# data[].attributes.body
*Just teachers like me, they do things sometimes their way (and sometimes I do things my way) all to get to the same goal

# data[].attributes.attachment_link.description
We are two friends, teaching partners, and passionate English teachers. We have been teaching IB English together for 10 years and individually have been teaching for (gulp) over 20 years each. We have taught in various international schools in Japan, Tanzania, China, Thailand and the United States. We currently teach IB Language and Literature and IB Literature and are examiners for the Individual Oral, the HL essay, Paper 2, and Paper 1 for Language and Literature and IB Literature. We’re keen to share our knowledge and are not afraid to take risks and try things out ourselves. Our goal is to share our experiences with teachers and students who want to learn about various IB assessments and, more importantly, want to learn about various skills that will help them communicate orally and in writing. Let us know what other topics you want to know about, and we’ll do our best to provide some help. Enjoy! ***Disclaimer
This channel is not officially endorsed by the IB.

# data[].attributes.attachment_link.title
Yellow Green Structure The Perfect Blog Post Infographic - Infographic by Michelle Duggan

# data[].attributes.body
The Art Story

# data[].attributes.attachment_link.readable_text
"Some people might say it's all a big waste of time, no one cares about their opinion if their name isn't written in huge letters on the bridge in town."

"I was 16 years old when I first trespassed onto some railway tracks and wrote the initials of the graffiti crew (of which I was the only member) on a wall. Afterwards the most incredible thing happened - absolutely nothing. No dogs chased me, no thunderbolt from God shot down to punish me, and my mum didn't even notice I'd been gone. That was the night I realized you could get away with it. That was also the night I discovered that beyond the "No Entry" sign everything happens in higher definition. Adrenaline sharpens your eyesight, each little sound becomes significant, your sense of smell seems more acute, and tramps shit everywhere."

Summary of Street and Graffiti Art

The common idiom "to take to the streets" has been used for years to reflect a diplomatic arena for people to protest, riot, or rebel. Early graffiti writers of the 1960s and 70s co-opted this philosophy as they began to tag their names across the urban landscapes of New York City, Los Angeles, and Philadelphia. As graffiti bloomed outward across the U.S., Street Art evolved to encompass any visual art created in public locations, specifically unsanctioned artwork.

The underlying impetus behind Street Art grew out of the belief that art should function in opposition to, and sometimes even outside of, the hegemonic system of laws, property, and ownership; be accessible, rather than hidden away inside galleries, museums, and private collections; and be democratic and empowering, in that all people (regardless of race, age, gender, economic status, etc.) should be able to create art and have it be seen by others. Although some street artists do create installations or sculpture, they are more widely known for the use of unconventional art mediums such as spray paint, stencils, wheat paste posters, and stickers. Street Art has also been called independent public art, post-graffiti, and guerilla art.

Key Ideas & Accomplishments

A central aspect of Street Art is its ephemerality. Any unsanctioned public work runs the risk of being removed or painted over by authorities or by other artists. No one can own it or buy it. Viewers are seeing a one-of-a-kind work that is likely not to last. This temporariness creates an immediacy and electricity around the work.

Street Art can often be viewed as a tool for promoting an artist's personal agenda surrounding contemporary social concerns, with city facades acting in the same role as the old fashioned soapbox; a place to extol the artist's opinion on a myriad issues ranging from politics and environmentalism to consumerism and consumption.

Many street artists use the public canvas of buildings, bridges, lampposts, underpasses, ditches, sidewalks, walls, and benches to assure their individual messages are seen by a wide swath of the population, unfiltered by target demographics or being accessible only to art world denizens.

As advertising infiltrates, the communal consciousness on a constant daily basis, Street Art has oftentimes been coined a counter attack. Popular street artist Banksy has said, "To some people breaking into property and painting it might seem a little inconsiderate, but in reality the 30 square centimeters of your brain are trespassed upon every day by teams of marketing experts. Graffiti is a perfectly proportionate response to being sold unattainable goals by a society obsessed with status and infamy. Graffiti is the sight of an unregulated free market getting the kind of art it deserves."

Overview of Street and Graffiti Art

Street Art is supposed to be the ultimate in democratized art; seen by everyone, owned by no-one. But this hasn't stopped a Banksy becoming the movement's ultimate collectible; with celebrities including Justin Bieber, Serena Williams and Angelina Jolie, having acquired the elusive artist's work.

Artworks and Artists of Street and Graffiti Art

Untitled (New York Subway Graffiti)

Artist: TRAP, DEZ and DAZE

The text in this "piece" (the common term for a work of graffiti art) reads "TRAP DEZ DAZE" (the tags/pseudonyms of the artists), although the style and placement of the letters may make it difficult to discern for viewers not familiar with this style of lettering. The text uses several bright colors, and employs outlining and shading to give the impression of three-dimensionality. This piece, like much New York graffiti of the 1980s, was completed on the side of a subway train. This choice of location would have garnered greater prestige for the artists, as writing on subway cars put them at very high risk of apprehension by the authorities, and thus considered more daring. Writing on subway cars was also a sure way to rapidly increase one's fame, as the artwork would then travel around the city's subway system, being seen by a far greater number of people than would a stationary piece on a wall.

This piece is a typical example of "wildstyle" graffiti, which includes complex, interlocking or overlapping letters, and sometimes cartoon-like characters and other images, all painted in bright colors. Photojournalist Martha Cooper noted in 1982 that "inaccessibility reinforces that sense of having a secret society inaccessible to outsiders [...] a writer will therefore often make a piece deliberately hard to read." As well, graffiti writers frequently attempt to create a sense of depth and three-dimensionality in wildstyle works. These types of pieces garner higher levels of respect for writers as opposed to "throwups" (simpler pieces using maximum two or three colors to create two-dimensional bubble text) or "tags", because wildstyle work involves more artistic prowess and takes longer to complete, thus putting the writer at a higher risk for run-ins with police.

Spray paint - New York City

Tuttomondo

Artist: Keith Haring

This mural in the historic city of Pisa in Tuscany is filled with graffiti artist Keith Haring's signature motifs including his generic "radiant" figures and many other illuminated forms. It is universally recognized as the artist's unmistakable cartoonish Pop style. The work is a good example of the way some renegade street artists were able to move from their unsanctioned urban canvases into a credible art forum. Haring's notoriety in the public consciousness catapulted him to the type of fame that motivated a city to commission his unique style for their own public building.

Haring first gained attention with his subway art that was created using white chalk on black, unused advertisement backboards in the underground stations that were his preferred painting "laboratory." The radiant baby became his most popular symbol, first used as his identifying tag before taking a life of its own as his preferred character. His bold lines, vivid colors, and active figures carried strong messages of life and unity. He often used lines of energy to emphasize kinetic movement, vitality, and euphoric spirit.

By 1982, Haring had established friendships with fellow emerging street artists Futura 2000, Kenny Scharf, and Jean-Michel Basquiat. He also became close friends with Andy Warhol. His work grew more politically active during the era of AIDS and his popular "Silence Equals Death" imagery became a key branding visual for New York's HIV activist group ACT UP. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world.

In April 1986, Pop Shop was opened in Soho and made Haring's work readily accessible to purchase at reasonable prices. When asked about the commercialism of his work, Haring said: "I could earn more money if I just painted a few things and jacked up the price. My shop is an extension of what I was doing in the subway stations, breaking down the barriers between high and low art."

Mural - Pisa, Italy

Obey Giant

Artist: Shepard Fairey

In 1998, American street artist Shepard Fairey, who spawned from the Southern California skateboarding culture, created a graphic sticker campaign inspired by wrestling icon Andre the Giant while attending the Rhode Island School of Design. The stickers, written with the words Obey Giant, popped up all over the urban landscapes where Fairey lived and traveled, becoming the artist's visual, public experiment with phenomenology. Inspired by German philosopher Martin Heidegger's description of phenomenology as "the process of letting things manifest themselves," Fairey was attempting to enable people to see clearly something that is right before their eyes, but obscured; things so taken for granted that they become muted by abstract observation. Thus, the famous wrestler's face became a familiar motif on the streets, its repetition causing notice while remaining meaningless, until it eventually became just another familiar piece of the urban landscape, unquestioned or analyzed.

Fairey became widely known during the 2008 presidential election for his Barack Obama HOPE poster. He is one of the most influential street artists who have crossed into the gallery zone as he is included in collections at The Smithsonian, the Los Angeles Country Museum of Art and the Museum of Modern Art in New York City among others.

Hip Hop Rat

Artist: Banksy

This graffiti piece features a black and white stenciled rat. Banksy often uses the image of the rat as a personalized symbol representing himself, as he, like his graffiti artist predecessor Blek le Rat, felt an affinity with this city-dwelling creature that is active at night in order to evade apprehension and eradication. He says, "If you feel dirty, insignificant or unloved, then rats are a good role model. They exist without permission, they have no respect for the hierarchy of society, and they have sex 50 times a day."

Since the 1990s, Banksy has rapidly risen to international fame, arguably becoming one of, if not the most well-known contemporary street artists, despite maintaining anonymity by keeping his true identity a secret. His works have sold at auction for hundreds of thousands, even millions of dollars. Much of his work (especially in his earlier days) used stencils, allowing him to execute pieces in a matter of seconds and remain undetected by authorities. Since the early 2000s, he has also executed other types of unsanctioned interventions, including sculptures and performative actions. Most of his work aims to offer political and social criticism. Soldiers and police officers, as well as popular cultural icons (like Ronald McDonald and Mickey Mouse) recur in many of his pieces. He marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included the phrase, "I don't believe in global warming" submerged in water. In 2005 he traveled to the Israel-Palestine West Bank barrier wall and executed nine murals on the wall (including a dove with a bulletproof vest and a heart-shaped target over its chest, a child beneath a ladder stretching to the top of the wall, and the silhouette of a young girl being lifted upwards by a bunch of balloons).

