happening,thiswasevident through the use of subliminal messaging and the sales of Volkswagen
cars especiallybeetles, thisinturnfundedvariousdifferentmovementsin Nazi Germany and during
the war (Rieger,2013). These advertisingmethodsare usedregularlytodayespecially in sports. This
is applied through various brands sponsoring various athletes and sports people. These methods

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give consumers the idea that wearing these products will make them perform better, faster and
stronger (Lee, 2010).
However it is argued that Propaganda Art first introduced the idea of subliminal messaging in the
1950s and not during the war (Key, 1973). With this in mind it is argued that the use of subliminal
messagingisjusta conspiracy,thisis often due to the fact it can be difficult to spot and to evaluate
itseffects,therefore subliminalmessagingisoftenregardasa conspiracyas to prove itsuse is highly
difficult (Mlodinow, 2011).
In Modernsocietysubliminal messaging maywell still exists(Lechnar, 2004), for example one of the
forerunners for this is Coca-Cola. Today Coca-Cola still uses this process to ensure they have
customersreturnor getcustomersto linkcertainthingstotheirproducts. A famous example of this
was in Lord of the Rings, when the ring was thrown into the fire and taken out, the ring displays
‘Black Speech’ writing. At first glance the actual message being shown is not visible, but when
slowed down the Black Speech quite evidently stated Coca-Cola (Love, 2006) (see figure 5). In
relation to this it does not read the same in the original book by J.R.R. Tolkien, the book actually
states“Ash nazg durbatulûk, ash nazg gimbatul, ash nazg thrakatulûk, agh burzum-ishi krimpatul”
(Tolkien, 1954). In 2001 Coca-Cola’s annual report stated that there was a huge 12% increase in
salesoverall worldwide butinthe UK, America and Australia during the period of which Lord of the
Rings (LOTR) was in cinema, sales increased by 24% and then a further 4% when the film was
released on DVD late 2001 (Coca-Cola, 2001). These figures show clear and evident increase in
demand for the product through the time period when the subliminal message was most evident.
Howeverthere are otheralternative factorsotherthansubliminalmessaginginLOTR.The film was a
large blockbusterandcinemasales subsequentlyincreased.Sincethere are concessionstandsacross
the world in cinemas it could be argued that this could be another variable which boosted sales.
Figure 5 (Jackson, 2001).

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Subliminalmessaginghasbeenconstantlyquestionedastowhetherornot ittruly existsandthere is
reasonable doubt that it does actually have an effect on the human mind (Bainbridge, 2008).
Subsequentlythere have beenvariousstudiesandexperimentsto solidify the claim that it does not
have any effect.
In 1957 Vicaryconductedanexperimentinordertogainevidence thatsubliminal messagingworked
by flashing messages such as ‘Eat popcorn’ and ‘Drink Coca-Cola’ his studies found that sales
increased by 57% and 18.1%, what was to be later released by Vicary was that he faked the results
and foundthatthe experimentfailed (Lilienfeld et al, 2010). As well as there being experiments to
prove evidence againstthe effects of subliminal messaging there is also various misconceptions of
the idea and thus giving light to the conspiracy of subliminal messaging (Knight, 2003).
Below figures 6 and 7 show more examples of Propaganda art.
Figure 6 (Fairey, 2008).
Figure 7 (Clarke, 1940).

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On the whole, it is reasonable to conclude that Propaganda Art has depended on psychological
theory,perhapsnone more influential than the idea of subliminal messaging. Although not always
clearit has beenshowninvariousstudies and through research that it does affect the human mind
and can influence an individual’s thoughts and desires ultimately resulting in either positive or
negative outcomes.WithoutPropagandaArtthe evidence forsubliminal messagingmaypossiblynot
exist although this is still argued today.

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Chapter 2 – Pop Art
(Warhol, 1962)
“Marilyn Monroe”

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Madoff (1997) and Osterwold (2003) both explain that Pop Art is notably one of the most
controversial and influential artistic movements of the modern era. The movement first started in
the 1950s inBritainwiththe term PopArt firstbeingusedbythe IndependentGroup,a sub group of
the Institute of Contemporary art (Madoff, 1997).
Pop Art derives from what is known as popular culture and expresses a materialistic need within
society. The art form itself was said to be an active example of Postmodernism which was at an
influential peak during the 50s to the 80s (Gersh-Nesic, 2013). Postmodernism was born from
Modernism as a reaction to classical concepts and was most evident in the arts and literature
althoughasa movementthe term ‘Postmodernism’ has been used so frequently to define various
sub-movementsdevelopingfromothersthat in many forms it has lost its meaning and thus making
it difficult to truly define (Harrision, 2001).
Pop Art in its entirety was art based on modern popular culture and the mass media, now sharing
close links with Contemporary Art which is evident in today’s society in relation to modern day
society on the other hand Pop Art was more of a movement and way of life often expressing high
forms of irony in relation to fine art (Simpson, 2012).
AndyWarhol has beenregarded asthe most famousartistof the PopArt movementandhascreated
possibly the most iconic and recognisable art pieces with in the genre (Madoff, 1997; Osterwold,
2003; Hickey, 2009). Pieces such as his Marilyn Monroe (as shown in figure 8), Campbell soup (as
showninfigure 9) and Triple Elvis(asshowninfigure 10) all affected the way in which art is viewed
and are believedtohave givenbirthtomanyart formswhichare so evidenttoday (citedin Phaidon,
2006, page 352 - 411).
Figure 8 (Warhol, 1962) Figure 9 (Warhol,1968) Figure 10 (Warhol,1963)
As an art form Pop Art affected the advertising industry beyond describable proportions, with the
arts in the genre using modern examples and mass media as its basis, it is believed to have been
tailor made for advertising (Wharton, 2013). However many of the artists who became successful
duringthe era were eitherinthe advertisingindustryorrelevantmediabasedindustriesbeforehand

