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These are 30 hints for your promotional campaign that will cause a stir. It' s the ancient way of telling the world: "I have a good thing, that's what it does, so you should buy it". We have compiled 30 samples of beautiful case study advertisements, each with a lot of knowledge and hints on how to use them.

So if you want to use some ad technique, or if you create your own ad, come with us because we have a look at 30 great ads. If many of us see commercials, we imagine flamboyant pictures showing the products, the functions and the reason why we should buy them.

Take a look at this Lego ad that pulls things back and is based on a picture and an inspiration. Without a copy, just a simple and easily understandable text messaging, this ad captured the intricate notion of fantasy in its most simple allure. So it can be a one-way pass for a great ad to keep things easier (both in regards to content and design).

Requests for actions are often used in advertisement design, especially in advertisement. If you are not acquainted, a call to Action is a copy that encourages or prompts the public to act. Requests for actions work particularly well in advertisement if they are used prudently and skilfully. This call not only encourages the consumer to come and see the Zoos, but also explains and contextualises the above picture.

As this call is supported by such a sophisticated graphics and conception, it is kept easy and straightforward and a focus of the site. Many other advertisements can lower the level of their prompts for actions so that they are small and almost undercurrent. But if your call to actions is part of your core messages, don't be scared to make it big, to make it fat and to put it in the foreground.

Like with all design, you produce a work that is aimed at a particular group of consumers. Using a four instead of one advertising drive, Wilkinson Sword can leverage a powerful and smart approach and further develop it in order to directly address the marketing through the use of different individuals and different styles.

Wilkinson Sword has managed to address not only a particular group of people, but the shaver as a whole. A great technology in promotional games are pictorial metaphors. Similar to a literary methaphor, a visually oriented methaphor presents a conceptual framework by contrasting it with another (often incoherent) one.

Through the creation of a pictorial imagery, Elter Drogs is able to convey a powerful messaging about Elter Drog's own stomach and antibiotic therapy department and nutritional security without showing delicate pictures. If you develop a visual Metaphor, work until you get one that appears apparent enough so that the consumer can hear it in a case.

There is no better way to feel than showing someone your designs and letting them say, "I don't get it". Working to evolve a subtle and intelligent but clear and evident optical image trait. One sure-fire way to build a smarter ad is to find concealed optical connections that encompass your subject. Locating concealed visible connections can give you a one-of-a-kind opportunity to promote your work.

Attempt to develop ideas related to your messages that have similar forms, strokes or outlines, and try to think of a way to combine these two ideas to further your messages. In their ads, advertising companies often toy with these iconical aspects of everyday living to generate new meaning.

By using colour, Van Gogh's image, the colours, the whistle and the flowers, the consumer gets a whole bunch of icons of which he can make sense in no time. Van Gogh's rapid detection contributes to bringing home the slogan of the " For Self Portaits " ad.

Using an icon shape and icon concepts and giving it a new, fun twist, this style provides an insider wit to the consumer while adding a touch of cultural value to the final result. Scaling is one of the basics of designing, the size of certain object can generate all types of effect, so scaling is of course a great technology in advertisement.

Using the greatly reduced size model not only encourages the readers to take a close look, but also strengthens the sense of "big things that start small". Thus, the play with the scales in your designs can not only evoke a powerful messaging, but also a breathtaking viewing experience. Resize an element to produce dramatic effects and reduce detail, then resize other element to make things look more complicated and softer.

Overstatement is a fantastical commercial instrument when used appropriately. To imply that your products can do something that it can't do is kick a fine line, and the one way to ensure that your message remains fun or effective and not deceptive is to implement a small hype into your designs.

The example for Raid Bug Aerosol shows that the Raid has " wiped out " the sheet music of Rimsky-Korsakov's "The Flight of the Bumblebee", which means that Raid is powerful enough to wipe out every hint of possible errors, even their interpretation. Don't be shy about manipulating your images to produce a weird, unreal or even impossibly effect that complements your messages.

