1. COMIC SANS, NEE TOCH?
MET CONGRUENTE LETTERTYPES OVERTUIGEN
Tim Smits
KU Leuven
@timsmitstim
Tim.smits@soc.kuleuven.be
PRESENTED @ VIOT 2014
Collaboration:
Robin Van der Sar
Goele Aerts (KU Leuven)
2. ACHTERGROND
“The great art in writing advertisements, is the finding
out a proper method to catch the reader's eye, without
which a good thing may pass over unobserved, or be
lost among commissions of bankrupt. […] I must not
here omit the blind Italian character, which being scarce
legible, always fixes and detains the eye, and gives the
curious reader something like the satisfaction of prying
into a secret.”
Typeface @ VIOT 2014 2
3. ACHTERGROND
“The great art in writing advertisements, is the finding
out a proper method to catch the reader's eye, without
which a good thing may pass over unobserved, or be
lost among commissions of bankrupt. […] I must not
here omit the blind Italian character, which being scarce
legible, always fixes and detains the eye, and gives the
curious reader something like the satisfaction of prying
into a secret.”
Addison, 1710
Typeface @ VIOT 2014 3
4. ACHTERGROND
Adverteren vroeger: Lettertype als één van de
weinige creatieve opties; uitdrukkelijk associatief
gebruikt
Adverteren nu:
Meer visueel, reduceert onze aandacht voor
vormgeving van copy
Creatieve lettertypes trekken slechts aandacht in
sommige gevallen: merknamen/logo’s; Comic Sans
Ook andere creatieve “achtergrondkenmerken”
hebben wel een effect: CONGRUENTIE
Typeface @ VIOT 2014 4
5. Van http://en.wikipedia.org/wiki/Comic_Sans
“The Boston Phoenix reported on disgruntlement over the
widespread use of the font, especially its incongruous use for
writing on serious subjects, with the complaints urged on by a
campaign started by two Indianapolis graphic designers, Dave
and Holly Combs, via their website "Ban Comic Sans". The
movement was conceived in 1999 by the two designers, after
an employer insisted that one of them use Comic Sans in a
children's museum exhibit”
“In the Netherlands popular radio DJs Coen
Swijnenberg and Sander Lantinga decided to celebrate the
font by having a Comic Sans day on the first Friday of July.
Comic Sans Day has been held since 2009. Some Dutch
companies have their website in Comic Sans on this day.”
Typeface @ VIOT 2014 5
6. CONGRUENTIE
Match tussen creatieve keuze en positionering: kleuren,
endorsers, humor, vormgeving afbeelding, lettertype
Twee types evidentie over congruentie:
1. Schema-theory (Mandler, 1982): Gematigde
incongruentie is meest overtuigend
Heckler & Childres, 1992; Törn, 2012; Halkias & Kokkinaki,
2013; Yoon, 2013; …
2. Hele reeks bevindingen over betere overtuiging
bij een match tussen creatieve “details” en de
advertentie boodschap
Typeface @ VIOT 2014 6
7. • Stijl van afbeeldingen: Peracchio & Meyers-Levy, 2005
• Online banners & banner blindness: Hervet et al,
2010
• Relevantie van de endorser: Sengupta et al, 1997
• Kleur logo: Bottomley & Doyle, 2006
• …
Beide types aangetoond in Janssens, De Pelsmacker &
Geuens, 2012: internet pagina + advertentie
-Congruentie goed bij weinig cognitieve reserves
-Incongruentie goed bij veel cognitieve reserves
Typeface @ VIOT 2014 7
8. HYPOTHESEN
1. Congruentie > Incongruentie
Omdat we lettertype in een advertentie als een
weinig manifest element beschouwen en het dus in
categorie 2 valt
2. Negatief effect van incongruentie vooral wanneer
het om overselling gaat
Advertentie voor een casual product dat zich via
lettertype luxe wil toedichten
Typeface @ VIOT 2014 8
9. LETTERTYPE – EERDERE EVIDENTIE
Eerdere studie: Van Rompay & Pruyn (2011); zie ook
Bottomley & Doyle
9
14. METHODE
2 (product positionering: luxe vs. gewoon) x
2 (lettertype congruentie: congruent vs. incongruent) x
2 (matching: congruentie voor water vs autoband)
mixed design; eerste twee WS, laatste BS
-> Afweging tussen veel weten en zuinig zijn met je
deelnemers. Latin square type van design.