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and therefore lead the argument that pressures within the industry could have influenced the art
more so than the art influencing the industry. (Tungate, 2007; Madoff, 1997).
Many large companies adopted the idea of Pop Art to aid the advertisement of their products the
mostnotable of these companieswasCoca-Cola,using Pop Art and or its ideals to a maximum in all
formsof theiradvertising(Wharton,2013) andevenadoptingartistssuch as Andy Warhol and Peter
Blake to design for them (cited in Phaidon, 2006; Osterwold, 2003) (See figures 11, 12 and 13 for
examples)
Figure 11 (Warhol, 1962)
Figure 12 (Warhol, 1962)
Figure 13 (Blake, 1963)

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PopArt famouslybroughtaform of openexpressiontothe advertisingindustrywhichpreviouslydid
not exist(Osterwold,2003). Tungate (2007) claims there were no hidden messages and with this in
mind advertising changed and flourished.
It is argued by Friedman (2008) that Pop Art is being reborn as an artistic movement and is being
used in order to shock audiences away from products or companies or in turn is used as a platform
to expressconcernforincreasingpricesforproductsalongwiththe cripplingholdcertaincompanies
may have onsocietyandsurroundingmarkets.Examples with in modern advertising can be seen in
figures 14 and 15.
Figure 14 (Bae, 2007)
Figure 15 (Blais, 2008)

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In regardsto the psychological theorybehindPopArt Niedzviecki(2006) argues thatPop Art/Culture
holdsreliance onthe ideals of conformity, although in contrast to this it is also argued that Pop Art
has elements of Humanist psychology to. In essence conformity is the idea that individuals will
conformto beliefsandbehavioursinordertofitintoa group,this can often be due to various social
pressures and influences (Cardwell, 2008; McLeod, 2007). Solomon Asch famously performed an
experiment in order to further understand conformity, in this experiment Asch found that if you
purposelyputanindividualwithinagroupwhere theyanswersomething purposely wrong which in
thiscase wasline size judgement the majority of the time individuals would conform even though
they knew it was wrong (Cardwell et al, 2008; Mcleod, 2008). In relation to Pop art it is argued by
Niedzviecki (2006) and Honnef (2004) the idea of Pop Art also known as Popular Art has heavy
reliance on the idea of conformity in that it was used to change whole societies view points along
with how they interpret various situations and in turn it was used to make society feel reliance on
productsand large corporationssuchas Coca-Colabygivingthe ideaof “everyone does it, everyone
drinks it, I should try it to”.
On the otherhand there are also arguments stating that Humanism is in effect via the artists, most
famously George Segal (who is also known as the Humanist of Pop Art) (Elmore, 2007; Tungate,
1993). PrincipallyHumanisticpsychologyasarguedbyCherry(2012) and Brain(2008) isthe ideathat
people are innately good and that mental and social problems are “resulted from deviations of
natural tendencies”. One major theory within Humanistic Psychology is Abraham Maslow’s
Hierarchyof needs;thistheoryisbrokendownintostagesof needsandhumansabilityto fulfil their
needs(Cherry,2012). Maslowwouldargue that withthisinmindthe artiststhemselveswould have
to reach a level of self-actualisation in order reach out the masses and truly create an idea of
‘PopularCulture’(Cherry,2012). The linkbetweenthe theoryandPopArtis established at the point
of creationandgivesbirthtothe ideathatPop art isexpressedthroughidea of the artist’s true self,
although when viewed by others creates the idea of an ideal self in that it is promoting Popular
Culture through art (Elmore, 2007; Tungate, 1993; Kuspit, 2008).
It can on the otherhand be arguedthat there islittle studyintothe ideasof conformityinrelationto
Pop Art and the same can be argued for Humanism therefore leaving suggestions that more
evidence would need to be gathered in order to gain a more established link.
In conclusion Pop Art as a whole suggests reliance on psychology, although claiming to be
transparent and solely representing the ideals of modern culture. Pop Art as an art form has used
the application of both Humanist psychology and Conformity especially when used for
advertisement, this has been applied in order to drive success for large corporations such as Coca-

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Colaand activelypromote a common social acceptance to consume their products and follow their
ideas and concepts.

