The Psychology of Advertising!
People lose concentration within a short period - about 8 seconds - mainly due to the constant overload of messaging in today’s society, causing us to become desensitised to a lot of information around us.
In response, many people learned to reduce the amount of attention they give to the content they come across = hurting many companies advertisement.
If a company want to win a customer, it has to learn how to grab their attention (even if it’s just for few seconds).
BY EMPLOYING PSYCHOLOGY, COMPANIES CAN REACH THE AUDIENCE ATTENTION QUICKER AND MORE EFFECTIVELY.
Examples of advertising psychology:
1. Thinking vs Feeling.
Number of 30-second TV commercials seen in a year in America
Average child: 20 000
Average person: 2 000 000
Facebook or Youtube ads: more than 6000 ads every day
From the 1970s, we saw around 500 ads a day; today, we see 5000 a day.
31% of advertising campaigns are emotional content, and 16% is rational content.
EMOTIONAL RESPONSE to an ad has a far more significant influence on consumers' intent to buy a product than the AD CONTENT does.
(emotion over rational content)
2. The most recurring themes of sentimental advertising are:
Pride (is it healthy pride?)
Love (is it love?)
Unique Achievement (is it the “have to dream big” way of thinking? If you’re setting for less, you’re less worthy?)
Man’s Empathy (to make women feel good? Without men’s empathy, women are lost or feel worthless? How does it benefit women, does it bring negative experience/ low self-esteem?)
Loneliness and Friendship (we see “sex and the city” friendship, but is it realistic in today's busy world/pandemic? Are we supposed to feel lonely?)
3. The colour impact:
Colour plays a vital role in evoking certain feelings in a person as well as in conversion.
14.5% conversion increase by changing the colour of a CTA (call-to-action) button on a website’s landing page from light green to yellow.
(Van Restorff effect - if it stands out, it’s given the most attention and remembered)
A coloured border around a Facebook ad image can also double the click-through rate.
The conversion increases by 60% by contrasting the colour of two links within a single image.
People make up their minds about the product within 90 seconds, and 62-90% of that decision is based on COLOUR ALONE (Satyendra Singh’s review)
Colour not only set you apart from competitors but also influence mood and feelings.
The colours play a significant role in manipulative ads.
The warm colours such as red, orange and yellow can represent passion, happiness and energy, while the cool colours like blue, green and violet are used to create a sense of peace, serenity, health and security (Brown, 2010).
The primary colours like red, yellow and blue tend to emphasise simplicity as well as speed. The secondary colours are created by mixing two primary colours. These include green, orange and purple.
When choosing the colours, advertisers have in mind to create consistency, highlight content and emphasise the product's essential features. If they want to manipulate the consumers, the advertisers mix the images and colours to persuade them to purchase the product by deceiving and misleading them.
By manipulating photos and colours in advertising, the feelings and emotions can either fully express or be masked. The products can be presented in colours, which positively influence the consumers.
Fancy names do significantly better than their generic counterparts.
4. Two types of EMOTIVE RESPONSE:
1. Based on EMPATHY
people empathise with and feel the brand after seeing the advertising
you achieve empathy if you show kids, babies, dogs in your ads
2. Based on CREATIVITY
when people feel that the brand is imaginative and ahead of the game.
Factors include casting, tone of voice, humour, background music, setting, storyline or even just the way the ad is directed.
Good Ads:
create a JOY or SURPRISE right away (keeping viewers involved depends in large part on two emotions: joy and surprise)
build an EMOTIONAL ROLLER COSTER (viewers are most likely to continue watching the video as if they experience emotional ups and downs).
Strategies to influence customers:
1. Reciprocity principle
“It’s not the value of what you found. It’s that something positive happened to you.”
Norbert Schwarz
The idea of reciprocity in social psychology is as follows: if I do something positive for you, you will, in turn, feel more cooperative, and it is predicted that you’re more likely to do something positive for me.
To create a little happiness and goodwill, the gift is neither precious, significant, nor expensive.