Banksy has also held various notable exhibitions, such as his 2006 Barely Legal show in a Los Angeles warehouse, which featured a live Indian elephant painted with the same red and gold floral pattern as the wallpaper that was pasted up in the section of the warehouse where the elephant was displayed. This created controversy, as animal rights activists protested the elephant's involvement. However, the show was immensely popular, with several A-list Hollywood celebrities in attendance. Another one of Banksy's exhibitions, Banksy vs. Bristol Museum (2009) featured Banksy's own take on famous historical paintings, as well as animatronics, sculptures, and installations.

Spray paint

Untitled (Guantanamo Prisoner at Disneyland)

Artist: Banksy

In September of 2006, Banksy snuck a life-size inflatable doll dressed as a Guantanamo Bay prisoner into the Disneyland theme park in California, and installed it within the confines of the Big Thunder Mountain Railroad ride. The work remained in place for over an hour before park officials noticed it, shut down the ride, and removed the doll. A spokeswoman for Banksy said the work was intended to highlight the situation in which terror suspects find themselves in at the controversial detention center in Cuba. The artist hoped that by confronting carefree park-goers with what appeared to be an actual Guantanamo Bay prisoner in "the happiest place on earth," he might shock them into thinking more seriously about the implications of the war on terror. This work serves as a prime example of how sculptural works by street artists are particularly useful in orchestrating jarring experiences that reflect the political or social climate.

Banksy has carried out a number of other such performative illegal interventions. In 2004, he produced 100,000 fake British £10 notes, replacing the picture of the Queen's head with that of Diana, Princess of Wales and changing the text "Bank of England" to "Banksy of England." He tossed these into a crowd at the Notting Hill Carnival that same year, which some people then attempted to spend in local shops. In March 2005, he surreptitiously hung various modified artworks of his own (such as a Warhol-esque painting of a discount soup can) in New York City's Museum of Modern Art, Metropolitan Museum of Art, American Museum of Natural History in Manhattan, and Brooklyn Museum. In August/September of 2006, he placed approximately 500 fake copies of Paris Hilton's debut CD, Paris, in 48 record stores around the UK, modified with his own cover art (photoshopped to show Hilton topless). Other pictures in the album insert featured Paris with her chihuahua Tinkerbell's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, with the caption "90% of success is just showing up." Music tracks were given titles such as "Why Am I Famous?" "What Have I Done?" and "What Am I For?" The public purchased several copies of the CD before stores were able to remove them. The purchased copies went on to be sold for much more on online auction websites.

Inflatable doll, orange jumpsuit, black hood, and handcuffs - Disneyland, California

Beginnings of Street and Graffiti Art

Precursors to Contemporary Graffiti and Street Art

Graffiti, defined simply as writing, drawing, or painting on walls or surfaces of a structure, dates back to prehistoric and ancient times, as evidenced by the Lascaux cave paintings in France and other historic findings across the world. Scholars believe that the images of hunting scenes found at these sites were either meant to commemorate past hunting victories, or were used as part of rituals intended to increase hunters' success.

During World War II, it became popular for soldiers to write the phrase "Kilroy was here," along with a simple sketch of a bald figure with a large nose peeking over a ledge, on surfaces along their route. The motivation behind this simple early graffiti was to create a motif of connection for these soldiers during their difficult times, cementing their unique brotherhood amongst foreign land and to make themselves "seen." This was closely aligned with the motivation behind contemporary graffiti, with the writers aiming to assert their existence and to repeat their mark in as many places as possible.

Beginnings of Contemporary Graffiti in the United States

Contemporary (or "hip-hop") graffiti dates to the late 1960s, generally said to have arisen from the Black and Latino neighborhoods of New York City alongside hip-hop music and street subcultures, and catalyzed by the invention of the aerosol spray can. Early graffiti artists were commonly called "writers" or "taggers" (individuals who write simple "tags," or their stylized signatures, with the goal of tagging as many locations as possible.) Indeed, the fundamental underlying principle of graffiti practice was the intention to "get up," to have one's work seen by as many people as possible, in as many places as possible.

The exact geographical location of the first "tagger" is difficult to pinpoint. Some sources identify New York (specifically taggers Julio 204 and Taki 183 of the Washington Heights area), and others identify Philadelphia (with tagger Corn Bread) as the point of origin. Yet, it goes more or less undisputed that New York "is where graffiti culture blossomed, matured, and most clearly distinguished itself from all prior forms of graffiti," as Eric Felisbret, former graffiti artist and lecturer, explains.

Soon after graffiti began appearing on city surfaces, subway cars and trains became major targets for New York City's early graffiti writers and taggers, as these vehicles traveled great distances, allowing the writer's name to be seen by a wider audience. The subway rapidly became the most popular place to write, with many graffiti artists looking down upon those who wrote on walls. Sociologist Richard Lachmann notes how the added element of movement made graffiti a uniquely dynamic art form. He writes, "Much of the best graffiti was meant to be appreciated in motion, as it passed through dark and dingy stations or on elevated tracks. Photos and graffiti canvases cannot convey the energy and aura of giant artwork in motion."

Graffiti on subway cars began as crude, simple tags, but as tagging became increasingly popular, writers had to find new ways to make their names stand out. Over the next few years, new calligraphic styles were developed and tags turned into large, colorful, elaborate pieces, aided by the realization that different spray can nozzles (also referred to as "caps") from other household aerosol products (like oven cleaner) could be used on spray paint cans to create varying effects and line widths. It did not take long for the crude tags to grow in size, and to develop into artistic, colorful pieces that took up the length of entire subway cars.

New York City's Graffiti "Problem"

By the 1980s, the city of New York viewed graffiti's inherent vandalism as a major concern, and a massive amount of resources were poured into the graffiti "problem." As Art Historian Martha Cooper writes, "For [New York City mayor Ed] Koch, graffiti was evidence of a lack of authoritarian order; as such, the presence of graffiti had a psychological effect that made all citizens its victim through a disruption of the visual order, thus promoting a feeling of confusion and fear among people." The New York Police cracked down on writers, often following suspect youth as they left school, searching them for graffiti-related paraphernalia, staking out their houses, or gathering information from informants. The Metropolitan Transit Authority (MTA) received a significant increase in their budget in 1982, allowing them to erect more sophisticated fences and to better maintain the train yards and lay-ups that were popular targets for writers (due to the possibility for hitting several cars at once). However, writers saw these measures as a mere challenge, and worked even harder to hit their targets, while also becoming increasingly territorial and aggressive toward other writers and "crews" (groups of writers).

In 1984, the MTA launched its Clean Car Program, which involved a five-year plan to completely eliminate graffiti on subway cars, operating on the principle that a graffiti-covered subway car could not be put into service until all the graffiti on it had been cleaned off. This program was implemented one subway line at a time, gradually pushing writers outward, and by 1986 many of the city's lines were completely clear of graffiti. Lieutenant Steve Mona recalls one day when the ACC crew hit 130 cars in a yard at Coney Island, assuming that the MTA wouldn't shut down service and that the graffitied trains would run. Yet the MTA opted to not provide service, greatly inconveniencing citizens who had to wait over an hour for a train that morning. That was the day that the MTA's dedication to the eradication of graffiti became apparent.

However graffiti was anything but eradicated. In the past few decades, this practice has spread around the world, often maintaining elements of the American wildstyle, like interlocking letterforms and bold colors, yet also adopting local flare, such as manga-inspired Street Art in Japan.

From Graffiti to Street Art: Greater Variation in Styles, Techniques, and Materials

It is important to note that contemporary graffiti has developed completely apart from traditional, institutionalized art forms. Art critic and curator Johannes Stahl writes that, "We have long since got accustomed to understanding art history as a succession of epochs [...] But at the same time there has always existed something outside of official art history, a unruly and recalcitrant art, which takes place not in the sheltered environs of churches, collections or galleries, but out on the street." Graffiti artists today draw inspiration from Art History at times, but it cannot be said that graffiti grew directly out of any such canon or typology. Modern graffiti did not begin as an art form at all, but rather, as a form of text-based urban communication that developed its own networks. As Lachmann notes, rather than submitting to the criteria of valuation upheld by the institutionalized art world, early graffiti writers developed an entirely new and separate art world, based on their own "qualitative conception of style" and the particular "aesthetic standards" developed within the community for judging writers' content and technique.

During the late 1970s and early 1980s, many graffiti writers began to shift away from text-based works to include imagery. Key artists involved in this shift included Jean-Michel Basquiat (who wrote graffiti using the tag SAMO) and Keith Haring, whose simple illuminated figures gave testament to the AIDS epidemic, both of whom were active in New York City. Around the same time, many artists also began experimenting with different techniques and materials, the most popular being stencils and wheat paste posters.

Concepts and Styles

Since the turn of the millennium, this proliferation has continued, with artists using all sorts of materials to complete illegal works in pubic spaces. The myriad approaches have come to be housed under the label of "Street Art" (sometimes also referred to as "Urban Art"), which has expanded its purview beyond graffiti to include these other techniques and styles.

Graffiti

The term "graffiti" comes from the Greek "graphein," meaning "to scratch, draw, or write," and thus a broad definition of the term includes all forms of inscriptions on walls. More specifically, however, the modern, or "hip-hop" graffiti, that has pervaded city spaces since the 1960s and 1970s involves the use of spray paint or paint markers. It is associated with a particular aesthetic, most often utilizing bold color choices, involving highly stylized and abstract lettering known as "wildstyle," and/or including cartoon-like characters.