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Chapter 3 – Modern Contemporary Art
(Kush, 1978)
“Metamorphosis”

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Modern Contemporary art has no true description, many ponder on the subject of Modern
Contemporary Art trying to find explanations but it is this art form’s invisibility with borders that
makes it so powerful (Aranda et al, 2010). In terms of its invisibility with borders I can be seen
through the use of a paradoxical sense of anarchy which can be seen in figure 16, in essence the
termparadox meansa person,item,definitionorobjectthatcontradictsitsownmeaningor position
(Simpson, 2012), in the case of Modern Contemporary Art the paradox example would be anarchy
due to the oftenchaotictheme symbolisingpeace oraclear difference from societies ideals and the
functionalityof agovernedwayof life beingarestrictiontothe real fromthe ‘norm’. however when
looking at this example the only way anarchy would be achievable would be through facing
inevitable Conflict as shown in figure 17 (Simpson, 2012).
Although Modern Contemporary art has not been used in the same sense as propaganda art it has
had the same underlyingeffects.The storybehindthe artisoftenfreedom, oppression and struggle
showing the artist’s pain through a means of beauty, although the word contemporary would
suggest a highly powerful influence from postmodern culture thus explaining the paradoxical
essence of thisart form.For thisreason, many argue about the true meaning of ‘Contemporary art’
(Kirby, 2013).
The use of Semioticscanbe applied to give understanding to the art of this genre especially due to
the paradox elements of it.When using Semiotics to break down figure 16 it is clear to see that the
paradox isdue to the fact the butterfly is used to represent freedom whereas the hands that reach
to it are boundby chains,chainsare symbolically linkedwithoppression, struggle andimprisonment
(Chandler,2012).Semioticswould suggest that the picture is symbolising either an individuals or a
societiesstruggleandfightforfreedom.Figure 17 is expressing the right to freedom of speech, the
paradox presented in this is due to the man’s mouth being taped shut but has freedom boldly
writtenonitsuggestingthathe is tryingto shoutforhis freedombutisnotallowedtomake a sound.
Figure 16 (Jordan,2012) Figure 17 (Ahmad,2011)
There are variousmethodsandeffectsinModernContemporaryartthat couldinfluence the human
mind none being as strongly influential as Realism and Surrealism, both on opposite sides of the

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spectrum; they still affect modern contemporary art today. Surrealism targets the viewer’s
unconscious and is used to break down barriers between what is real (Rational) and fake
(Imagination) (Gersh-Nesic, 2012). This is often due to the fact the imagery is generally highly
symbolicandyetwarpeddue tothe fact itis a productof the unconscious mind being released into
the ‘Conscious world’ (Klinsohr-Leroy, 2007).
Maughan (2009) explains thatthe unconscious mind leads to a more inspirational artistic output as
opposed to the rational mind therefore giving more insight into the artists or individual’s mind,
culture,fearsanddesires. SurrealismisheavilyreliantonSigmundFreud’stheoryof Free association
and Dream analysis (Lomas, 2001).
In essence Freud believed that the most influential part of the mind was the unconscious, the
unconscious is difficult to get into, this is due to various defence mechanisms which have been
developedtoprotecthumansfrom feelings such as guilt and anxiety (McLeod, 2008). Freud argued
that the content of the unconscious comes out in dreams and in what are known as ‘Slips of the
tongue’, other methods such as psychoanalysis can uncover the unconscious via therapy allow
patients to take practice in “free associating” for example getting patients to say whatever floats
intotheirmind,thusfee associatingand expanding the ideals of free association (Lomas, 2001). He
believedthatpeople’sactionsare influencedbyunconscious wishes and desires, however both are
not easilyestablishedandasFreud believed one way to discover these is though the analysis of an
individual’sdreamsastheyrepresentthe contentof the unconsciousalthoughofteninasymbolicor
disguisedform (Brain,2008).WhendiscussedinrelationtoSurrealism, it is argued that the art form
isan outletforexpressingunconsciousthoughtandthe imageryisoftenfoundanddevelopedin the
artist’s dreams, thus creating the breakdown of the barriers between what is real and what is
imaginary (Lomas, 2001; Gersh-Nesic, 2012). However Brain (2008) argues that Freudian theory is
unscientificandunable tobe generalised,thisisdue tothe fact the case studiesusedwouldoftenbe
specific to a certain group of people.
Realismonthe otherhandis the applicationof targetingthe real,depicting real things relayed from
the conscious mind. Realist contemporary art often known as modern fine art is used to portray a
belief thatonlyexiststothe individual orartist,whenusingitina practical sense itis often used as a
wayof showinganordinarylife situations, an example of this art form would be portraits (Elkins Et
Al, 2012).Elkins (2012) argues that although there may be a lesser form of inspiration within the
Realistartthe artistic output is greater and more influential than surrealist art as seen in figure 18.
Thisis thoughtto be due to the fact more people canrelate toand appreciate Realistart as opposed

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to Surrealist art due to the fact it can often be hard to interpret because they are more specific to
the individuals own ideals, thoughts and desires as seen in figure 19.
Figures 18 and 19 give examples of both art forms.
(Realism) Figure 18(Kush,1978) (Surrealism) Figure 19(Laurence,1996)
In relation to advertising Contemporary art is the most evident art form used today; it applies the
effects of the art so vividly and yet discreetly. It mergers both realism and surrealism into one,
leavinglastingimageryincustomersminds(Minter, 2007). A famous example of this can be seen in
figure 20 as the ideaof a realistimage withasurrealistelementhasbeenusedtoeffectively leave a
lasting image in individual’s minds. Contemporary advertisements target the subconscious mind
through complex observation resulting in attacks of the conscious mind this is often known as
brainwashing.BrainwashinginessencesasstatedbySimpson(2008) inthe OxfordEnglishDictionary
is “pressurize (someone) into adopting radically different beliefs by using systematic and often
forcible means.” Withthe applicationof brainwashing advertising has become highly influential in
the way modern societies live today (Tedeschi, 2009).
Figure 20 (Davydyuk, 2011)
Large companiesapplyformsof brainwashingthrough advertisement to suppress lesser needs and
enhance greaterdesires(Singer,2003). Most notablyCoca-Colaandthe advertisementof Diet Coke.
Dietcoke predominantlytargetsthosewhoare tryingto‘lose weight’ they do this by using athletes
and beauty models in their advertisement as seen in figure 21. Coca-Cola will attack the conscious
mindto breakdownbarriersby saying that it is good for you and will help you although many have
identified that it is not, when complete the advertisement will target the unconscious mind by