N = 98, i.e. 49 per between-subjects conditie
Metingen:
Advertentie-attitude & Geloofwaardigheid merk (resp. 5
& 4 semantische differentialen); Prijsverwachting
14
15. RESULTATEN
Advertentie-attitude , per product type, product
positionering and lettertype congruentie
15
0
1
2
3
4
5
6
7
Incongruent Congruent Incongruent Congruent
Water Tire
Casual
Luxurious
16. Geloofwaardigheid merk, per product type, product
positionering and lettertype congruentie
16
0
1
2
3
4
5
6
7
Incongruent Congruent Incongruent Congruent
Water Tire
Casual
Luxurious
17. Prijsschatting (in euro-cent voor water; euro voor
autobanden), per product type, product positionering and
lettertype congruentie
17
0
20
40
60
80
100
120
Incongruent Congruent Incongruent Congruent
Water Tire
Casual
Luxurious
18. DISCUSSIE/CONCLUSIE
Verschillende types “congruentie” effecten
Lettertype in advertenties lijkt best te passen in het tweede
type waar congruentie voor grotere effectiviteit zorgt
Effect gaat op voor low involvement product & high
involvement product
Maar negatief effect incongruentie lijkt sterker voor casual
positionering (<> Van Rompay & Pruyn)
Verder onderzoek…
18
19. COMIC SANS, NEE TOCH?
MET CONGRUENTE LETTERTYPES OVERTUIGEN
Tim Smits
KU Leuven
@timsmitstim
Tim.smits@soc.kuleuven.be
PRESENTED @ VIOT 2014
Collaboration:
Robin Van der Sar
Goele Aerts (KU Leuven)
Editor's Notes
Wim Janssens, Patrick De Pelsmacker and Maggie Geuens, International Journal of Advertising, Vol. 31, No. 3, 2012, pp. 579-604Three studies investigate the moderating role of divided attention in the relationship between thematic (in)congruency between a web page and a web ad, and evaluations of and click intention towards the embedded web ad. The first study establishes the traditional priming effect in sequential web page – web ad exposure. Study two manipulates viewers’ opportunity to divide their attention when simultaneously exposed to a web page and a web ad, and Study three measures divided attention by means of gaze jumps in a simultaneous exposure situation. In the case of simultaneous exposure to a web page and a web ad, a congruency effect occurs when there is little opportunity to divide the attention between the web page and the ad, and when there are few gaze jumps between the web page and the web ad. In these cases, web ads that are thematically congruent with the web page result in more positive responses. This effect reverses when there is more opportunity to divide the attention between the web page and the web ad, and when the number of gaze jumps is high: web ads incongruent with the web page lead to more positive responses. Undivided attention benefits web ads that are congruent with the web page in which they are embedded, but divided attention benefits those that are incongruent with the web page.
-Participants had more positive attitudes towards the pair of congruently advertised stimuli they saw (M = 5.40, SD = .54) than towards the incongruently advertised pair of stimuli (M = 3.88, SD = .66; t(97) = 19.52, F(1, 96) = 392.07, p < .001). H1
-The main effect was qualified in multiple ways. First, congruency interacted with brand positioning (F(1,96) = 77.25, p < .001). As is demonstrated in Figure 1, congruency had a stronger effect for casual brands (Mcongruent = 5.14, SD = .69; Mincongruent = 3.07, SD = .93; t(97) = 18.99, p < .001) than for luxurious brands (Mcongruent = 5.66, SD = .82; Mincongruent = 4.69, SD = .93; t(97) = 7.96, p < .001). H2
Verder onderzoek:
-meer producten
-ander design met meer deelnemers