Photographer and author Nicolas Ganz notes that graffiti and Street Art practices are characterized by differing "sociological elements," writing that graffiti writers continue to be "governed by the desire to spread one's tag and achieve fame" through both quality and quantity of pieces created, while street artists are governed by "fewer rules and [embrace] a much broader range of styles and techniques." Anthropologist and archaeologist Troy Lovata and art historian Elizabeth Olson write that "the rapid proliferation of this aggressive style of writing appearing on the walls of urban centres all over the world has become an international signifier of rebellion," and cultural theorist Jean Baudrillard has called it the "symbolic destruction of social relations."

Stencils

Stencils (also known as stencil graffiti) are usually prepared beforehand out of paper or cardboard and then brought to the site of the work's intended installation, attached to the wall with tape, and then spray painted over, resulting in the image or text being left behind once the stencil is removed. Many street artists favor the use of stencils as opposed to freehand graffiti because they allow for an image or text to be installed very easily in a matter of seconds, minimizing the chance of run-ins with the authorities. Stencils are also preferable as they are infinitely re-useable and repeatable. Sometimes artists use multiple layers of stencils on the same image to add colors, details, and the illusion of depth. Brighton-based artist Hutch explains that he prefers to stencil because "it can produce a very clean and graphic style, which is what I like when creating realistic human figures. Also, the effect on the viewer is instant, you don't need to wait for it to sink in."

One of the earliest known street artists to use stencils was John Fekner, who started using the technique in 1968 to stencil purely textual messages onto walls. Other well-known stencil artists include French artists Ernest Pignon-Ernest and Blek le Rat, British artists Nick Walker and Banksy, and American artists Shepard Fairey and Above.

Wheat Paste Posters

Wheat paste (also known as flour paste) is a gel or liquid adhesive made from combining wheat flour or starch with water. Many street artists use wheat paste to adhere paper posters to walls. Much like stencils, wheat paste posters are preferable for street artists as it allows them to do most of the preparation at home or in the studio, with only a few moments needed at the site of installation, pasting the poster to the desired surface. This is crucial for artists installing works in unsanctioned locations, as it lowers the risk of apprehension and arrest. Some street artists who use the wheat paste method include Italian duo Sten and Lex, French artists JR and Ludo, and American artist Swoon.

Sculptural Street Art Interventions

Some street artists create three-dimensional sculptural interventions, which can be installed surreptitiously in public spaces, usually under the cover of darkness. This type of work differs from Public Art in that it is rebellious in nature and completed illegally, while Public Art is officially sanctioned/commissioned (and thus more palatable to a general audience). Unsanctioned Street Art interventions usually aim to shock viewers by presenting a visually realistic, yet simultaneously unbelievable situation. For instance, in his Third Man Series (2006), artist Dan Witz installs gloves on sewer grates to give the impression that a person is inside the sewer attempting to escape. Works like these often cause passers-by to do a "double-take."

Reverse Graffiti

Reverse graffiti (also known as clean tagging, dust tagging, grime writing, clean graffiti, green graffiti, or clean advertising) is a method by which artists create images on walls or other surfaces by removing dirt from a surface. According to British reverse graffiti artist Moose, "Once you do this, you make people confront whether or not they like people cleaning walls or if they really have a problem with personal expression." This sort of work calls attention to environmental concerns in urban spaces, such as pollution.

Other Media

There are street artists who experiment with other media, such as Invader (Paris), who adheres ceramic tiles to city surfaces, recreating images from the popular Space Invaders video game of 1978. Invader says that tile is "a perfect material because it is permanent. Even after years of being outside the colors don't fade."

Many other artists use simple stickers, which they post on surfaces around the city. Often, these stickers are printed with the artist's tag or a simple graphic. Others invite participation from the audience, like Ji Lee who pastes empty comic speech-bubbles onto advertisements, allowing passers-by to write in their own captions.

Others still use natural materials to beautify urban spaces. For instance, in 2005, Shannon Spanhake planted flowers in various potholes of the streets in Tijuana, Mexico. She says of the project, "Adorning the streets of Tijuana are potholes, open wounds that mark the failure of man's Promethean Project to tame nature, and somehow surviving in the margins are abandoned buildings, entropic monuments celebrating a hyperrealistic vision of a modernist utopia linked to capitalist expansion gone awry."

There are also artists who create Street Art interventions through the use of clay, chalk, charcoal, knitting, and projected photo/video. The possibilities for Street Art media are endless.

Later Developments - After Street and Graffiti Art

Mainstream Acceptance

Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success (such as Bristol's Banksy, Paris' ZEVS, and L.A.'s Shepard Fairey). Street artists who experience commercial success are often criticized by their peers for "selling out" and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a "celebration of existence" and "a declaration of resistance." Similarly, Slovenian Feminist author Tea Hvala views graffiti as "the most accessible medium of resistance" for oppressed people to use against dominant culture due to its tactical (non-institutional, decentralized) qualities. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because "it happens in places that are accessible to all [and] it employs a means of expression that is not controlled by the government." Street artist BOOKSIIII holds an opinion not uncommon of many of today's street artists, that it is not inherently wrong for young artists to try to make money from galleries and corporations for their works, "as long as they do their job honestly, sell work, and represent careers," yet at the same time he notes that "graffiti does not stay the same when transferred to the gallery from the street. A tag on canvas will never hold the same power as the exact same tag on the street."

This movement from the street to the gallery also indicates a growing acceptance of graffiti and Street Art within the mainstream art world and art history. Some apply the label "post-graffiti" to the work of street artists that also participate in the mainstream art world, although this is somewhat of a misnomer, as many such artists continue to execute illegal public interventions at the same time as they participate in sanctioned exhibitions in galleries and museums. This phenomenon also presents difficulties for art historians, as the sheer number of street artists, as well as their tendency to maintain anonymity, makes it hard to engage with individual artists in any sort of profound way. Moreover, it is difficult to insert Street Art into the art historical canon, as it did not develop from any progression of artistic movements, but rather began independently, with early graffiti and street artists developing their own unique techniques and aesthetic styles. Today, street artists both inspire and are inspired by many other artistic movements and styles, with many artists' works bearing elements of wide-ranging movements, from Pop Art to Renaissance Art.

Legality

Street Art's status as vandalism often eclipses its status as art. More recently, as mentioned above, many artists are finding more opportunities to create artworks in sanctioned situations, by showing in galleries and museums, or by partnering with organizations that offer outdoor public spaces in which street artists are permitted to execute works. However, many others continue to focus on unsanctioned illegal works. Part of the allure of working illegally has to do with the adrenaline rush that artists get from successfully executing a piece without being apprehended by the authorities. Moreover, carrying out illegal/unsanctioned attacks on privately owned surfaces (such as a billboard being rented out by an advertising agency, or a politically-charged surface such as border walls), serves as a direct confrontation with the owner of that space (be it a marketing firm, or a political entity).

Technology and the Internet

With the advent of the Internet and the development of various graphic software and technologies, street artists now have a multitude of tools at their fingertips to assist in the creation and dissemination of their works. Specialized computer programs allow artists (like San Francisco-born MOMO) to better plan for their graffiti pieces and prepare their stencils and wheat paste posters, while digital photography used in conjunction with the Internet and social media allows Street Art works to be documented, shared, and thus immortalized where previously, most pieces tended to disappear when they were removed by city authorities or painted over by other artists.

Useful Resources on Street and Graffiti Art

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

Similar Art

# data[].attributes.attachment_link.title
Street and Graffiti Art Movement Overview

# data[].attributes.attachment_link.description
"Some people might say it's all a big waste of time, no one cares about their opinion if their name isn't written in huge letters on the bridge in town." "I was 16 years old when I first trespassed onto some railway tracks and wrote the initials of the graffiti crew (of which I was the only member) on a wall.

# data[].attributes.body
Guiding Questions
1. How is the narrative structure used to explore ideas about identity?
2. How do text and image work together to convey the comic's message?

3. Discuss how different features are used on this webpage to create an impression of Indian culture.
4. Comment on how the interplay of text and images is used to appeal to multiple audiences.

5. Discuss how different features are used in this infographic to achieve the author's purpose
6. How and to what effect is tone used to express the author's opinion in this column?

# data[].attributes.attachment_link.readable_text
Phew! Talk about pressure. Writing a blog post about how to write a perfect blog post is the most meta of burdens. It's a bit different than writing about perfect tweets or ideal Facebook posts. There's nowhere to hide when you're blogging about perfect blogging.

So I hope you'll still trust the advice here even if you don't find this post itself to be flawless. I'm sure we'd all love for each of our blog posts to be absolute perfection (however it is that you measure perfection) so I researched all the necessary info to get us started on the path to perfection. I'll cover headlines and length and visuals and so much more below. How close are you to creating the perfect post already?

The 7 essential elements of a perfect blog post

I can often get wrapped up in making sure that every little detail of a blog post is perfect. No doubt I could list way more than seven elements from perfect blog posts, but these seven seem to cover all the most important bases.

1. Headline: the 6 words that count most

2. Storytelling hook

3. Fewer characters per line at first

4. Featured image

5. Subheads for scanning

6. Content and the 1,500-word sweet spot

7. Soundbites for sharing

How to write the perfect headline

Eight out of 10 people will read your headline. Two out of 10 will read the rest of what you wrote. Stats like this 80/20 rule from Copyblogger illuminate the fact that headlines are often the make-or-break moment for each and every blog post. So how do you make a headline great?

Let's start with length.