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subliminalmessagesinstillingintothe individual’sthoughtsthe attitudeof “Ican drinkit because itis
good for me”, along with “drinking diet coke will make me lose weight” (Lechnar, 2004).
Whenapplyingsemioticassociationtothe example of Dietcoke it could be argued that the imagery
is used to associate with certain groups instead of giving the idea of ‘it will make me lose weight’.
This is evident with the fact that Coca-Cola will often have high profile athletes such as David
Beckham and beauty models or singers such as Taylor Swift. Famously Diet Coke has targeted a
female audience, normal Coke targets a generic audience and Coke Zero has targeted a male
audience.
When looking at the psychological theory behind the application of modern contemporary art in
advertising, it could be argued that the most influential theory would be Behaviourism and in
particularpositive reinforcement(Walker, 2010). The basic principles of Behaviourism state that all
behaviour is learned and that if behaviour is rewarded the same behaviour is often likely to be
repeated and as stated by John B Watson (the founder of Behaviourist theory) behaviour can be
measured, trained and changed (Staats, 1996), The idea of something being good for you (in this
case DietCoke) eventhoughitisnot,ispositivelyreinforcedviathe notionof the perfectbodybeing
formed by individuals using this product. Along with positive reinforcement Bandura’s ‘Soci al
Learningtheory’alsoholdseffectinadvertising.BothBrain(2008) and Cherry(2012) explain thatthe
Social Learningtheoryinbasictermsisan individual’sabilitytolearnnew informationaswell asnew
behavioursbywatchingothers(thisisalso knownObservational learning).Banduramade thistheory
famous through his ‘Bobo doll experiment’. Examples of both positive reinforcement and social
learning theory in advertising can be seen in below in figure 21.
Figure 21 shows that anything is achievable including facing the impossible or beating an extreme
task with the aid of Diet Coke, the example shows a can of Diet Coke breaking though a mountain
alongside aslimandextremelyathletic-lookingfemale climbingthe side of a mountain with relative
ease andwithoutsafetygear. Thisimagerycausespositivereinforcement in that it gives the feeling
to consumers if I drink Diet Coke I can do that to.
Figure 21 (Coca-Cola, 1986).

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Examplesof Contemporaryadvertisementshow below infigures22,23 and 24.
Figure 22 (Hiroshima, 2006).
Figure 23 (VW Design, 2008).
Figure 24 (Absolut, 2010)

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Behaviourist theory has often been criticised for its overly mechanical views on humans, stating
humans are born a blank slate and all behaviour is learnt through the surrounding environments
(Brain, 2008). Walker (2010) explains that the theory does not take into consideration internal
thoughts and factors due to the fact they are discredited in that they would have originally been
learnt through an exterior factor.
In summary Modern Contemporary art would suggest evidence of contribution made by
psychological theory,mostimportantly Freud’s Free association and Dream analysis, Behaviourism
and Social learningtheoryandinorderto applythemtomodernday advertisementseachindividual
theoryand theireffectsmustbe takenintoaccountwhenapplying ModernContemporary art forms
into modern advertising.

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Conclusion
Within each chapter there have been points that would suggest advertising and art have held
reliance on psychology, each art form in their own right has used various psychological theories in
order to achieve greater effect and these theories and art forms have been used in advertising in
order to achieve this to.
Propagandaart has shownuse of subliminal messagingand when applied in advertising it has been
used to make consumers feel the need to buy products, without them actually knowing why they
wantor needthe product (Knight,2003). However subliminal messaging and the use of it has been
discrediteddue to various studies such as Vicary and his experiment in the cinema suggesting that
subliminal messaging has no effect on the mind. With the evidence at hand it is arguable that
subliminal messaging has been used in Propaganda art and therefore been applied to advertising
givingitgreaterdesiredeffectwiththe applicationof the artformand the surroundingpsychological
theory within it.
Popart has shownreliance onvarious psychological theories,nonemore apparentthanthe idealsof
ConformityandHumanism. Althoughthe twotheoriesmayshow conflictingidealsitisapparentthat
both theories have been applied in advertising through Pop artists such as Andy Warhol and Peter
Blake. Modern Contemporary art has particularly shown use of various psychological theories
especially when applied to advertising (Lechnar, 2004). Ads using Modern Contemporary Art have
shown reliance on brainwashing, positive reinforcement and various other behaviourist theories
such as the social learning theory (Cherry, 2012).
Therefore itcanbe argued that withoutthe applicationof psychologythroughart, advertisingwould
have failed to progress as an industry, through modern history psychology has been used in
advertising via various application of the arts. There are however some limitations to the studies
that have been upheld, many studies have only been taken in relation to large companies and
corporationstherefore notgiving an accurate view on advertising as a whole, this is due to the fact
advertisingeffectsall companiesincludingsmall shops,niche marketsandspecialist areas therefore
potential flaws may be found in the evidence given. As well as small companies not being
represented there is also the fact that art being so broad and often arguable as well as psychology
holdingthe same problems,meaningitcouldbe arguedthat notenoughart formsand psychological
theory has been looked into and therefore leaving potential gaps in any findings gathered.
Furthermore abroaderunderstandingof Semioticsmaygive agreaterunderstandingintothe effects
of the imagery used in advertising and art. From the foreclosed information it is apparent that