Canalizing the Penrose Delta by similarly modifying an imagery of her products to visualize the concepts of "difficulty" and "complexity," lkea makes jokes about the famous difficulties of constructing her shelves. As with the Penrose Delta, this intriguing piece catches Ikea's messages with a clever, yet easy, but unreal and unreal twist on an every day picture.

There is a general rules of "Show, don't tell" in many think -tank creativity colleges that says you should never declare something if you can show it, and there is no exemption from that when it comes to publicity. When you design your own ad, remember that there are probably a lot of other brand names that advertise a very similar item and make similar claims, so take the opportunity to show the functions and thoughts that surrounds your item, rather than tell them to the public for a much more powerful and sustainable impact.

Advertisements are conceived in such a way that an audiences makes sense, so why not involve the audiences in the processes of creating this significance? Think about how your audiences are interacting with your play - can they say anything to it or in any way be interacting with it to get more meaningful out of it?

This not only assists the mark to identify unexperienced fingers, but also to develop a detail-oriented approach for Berrge Tattoo as a mark by slaying two Birds with a (very interactive) rock. Formerly, the first advertising generations were just copying - a bloc of the kind that would explain the products, the functions, the place where you could get them, etc.

Really good copywriting is definitely nothing to turn against, but sometimes a really brief and easy copy can be the most efficient, especially when it' goes along with a powerful optical impression. The Land Rover example uses just two words of copy and a superbly powerful image to produce an eye-catching, intelligent and ingenious display.

You concentrate on one characteristic of the vehicle and give it a single dose of speed. As you design your ad, keep in mindful that a brief, crisp copy is much simpler to memorize and enjoy as your audiences will immediately see your messages as soon as they look at your ad - and they will immediately get the messages heard, spoken, and understood.

Every single one of our days we are communicating in tens and tens of millions of symbols, apps, buttonboards, traffic signage and even mojis, so that every symbol is a fast way to gain importance (even in many languages!). This re-interpretation of the symbol not only creates a powerful look, but also makes this ad appealing to a specific niche audience - more technically literate individuals using on-line cards and technologies.

Think about using icons in your advertisements to make a powerful, fast and fairly universally applicable statement. It' s astonishing how a very easy form, like a round with a pointed bottom, can quickly indicate the position concept. When it fits the image of your trademark, the use of visual illusions can produce a captivating, divisible and unforgettable effect, especially because many visual illusions demand that you stop and gaze - isn't that the final goal of the promotional play?

At this point the dots pale away and repeat the effect of the acne therapy. This example for acne therapy makes Oxy asks consumer to concentrate on the picture of the products for 20 seconds, at this point the dots pale away and repeat the effect of the acne therapy. It is a particularly smart play, because to see the delusion you have to look at the products and strengthen the associations between the delusion and the trademark.

Explore visual delusions, explore what is possible for your media and your messages, and experience the creation of a captivating delusion that really does help bring your messages home. Color is a very powerful instrument in overall styling, especially in advertisement. The use of "wrong" colours is quite jerky and attracts a lot of interest, while at the same time making a rather powerful impression.

So consider using colour as a theme in your artwork, whether you use colour in a shaking, fascinating or eye-catching way, do it deliberately and purposefully. If you need additional advice on how to use colour in your designing processes, make sure you keep these 10 colour mysteries in mind. White Space is an unbelievably useful designer toolset, it will help let your themes "breathe" and it will keep your theme clean and tidy.

White space is not only an aesthetical but also a practical instrument that can help make a difference to the core messages of your ad. Take a look at this example for Kit Kat, which uses spaces to focus your eye on the focus of the overall look.

Using the white space here also assists in capturing the notion of a pause - stillness, relaxation, etc. There' s no mess, no noisy colors, no big and powerful writing, the White Space produces a calm and tranquil sound, perfectly for this occasion. The first few whitespaces can be quite challenging, you're trying to fill everything with color, fonts, bigger items, etc. - but you should be careful.

