Design of the Silver Tongue

What is it exactly about successful film and print ads that create this immediacy of experience? You know a good print ad the instant you clap eyes on one. It’s arresting. Simple and direct. But creating one is an entirely different matter.

Great ads require more than just good art, or good writing. They need both. The interplay between gorgeous graphic design plus the power of a silver tongue.

Poetry and Prose: Great Text, Great Art

I appreciate good design as much as the next Ikea loving yuppie, but can you win a Zooppa print or film contest banking solely on the merits of your sharp eyeballs and elegant artist’s fingers? I think not.

The value of good copy, or at least a good clever quip is, unmeasurable.

– The image might be pretty or intriguing, but it does not speak loudly enough itself to snag the attention of the lazy internet browser.

– Without pictures, this post probably would not snag the attention of the lazy Internet browser. The lazy internet browser: that is to be differentiated from….the HYPER CAFFEINATED office procrastinator?

Create Dynamic Tension

To get back on topic…by conceptualizing a verbal component for your film or print ad you build a dynamic between the image and the written word. The audience is drawn into the print or film as they are called upon to make their own creative connections between language and image.

If you think of the written word as an image (as most graphic designers do), you can also appreciate the layout and design of a piece of poetry as a directorial score that designs the way you read a poem. With graphic design or film, however, the opposite is true. With these two, language directs the way you read the meaning of the image.

As in Poetry

*As in poetry, the genius of successful film or print lies in the compelling dynamic between image and language.

*You could have the funniest or most striking image on the planet, but without text to hook the viewer into a three way dynamic that utilizes his own imagination, your image will be lost to the brain’s stockpile.

*If you have a clever and interesting lingual component without a dynamic image, the same problem applies. Your print or film will be lost to the viewer.

*Humans are bombarded by images and accompanying language on a daily basis so in order to create a successful film or print, neither component (visual or textual) can afford to be lazy.

The dynamic between lingual and pictorial communication is what makes a successful print or film special.

Bluebird animation based on Charles Bukowski’s poem, “Bluebird”

Jasmine Moore

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