June 4, 2013
AshleyJones 25
without art and the psychological effects it presents, the advertising industry may not have
developed at the rate it has and therefore suggesting that art and psychology are key to the
progression of advertising.
It can be disclosedthat afurtherlookinto advertisingandthe historyof advertisingmayfindamore
definitiveanswerto whether or not art and its psychological effects has aided the development of
the advertisingindustryasthere may be other influential factors that have aided the development
of the industry.
It isapparentthat there isa recurringrelationshipbetween art,psychologyand advertising;inthat if
advertisingusesarttogain use of psychologyitismore effectivetherefore itwilluse more art forms
and their psychological effects in order to progress develop more efficiently and effectively.
Final word count (5164)

June 4, 2013
AshleyJones 26
Reference List
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Propagandasof NaziGermany and theGerman DemocraticRepublic (Rhetoric& PublicAffairs)”.East
Lancing:Michigan State UniversityPress.p109-131.
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[Accessedon:10/03/2013].
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ed.London:
Harper Collinspublishing.p181-190.
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http://psychology.about.com/od/theoriesofpersonality/a/hierarchyneeds.htm.[Accessedon:
04/06/2013].
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http://psychology.about.com/od/historyofpsychology/a/hist_humanistic.htm.[Accessedon:
04/06/2013].
Cherry,K.(2012). Social Learning Theory:An Overview of Bandura'sSocialLearning
Theory. Available:http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm.
Coca-Cola,2001. "Serving 500 million peoplein 26 countries”,Annual report2001, Uxbridge:Coca-
ColaHead office.
Elkins,Jet al (2012). “Theorizing VisualStudies.”London:Routledge.P10-17.
Elmore,S.(2007). “Art history:Understanding pop art”. Available:
http://www.helium.com/items/462486-Art-History.[Accessedon:04/06/2013].

June 4, 2013
AshleyJones 27
Fehrman,K(2010). “Colour:The Secret Influence”.2nd ed.New Jersey:Prentice Hall.
Fleming,G.(2012). “NarrowYourResearch Topic”.Available:
http://homeworktips.about.com/od/paperassignments/a/narrow.htm.[Accessedon:09/06/2013].
Foutset al.(2006). DemonizinginChildren'sTelevisionCartoonsandDisneyAnimatedFilms. “Child
Psychiatry and Human Development”.37(1), p15-23.
Friedman,V.(2008). “Pop Art IsAlive: Classics and Modern Artworks”. Available:
http://www.smashingmagazine.com/2008/07/21/pop-art-is-alive-classics-and-modern-artworks/.
Gersh-Nesic,B.(2013). “Pop Art - Art History 101 Basics”. Available:
http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm.[Accessed
on: 17/04/2013].
Gersh-Nesic,B.(2012). “Surrealism - Art History 101 Basics: Early 1920s to thePresent”. Available:
http://arthistory.about.com/od/modernarthistory/a/Surrealism-Art-History-101-Basics.htm.
Harrison,S. (2001). Post-ModernistAssumptions.In:Harrison,S “Pop Artand the Origins of
Postmodernism”.Cambridge:Cambridge UniversityPress.p11-17.
Honnef,K.(2004). Pop Art.In: Grosenick,U. “Pop Art”.3rd ed.Cologne:Taschen.p6-28.
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[Accessed on:09/06/2013].
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Publishers.p7-18.
Knight,P.(2003). Subliminal Advertising.In:Knight,P “Conspiracy Theoriesin American History:An
Encyclopaedia”.California:PenguinBooks.p485-486.
Kuspit,D(2008). “George Segal:ModernistHumanist”.1st ed.New York:Montclair State University
Press.
Lechnar.(2004). “SubliminalAdvertising and Modern Day Brainwashing”. Available:
http://www.redicecreations.com/specialreports/brainwash.html.[Accessedon:05/04/2013].
Lilienfeldetal.(2010). Brain Power.In:Lynn,S and Beyerstein,B “50 Great Mythsof Popular
Psychology”.Malden:BlackwellPublishing.p21-36.
Lomas,D. (2001). The Omnipotence of desire: Surrealism, PsychoanalysisandHysteria.In:Mundy,J.
Gille,V andAdes,D. Surrealism:Desire Unbound.London:PrincetonUniversityPress.p55-79.

