Deconstruction of newspaper advertisements and my plan for my ancillary product.

1. Deconstruc*on
of
‘i’
Newspaper
Adver*sements
Courtney
O’Donnell

2. Exhibi*on
I
have
decided
that
only
deconstruc*ng
‘i’s’
newspaper
adver*sements
is
most
construc*ve
to
the
produc*on
of
this
ancillary
product,
as
I
had
determined
that
this
would
be
my
exhibitor
within
my
market
research,
as
it
relates
to
my
formal,
educated
product,
and
markets
to
my
whole
target
audience
alongside
my
TV
lis*ngs
magazine,
as
the
Radio
Times
distributes
to
my
older
demographic,
whilst
‘i’
distributes
to
my
young
adult-­‐adult
demographic
from
its
readers.

3. Marke*ng
to
its
Audience
The
adver*sements
market
to
young
people
as
they
include
youthful
products
such
as;
technology
–
smart
phones
and
wifi,
and
educa*on,
as
well
as
slightly
older
adults
through
a
home
company.

4. Overall
Look
and
Format
• Portrait
or
landscape
varying
in
propor*ons.
• Landscape:
third
of
page
at
edge
of
top
or
boRom,
width
is
fixed
–
26cm,
height
at
a
maximum
of
15.5cm.
Terms
and
condi*ons
in
small
print
below
if
necessary
for
phones
etc.,
included
within
height.
• Portrait:
almost
half
of
page
on
the
outer
edge
so
that
the
ar*cle
is
the
focal
point,
fixed
height
of
25cm,
maximum
width
of
14.8cm
(varying
between
1-­‐4mm).
• 1
full
page
ar*cle
on
back
cover.
• Similar
simple,
non-­‐cursive/
pointed
font
for
all
adds
e.g.
Arial,
Calibri,
Tahoma.
• Backgrounds
include
either
image
(some*mes
out
of
focus
with
organised
colour
scheme)
or
block
primary
colours,
some*mes
faded.
• Bold
*tle
which
describes
the
product
without
naming
it
explicitly.
O^en
quite
long,
varying
in
mono-­‐polysyllabic.
• Smaller,
thin
descrip*ve
sub*tles
in
varying
lengths
and
the
same
font.

5. Halifax
Ad
• Out
of
focus
background,
blue
and
white
colour
scheme
with
white
font/
background
base,
and
blue
shirt/
textbox.
Landscape
format
fits
the
whole
image.
• Symbol
of
in*mately
close-­‐up,
large,
friendly
smiling
model
to
represent
happy
customers.
He
also
reflects
the
target
market;
everyday
man,
older,
working
class
due
to
casual,
buRoned
down,
work-­‐
uniform
polo-­‐shirt
and
warm
jacket.
• Background
image
symbolises
sold
homes
to
represent
the
product.
The
red
‘SOLD’
sign
breaks
from/
contrasts
the
colour
scheme,
emphasising
the
product.
• Main
*tle
of
an
aRrac*ve,
eye-­‐catching
offer
to
en*ce
the
reader.
• Smaller
logo
of
the
company,
faded,
in
the
centre
of
the
boRom
edge
–
focal
point,
conven*onal
posi*on
at
edge.

6. O2
iPhone
Ad
• Faded
light-­‐dark
blue
background
that
is
stylis*c,
modern
and
sophis*cated.
Creates
colour
scheme
from
blue
image
and
white
font,
which
is
light,
airy
and
ar*s*c.
• Simple,
primary
coloured
background
with
no
image
presents
a
more
sophis*cated
look.
• The
*tle
draws
customers
in
due
to
the
aRrac*ve
statement,
like
the
Halifax
adver*sement.
• Logo
in
the
boRom
right
and
top
le^
corners
conven*onally.
• Darker
background
at
the
top
against
the
contras*ng
white
font
to
emphasise
the
main
*tle,
which
is
more
eye-­‐catching.
• Two
sub*tles
to
explain
and
describe
the
main
*tle
and
product.
• Contact
details
for
the
company
in
the
boRom
le^
corner
–
engages
readers
with
product.
• Circular,
eye-­‐catching
textbox
to
emphasise
the
important
details
of
dates.
This
informa*on
also
creates
an
urgency
for
the
product.
• Layout
of
the
main
body
is
centred
stylis*cally
and
sophis*catedly,
whilst
the
portrait
layout
is
in
line
with
this
body
and
the
portrait
image.