Readers tend to absorb the first three words of a headline and the last three words. These numbers via KISSmetrics come straight from usability research, revealing that we don't just scan body copy- we scan headlines, too.

Of course, few headlines will be six words long in total. In those cases, it's important to make the first three words and the last three words stand out as much as possible. Here's a sample of headlines from 99U with the absorbable six words highlighted.

In terms of SEO, the headline (or title tag) will need to be around 55 characters or fewer in order to fit the entire title on a search results page and avoided being abbreviated with an ellipse.

Beyond those specific numbers, there is extensive advice on the techniques for writing a great headline. And I do mean extensive. At last check, there were 56 million results in a Google search for how to write a great headline. We enjoy pairing the workflow of headline writing with the science of human psychology. With that in mind, here are eight headline strategies that are backed by psychology.

1. Surprise: "This Is Not a Perfect Blog Post (But It Could've Been)"

2. Questions: "Do You Know How to Create the Perfect Blog Post?"

3. Curiosity gap: "10 Ingredients in a Perfect Blog Post. Number 9 Is Impossible!"

4. Negatives: "Never Write a Boring Blog Post Again"

5. How to: "How to Create a Perfect Blog Post"

6. Numbers: "10 Tips to Creating a Perfect Blog Post"

7. Audience referencing: "For People on the Verge of Writing the Perfect Blog Post"

8. Specificity: "The 6-Part Process to Getting Twice the Traffic to Your Blog Post"

You can also learn a lot from the headlines of high-traffic blogs. Lenka Istvanova developed a headline formula based on her analysis of best practices for headlines that get clicks. The formula goes like this:
Numbers + Adjective + Target Keyword + Rationale + Promise
Ex. 10 Simple Things You Can Do Today That Will Make You Happier

There are countless other tips and tricks for writing good headlines (some of my favorites are at Copyblogger). You might even feel paralysis by analysis. Keep up on the latest headline research. Make a good effort on your headline. Analyze and improve.
90 percent of good writing is obsessing over the perfect headline.
Start your post with storytelling

The headline entices readers to clickthrough. The intro hooks readers into continuing.

When Alex Turnbull and the Groove HQ team tested the best way to introduce a new post, they found that storytelling led to 300 percent more readers than a post without storytelling. Not only were these folks reading the post, they were scrolling all the way to the bottom and spending a much greater amount of time on the page - 520 percent more, to be exact.

We aim for an element of storytelling in each of the posts we write, often starting a blog post with a personal anecdote or moment of transparency. Here's an excerpt from our content style guide as to why this aspect of storytelling is so vital.

Storytelling: Most of Buffer blogposts are very well researched and science-driven. To make sure they remain very engaging, add personal stories, or anecdotes from experts/famous people ("Barack Obama's morning routine" or "Benjamin Franklin's to do list" or "Richard Branson's story of failure")

Cut down on characters per line by using a featured image

Have you noticed that every blog post starts with a featured image, with additional images that are aligned top right or left?

Why do you think that might be?

If you guessed "because visual content rocks," you're right. Visuals are hugely important, and it helps to draw attention with a catchy image up top.

There's another reason for the image, too. Characters per line.

Placing an image at the top right/left of your blog post forces the first few lines of the post to shorten in width. This shortening leads to fewer characters per line. Fewer characters per line has a psychological effect on the way we view content: The fewer the characters, the easier the text is to comprehend and the less complex it seems.

Social media expert Derek Halpern aims for this tactic on his blog posts for the following reason:

Fewer characters per line helps people make snap decisions about text faster and easier

His blueprint for a perfect blog post - always includes an image to the right.

If you're opposed to a featured image, there's another way of achieving fewer characters per line. You can boost the font size of your opening paragraph.

Popular sites like Smashing Magazine do this to great effect.

If you're comfortable with code, there's a neat CSS trick you can do to make this happen on your own blog. Add this to your CSS file, replacing the font size with the actual size you'd like to see.

p:first-child { font-size: 1.5em; }

Subheads, subheads, and more subheads

Perhaps you've heard that people don't read on the Internet, they scan.

It's not true for everyone, but it's true for a large enough majority that setting up your content to be scannable is an absolutely essential element of a perfect blog post.

Use subheads to make your post scannable. Subheads are the heading tags that appear inside your post editor. They might be represented as Heading 1 or <H1>, depending on the editor you use. There are six different heading tags, numbered one through six. The Yoast blog has a helpful way of thinking about all these different tags when it comes to an individual post on your blog:

H1: post / page title

H2's and H3's: subheadings and sub-subheadings

H4: your blog's name, and possibly related widgets

H5: same as above: sidebars etc.

Basically, these tags are signifying a content's importance both to the reader and to search engines. The most important line on the page is the headline, so it gets H1. The next most important are the subheadings. In this way, the post lays out quite similar to outline form.

We use H1 headings for our headlines and H2 and H3 headings for the subheads inside each story. I even go an extra step to bold the subheads to make them really stand out.

Write the perfect amount of content

If you've written a great headline that gets people interested, included an awesome hook to get them going on the article, and formatted and guided the reader into the depths of your content, you're better off than most articles on the web. Now what to do about the content?

Typically there are two different discussions with content when it comes to the perfect blog post.

I'll start off by saying this: The perfect blog post does not have a set length. It has some pretty good guidelines, though.

If you throw out outliers like Seth Godin's amazing 200-word posts (that work because he is Seth Godin,) you'll find that a large number of posts perform best when they reach a certain threshold of words.
Blog posts of 1,500 words or more tend to receive more shares.
Quick Sprout has some interesting data behind this recommendation. They cite research from a popular online journal that tested the Twitter, Facebook, and LinkedIn shares of all its post, broken down by word count. The longer the post, the more shares the post got.

(The stats above would suggest that the bare minimum in length should be 700 words. That's where shares really started picking up.)

Quick Sprout's own data supports this. Posts on Quick Sprout that are longer than 1,500 words receive 68 percent more tweets and 22 percent more Facebook likes.

And to throw one more bit of data into the mix, our discussion on the ideal length of a blog post led to the recommendation of a seven-minute read, which equates to about 1,600 words. Here's the engagement graph from Medium that supports the seven-minute claim.

Of course, with longer content comes the necessity to make it as scannable as possible. The Nielsen Norman Group found that people only read 28 percent of the words in a blog post. Subheads (as mentioned above) are a great way of making your post scannable so readers can find the content they want. Here are a few more tricks that we've used on the Buffer blog.

Lists - bulleted and numbered

Blockquotes

Bold text in paragraphs

Short paragraphs

Visuals

Add a 'tweetable' or two to your content

If you're looking for off-the-radar advice on the perfect blog post, I think you'll enjoy this gem from Derek Halpern: People love to share quotes on social media. Make your perfect blog post as quotable and shareable as possible.

Halpern calls these soundbites "tweetables" because they tend to get great virality on Twitter. He cites a fellow blogger who tried out the method and saw 800 clicks on the tweetable quote.

To make a soundbite or tweetable, pull the best bits from the content you've written and include a "Tweet This" or "Share This" link alongside the text. Make the text stand out so that readers (i.e., scanners) can quickly see your most notable and shareable words and so they can easily click to share.

There are some neat WordPress plugins that can help you here, as well as some online tools.

Click to Tweet website -The website tool lets you build a tweet to include in any post, and your work gets saved on their site to edit or track clicks after the fact.

Click to Tweet WordPress plugin - The team at TodayMade (makers of CoSchedule content calendars) built a tool to share quotes from inside blog posts. The implementation is really beautiful.

You can also do it the old-fashioned way by hand-coding a Click to Tweet link. If you choose to go this route, you'll need to know a bit of CSS and HTML. If you'd like to put the text in a box that stands out, you can use something like this (where the number code references a hexadecimal color # whatever color you want):

4 little things to look for in your perfect blog post

The above items are the big ones. To create a perfect blog post as quickly as possible, focus on those. If you've got a spare moment or two to refine even further, here are a few areas you could try.

1. Place a call to action in your post

We aim for calls to action in a number of places on our blog- the sidebar, the header, and the footer get our most prominent CTAs and the text itself has a handful of internal links sprinkled throughout. Links are a standard part to the majority of successful blog posts out there. Blog Pros' study of 100 high-ranking blog posts noticed that these posts averaged nearly 10 links inside each story.

There's no perfect number of links or CTAs, but it appears that the best posts have at least something:

Some of the smaller posts had incredibly high link-per-word ratios, owing to the fact that they were essentially tables of contents for other resources. Eight posts lacked links in the content of the blog, though they often included a final sentence call to action or related content widget.

2. Visual content is essential

Alexandra Skey of Get Spokal reminds us that visual content is a pretty big deal these days. It's one of the keys to a successful blog post:

We remember photos 6 times easier than text. So not only will people enjoy reading your blog more if you include beautiful photos, they're more likely to remember it too.

The results from the Blog Pros study shown above support the visual content emphasis. The 100 popular blog posts averaged one visual image for every 350 words.

3. Include social share buttons

Perfect blog posts will need to be shared, right? It's best to make it as easy as possible for readers to share your great posts, and you can do so by including share buttons in the header, footer, or sidebar of your content.

We do this a couple of different way on our Buffer blogs. The Digg Digg WordPress plugin displays share buttons in a floating panel to the left of the content on our culture blog. The share buttons appear at the bottom of our content here on the marketing blog.

4. Create a usable, readable, searchable URL

Creating a good link for your story might be the last thing on your mind when building the perfect blog post. Here's some advice from Daniel Zeevi of Dashburst that might change that.