June 4, 2013
AshleyJones 28
Love,D. (2006). “The Shocking History of SubliminalMessaging”. Available:
http://www.businessinsider.com/subliminal-ads-2011-5?op=1.Lastaccessed11/03/2013.
Madoff,S. (1997). Introduction.In:Flam,J.and Motherwell R “Pop Art:A Critical History”.2nd ed.
London: Universityof CaliforniaPress.pXiii.
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surrealism.htm.[Accessedon:05/04/2013].
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conformity.html.Lastaccessed04/06/2013.
McLeod, S.(2008). “Defence Mechanisms”. Available:http://www.simplypsychology.org/defense-
mechanisms.html.Lastaccessed04/06/2013.
McLeod, S.(2007). “What is Conformity?”. Available:
http://www.simplypsychology.org/conformity.html.Lastaccessed04/06/2013.
Minter.(2007). “The Stateof Contemporary Art&Adsas New Art”. Available:
http://www.minterdial.com/2007/10/the-state-of-contemporary-art-ads-as-new-art/.[Accessedon:
05/04/2013].
Mlodinow,L(2011).”Subliminal: The New Unconsciousand WhatitTeaches Us”.London:Penguin
Books.p6-19.
Niedzviecki,H.(2006). Conformity.In:Lewis,S.andStaal,S.“Hello, I'm Special: How Individuality
Became theNew Conformity”.2nded.SanFrancisco:CityLightsPublishers.p64-72.
Osterwold,T.(2003). PopArt - A Movementinthe Sixties.In:GalbraithI “Pop Art”. 3rd ed.Berlin:
Taschen.p6-7.
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PhaidonEditors(2006) “Andy Warhol:Giant Size”, London:Phaidon.
Rieger,B(2013). “The People'sCar: A Global History of the Volkswagen Beetle”.London:Harvard
UniversityPress.
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Press.
Simpson,J.(2012). Popart. In: “The Oxford English Dictionary”Vol:3Oxford:OxfordUniversityPress.

June 4, 2013
AshleyJones 29
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PsychologicalBehaviourism”.2nded.New York:SpringerPublishingCompany.p37-75.
Tedeschi,J.(2009). Cognative ComplexityandSocial Influence.In:Tedeschi,J. TheSocial Influence
Processes.NewYork:Aldine Transcation.p169-171.
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09/06/2013].
Walker,A.(2010). “PositiveBehaviourism:OurVisualEconomy Pt.II”. Available:
http://www.curatorscamera.com/unfinished-worlds/2010/09/positive-behaviourism-our-visual-
economy-pt-ii.html.[Accessedon:04/06/2013].
Wharton,C. (2013). Art andAdvertising- circa1880 to the present.In:Wharton,C “Advertising as
Culture”. UK: The Universityof ChicagoPress.p127-142.
Pictures
Ahmad,SZ.(2011). “Freedomof Expression”. [Drawing] (Instituteof Contemporaryartsgallery).
Appeagle.(2012)."Lightingthe brain".[LightArt] (appeaglestudios).
Bae,S. (2007). "Nineinverse proportion problemswehave" [ModernPopAdvertisment] (Sung-Ho
Bae personal gallery)
Blais,P(208). "CokeDoggy". [PopAnimation](Pascal BlaisAnimationStudios)
Blake,P.(1963) “Best Minuteof theDay” [Painting] (London:Coca-ColaMuseum).
Clarke,G. (1943). "Buy moreWar bondsand Stamps". [Poster] (USNational WarArchives).
Coca-ColaCompany.(1986)."OneSmall Calorie:Taste It All". [ContemporaryPhotography] (Coca-
Colaadverthistory.
Goebbels.(1939)."Der DeutscheStudent". [Poster] (NationalWarArchives).
Jordan,R. (2012). "The Bondsof Freedom".[Painting] (View ArtGalleryBristol).

June 4, 2013
AshleyJones 30
Kush,V.(1978). “Metamorphosis”.[Painting] (VladimirKushownpersonal gallery).
Laurence,G. (1996). "We're All Mad Here". [Painting](GeoffreyLaurenceownpersonal gallery).
Swarez.(2012). "Cosmos"[Painting] (Gloucestershire:Swarezmodernartgallery)
Swarez.(2012). "ParadigmShift" [Painting] (Gloucestershire:Swarezmodernartgallery).
Warhol,A. (1968). “Campbell'ssoup”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1962). “Marilyn Monroe”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1963). “Triple Elvis”. [Painting] (AndyWarhol Museum).
Warhol,A. (1962). “5 Coca-ColaBottles”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1962). “210 Coca-Cola Bottles”. [Painting] (New York:Museumof ModernArt).
Zec.(1941). “Women of Britain comeinto the Factories”.[Poster] (Imperial WarMuseum).

June 4, 2013
AshleyJones 31
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04/06/2013].
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04/06/2013].
Cherry,K.(2012). Social Learning Theory:An Overview of Bandura'sSocialLearning
Theory. Available:http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm.

June 4, 2013
AshleyJones 32
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ColaHead office.
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http://www.smashingmagazine.com/2008/07/21/pop-art-is-alive-classics-and-modern-artworks/.
Gersh-Nesic,B.(2013). “Pop Art - Art History 101 Basics”. Available:
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http://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond.[Accessedon:
05/04/2013].
Kizlik,B.(2008). “Effective Study Skills”. Available:http://www.adprima.com/studyout.htm.
[Accessed on:09/06/2013].
Klinsohr-Leroy,C.(2007).Introduction.In:TaschenEditors “Surrealism”.3rd ed. Cologne:Taschen
Publishers.p7-18.