Allow your white space to talk to your customers and let it keep your designs easy and neat, but also let it say what you want. You want to display your product's velocity, flexibility and motion, but can't quite understand how to do it on a 2-D media such as a printed ad?

Using moving rules, lights and shadow will help to catch these two opposing forms and creates unique movements. The use of moving in your ads will help turn an otherwise shallow media into a vibrant look, representing velocity and moving. So if you want to show how fast and fast your products are, you should work with form, shadow and moving line to achieve a vibrant effect.

When you are selling a particular brand, you are probably trying to spread a very similar brand to any other brand in your own brand, so try to design and spread that brand in a new way. The Extra Goum example uses the ancient word that bubble-gum is good for your teeths, but presents it in a smart new way.

Through the use of special shading, orientation and formulation, Extra is able to meet this demand, but in a smart and new way - by presenting gums as a replacement for toothbrushes. When you try to promulgate an ideas that was previously "made", don't just step into the shoes of other brand names, consider a new way of presenting the messages, find relations and go a new way.

Designing a customized style by yourself can give your look a personality, and it could be this one extra item that sets your ad apart. Look at this ad for Nutella that shows the guy in, well, Nutella. Using a dirty, individual lettering mirrors the gameiness of the Nutella trademark and produces a striking and rather amusing effect.

Well, consider designing your own style, whether this is hand-written, made from your own products or otherwise produced, a powerful bit of style that is uniquely for you and you alone are unforgettable, personally and superbly effectively. Lots of designs will try to jump off the page, or seem so real that you might even forget that they are on a page, but what about attracting your designers to the fact that your designs are on a page?

It' s a play on the form of the products and the media, making for a cheerful, easy and smart style that does the best - making you think, "Why didn't I come up with that? If you are designing something that adds deepness and dimensions to the shallow media, don't be frightened to focus your media, become light-hearted and make something easy but funny.

Like pointing in reality or pointing darts at an illustration to highlight something, the use of lead guidelines in advertisements is a good way to get your customers' attention exactly where you want them to look. Take a look at this example for Celcom Broadband, which uses a powerful lead line to highlight the brand's corporate identity and logo/tagline.

The example uses clear contrasts and hierarchies to create such a powerful example. Given that the bottom weighting of the theme is so high, your eyes are likely to go down first, and then move up along the center guide line to the picture of the finished products, and then back again.

So if you want to be 100% sure that your public sees all the important parts of your designs, you should use some guiding strokes and forms that guide the eyes from point A to point B. Many designs that address certain emotion. Unicef's ad uses an emotive picture, a kid looking for a mannequin, and an emotive one.

However, the use of manuscripts reinforces this emotional allusion. It' s the scrapy kind that is clearly done in the manner of a child's handwriting/drawing that makes it look as if the news comes directly from the kid and not from a company. Think about how your messages are going to be understood, what small adaptations you can make to increase the impact of the emotional you are addressing, and measure the responses from there.

So whether you want to call on luck, humour, sorrow or any kind of emotional in-between, your designs are based on that emotional, from the picture to the messages to the type. Repeat is a mighty instrument in the designing environment, especially when it comes to advertisement. Making a template from elements, icons, etc. and then undermining it or adapting it in any way is a great way to generate motion and significance.

Samples are great aesthetical items, but subversive samples are great items when it comes to delivering a certain kind of messaging. So consider replicating an item and making a design, and then undermining it in some way, changing a part of the design, taking out a part, marking a part of it, doing something special with your design to generate a powerful sound.

Do you have a smart and crisp copy that you'd like to light up? Don't miss out on the opportunity of a smart typographic layout. We talked a little bit before about the concept of making handmade fonts, but a few graphical features and a few font customizations can be just as efficient if you're not interested in walking this handmade itinerary.

Take a look at this example of Triss lottery tickets and winnings, which uses a smart copy slice and uses subtle yet powerful graphs reminiscent of lottery tickets and winning tickets. Scripture was kept consistent, with the small adaptation of the light font to distinguish the two notions. It uses basic graphical features and adaptations to produce a very smart and direct messaging for the mark.