Google has revealed that it is best to use three to five words in the slug of your permalink. Additional words will be weighed less and could even appear spammy. So keep your permalinks short and take care to place important keywords first!

While keeping in mind the search engines, also keep in mind us humans. Be descriptive with your URL so that someone who sees the link can know what they can expect to see if they click.

For instance, this:

http://blog.bufferapp.com/inside-the-ideal-blog-post-the-research-and-science-behind-the-perfect-post

Can become this:

http://blog.bufferapp.com/ideal-blog-post-research

Timing: Blog posts get more shares on the weekend

Track Maven analyzed over 4,600 blogs and 1.2 million blog posts to see what trends developed in terms of content marketing and social shares. Their insights revealed a couple of neat scheduling opportunities that might help you make the most of that perfect blog. First off:

Blog posts get more shares on Saturday and Sunday than any other day of the week.

Why might this be? The Late-night Infomercial Effect might come into play here. Essentially, when there's less competition, the more your post stands out. When nothing is on late at night, infomercials get their most play, and a similar comparison could be made to content posted on the weekends.

Perhaps boost some promotion on the weekends or even consider posting original content that doesn't have to compete with so much other content (only 13 percent of the 1.2 million blog posts in the Track Maven study were published on the weekends).

Beyond the best day of the week for social shares on blog posts, Track Maven also found some interesting data about the time of day when posts can expect to see the most shares. (Note: all times are Eastern standard.) Below, the two charts show when during the day blog posts are published (the green chart) and when during the day the most social shares happen (the purple chart).

Shares tend to spike early in the morning and again late at night, with steady, lower sharing throughout the day.

There could be a bit of Late-Night Infomercial Effect here, too. Either way, there are certain times of day when sharing is at its highest, and it might make sense to schedule some social media posts around those times.

Start brainstorming your next perfect blog post

I hope you found these blog post tips helpful. I know I couldn't help but think of them as I was writing this post itself. Now it's your turn to go put these tips into practice!

I'll leave you with one more bit of advice before you go. Hubspot has a superb list of traits that great blog posts should include. Here's the brief rundown, and you can read more about each over at Hubspot.

Great blog posts are:
How many of those elements can you work into your next blog post? What tactics from our list of perfect ingredients will you be trying out? I'd love to hear what you're thinking and what you've found to be best for you and your blog.
Image credits: baldiri, CoSchedule, blogpros.com
FOOTNOTE: I recently learned about another great resource for learning how to blog. Check out the guys at FirstSiteGuide.com. They offer a free PDF download (they ask for your email to receive) that is super helpful!

# data[].attributes.attachment_link.title
The Anatomy of a Perfect Blog Post: The Data on Headlines, Length, Images and More

# data[].attributes.attachment_link.description
Phew! Talk about pressure. Writing a blog post about how to write a perfect blog post is the most meta of burdens. It's a bit different than writing about perfect tweets or ideal Facebook posts. There's nowhere to hide when you're blogging about perfect blogging.

# data[].attributes.headline
20+ Commonly Used Advertising Techniques

# data[].attributes.subject
20+ Commonly Used Advertising Techniques

# data[].attributes.body
Visme

# data[].attributes.attachment_link.readable_text
Creative advertisement graphics, billboards, commercials and social media ads are all around us. They compete with each other for our attention using techniques proven to inspire an emotional reaction. Help your brand rise above average with creative advertising ideas and the right tools to achieve your goals.

Some of the most common advertising techniques include emotional appeal, bandwagon pressuring (AKA bandwagon advertising), endorsements and social proof as well as weasel words.

In this guide, we share 23 of the most common techniques and visual advertisement examples to help you brainstorm your own campaigns.

Discover the advertising technique used in each example and take notes.

20+ Commonly Used Advertising Techniques
Technique #1: Color Psychology Technique #2: Composition Technique #3: Rule of Thirds and The Golden Mean Technique #4: Focal Point Technique #5: Visual Path Technique #6: Typographic Composition Technique #7: Repetition Technique #8: Body Language Technique #9: Direct Gaze Technique #10: Three-Quarter Gaze Technique #11: Point of View Technique #12: Behind-the-Scenes Technique #13: Association Technique #14: Symbolism Technique #15: Anthropomorphism Technique #16: Emotional Appeal Technique #17: Bandwagon Pressuring/FOMO Technique #18: Storytelling Technique #19: Social Proof Technique #20: Fantasy Technique #21: Animation and Motion Graphics Technique #22: Artificial Reality Technique #23: Social Media Influencers Technique #24: Unfinished Ads Technique #25: Bribe and Incentives
1 Color Psychology

The conscious use of color is the first example. This technique is used every single time, in every kind of visual marketing.

The color psychology advertising technique is easy to misunderstand or get wrong. A slightly different tonality of any color could end up portraying the wrong emotion, not the one the design was aiming for.

Color is present in the background, photography, fonts, visual accents and branding elements. That's why it's important to think about the color palette every single time.

Sometimes one color in a brand is so important that it becomes its own entity, like Coca-Cola Red or Tiffany Blue.

2 Composition

A composition can have many different purposes, from pulling the viewer's eye to one specific point or creating a visual flow from top to bottom.

There are many ways to set up a balanced composition. The basic rules for a great composition are called Gestalt principles. These include visual rules like simplicity, synchrony and association.

Customize your composition and design with your own AI generated images. Prompt the Visme AI generator to create what you need and watch it do magic as you edit the prompt to perfection.

In the advertisement below, the composition places the mother on the left side while the sun shines on her from the right. The text is set beneath to give it a sense of importance.

This advertisement uses composition techniques like the rule of thirds, focal point and visual path to send their message.

The ready-made templates in the Visme library all come with perfectly balanced composition. All you need to do is input your content.

3 Rule of Thirds and The Golden Mean

The rule of thirds and the golden mean are visual tools that help the designers place elements on a space in a way that is visually appealing.

The rule of thirds separates the canvas into six equal rectangles - two rows and three columns. By placing important elements at the crosspoints of the rectangles, they're given visual importance while maintaining a visual balance.

The golden mean is a visual tool which follows the ratio of the Fibonacci sequence.

Similar to the rule of thirds, the golden mean tool is used to direct the placement of the elements in a harmonious way.

Which tool is chosen depends on the photographer, videographer or designer.

4 Focal Point

Pinpointing a focal point is just as important as the choice of colors and typography. The viewer needs to have a clear place to look at as they absorb the advertisement's message.

Achieving a focal point can be done in a number of different ways. The rule of thirds and golden mean are actually two useful tools to help create a successful focal point.

Other techniques to settle on a focal point are:

Selective Focus: Keep the focal point focused and background blurry or vice versa.

Exposure: Manipulate dark and light areas in an image to make the focal point pop.

Light Source: Illuminate the focal point exclusively.

When there are two focal points, you can apply Gestalt principles to achieve a good balance. The simple ads below have strong focal points where the letters are rubbed out.

5 Visual Path

Like the focal point, a visual path is a technique that takes the viewer's gaze to a specific element. In this case, it takes the viewer on a journey through the content.

When someone looks at any kind of visual graphic, be it an ad, a page in a magazine, a website or a landing page, they will follow a visual path.

When we talk about visual paths, there are two notable shapes. The first is a Z shape, in which the gaze starts at the top left, moves towards the right, then returns left and down diagonally before moving across to the right again.

The second visual shape is an F. The F is similar to the Z, but instead of returning to the left on a diagonal down, it follows a line resembling how you would read a block of text.

The landing page below shows how the Z visual path works. Our eyes move from the heading to the face of the man (take note of the body language here), back to the button and then onto the mobile phone mockup.

6 Typographic Composition

Another important visual technique is the use of typography. Almost every visual advertisement will have some typographic element to it.

The combination of the fonts used is called font pairing and it can make or break a design. The color of the words and letters need to be in balance with the background so that everything complements each other.

Some typographic techniques include manipulating the letters to resemble shapes or placing a texture inside the letters.

Use the Brand Wizard to help you start on a template with the correct fonts and typography styles that match your brand's guidelines. Then get creative with the text, and create interesting typography compositions.

Creators need to be mindful of how much text they include, making sure their visual sends the message without containing too much text for Facebook to run.

Sometimes though, typography can be used as the main element. Take this Cadbury ad for example. The product they're selling is tiny in comparison.

Check out this video below from our Make Information Beautiful Series on finding the right font pairing for any type of graphic.

7 Repetition

The technique of repetition is an advertising technique that has to do with marketing strategy. Repetition applies to a few different aspects of visual advertising.

Here are the ways in which you can use it:

Air a TV commercial many times a day on a variety of channels.

Send the same ad to be printed on a number of magazines in your niche.

Put the same ad on various billboards around the city, country or internationally.

Create digital ads and submit them to Google ads or media outlets like Mediavine.

Create and distribute a large quantity of merchandising with your brand assets printed.

Make different versions of the same ad with different characters, body positions, etc.

Increase the number of times you allow the same Facebook ad to appear.

The repetition technique works best for new products or new campaigns to raise brand awareness. It's good to use repetition to get the word out at first, then it can be diminished to avoid boring your customer. Too much repetition can have a negative effect.

The ad for Renault below shows four graphics repeating the same concept but with a different shape to take advantage of this advertising technique.

8 Body Language

A large quantity of visual advertising assets include people in them. In both video and static graphics, the body language of the person - or people - is very important.

Confidence, knowledgeability, success and various other sentiments can be visualized through a person's body language.

Body language is a nonverbal language that a person transmits by how they stand, sit, smile and move. Whether the person in the graphic is a model, an actor, a famous professional, a regular person or even an animated character - the way they move or stand is important.