June 4, 2013
AshleyJones 33
Knight,P.(2003). Subliminal Advertising. In:Knight,P “Conspiracy Theoriesin American History:An
Encyclopaedia”.California:PenguinBooks.p485-486.
Kuspit,D(2008). “George Segal:ModernistHumanist”.1st ed.New York:Montclair State University
Press.
Lechnar.(2004). “SubliminalAdvertising and Modern Day Brainwashing”. Available:
http://www.redicecreations.com/specialreports/brainwash.html.[Accessedon:05/04/2013].
Lilienfeldetal.(2010). Brain Power.In:Lynn,S and Beyerstein,B “50 Great Mythsof Popular
Psychology”.Malden:BlackwellPublishing.p21-36.
Lomas,D. (2001). The Omnipotence of desire:Surrealism, PsychoanalysisandHysteria.In:Mundy,J.
Gille,V andAdes,D. Surrealism:Desire Unbound.London:PrincetonUniversityPress.p55-79.
Love,D. (2006). “The Shocking History of SubliminalMessaging”. Available:
http://www.businessinsider.com/subliminal-ads-2011-5?op=1.Lastaccessed11/03/2013.
Madoff,S. (1997). Introduction.In:Flam,J.and Motherwell R “Pop Art:A Critical History”.2nd ed.
London: Universityof CaliforniaPress.pXiii.
Maughan, J.(2009). “What is Surrealism?”Available:http://www.wisegeek.org/what-is-
surrealism.htm.[Accessedon:05/04/2013].
McLeod, S.(2008). “Asch Experiment”. Available:http://www.simplypsychology.org/asch-
conformity.html.Lastaccessed04/06/2013.
McLeod, S.(2008). “Defence Mechanisms”. Available:http://www.simplypsychology.org/defense-
mechanisms.html.Lastaccessed04/06/2013.
McLeod, S.(2007). “What is Conformity?”. Available:
http://www.simplypsychology.org/conformity.html.Lastaccessed04/06/2013.
Minter.(2007). “The Stateof Contemporary Art&Adsas New Art”. Available:
http://www.minterdial.com/2007/10/the-state-of-contemporary-art-ads-as-new-art/.[Accessedon:
05/04/2013].
Mlodinow,L(2011).”Subliminal: The New Unconsciousand WhatitTeaches Us”.London:Penguin
Books.p6-19.
Niedzviecki,H.(2006). Conformity.In:Lewis,S.andStaal,S.“Hello, I'm Special: How Individuality
Became theNew Conformity”.2nded.SanFrancisco:CityLightsPublishers.p64-72.
Osterwold,T.(2003). PopArt - A Movementinthe Sixties.In:GalbraithI “Pop Art”. 3rd ed.Berlin:
Taschen.p6-7.
Osterwold,T.(2003). PeterBlake.In:GalbraithI “Pop Art”. 3rd ed.Berlin:Taschen.P202-210.
PhaidonEditors(2006) “Andy Warhol:Giant Size”, London:Phaidon.

June 4, 2013
AshleyJones 34
Rieger,B(2013). “The People'sCar: A Global History of the Volkswagen Beetle”.London:Harvard
UniversityPress.
Simpson,J.(2012). Anarchy.In: “The Oxford English Dictionary”Vol:3Oxford:OxfordUniversity
Press.
Simpson,J.(2012). Brainwashing.In: “TheOxford English Dictionary”Vol:3Oxford:OxfordUniversity
Press.
Simpson,J.(2012). Paradox.In: “The Oxford English Dictionary”Vol:3Oxford:OxfordUniversity
Press.
Simpson,J.(2012). Popart. In: “The Oxford English Dictionary”Vol:3Oxford:OxfordUniversityPress.
Sinclair,J.(2012). “Subliminal Messaging”.Available:
http://www.collinsdictionary.com/dictionary/english/subliminal-message.[Accessedon:
09/06/2013].
Singer,MT. (2003). The Processof Brainwashing,Psychological CoercionandThoughtReform.In:
Lorne,L and Dawson,M. “The "Brainwashing"Controversy”.Malden:Blackwell.p147-159.
Smithetal. (2005). “The NewUnconscious”.London:OxfordUniversity Press.p77-104.
Staats,W. (1996). The basiclearning/Behaviourtheory.In:Staats,A.“Behaviourand Personality:
PsychologicalBehaviourism”.2nded.New York:SpringerPublishingCompany.p37-75.
Tedeschi,J.(2009). Cognative ComplexityandSocial Influence.In:Tedeschi,J. TheSocial Influence
Processes.NewYork:Aldine Transcation.p169-171.
Tolkien,J(1954). “The Lord of the Rings:The Fellowship of theRing”. London:Harper Collins
Publishers.p57.
Universityof Reading.(2012). “Planning and structuring youressay”.Available:
http://www.reading.ac.uk/internal/studyadvice/StudyResources/Essays/.[Accessed on:
09/06/2013].
Walker,A.(2010). “PositiveBehaviourism:OurVisualEconomy Pt.II”. Available:
http://www.curatorscamera.com/unfinished-worlds/2010/09/positive-behaviourism-our-visual-
economy-pt-ii.html.[Accessedon:04/06/2013].
Wharton,C. (2013). Art andAdvertising - circa1880 to the present.In:Wharton,C “Advertising as
Culture”. UK: The Universityof ChicagoPress.p127-142.
Pictures
Ahmad,SZ.(2011). “Freedomof Expression”. [Drawing] (Instituteof Contemporaryartsgallery).
Appeagle.(2012)."Lightingthe brain".[LightArt] (appeaglestudios).
Bae,S. (2007). "Nineinverse proportion problemswehave" [ModernPopAdvertisment] (Sung-Ho
Bae personal gallery)