Most of the times you will see advertisements that have a guy that completes the graphs, but don't be scared to change that. Big talk is a great way to attract a great deal of interest, so make sure you make all the brave talk you make by making the guy even and big and fat.

Daihatsu's display draws people' interest with fat writing, a fat slogan and a chain of command. Font is located at the highest point in the chain (thanks to the size and importance of the font), so it draws the most interest, which means that the consumer reads it first, and then the content becomes funny when the picture is looked at.

So if you have something to say, say it out loud, use a big font in fat, put it at the top, make everything a little smaller, make sure the news is heard clearly and noisily. It' s natural to worry and worry when you create an ad that uses a little humour or a smart approach: "What if they don' t get it?

However, have confidence in your audiences and try to try to avoid conveying the messages to them, let them deduce certain things and let them fill in the gaps. Check out this ad for Heinz Hot Ketchup, which allows the consumer to assemble the items themselves by deducing what happens before it reveals what really happened through the name of the item.

As with most advertisements, it places the brand logo/image at the bottom of the ad so that the wit is heard after looking at the picture. If you try to consider your advertising as a good wit, if it is composed cleverly and strongly, you shouldn't have to tell it. Don't let his name deceive you, bad room is a big plus for the designing part.

To those who are not acquainted, the adverse room is the room around an object, the area and the forms "in between" your focus point. It is a popular choice for designing logos and posters and there is always a welcome place to use it in your advertisement. The example goes well with an illustrated cockerel and woman's face to illustrate the key messages about sampling the freshest foods.

But you can make your own smart room negatives by inventing items and ideas related to your trademark or your embassy. Once you've made the tough part (to find out your design), do it with contrasting colors, just like IBM did in this example for an ultra hot and crunchy effect.

Think about incorporating this sentence into your designs by making an imagery that requires users to take a double shot to get an understanding of the imagery. Colgate's example of the mouth hygiene label is playing with this "hidden in plain view " approach and using it to represent a powerful point of view. Like, for example, how the girl in the first picture has six finger?

The second picture has a third suspended wrist? The Colgate uses this technique to make a sound point about how distractively filthy teeths can be with this display, which really does require a second look to fully comprehend it. No matter how effectively good copy-writing can be if you have a powerful corporate design, there is often no need to go along with it with typing.

Sometimes a sleek, powerful and smart appearance means there is no need for a copy. By composing this play, the observer is able to look first at the focus - the bears turning into a little thing - and then downwards towards the picture of the finished thing so that they can talk for themselves. If you are scheduling your ad, are you wondering if I need this item or can I delete it without affecting the efficacy of the messaging?

Pull off until it cracks and you will be abandoned with an just as powerful but less radical overloaded look. We' ve talked about the guy's powers a few rounds now, but let's talk about it again. That point corresponds to the last - a powerful specimen does not need to be flanked by images.

Seagram's Seagram uses basic typeography, powerful photocopying and a crisp pallet to deliver an effective and clear messaging that requires no additional graphic or image to reinforce your messages. If you associate this theme once again with minimumism, ask yourself what is decisive for your designs and what is not, and reduce all the items that only burden them.

William Faulkner, the writer, once said in a famous way, "Kill your loved ones," which means that although you are tied to a certain aspect of your work, you should excise it if it does not serve a certain end or burden the embassy. Whilst getting to know and play by designing rule definitely help to produce a visually breathtaking and efficient ad, the efficacy of an ad depends on creativity and the courage to be different.

Take a look at your products, look at your brands and try to think outside the box. Which new perspectives can you give this one? Wouldn't a visual imagery work well, or maybe an icon, or maybe a symbolic or two? As soon as you have your concepts under control, you work on the designs.

And what kind of techniques could you use to do this? Let us know if you have hints or hints for current and prospective marketers out there in the commentaries below!

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