The steps to reach correct body language in an advertisement starts before it's even designed. Creative directors work with the client to determine the correct messaging.

The next step is to put out a casting call to find the person who best transmits the body language they're looking for. During the shoot, the actor or model is given directions until the desired effect is reached.

The McDonald's ad below uses only body language to get the message across about their 24-hour service, creating a compelling ad that will definitely make you yawn.

Sign up. It's free.

9 Direct Gaze

Continuing from body language, another advertising technique we see a lot has to do with the eyes. Direct gaze is when someone looks you straight in the eye without looking away.

This technique is borrowed from hypnosis practices. Its official name is "gaze induction technique," and it's meant to make people feel things just by being looked at intensely. It's a highly effective advertising technique!

It's common to see the direct gaze technique used in magazine ads for wristwatches and perfumes. The characters in these are usually celebrities, particularly ones that consumers consider very handsome, beautiful or worth swooning over.

For example, take a look at this billboard ad for a hair curling product. This ad uses direct gaze straight at the viewer next to another version of the same woman in a different attitude with her eyes closed. The double side face in contrasting moods supports the power of the direct gaze on the side with the open eye.

10 Three-Quarter Gaze

Another character related technique is the three-quarter gaze. The gaze can be used in any direction, inwards or outwards. The direction depends on what the message needs to be.

The first example can give a sense of "looking into" a situation the viewer isn't really a part of. This technique is very common in video. The forward facing three-quarter gaze is better suited for a static image that wants to transmit a sense of wonder.

The Dolce and Gabbana ad below uses a mirror to achieve the three quarter gaze.

The Toy Story 3 billboard of Buzz Lightyear is another example.

11 Point of View

This type of advertising technique is a way of showing the action as if the viewer were doing or experiencing it. This is a technique mostly used in video advertising.

There are different levels to the point of view technique. A camera can be harnessed to a SteadyCam apparatus at eye level - or very close to it - which makes the recorded video feel natural and like the viewer is in the scene.

GoPro cameras attached to helmets in adventure sports are another common way of using this technique. The footage is then used for social media advertising or longer inspirational videos. RedBull and GoPro are experts at this technique.

Even though their videos might not look exactly like an advertisement for either RedBull or GoPro, they sell the lifestyle.

12 Behind-the-Scenes

A good way to reach customers is to show them how the inside of a company works. Through social media, a brand can show their users and followers creative behind-the-scenes images and videos.

These can be photos of team members working in the office or a video tour where everyone is creating the products that customers love. Behind-the-scenes as a visual advertising technique can be very helpful to make users feel connected to the brand.

The employee taking over can post photos, videos or graphics created with the company's Visme team account and brand kit. Advertising agencies sometimes offer this service and train a few employees on how to do it properly.

Consumers appreciate the honesty of a behind-the-scenes campaign. That's because they can relate to what the team does every day just like they do in their own jobs. Personalized marketing can go a long way, for both B2B and B2C markets.

In this TikTok video, content creator and video producer Dontae Catlett shows his followers the behind-the-scenes action while he creates a product video. As a professional videographer, this type of advertising content is well-received by his audience.

@dontaecatlett 🍰 META asked me to show YOU how to create better Reels! Full video on my YT 👀 #tips #bts #behindthescenes ♬ original sound - Dontae Catlett

13 Association

Some advertising techniques rely mostly on psychology. Such is the case with the association technique, also called "association marketing."

The premise is that the visuals in the graphic will create associations for the viewer. These associations can be feelings, ideas, places, or nostalgia.

For association marketing to be successful, a good bit of research must be done beforehand so that there is a deep knowledge of who the consumer is before deciding on what the association will be.

For example, antibacterial hand soap might use scenes of kids playing outside in the mud and getting dirty, but having tons of fun. This creates an association that it's okay for kids to get dirty - as long as they can wash their hands with soap afterward.

Another common use of the association technique is with luxury products. Consumers are led to believe that with the fancy wrist watch they see on attractive advertisements, their life will be glamorous and full of luxury, traveling on private jets and drinking champagne.

When done well, these associative advertisements are very successful.

This advertisement for La Lechera uses both association and storytelling to deliver an advertisement that makes people react. The video is all about a project in which AI generators were prompted to create a dessert with condensed milk for every decade in the last hundred years.

What's the association? In this example, the association is twofold. Completely different things (condensed milk, music and AI) are associated together to make a story that's unexpectedly relatable.

The viewer can associate with the feeling of growing up with La Lechera and connecting it to the music of their era. This celebration of 100 years of La Lechera is a great example of how an association can make the story in the advertising relatable for the audience.

14 Symbolism

A technique similar to association deals with symbolism. Visual marketing techniques that use symbolism in their message call on the use of metaphors and similes. These are literary tools used to make comparisons and allusions.

For example, a marketing strategy for a hand cream can use a visual metaphor to compare the scent of their cream to that of spring flowers.

The use of symbolism can be vague and subtle or overly far-fetched. The latter only works with brands that already have a large following of consumers with high brand loyalty. Nobody wants to cause confusion.

The use of icons, for example, is a subtle and simple use of symbolism. Icons represent objects and concepts without using a single work. Add some animation to the icons and make them unmissable for the audience.

This print advertisement uses a perfume bottle instead of a heart. Essentially the perfume bottle symbolizes the heart or something a person might love as a gift on Valentine's Day.

McDonald's using their french fries to advertise free WiFi is another great example of symbolism. Everyone knows what the WiFi symbol looks like, and this ad capitalizes on that.

15 Anthropomorphism

Talking M&M's and peanuts with walking sticks are a result of the anthropomorphism advertising technique. This tactic is all about turning an inanimate object into a creature that can move, talk, walk or even sing.

When an advertisement using this style is successful, brands will often make merchandising with the character to sell or give away. If the character is accepted by the consumer, it can ultimately become a household name.

The advertising industry has used anthropomorphism for a long time. Simple tactics like adding arms and legs to a peanut or standing a tiger on two legs are well-known.

This technique is not a dying art, and has actually seen new reincarnations in recent years. The Geico gecko is a prime example.

The Moscow Zoo has also had a little fun with anthropomorphism.

16 Emotional Appeal

Emotional appeal is one of the most effective marketing techniques. The target audience is pretty much anyone with feelings. Television advertisements use this tactic quite often.

The super emotional "Hallmark Commercial" is a perfect example. Successful campaigns that use emotional appeal also rely on symbolism, association and elaborate storytelling techniques to influence a deep emotion in the viewer.

For this advertising technique to work, the brand needs to really know their consumer. The marketing team needs to understand the hopes and dreams as well as the fears and needs of their target audience.

By using storytelling techniques, they can make any of their customers or potential customers feel like they can relate to the story.

In recent years, Thai TV commercials have also made a mark around the world for their emotional appeal. Some examples of these tell an emotional story, only showcasing the product at the very end.

Watch this video to learn more about the different types of advertising appeal and examples of top brands using them.

17 Bandwagon Pressuring/ FOMO

Another human-centered advertising technique is bandwagon pressuring. With persuasive writing and the right wording, a brand will try to convince the consumer that everyone already has the product and that they are missing out.

This technique relies heavily on the psychological tactic called FOMO, or fear of missing o ut. The art of persuasion is a common creative technique for bandwagon pressuring. Craftily carved slogans are very successful tactics for this technique.

MLM companies and pyramid schemes use this technique on a regular basis. Every associate will try and convince a new client that they are missing out on the product, that their life will be better, that their neighbor is already using it.

If overdone, bandwagon pressuring can also have a negative effect similar to repetition.

In this poster template for a Garage Sale, the text "Come early for the best stuff" is a one liner bandwagon pressuring technique.

18 Storytelling

As we have seen, there are lots of advertising methods used by brands to get their products in front of people. But of all techniques used in advertisement, storytelling is top of the list due to its effectiveness in advertising.

An ad campaign needs to evoke not only a feeling of need for the product, but also tell a story that consumers can relate to. In technical terms, storytelling relies on many of the other advertising techniques mentioned in this article.

Storytelling has been used in traditional media for generations and is one you've likely seen time and time again. It's a tried and tested technique.

A brand can tell a story in many different ways. It can use their own origin history or take inspiration from real customer interactions. A brand can also tell a story without any words, only with music and the right images.

This TV commercial for Burger King uses storytelling from a kid's perspective. The infinite "why?" question from kids, is the basis for a story of how kids see things differently. All that story for the Burger King vegan burger.

19 Social Proof

Using social proof as a technique is mostly for advertising online, although it can also be used on print to some degree.

Influencer marketing and endorsement is a perfect way to market with social proof. They pretty much do the marketing for the brand, and in their own words, while recommending the product to their own followers.

Another type of social proof is client case studies . These are articles published on the brand's blog where they showcase how a real-life person is using their product with success.

Social badges are also a great visual way to add social proof to a display ad, email newsletter, poster or flyer.

Customer testimonials are also considered social proof. These can be included in a website in the testimonials section or can be recreated into a full-scale videos like the ones below.

Similar to the association technique, the use of fantasy is a powerful psychological resource when creating visual advertising.

A favorite fantasy with many consumers around the world is that unicorns poop rainbows. Other examples are television advertising spots or print adverts inspired by films like The Lord of the Rings or Star Wars.

Fantasy inspired advertising is directed at consumers who are into fantasy films and books. By choosing this technique, the brand leaves a lasting impression. This tactic works just as well for advertisements targeted at children or adults.

This advertisement by Squarespace with Adam Driver is the perfect example.

21 Animation and Motion Graphics

The use of animation and motion graphics is quickly taking over the advertising space, from digital advertising to outdoor advertising.