Reciprocity works well when it’s also a surprise
For example; for retention and loyalty, after a consumer made a purchase, follow up with a discount code for 10% off their next order or delivery
Key Point: Give away something first, and you will get something back in return. If you can make it a surprise, your customers will appreciate it even more.
The free gift does not have to be BIG or EXPENSIVE. It’s the thought that counts.
2. The Golden Rule
As Harvard University discovered (and apparently others as well)
“Stick to the conventional rules of beauty”.
The Golden Ratio = ‘divine proportion’ given its prevalence in nature and depicted as spiritual, derived from the Fibonacci sequence. (she shells, galaxies and hurricanes all spiral following the golden ratio) (apparently)
Examples: Appealing front size, proportions, etc., in the desire to make an attractive or ‘different’ ad.
3. The Foot-in-the-Door Technique
Increasing compliance rates and influencing consumers into making a purchasing decision.
Example: Robert Cialdini experimented with this technique with contributions to the American Cancer Society. Two donor request were made:
"Would you be willing to help by giving a donation?"
"Would you be willing to help by giving a donation? Every penny helps."
When using the second option, people were almost as twice likely to donate (they did not contribute minor as the others).
FREE TRAILS!
Make the commitment very simple, easy and small to begin with, and it will make the consumer more compliant in the future.
4. Create Scarcity and Urgency
Example: Having a limited time offer or only a few tickets left! (Robert Cialdini “Influence: The Psychology of Persuasion”)
Black Friday: Nerd Wallet found that 25/27 retailers listed at least one product with an identical price as the previous year’s Black Friday’s ad. Black Friday crate hysteria and people are willing to pay for an older model of a product the same price as last year.
5. Create a Tribe and Enemy
It is easy to divide the people into the tribes, increase loyalty to their own tribe and have them ‘discriminate’ against the other group - Social identity theory where a person’s sense of self is based on their group membership.
Example: Apple has been successful at creating a tribe with a strong social identity and loyal customer base.
Apple compares the hip Mac user vs the straight-laced PC user.
(Apple user gets the girl at the end - she’s his prize: gender representation)
Creating a tribe and an enemy for them to disassociate with to create brand loyalty. The UPS should focus on who your customers are but also who they aren’t.
6. Fitt’s Law
In online marketing - human movement (UX) and mouse movement.
to distance to the target
the size of the target
(decrease the distance between the elements or make buttons larger)
7. Reduce Options
The minimum amount of options not only increases the interest but the sale. Lest to choose, easier to choose (study about choice - Sheena Iyengar)
8. Use Social Proof
Psychology occurrence where people mimic or are influenced by others to participate in certain behaviours assumed to be correct in a given situation. Ads want customers to participate in behaviours that will lead to a sale or generate a lead.
Example: Social media proof from social media.
9. Nudge Theory
Encourage people to make the "right choices".
For example, you see one option which is significantly more expensive than anything else. Nobody is expecting you to buy it, but instead, it makes the second most expensive option seem like a bargain.
10. Authority
People tend to pay more attention if they see that a company authority figure is in the industry.
This tool can be shown through companies touting their many years of experience or producing authoritative content.
11. Liking
It’s easier to buy from a company if they like the company first. A business must know their target audience, understand their likes and wants, and reflect those things in their brand message to use this tool.
12. Verbatim Effect
Due to small attention spans, customers aren’t really paying much attention to long, unnecessary advertising content. Plus, people tend to remember general meanings as opposed the specific details.
When advertisers break ideas down into simple concepts from the start, customers are more likely to remember a company or product.
MANIPULATIVE MARKETING: persuasion and manipulation of the consumer through advertising
The manipulation through advertising becomes a big issue to the consumers - facing it regularly.
THIS PRACTICE MOVES AWAY FROM THE MISSION OF MARKETING THAT OF MEETING THE NEEDS OF CUSTOMERS AND WIDENS THE ASYMMETRIES OF POWER BETWEEN THE COMPANY AND THE CONSUMERS.
Many manipulative adverts are hard to prove because of their controversial nature and content.