7. Visa
Ad
• Conven*onal
logo
in
the
boRom
corner,
which
presents
emphasis
on
the
adver*sement
rather
than
the
brand.
• Symbol
of
the
happy
customer,
much
like
the
Halifax
adver*sement,
reflects
the
posi*ve
experience
of
the
product.
Also
sells
the
image
of
happiness
and
bliss
through
the
relaxed
and
casual
clothing,
vast,
scenic
and
empty
beach,
gentle
*de,
warm
and
muted
colours,
and
language
such
as
‘lazy
lie-­‐ins’,
‘gorgeous’
and
‘winning’
–
drawing
readers
in.
• Text
contras*ng
the
lighter
areas
of
the
background
with
no
textbox
–
less
formal
than
the
other
adver*sements,
crea*ng
a
more
relaxed
image
reflec*ng
the
product.
• Brand
symbols
in
the
top
and
boRom
le^
corner.
• Colour
scheme
of
calm
and
relaxed
blue,
and
bright,
fresh,
warm
colours
of
orange,
white
and
yellow,
crea*ng
the
blissful
image.
• Related
ins*tu*on
logos
and
terms
at
the
boRom
of
the
adver*sement,
which
don’t
disturb
the
relaxed
and
aesthe*cally
pleasing
background.

8. Plusnet
Ad
• Freshly
colourful,
bright,
busy
and
vibrant
background
image
which
reflects
the
posi*ve
business
environment
of
the
product.
• Not
out
of
focus
like
the
Halifax
adver*sement
to
emphasise
the
importance
of
the
sedng.
• Banner
draws
aRen*on
to
the
main
*tle,
and
separates
it
clearly
from
the
busy
background.
The
aRrac*ve
keyword
‘free’
is
bolded
to
emphasise
it.
• Blue,
red
and
white
colour
scheme
to
create
the
semio*c
of
patrio*c
Britain,
reflected
through
the
language
of
‘small
Bri*sh’,
‘UK’s’
and
‘Britain’.
• Sub*tle
linked
to
the
main
*tle
as
it
is
cursively
wrapped
under
it.
• Starred
textbox
like
the
O2
adver*sement
emphasises
the
offer.
• Logo
and
contact
details
conven*onally
separated
underneath
the
adver*sement
like
Visa’s.

9. Conclusion
From
deconstruc*ng
other
designs,
I’ve
decided
that
I
will
use
a
landscape
adver*sement
with
a
the
image
of
Rowan
against
the
busy,
library
background
similarly
to
Plusnet’s
and
Halifax’s
adver*sements.
This
allows
the
library
background
to
begin
to
present
my
documentary
main
sedng
and
educated
style
without
as
many
descrip*ons
as
the
TV
lis*ngs
magazine
which
features
an
ar*cle.
As
the
bookshelf
is
clearly
dis*nguishable,
I
will
also
conven*onally
edit
it
out
of
focus,
drawing
aRen*on
to
my
presenter
and
her
media,
headphone
mise
en
scene.

10. Op*on
1

11. Op*on
2

12. Finally,
I
will
use
the
conven*onally
descrip*ve
large,
bolded
main
*tle
and
smaller
sub*tles
against
textboxes,
and
Channel
4
logo
in
the
corner.
I
will
use
muted,
sophis*cated
monochrome
colours
as
well
as
colours
from
the
image
to
create
a
formal,
modern,
youthful
and
ar*s*c
colour
scheme.