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In the history of American advertising, print has played a vital and interesting role.

印刷广告已经存在于任何媒介,在广播,电视和互联网的出现中幸存下来,一直保持其稳定的影响力。制作精良的印刷广告确实有一些标志性的标志性,而且多年来做得很好的代理商和品牌因此获得了巨大的好处。

Here’s a look at some well-designed print ads from the last 115 years (one from each decade) and an attempt to understand what we can learn from the progression. Changes in taste, disruptive new technologies, and the natural evolution of our cultural propriety have completely transformed the way brands use print mediums to advertise – but certain patterns and threads hold true.

使用现代的解释性镜头重新审查这些战略模式(以及使用它们的广告),可以对我们去过的位置和前进的位置进行有趣的案例研究 - 作为广告商和消费者。

1)1906年 - 柯达故事

Using content marketing to ‘tell the story’ of a brand is nothing new. While the platforms we use to display our content marketing change drastically, the same underlying concepts have been exploited by businesses as far back as the turn of the 20th century.

在1906年的这张广告中,摄影师柯达(一个多世纪后的持续成功,作为证据表明他们一直并继续领先于曲线营销),创建了一系列印刷广告,针对父母为父母购买礼物他们的青春期孩子。这些广告向年轻人提供了一种技术先进的方式,可以捕捉他们使用柯达相机的经验的本质,几乎不需要专业知识,但却可以可靠地提供令人叹为观止的结果。

While the model’s hair and fashion choices betray the ad’s century-old status, the concept could apply to a magazine ad today. She is contentedly going over the stunningly mounted prints that she took with her Kodak. The background is accented by a beautifully somber twilight scene, which gives the viewer an idea of what her photographic subjects might have been. Another connection to today’s modern marketing is the call-to-action at the end of the ad: “The Kodak catalogue tells the details. Free at the dealers or by mail.”

免费电子书下载,有人吗?

2)1917 - Our Boys in France Tobacco Fund

在整个第一次世界大战中,美国广告商都利用战争的背景来推广其产品。许多行业的公司使用了这一荣耀的宣传,将其品牌置于美国人民的良好范围内。如果购买公众认为一家公司以某种方式以有意义的方式支持战争的努力,raybet电子竞技那么他们将更倾向于将辛苦的美元花在上面。这是基于许多行业的事实现实的example在战es中,对盟军士兵的交流至关重要,在战争期间卖得非常好。

其他影响力较小的行业也参与了该战略。This ad in (and for) The Morning Telegraph, a daily newspaper that was devoted primarily to horse racing results and theatre news, shows how widespread the practice had become by 1917. Since the paper itself couldn’t rightly be positioned as benefitting American soldiers in any direct way, they positioned themselves as the “Official Organ in New York City for the ‘Our Boys in France Tobacco Fund.’”

Today, this would likely be seen as exploitative (or at least lacking in subtlety). Brands like McDonald’s, for example, have been rightfully reprimanded by the public for being a bit too沉重的while linking their brand to American crises and national spirit.爱国主义仍然卖出- 它只需要使用它的品牌来更加微妙,以免购买公众反应负面反应。

3)1929年 - 韦斯特博士的牙刷

该广告以视觉设计趋势的周期性性质提出了一个有趣的案例研究。在许多方面,这家牙刷公司(或雇用了做广告的人)表明自己在美学raybet电子竞技上要领先于时间。

As far as color palette, the full rainbow is used for a strikingly immediate visual effect. The way the toothbrushes overlap in a grid-like fashion makes the ad feel symmetrical and comfortable. It’s interesting to think about how visual symmetry is now seen as an important design tool to evoke a brand’s strong organizational structure and trustworthiness. Being used in this context, almost 90 years ago, lends legitimacy to the theory itself. If it’s been working for that long, there really must be some innate truth to it.

该广告的唯一方面使当今的设计专家畏缩的是品牌本身的分散定位。如果现代观众要给这个广告一个2-3秒的甘德,然后移开视线,那么其中很小一部分将能够回忆起公司的名字。raybet电子竞技不仅是“博士韦斯特(West)的“降级到页面的底部,但它以如此的角度描绘,以至于使它难忘。除此之外,这是广告设计何时创建广告设计的一个特别前瞻性的示例。

4)1938年 - 无忧的电影海报

历史学家卡洛斯·史蒂文斯(Carlos Stevens)提供以下内容关于在大萧条期间的美国电影制作:“电影提供了避开寒冷,高温和孤独的机会;他们将陌生人聚集在一起,在电影宫的黑暗中摩擦肘部和fleapits,分享每个人都可以使用的一个社交活动。”

这部电影期间,averagemovie ticket was $.27, offering struggling families a relatively cheap way to escape the harsh realities of their daily lives. Along with the pricing and promotional efforts of the theatres, Hollywood filmmakers recognized that there was a demand for a cheap product: one light on dramatic intensity and heavy on comedic gags. The filmmakers of the era recognized this demand and adjusted: resulting in titles like Carefree.