The company should focus on what customer needs. Still, the companies have their other interests and objectives which many times are far from aligning with what the consumer need, and, quite often, don’t hesitate to make up marketing solutions which misconduct or deceive the consumers, to achieve them.
The most appropriate area of marketing for such practices is communication! - transmitting particular messages to the consumers aiming to persuade them to purchase those tools.
First stimulation - consists in the excellent knowledge of consumers purchasing behaviour and the capability of the company to influence it.
The advertising focus on the process and mechanism the consumer uses for making the purchasing decision. The purchasing decision process has the meeting of the consumers needs a unique motivation.
Maslow - the consumers have three categories of needs.
The first category includes practical needs such as shelter, nourishment, and others are accepting security—the next level of social needs.
At the top, we can find the psychological needs which make the consumer behaving in specific ways that are consistent with his self-image and that enhance his self-image to others.
The functions of advertising could be active to different mixes of needs.
The capability and the extent of alteration of the mechanism of advertising which aims to persuade the consumer.
Persuasive advertising could be divided into two types which are non-manipulative and manipulative advertising.
The non-manipulative persuasion simply presents the product or service in the best possible light.
Informative advertising is primarily based on facts and emotional arguments - it gives factual information to the consumer. There are many situations when combined alternatives are needed, and they consist of various emotional games which are used as arguments for a particular way of acting on target groups and individual consumers.
The manipulation occurs when advertisers try to persuade the consumers by giving the facts that lack the truth.
The issue of manipulative persuasion in advertising brings out the discussion on the role of ethics.
Advertisers must obey the law and so act in their enlightened self-interest. However, many current advertising practices show an increasing number of cases when there is no alignment of the marketer's self-interest with customers’ interest. The situations when companies try to induce customers to maximise customer satisfaction. These arguments support the idea that the law and self-interest are not sufficient guidelines for good conduct in marketing advertising. Advertisers are also guided by normative marketing ethics, and so in their way, they justify rules and judgments.
The first type of manipulative advertising is false advertising. It uses facts but deceptive facts. It uses confusing, misleading, or blatantly untrue statements when promoting a product; that’s why this advertising is also known as false advertising. Points are given, but they are either faulty or not mentioned. Manipulative advertising is that uses arguments but flawed arguments. The emotive persuasion is likely more common, and it plays on consumer emotions; it usually threatens with dangers or promises impressive results.
Products like diet pills or exercise equipment sold through infomercials or TV often promise excellent results, and so persuade through sponsoring hopes and visions of happiness.
A misleading advertisement is known as “greenwashing,” which is deceptive marketing about the product's environmental benefits (Stokes, 2009).
The increase of the green claims of products created confusion among consumers. Deceptive claims are used by companies that don't have green products and try to manipulate consumers. All claims with a manipulative role used in advertising could be included in the categories:
Ambiguous or vague claims omit essential information necessary to evaluate their truthfulness or reasonableness claims that are false or outright lies and various combinations of the types above.
The ultimate goal for advertising is to persuade the consumer to purchase a product or service. Manipulative advertising intends to do that by using misleading facts and arguments to play with consumers' emotions. The most used claims in manipulative advertising are fallacious arguments and emotional appeals. Exaggeration of the quality of the product. Exaggeration of quality.
An exaggeration can be nothing less than false information about the product, but it can also be a form of puffery.
"Puffery is the term used to denote the exaggerations reasonably expected of a seller as to the degree of quality of his product, the truth or falsity that cannot be precisely determined."
At the same time, puffery is “advertising claims that ordinary consumers do not take seriously” (Berinato, 2010). The puffery seems to influence the people who are not "regular" consumers of the product but pushes away the consumers who have relatively high knowledge. These observations show that such exaggerations are not very useful. The puffery could attract some new consumers, but it could lose many consumers who are loyal to the product.
"A fallacy is an error in reasoning that occurs with some frequency (Teves, 2009)". The fallacies or flawed arguments can be made ignorantly and intentionally. The advertising fallacy consists of using reasoning errors when creating, displaying, or transmitting messages to the consumers.