June 4, 2013
AshleyJones 35
Blais,P(208). "CokeDoggy". [PopAnimation](Pascal BlaisAnimationStudios)
Blake,P.(1963) “Best Minuteof theDay” [Painting] (London:Coca-ColaMuseum).
Clarke,G. (1943). "Buy moreWar bondsand Stamps". [Poster] (USNational WarArchives).
Coca-ColaCompany.(1986)."OneSmall Calorie:Taste It All". [ContemporaryPhotography] (Coca-
Colaadverthistory.
Goebbels.(1939)."Der DeutscheStudent". [Poster] (NationalWarArchives).
Jordan,R. (2012). "The Bondsof Freedom".[Painting] (View ArtGalleryBristol).
Kush,V.(1978). “Metamorphosis”.[Painting] (VladimirKushownpersonal gallery).
Laurence,G. (1996). "We're All Mad Here". [Painting](GeoffreyLaurenceownpersonal gallery).
Swarez.(2012). "Cosmos"[Painting] (Gloucestershire:Swarezmodernartgallery)
Swarez.(2012). "ParadigmShift" [Painting] (Gloucestershire:Swarezmodernartgallery).
Warhol,A. (1968). “Campbell'ssoup”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1962). “Marilyn Monroe”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1963). “Triple Elvis”. [Painting] (AndyWarhol Museum).
Warhol,A. (1962). “5 Coca-ColaBottles”.[Painting] (New York:Museumof ModernArt).
Warhol,A. (1962). “210 Coca-Cola Bottles”. [Painting] (New York:Museumof ModernArt).
Zec.(1941). “Women of Britain comeinto the Factories”.[Poster] (Imperial WarMuseum).

June 4, 2013
AshleyJones 36
Critical Evaluation
Thisprojecthas bothits ownstrengthsand weaknesses;Ifeel the firststrength of thisproject is that
it has used multiple art forms and psychological effects in order to gain a more rounded set of
results, however with the limitation of 5000 words for the project has restricted the amount of art
forms and psychological theories that could be used to find results and therefore possibly
compromisingthe accuracyof the endresult.Ibelievethe use of images to solidify claims however
has beenbeneficialtothisproject in that it gives an active example of the effects the art forms can
present and also gives something for readers to enjoy and stay engaged with whilst reading the
project. Most importantly I feel the clear breakdown of structure within this project allows for an
easier read and greater understanding of the subject area. It is explained by the University of
Reading (2012) that a clear and flowing structure will enable an essay to be easier to read and will
help its readers to associate link between what is being argued and the results gathered.
I believethere are weaknesseswithinthisprojectnone more evidentthan the lack of sales statistics
and figures, I feel that with more sales figures and statistics, the argued effects of the art forms
couldhave beenmore influential resultinginabetterunderstandingintothe desiredeffects, as well
this I feel that a lesser look in to the art forms and a more in-depth look into advertising may have
resultedintoa more clear conclusionof effects.The reason I argue this is that the conclusion is not
as strong as I wouldlike forittobe isdue to thisreason,although I have found an answer I feel that
the possibilityof differentfactorscausingthe development may be probable, A further and deeper
study into the industry itself may help to shed light on this.
Overall Iam happywiththe endproduct of thisproject;I feel the factthat I have followedastrictset
of guidelinesandrulesinordertoachieve the highestpossiblegrade hasaidedme inmystudies and
a backgroundknowledge of advertising,psychologyandartdue to previousstudieshelpedaidme to
formthe linkbetweenthe theories and therefore find the intended results, this is due to the fact I
knew the possible questions and complications I may have incurred (BBC, 2012).
There are variousthingsthatI woulddoagainin relationto this project, I feel that my dedication to
achieve a distinction has help me to attend project meetings and ask for help from my project
supervisor, notoriously I have been a very lazy learner I have always been complacent in my
knowledge and therefore not always done what has been needed to achieve the best possible
grades,howeverdue tothe fact I have completedvariousdraftsandmetwithmy project supervisor
almostevery week will ultimately result in the grade I have desired. Along with this I feel that the
extended hours in which I have used to read about each art form and psychological theory has
helpedme greatly.Studieshave shownthatprior reading and good application of time often result

June 4, 2013
AshleyJones 37
inbetteroutputand greaterresults(Kizlik,2008). In the future however there are things I would do
differently.Proofreadingforexample,althoughIhave readovermy projectcountlesstimesIbelieve
the application of proof reading more would stop any possible mistakes or confusing information
that may occur, proofreading allows for individuals to find mistakes and holes in information and
change themin orderto solidifyanyclaimsanditalsomakessure the piece of workis more credible
(Kizlik,2008). Finallyinthe future If Iwas to write another project I would make sure I choose a less
broad subjectarea,Ifeel that the subject area used has been too broad resulting in conflicting and
confusing information, as well as finding credible information very hard due to the fact there is so
much information that is incorrect leading in less accurate results (Fleming, 2012).
In conclusionIwouldhave toargue that withthe strengths and weakness of myself and the project
inmind,there are many things in which I could do to improve my work. In the future I would apply
the lessonslearnt from writing this project and apply them, proofreading and prior reading will be
essential toanyfuture success asresultof this, I feel that with this I will be able to drive to achieve
the highest possible grades and apply my knowledge to the fullest.

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