Animation pertains to visuals that are animated instead of filmed with human characters. It's the moving version of an illustration. A motion graphic is a bit different as it's not a storytelling technique, but more of an explanation or visual accent.

Both are used in short advertisements seen at the beginning of YouTube videos or inside apps with in-app purchases. This technique catches the attention of the viewer very fast and can be very successful.

This animated TV commercial for Oreo cookies is memorable, fun and quite successful.

Try creating animated presentations as digital advertising inside your blog posts or website. With Visme, you can create animated slideshows to showcase your brand story.

22 Artificial Reality

Interactive advertising is becoming quite popular with the rise of artificial reality (AR). Many television shows have developed AR apps to allow their viewers to get a first hand experience of the show's setting.

This type of advertising is also called "covert advertising" as it's not selling anything directly. Instead, it's selling the idea behind the brand and generating awareness.

One thing to remember with artificial reality advertising techniques is that they always needs an app to work.

Brands have been known to get quite creative with their AR marketing. Timberland, for example, installed life size screens as their window dressings. The AR app was meant to show people how they would look with the Timberland clothes on.

By taking a photo of the user at the window, the app then dressed them in different Timberland clothes. It was an AR changing room with minimal effort from the consumer.

Other AR tactics even include direct shopping from within the app or being able to visualize products inside a space before buying. For example, the IKEA app showcased in the advertisement below:

The next visual advertising technique in the list is the use of social media influencers where the influencers create the content to be shared.

In some instances, the brand can send the influencer some guidelines or visual style to follow while other brands let the influencers do as they wish. Influencer marketing is all about honesty and human touch.

Influencers can advertise a brand's product targeting people who are just like them. They can create video content comparing a product to a competitor, or do a sales promotion on their social media channels.

In return, a brand can give influencers an affiliate or pay per click account or work together on a price point for each sponsored post.

It's also not uncommon for a big brand to contact a real person with a small following to be their influencer. These are called micro-influencers and can sometimes receive even more engagement and success than accounts with millions of followers.

@simplydigital Did you know about this? #simplydigital #websites #graphicdesign #digitalmarketing @vismeapp ♬ original sound - Konstantinos⚡Digital Marketing

24 Unfinished Ads

Another great visual advertising technique is something called "unfinished ads." And while this isn't actually an ad that's unfinished, this means that an ad's claims might oftentimes seem unfinished.

This strategy is used most often in ads where a brand might say their product or service is more superior than the competitors, but they don't actually explain why or how in specifics.

For example, here's an ad by Casper, the mattress company, called "Unbox Better Sleep." The brand is saying their mattresses are better, although they're not necessarily saying which mattresses they're better than.

25 Bribe and Incentives

While the bribe advertising technique might seem a little slimy, you likely see it in action more often than you think.

This strategy simply entices a viewer to buy their product by offering a little something extra to sweeten the deal, whether it's a "buy one get one" or "20% off all purchases over $100" or even "free shipping."

This video is an excellent example of providing incentives that nugdes customers to pull out their checks

Your Turn

Many people have asked this question: why is visual advertising effective? Well the way into a person's feelings is through the senses and visual advertising plays a huge part. Without visual advertising it's nearly impossible for people to see what your brand is about and what it stands for.

The world of visual advertising is growing exponentially with digital expansion. But advertising techniques like color psychology and direct gaze will always be important tactics to remember.

The visual advertising techniques you choose will depend greatly on the message you want to convey. When creating your own graphics, keep it simple and always think of your consumer.

If you are looking to create a bigger impact with television advertising or specially designed AR apps, contact a professional designer who will know about all these techniques.

If you're looking for a tool to create your advertising graphics, Visme can help you out. Y ou can create any type of visual graphic using our collection of templates, free fonts and other design assets. You can also access many admin features to manage, store, monitor, share and track project performance across workspaces and teams.

Sign up today for free and get started with creating visual graphics of your own and put your knowledge of advertising techniques to practice!

Did you find this article helpful? Which visual advertising technique is your favorite? Let us know your feedback, suggestions and questions in the comment section below.

# data[].attributes.attachment_link.title
20+ Commonly Used Advertising Techniques That Work [2021]

# data[].attributes.attachment_link.description
Some of the most common advertising techniques are emotional appeal, bandwagon pressuring, endorsements as well as weasel words. Find the rest here.

# data[].attributes.body
Visme

# data[].attributes.attachment_link.readable_text
Video Transcript

Implementing a visual marketing strategy will seem like a daunting task. That is, until you finish watching this video.

Hello world! Mike Ploger back with Visme - the online platform that stays ahead of visual design trends and allows you to create your own content with ease.

Digital marketing experts have found that the average human sees 5,000 ads per day. Some of us will actually see even double that. Now with the competition to grab our attention growing by the day, it's imperative that advertisers absolutely nail their content and influence their viewers.

There are 23 proven methods that I'll touch on in this video. Now, some relate to the elements within the ad, while others touch on different appeals to connect with a viewer.

As is the case, you'll be able to use more than one of these techniques in each of your advertisements. It's up to you to decide which is best for your product. Shall we?

1. Color Psychology

In every piece of advertising that we see, there's some sort of color scheme. Whether it's a full palette or black and white, those colors have likely been chosen for a reason.

Different colors can elicit different feelings in viewers. Red is the color of passion or power. Blue is calming and approachable. Both of these colors have become strong associations with brands.

Think classic Coca-cola and that strong red or Tiffany blue as we see here, paired with a grayscale image. This ad also gives us a direct gaze into the product which is another technique that we will explore here very shortly.

Nonetheless, the importance of strategically picking color can not be emphasized enough.

If you are interested in diving deeper into color psychology, we have the video for you. Check it out in the link above.

2. Composition

Okay. Before I dive into this technique, you might be asking yourself what exactly do I mean by composition. Simply put, it's just the organization of elements within your ad space.

A well thought out ad will pull a viewer's eyes towards the most important aspects of a design. It could be an emotional trigger, the brand's logo or a call-to-action button.

Achieving balance is key when it comes to your composition. This ad behind me uses composition techniques like the rule of thirds, focal point and a visual path.

The woman sits in the left third while the light shining gives importance to both her and the centered text. I recommend checking out the Gestalt principles to explore the basic rules for a great composition.

3. Rule of Thirds and the Golden Mean

You just heard me mention it, now let's explore it - the rule of thirds. This technique places a 3×3 invisible grid over an image. By doing so, you'll get four intersecting points and these points are crucial.

Place your most important visual elements at these points, just as Corona did with their iconic Corona bottle.

Now the golden mean is quite similar but follows the Fibonacci sequence. What the heck is that, you might be asking?

Well, it's this more free flowing grid that directs the placement of elements in a more harmonious way. Rectangles are broken down into more rectangles achieving visual balance.

4. Focal Point

The focal point of an ad is as important as any of our techniques that we're covering in this video. We just covered two grid techniques which can draw attention to a focal point, but there are a few other techniques as well.

Selected focus as one that will blur out the unimportant aspects of an image, adjusting exposure can manipulate what area should pop while also hiding some other areas in the shadows or you can even provide a light source to bring importance to a single element.

In these ads, we have not one but two focal points. The plain text and the rubbed out text which sends a powerful message.

5. Visual Path

Any image, ad, book cover, web page, any visual that we look at, we go on a visual path - a journey through the design. Now, there's two visual paths that are the most effective when planning your design. The Z path and the F path.

With the Z shape, our eyes begin at the top left of the image before moving right then back diagonal left and then across two the right again. So, here we see the first block of text then move over to the picture of the man, back left to the call-to-action before finding the mobile phone.

Now, with the F shape, our eyes move like they would when reading a book. You start top left, move right before moving back left, down, right again and continuing down the image.

6. Typographic Composition

Typography AKA fonts. The style and amount of text within an ad is crucial to its success.

Just take into consideration the fact that Facebook has an algorithm that accepts or denies ads based on how much text is within that ad. Crazy, right?

You want to be mindful of how much text you're placing in a design. An ad filled with lines of text can often be overwhelming. So, you want to use visuals to balance out your ad.

This ad, well, probably wouldn't be accepted by Facebook but it is great for traditional advertising. Britain's Biggest Egg is that tiny little egg in the ads' boundary.

Make sure you do your research when you're choosing your fonts and don't look far. We've covered this in another video of ours on our YouTube channel.

7. Repetition

If you really want to nail your product or idea into somebody's head, use repetition. Whether it's the same ad in a number of platforms, the same commercial on different channels or pushing your brand logo anywhere and everywhere - that's repetition for you.

Now, the thing is, repetition is best only when debuting a new product or message. It'll raise brand awareness but soon after you will need a new strategy to keep viewers entertained.

Renault repeated the same concept but in different shapes to take advantage of this technique. Viewers will immediately recognize the brand even if it's their first time seeing a new ad.

8. Body Language

If you're creating an ad using real people or even figurines, you'll want to consider their body language within the ad. Without speaking, body language can portray confidence, success, spontaneity, liveliness - you name it.

Now, determining what message you want to send before building your ad is important. By doing so, you can search for just the right actor or build that perfect animated character.

McDonald's believe it or not actually wanted somebody to yawn in their ad. Why? Because they are pushing their new 24-hour service that even the most tired and hungry consumers could relate to.

9. Direct Gaze

Have you ever made direct eye contact with a complete stranger and it made you feel some type of way? We see it in romance movies all the time and it is also a common strategy in advertising.

Companies will use the most attractive actors and actresses that they could find and ask them to directly gaze into a camera. Now, in return, an emotion will be triggered in the viewer pushing them to buy that product.

We often see this with luxury items or scents maybe, just like we do with this Gucci ad and this handsome fellow.