Emotional appeals are the claims playing with consumers' emotions both at a conscious and unconscious level. The advertisements can be included appeals to achieve, dominate, feel safe, nurture, satisfy curiosity, the need for sex, the need for affiliation, guidance, prominence, attention, autonomy, physiological needs such as food, drink, sleep and so on. Advertisers can speculate on consumer emotions. The ads work in such a manner that seems to promise or imply a possible connection between a product and happiness, social acceptance, a good sex life, family life, intimate friendship, etc. If necessary, they may also use the scare for capitalising on panic.
"As Harris (1989) suggests, we should think of advertising as the construction of semiotic worlds for the rhetorical purpose of swaying purchasers to buy what is advertised." The manipulation of the linguistic form and structure leads to the relatively large linguistic entities that are fashioned to undergo some change, transformation, mutilation, a mutation that is somewhat unexpected on the part of the reader or viewer.
They adhere to two essential principles in practically all linguistic manipulations.
One component, such as the sound or word-form of a lexical item, is manipulated inside construction. Every manipulation or broken rule is operated at several levels, being, therefore, inextricably bound up amongst several entities.
The viewer has to be familiar with the environment of the ad visually on the one hand and linguistically on the other hand.
The most important and influential linguistic manipulation is "subliminal advertising", which aims at the subliminal seduction of the consumer. The basic concept of subliminal seduction in advertising makes it possible for consumers to receive information on an emotional level without even being aware of it.
Consumer behavior does not depend only on the conscious reaction; it also depends on non-conscious mind orders or decisions. This is the base of subliminal perception (Tanski, 2004). The consumer ignores the role of unconscious perception of subliminal knowledge that manipulates, directs, and controls human behavior. The advertisers are aware of this, and they manipulate the consumer’s decision by using techniques that interfere with subliminal knowledge and alter it toward the advertiser’s objective. The firm belief of many consumers also facilitates this sort of action. They are immune to advertising, and they are prepared not to be fooled into buying the products in the ads.
The most essential and effective linguistic manipulation in advertising is the illusion of superiority of one product, which can be achieved using words such as “best” and “better.”
The word "best" can be used to describe parity products because if all products are equally good, they can all be considered the best.
Interestingly, advertisers can use these words in a nonmanipulative way! How? The product simply needs to have superiority over other products.
Making the consumer believe something about the product that is not true is a technique with great potential.
Two categories of claims which focus most on the linguistic aspects and can be used to make the consumers believe something about the product that is not true are:
“the weasel claim” - involves a modifier.
Some of the most common weasel words include helps virtually, acts, can be, up to, refreshes, comforts, fights, the feel of, the look of, fortified, enriched, and strengthened.
The phrases like “up to,” “the feel of,” and “the look of” imply either an upward trend or a similarity between products. If the claim is “save up to 30%, the phrase up to is often overloaded as the consumer will save 30%.
“Can be” and “virtually” are phrases that can note the possibility of the product being the claim says it is. The expression “leave dishes virtually spotless” can make the consumer take it as “leave dishes spotless.” Another function that weasel words perform is to give one product the illusion of strength. “Fortified,” “enriched,” or “strengthened” are words that are often describing products that the consumers typically think of as powerful. “The feel of“ and “the look of“ will make the consumers believe that the product is of high quality or is similar to another product because they imply a comparison between two things.
“the unfinished claim” suggests that the product has more or is better than something, but does not say what “something” is.
A clear example is the expression “20% more cleaning power,” which could be interpreted as either “20% more cleaning power than competing brands” or 20% more cleaning power than the earlier version of the same product”. The fact that it does not specify what product has 20% more cleaning power makes the claim meaningless.
Many advertisements rely on visual and combined techniques to manipulate the consumers. One of the most used methods is the manipulation by photoshopping - the manipulation of the size and the price of the product and the misleading graphs.
The advanced technology offers a large variety of solutions to manipulate visual in advertisements. By simply editing, we can create a whole new person.