The ad for the film fits its tone extremely well, with a happy, dancing couple surrounded by swirling patches of bright pink, yellow, and orange. This colorful arrangement - especially in its use of adjacent pastels - would actually come back into fashion in the advertisements of the 1990s. The film's stars – Fred Astaire and Ginger Rogers – were among the biggest draws of the era, starring in ten films together from 1933 to 1949. In an era when financial security was lacking for a majority of the movie-going audience, films like Carefree (and the accompanying advertisements) provided a welcome escape.

5)1946年 - 垃圾邮件'N'Limas食谱

1946年,美国达到了第二次世界大战的参与。就像第一次世界大战期间一样,该时代的广告受到美国战时地位的极大影响。消费者面临政府强制配给练习影响了他们购买从汽油到肉类和奶酪的所有物品的方式。

Enter: Spam. Spam is a canned, precooked ham product that was created by Hormel in the late 1930s and became popular throughout the country for its price and convenience. For a time, the tag of being a canned, precooked, processed meat meant modernity, not unhealthiness and questionable meat sources. This ad is representative of the product and the era in its arrangement – with all prominent real estate devoted to the end result of the recipe included below. Throw in a punny 1940s-friendly catchphrase and – voila – there’s your ad.

但是,在这种情况下,我认为最终结果远非“'ah''''

6)1950年 - 像穿着它们的男人一样的创意

就像设计的视觉元素一样,也可以是周期性的,时尚趋势也可以。当今千禧一代的流行时尚从过去的几十年中广泛借用,而这件公元1950年的Truval也不例外。

广告中的男人都穿着彩色格子衬衫,看似既舒适又耐用。他们似乎是建筑师和/或工程师,站在蓝图周围讨论完成某种建筑工作的最佳方法。该副本加强了这些力量和机智的主题:“像戴上它们的男人一样,创造性……像男人一样。”

该广告在当今的时尚广告标准上表现出了令人惊讶的表现(除了其全男性,全白人角色所暗示的夸张的色彩)。这些衬衫本身就是您所看到的那种时髦的法兰绒数字,居住在纽约市的任何图形设计公司中。布局唤起了杂志中看到的差异GQ,大多数空间都致力于突出产品本身,并将副本放在下面。除了上述人群问题外,唯一真正与此示例的唯一元素是插图样式:紧密边界和卡通般的含义,这些类型的图纸非常适合当时的广告,因为它们与流行中的人相似一天的小说 - 想想强壮的男孩书籍和超人漫画。现在,品牌对允许高质量摄影突出所出售产品更加感兴趣。

7)1968 – Sony personal televisions

The effect of technology on modern relationships has been well documented. Smartphones and the apps contained therein have revolutionized the way we meet, date, and communicate with significant others, for better or worse. Movies, TV shows, and advertisements have all parodied the now ubiquitous extreme of this phenomenon: a couple out to eat at a restaurant, paying no attention to each other, instead staring at their phones. The reality, though, is that technology has always affected our collective approach to romance.

In this Sony advertisement from 1968, a couple is shown lying down in bed, each facing the opposite direction and glaring into their own personal televisions. The humor isn’t missed on the makers of the ad, with the caption reading: “There comes a time in everyone’s life when they just want to be alone with the person they love.”

The room surrounding the couple’s bed is completely dark, highlighting the alluring glow of the screens and the zombie-like entrancement of the man and woman. The screens themselves offer a glimpse into the nature of that entrancement as well, with the man’s screen showing a beautiful woman and the woman’s showing the reverse. Ultimately, the ad does a good job of addressing the negative viewpoints many would’ve had about personal televisions: not inclusive enough, too isolating, etc. Instead of shying away from those claims, Sony decided to embrace their comedic weight.

一般而言,当今的公司不太愿意这样做。制造智能手机和动力的应用程序倾向于以展示我们如何通过技术联系的方式进行宣传,而不是嘲笑我们与他们隔离的方式。

8)1972年 - 塔雷顿香烟

如果您已经看过巨大的AMC Show Mad Men,那么您熟悉香烟行业中有趣且有争议的广告历史。确切地说,当烟草公司意识到其产品的危险性是多么危险的主题,并且在过去的四十年中进行了许多法律斗争。最终,没有比赛。对于公司,外科医生和美国公众来说,绝大多数是杀手。

