Ad Analysis

In ancient times, the most efficient method of advertisement was done through word of mouth. During the 15th and 16th century, the development of printing brought forth the first advances toward modern advertisement. By the 17th century, London had weekly newspapers that carried advertisements in their print. It only took until the 18th century before such advertising was in circulation. (Foster) We now live in an age that is dominated by propaganda that seeks to persuade the purchase of its particular product(s). What makes a convincing ad? Even though there doesn't look like much to an ad, everything is there for a specific reason. Advertising has developed into a fine-tuned art that uses specific colors, text, placements, pictures, and subliminal messages to hook their targeted consumer. Ads that have a similar product must find a more convincing method than their competitors in order to sway individuals for their business. For example, two compact car ads from Nissan and Plymouth. The two ads are presenting a product in the same category, but they take different approaches in an attempt to target different types of consumers and make more sales. By dissecting the two ads, they can be closely analyzed, compared, contrasted, and evaluated on which one is more strategically put together. The background of the ad, color of the vehicle, text, and the tone set are all key points of evaluation.

The background of Nissan's ad appears to be black, but it is actually the inside of a crash-test center with the lights off. The top portion of the ad is blank except for the vague outline of warehouse rafters and pipes running all throughout the ceiling. A good portion of the bottom of the page is consumed with the dark floor. The view gives the impression that the camera was almost set on the floor to take the picture and looking slightly upwards. Nissan's photographic preference for this ad enhances the middle of the picture due to the darkness of the top and bottom. In the center is the new Nissan Sentra placed on the track for a safety crash-test. Across from the vehicle is an empty laboratory, and directly behind it is a crash-test wall. The subtle white light coming from the left of the warehouse slightly illuminates a large digital timer and three strobe lights. The red reflection of the lights brings diversity to the picture and intensifies the importance of the middle of the page without being obnoxious. To the left of the vehicle are two crash-test dummies that appear to be alive and fighting over who gets to the Sentra first. The closest one has his lead foot extended, head tilted sideways, and arm stretched out as far as possible with a deep longing look. The other crash-dummy has his feet planted strongly, and his whole body leaning back. With one hand he has the other crash-dummy's hand, and his other has a firm grip on the second crash-dummy's shoulder. The darkness of the background and emptiness of the warehouse help bring believability to the crash-dummies being alive.

In contrast to the Nissan ad, Plymouth uses a solid white background. The entire top portion of the ad is consumed with an aerial view of the new Plymouth Breeze. Coming out of the back of the vehicle is a light tan strip of smooth and rounded-off wood. It is obvious that the vehicle is made to look like a giant popsicle. Even though the background appears to be bland, it sets the focus more directly on the product and theme. The appearance of the compact car in these two ads plays a crucial part in their advertisement.

In Nissan's ad, the Sentra is in the center with the nose of the vehicle pointing to the right. The vehicle is slightly shifted towards the viewer so that a small portion of the hood can be seen. The car has a mist of light reflecting off its silver exterior, but doesn't penetrate its tinted windows. The light car on a dark background provides clear definition of the vehicle and directs the focus onto itself. Silver was a good selection for this vehicle because it is usually interpreted as a high energy color, since it is the color of bullets and fast trains.

Plymouth provided its ad with two separate photographs of its new Breeze. The most obvious picture is the aerial view of the car looking like a popsicle. The front of the vehicle is pointed towards the top of the page and directly centered. The car is a deep purple with dark tinted windows. Purple is considered a subtle color and is usually categorized as elegant by the average person. It generates a sense of vanity and above-average taste. (Birren 124) Plymouth probably also chose purple to share a resemblance with the flavor of a popsicle. The second photograph provided is in the lower left-hand side, and about one-third the size of the other picture. It is a side picture of the vehicle with the nose pointing towards the right. Though the car is white like the background, most of it is outlined in black which gives it definition. A lot of individuals think of white as bleak, emotionless, and sterile. (Birren 125) It could also be perceived, however, as a clean, pure, comfortable, and wise color. With the two photographs combined, Plymouth's ad provides a sufficient amount of angles of their new Breeze. Along with a visual of the product, text is the most important part of an advertisement.

The headline of an ad should not tell its reader what is in the picture. The headline is what makes the picture reach its full potential of effectiveness. When they work together, they are what create the story. (Egelhoff 23) In bold, all white capital letters, the bottom of Nissan's ad reads, "The Nissan Sentra. Everyone wants to drive it." The headline is what makes everything come together. At first they were just crash-test dummies fighting over a new car. Now the message is saying that not only does everyone else want to drive it, but even live crash-test dummies that aren't even real. The way that Nissan dove into the fictional realm is what brought most of the comicalness into their ad. They managed to state an ordinary message in an unusual way which, whether good or bad, makes people want to read it. (Egelhoff 23) The following text is much smaller and not in bold, though it parallels the crash-test theme. "Over 50 standard safety features." With this in mind, the crash-test dummies might be fighting over the vehicle because they feel so safe in it. From the pessimist's point of view, mentioning so many safety features might give the impression that the car is for the faint of heart. Nissan is quick to add that it has "A spirited 2.0 liter engine and sport-tuned suspension." Immediately following, Nissan brings back the humor with, "Unfortunately, just one steering wheel." Again Nissan is weaving back into the first theme