L’Oreal used photo manipulation in the ad for Maybelline products featuring the star Julia Roberts and the supermodel Christy Turlington. The company has been forced to pull ad campaigns after complaints that the images were overly airbrushed. L’Oreal UK admitted that Turlington’s image has been “digitally retouched to lighten the skin, clean up makeup, reduce dark shadows and shading around the eyes, smooth the lips and darken the eyes brows” (Sweeney, 2011). The ad for Maybelline featured Turlington promoting a foundation called The Eraser, which is claimed to be an “anti-ageing” product.
Some food companies disguise their ads as entertainment. It is especially appealing to kids on TV. These games are inherently addictive and allow the advertisers to circumvent the regulations on advertising junk food on television. The biggest US cereal companies, General Mills or Kellog’s, used games to peddle their last nutrition cereals (Tatarkovski, 2011).
The manipulation of the size and the price of the product. When the sales and the profits become lower, shrinking the size of the product is a valuable technique. One of the most known Easter sweets producers in the US used such a technique. When the sugar prices started increasing, the people of The Cadbury Crème Egg shrank the size of the egg and told consumers that they are simply misremembering how big they were before. In 2006 when the company made the eggs smaller, they posted a message on their website saying that the size of the eggs did not change - they phrased “you have just grown-up”.
The company was forced to change its website messaging; now, they offer a “broad variety of sizes and flavours of products” (Smallwood et al., 2012).
The graphs can also be manipulated. The misleading graphs are often created using improper scaling, axis lack of scale, omission of data and improper extraction (Boussa). The lack of scale or the obscene units makes the graph unclear. Additionally, the tick marks prevent the reader from determining if the graph bars are appropriately scaled and allow the manipulation have the graph bars to mitigate the expression of change. The same effect has the omission or the improper extraction of data.
Reflection after Interim Show:
The interim show went well; I am aware that not everybody is interested in the subject I am focusing on for my unit 9 project, but I felt positive after the interim session.
My manifesto, although quite different from the established ‘norm’, was positively received and I was pleased.
The conversation held during the interim session gave me an understanding of what should I focus on during my project and that I should invest more effort into understanding my own quite complicated relationship with advertising.
Questions from tutors:
1. How did your manifesto relate to the work you showed?
The work that I showed was a part of my manifesto. The idea behind it was to give a little bit of insight into how the psychology of advertising work and use it as well as a statement of such.
2. What were the most helpful things that came out of the discussion?
The most helpful thing that came out of the discussion was that I did not seem to engage enough in the subject. It made me realise that along with the ‘dry facts/data’; I could not forget to present my opinion and relationship with advertising.
Additionally, some of my colleagues mention that it would be interesting to find out more about advertisements on social media and the number of factors that compel us to consume in today's society.
3.Did the discussion relate to what you wanted to focus on? If not, then what was missed?
Yes, I believe it did.
4. If we see this as a point of reflection, where will you take your work from here?
I think that the idea of the project is good, and it’s something that interests me. I am devoted to the subject, although I am considering few changes, and I might expand the project goal.
5. Were there challenges in showing your work online?
In my opinion, showing work online is more complicated, as we experience the barrier between us. It would be easier to present and explain my work, and connect with other participants if we were, for example, in the studio.
Top 10 Influences:
1.Jo Spence
Her photo-therapy project was a significant influence while I was working on my MCP. She created a work that allowed the subject to control their image and represent their difficulties and unexpressed feelings and ideas. The person was both an author of the picture and subject. The relation between the plastic surgery advertisement and her personal story had a strong effect on my work.
2.Diane Fittipaldi
Her study entitled “Sex Sells: How Advertising Agencies’ Commodification of Image Affects Older Women in Advertising” gave me an insight into how advertising agency culture affects the long-term careers of women account executives as they age. It was an important study for me, as I was aware of the fact that older women get more challenging for them is to keep out society's beauty standards.