然而,随着该过程的发展,有许多不同的阶段,在此过程中,这些公司不得不不断调整他们愿意承认的程度。在1964年外科医生的报告正式认识到香烟的健康风险之后,争取尊敬的斗争使这些品牌变得更糟。尽管如此,它仍然没有接近我们今天的情况,不到7.5%的12年级学生将自己识别为每日吸烟者(相对1972年约30%。)那么他们如何实现这一目标?好吧,外科医生的报告虽然对维持公共卫生的研究且至关重要,但并不总是会产生我们希望它们的直接影响。在该报告之后,这些公司仍然能够在公众舆论中成为“健康”的香烟品牌的位置。这正是您在此广告中看到的,Tareyton使用饮用水类比来证明其木炭过滤器的清洁效果有多少。

当然,这是一个骗局。这是一个道德上令人反感的。

9)1983年 - 雅马哈钢琴

As disco died on the dancefloor and the 70s turned into the 80s, design trends started to change dramatically as well. The color schemes that were in vogue in the 70s were immediately ditched for a sleeker, more simplistic approach. Stark contrasts were king, and glossy finishes helped brands deliver messages that popped right off the page.

In this ad from Yamaha, we see the beginning of another advertising design trend that began around the same time and has continued to this day: product integration. As more and more homespun companies gave way to global corporations with tentacles reaching many different industries, it became more difficult for ad-men and women to capture the essence of a brand with a single concept. To accomplish this, they would use visual analogies that linked the different product and service types they offered.

在这里,我们看到Yamaha(一家跨国集团,交易乐器,电子,摩托车和动力运动器材),试图展示其最新模型键盘合成器的工程能力,这是由闪亮的,现代化的摩托车头盔的闪亮,现代性眩光所反映的。由于其清晰的设计和编写良好的副本,该广告的运行效果非常好。“因为这台机器是如此强大,所以它可以使您的位置静止不动。”

10)1990年 - 绝对19th

正如我们看到了1950年Truval AD的美学时尚趋势的周期性性质一样,广告的美学也可能非常周期性。从1990年开始的Absolut Vodka的广告中,我们看到了1950年代的手工效率。

This is a smart matching of form and content, as the concept behind the ad is based on the allure of sharing some Absolut-based cocktails with your golfing buddies after a long day out on the links (the relaxing drinks being the “19th,” following 18 holes of golf.) This comes in a series of ads on which Absolut places a bold image that takes up most of the print space, supplemented by “Absolut _______” at the bottom (always in that same bold white font). Recurring ad themes are great for the print medium because you can constantly tailor the concept to your audience. In this case, the “19th” wordplay is clever, but not overwhelmingly so – in other words, the perfect dad joke.

这里的观众是什么?你猜对了 - 爸爸。Throw in the fact that the aesthetic framework – the hand-drawn golf course, the heavy-handed visual “bottle as island” pun – is also perfectly tailored for that demographic, and you’ve got yourself a perfect example of a tried-and-true theme that’s been smartly remolded for its intended audience.

11)2002年 - T-MAC得到牛奶

虽然伏特加 - >牛奶过渡似乎有些突然,但在这种情况下,牛奶过渡很合适。

“得到牛奶?”活动 -创建by the advertising agency Goodby Silverstein & Partners for the California Milk Processor Board – ran throughout the 90s and early 00s and aimed to promote milk as a healthy source of calcium for kids and teens. The ads became iconic for their uniquely written copy and larger-than-life spokespersons.

绝对伏特加的广告相比,它提供了一个perfect counterexample in terms of audience. Here the advertisers are targeting adolescents; they want to strip milk of its old, lame connotations and repurpose it as a cool drinking option for kids who want to grow up to be like their heroes. Aesthetically, it couldn’t be more different from the classic illustration of the Absolut ad. NBA legend Tracy McGrady is seen mid-flight against a black and grey background (reminiscent of high school yearbook backgrounds), ready to finish one of his trademark slam dunks into an unseen net.

The copy is smart and achieves the perfect tone for its audience – coming off like the popular kid in a sitcom without being too sappy. Also, it’s always a good idea to match an iconic catchphrase with a similarly memorable visual callback. It unifies the campaign and helps tie all of the different ads together, making them easier to engage with. In this case, the milk mustache couldn’t be more perfect for accomplishing this – it makes the ads playful without being childish; funny without being frivolous.

最终,尽管最近有所有的说法已经过去了,但印刷品仍在美国文化景观中保持了影响。尽管互联网改变了我们与所有形式的内容的互动方式,但仍有(至少目前)一个印刷的市场word

That doesn’t mean things aren’t changing, though. In all likelihood, we will continue to spend more and more time engaging with digital content as our lives become busier and our tools become more connected. The lessons of print advertising, though – be they aesthetic, conceptual, or even emotional – will continue to influence the way we engage with brands and each other.

新的呼吁行动

最初发布于2016年1月14日下午1:00:00,2017年7月28日更新