3.Helmut Newton
His photography was my inspiration in many of my projects, and not only. To this day, he is regarded as one of the world’s leading photographers, a photographer that straddled the gap between art and commerce.
Models who appeared in Newton's photographs are described as self-confident, influential icons- tall, strong women, capture in black and white, with imposing shadows.
However, the research showed me that his pictures repeatedly showed stories of female subjugation. His images narratives are an obsession, subversive incorporating themes of sadomasochism, prostitution, violence, and persistently-overt sexuality.
4.Laura Mulvey
Her outstanding essay “Visual Pleasures and Narrative Cinema” helped me to understand how Hollywood cinema represents women as she responds to the individual role men and women are likely to play as the members of a society and the representation of women as so-called “weaker sex” through the years.
5.Jean Kilbourne
In her series of documentaries, “Killing Us Softly” share her points of view about female representation in advertising; for example, she compares body language between women and men in advertising campaigns.
6.Susan Sontag
Her writing always significantly influenced me and my work, especially her critical theory entitled “Illness as a metaphor.” While comparing different diseases, she mentions that 20-century women’s fashion (with their cult of thinness) is the last stronghold of the metaphors associated with the romanticising of TB in the late eighteenth and early nineteenth century.
7.Camila Karter
“Crane” - documentary film celebrates and explores femininity through different stages of women’s life - “rare, medium rare, medium, medium well, and well done.” Her work was a significant influence to appreciate my body, while at the same time being strongly influenced by advertising that promotes unrealistic beauty ideals.
8.Mario Testino
He is regarded as one of the most influential fashion and portrait photographers of our time. He has ‘contributed to the success of leading fashion and beauty houses,' creating sexualised images for ad campaigns. His photographs undress women by objectifying them and dress men with their toxic masculinity—a big influence on my project.
9.Terry Richardson
Fashion and portrait photographer whose photography objectifies women, and it's not a secret. One of his famous advertising campaigns was Katherine Hamnett’s spring 1995 collection - images of young women wearing short skirts with their pubic hair showing. Multiple models accused him of sexually assaulting and exploiting them during fashion shoots. His story makes me wonder why we want people like this guy to influence us as consumers.
10.Tom Ford
One of his advertising campaigns for men's perfumes disgusts me (naked women with perfume bottles between her tights and breasts). Still, research showed me that the ad was successful because advertisers who work on this ad knew the target audience. What they like and what they want and they gave it to them, the fact this advert was such a big success fascinates me, and motivate me to understand the psychology of advertising more. It gives me the idea of how every detail in advertising is carefully planned and design to send this powerful and sexiest message.
Documentation:
I went through different stages of what type of media I would like to use (collage, video, photography), and in the end, I decided to stick with photography.
The final idea of creating four separate ads will raise how advertisers use psychology to manipulate the consumers and ‘create’ the society that is tangle into unrealistic beauty ideals.
To achieve that much clarity regarding my artwork was not easy, and for a tremendous amount of time, I was more focused on creating ads that ‘won’t sell’. Unfortunately, that is nearly impossible, and it made me frustrated countless times while I tried to come up with something.
Thankfully, at some point, I decided to move on in a different direction. When I stopped obsessing about what doesn’t sell, I figured out that I actually want my adverts to sell and be dramatically honest and controversial about it.
Fortunately, my lovely colleagues from my course were keen to participate in my project as models, and I received additional help from the technicians working at UAL.
Experimentation:
Experimentation was the most crucial part of my project. I went through different stages of what I would like to achieve in the final result. It was an exhausting process but very rewarding.
I used a few different editing programs, including Photoshop and Design. Seeing the evolution of my design is a unique experience, mainly because the first drafts are hilarious.
Fist advert:
Second advert:
Third advert:
Fourth advert:
I'm a planner, and I am not a fan of experimentation because if I see it that way, it had to be that way. So before a photo shoot, I already had an idea of how ads will look like. Truth to be told, it went completely the opposite way as I imagined, but the experimentation process helped me to get to the place with my work where I was pleased with the results and proud of what I achieved.
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