10. Three-Quarter Gaze

Now, while the direct gaze may be a little intimidating, another solution would be the three-quarter gaze. Here, the subject is looking off camera in any direction.

Our first example is from Dolce and Gabbana and the actress, this time Scarlett Johansson, is peering into a mirror. By looking into a situation, the ad gives us a sense of wonder.

Then there's Buzz Lightyear, who of course is looking into saving the world. In this ad for Toy Story, you can tell he is just itching to say, To Infinity and Beyond!

11. Point of View

The point of view technique is most commonly used in video advertising, but it can be extremely effective given the product. This technique takes a viewer into the point of view of another person.

GoPro and Red Bull have mastered the technique given what they're selling. GoPro sells the cameras, while Red Bull sells the drink that really has become more of a lifestyle.

If you're looking into using this technique, get yourself a GoPro and pair it with a steadicam or a head mount then simply hit record while completing the action that you're selling.

12. Behind-the-Scenes

Behind-the-scenes videos or photos are a great technique to authenticate your brand. Sure, you may no longer be perfect in your advertisements but viewers will actually appreciate that.

These ads can be images of your workspace or employees in the midst of a project. Or you can even film a video tour of what different employees are working on in any given moment.

A quick way to do this is by having a single employee to a social media take over. Give them the power to go around the office and get genuine interactions with those in your company.

Even McDonald's admitted in an ad that yes their burgers on paper look a little bit different from those out the drive thru window. Nonetheless, personalized marketing like this can go a long way.

13. Association

Association marketing is one of the more challenging techniques, but with proper research, it can also be one of the most successful. Put simply, association marketing is when visuals in an image are associated with a certain feeling, idea, place or memory.

Take Rolex watches and their association to power. Or Lamborghinis and their association with wealth.

Associations can also be created. An ad for body wash will use scenes of men playing football, implying the body wash will restore their cleanliness. Or check out this ad. Associating Carnaval with drug and alcohol use by using pixels instead of actual vomit is easier to digest.

14. Symbolism

Symbolism is similar to association but calls on metaphors and similes to be effective. You'll be making comparisons and illusions using your product, rather than recognizable icons. A high level of brand awareness can help but is only necessary if an idea is completely farfetched.

This ad uses symbolism simply. The perfume bottle takes the place of a heart. We all recognize that it's supposed to say I heart you. The perfume symbolizes love, making it the perfect Valentine's Day gift.

McDonald's had a similar approach symbolizing WiFi with their french fries. It's an instantly recognizable icon, so most, if not all viewers should understand its symbolism.

15. Anthropomorphism

As you try to pronounce or next technique, let me first help you understand just what it is.

You know those two M&Ms that come to life on our televisions? Or the Planter's peanut man? That's this technique. It's taking an object and bringing it to life.

They can also work with animals like Tony the Tiger or the Geico gecko. A lot of times, these beings will become merchandise.

The Moscow Zoo is another example when they edited their animals having a little bit of fun with a hibernating bear. And P.S., it's pronounced anthropomorphism.

16. Emotional Appeal

If you really understand your target audience, using the emotional appeal should be at the top of your potential advertising techniques. You should understand the wants, hopes, fears and needs of your audience then use symbolism, association and storytelling to tuck at their heartstrings.

You want your audience to relate to your commercial. Some of these ads can be a little longer like this Thai TV commercial, but if you watch it, you should get an understanding of the effect that these commercials have on viewers.

There are actually a number of different emotional appeals that you can use and we covered all of them in one of our videos. I dove deeper into the emotional appeal and covered some rational appeals as well.

17. Bandwagon Pressuring

One of the more riskier techniques is bandwagon pressuring. However, anything with little bit of risk could really pay off. Bandwagon pressuring is when you convinced consumers that everyone is doing it.

You convince them that they need that product because the masses are buying into it and they should not be left out. However, if you overdo this technique, it could really have a negative effect on a viewer.

Express used the term "Don't miss out!" which you'll often see in this technique when advertising their 2014 rewards card.

18. Storytelling

I've mentioned storytelling in this video already, and with how powerful it can be, I want to focus solely on it for a quick second.

First and foremost, storytelling relies on many of the techniques already covered in this video. It takes several techniques to become one influential message.

The point of storytelling is producing a message that consumers can relate to. It can even be done without words, in fact some of the most powerful stories are told with music and images alone.

That's exactly what Lacoste did in one of their ads. No voices, no words, just strong imagery from beginning to end, telling the story of two strangers becoming oh so much more.

19. Social Proof

Social media continues to grow as a platform for advertising. And as is the case, more and more advertising techniques continue to emerge.

You'll often see case studies where brands have individuals used their products and write a blog on their website about their experience. Testimonials also fall under this category and actually what you will see the most often when scrolling through Facebook, Instagram or Twitter is social badges.

Companies share their accomplishments and adds to show their expertise. Just like Nature Made did here after they produce the first every gummy vitamin USP Certified for purity and potency.

20. Fantasy

If your audience is similar to that of, let's say Star Wars, the fantasy technique could be a viable option. By using associations, the fantasies technique takes something we have seen in television or maybe read about and it brings it to life in an ad.

Think Sasquatch in the beef jerky commercials. For most of us, it's a fantasy coming to life. For others, well, the search continues. Now, click the link above to see another more extensive example of Air New Zealand bringing all of our wildest fantasies into one safety video.

21. Animation and Motion Graphics

For companies looking to explain the viewers more about who they are, an animated video could be a great tactic. Animation and motion graphics continue to grow in the advertising realm.

They grab attention very quickly but can also be pretty short in length and as entertaining as you please. Oreo actually put together a number of animated commercials not long ago if you're looking for any examples to check out yourself.

And if you're not sure where to begin when creating animations, Visme has a tool to make it easy for you in a slideshow that can be featured on your web page or your blog.

22. Artificial Reality

Artificial reality has grown with technology in recent history and it's made its way into advertising. You may also hear it called covert advertising, and that's just because it is not necessarily selling a certain thing but rather providing brand awareness.

IKEA allowed their customers to go into their app and place items from their store into a customer's home. Of course, it was through the phone's camera, an augmented reality but it did give viewers an idea of what a piece of furniture would look like into their own home.

If you're interested in checking it out, click the link above.

23. Social Media Influencers

And lastly, as social media takes over the world, social media influencers have become very popular. These are individuals with massive followings who work with companies to promote their product.

Oftentimes the company will send them their products in exchange of a post tagging that company. This makes their following at least see the product and likely interact with their brand.

Influencers will either receive compensation or receive those products for free. And believe it or not, micro influencers exist as well. These are those with much smaller following but their engagement and success could be even greater.

And that my friends, is a wrap. I've covered 23 techniques, now some of which you want to consider in each of your ads like color and composition or others may be directed towards just one specific ad.

I have one final tip for you - remember to research and understand your audience. Know their wants and needs. Heck, know their wants and needs even better than they do.

And when it comes to beginning your design, don't forget Visme is a visual design tool for tasks just like this. You can create ads from pre designed templates with all the fonts, colors, icons and graphics you could ever ask for.

That's going to do it for me for now. I will be back soon with more videos made for helping you conquer what seems like the most challenging design tasks.

Our channel already hosts a number of videos, so if this video helped you, make sure you subscribe to our channel to see just how else we can. For now, good luck with your ads and remember, I'm Mike Ploger with Visme helping you Make Information Beautiful.

# data[].attributes.attachment_link.description
Video Transcript Implementing a visual marketing strategy will seem like a daunting task. That is, until you finish watching this video. Hello world! Mike Ploger back with Visme - the online platform that stays ahead of visual design trends and allows you to create your own content with ease.

# data[].attributes.body
Article from The Independent

# data[].attributes.attachment_link.readable_text
We're so bombarded with commercial messages every day that creating an ad that actually sticks in the mind is an increasingly difficult task. Research shows that one way to make advertised products more memorable is to engage consumers' feelings and emotions by stimulating multiple senses at once. And advertisers are now more consciously using this approach in what you'd typically think of as a visual-only medium: print images.

Marketing has undergone what researchers have called a multisensory revolution. Browsing the shops around Christmas time, for instance, is typically a multisensory experience, and that's no accident. Shops combine ambient Christmas music and Christmas-related scents to influence consumers' behaviour and increase sales.

Video advertisements also resort to the multisensory strategy. McDonald's ads, for example, display the famous red and yellow logo that triggers a representation of the brand stored in our mind through the sense of sight, together with a now well known tune that triggers a representation of the brand stored in our mind through the sense of hearing. The brand is encoded in our memory by means of both visual and audio elements. This establishes immediate and subconscious associations between the different sensory stimuli - the images and sounds - and the advertised product.

Multisensory marketing has also made its way into print advertising. To convey a multisensory message within a medium that is chiefly experienced by sight, advertisers use language and images to evoke the other senses. Evoking individual senses in print is relatively straightforward, using words like "smell", "hear", or "yellow", and images of objects that we strongly associate with specific senses, such as a bottle of perfume (smell), or a bar of chocolate (taste). But words and images can also evoke multiple senses within the same ad, and in the most creative ways.

The chief method for making multisensory print ads is employing linguistic synaesthesia. Not to be confused with the neuropsychological condition synaesthesia, this is a type of metaphor created by combining linguistic expressions that refer to different senses. For example, "sweet melody" (taste and hearing) and "soft voice" (touch and hearing).

Print ads often display synaesthetic slogans. For example, the Hogwine food company advertises its potato chips with the slogan "Like sweet banjo music to your tongue". The chips' taste is associated with music, which is in turn described as "sweet", an adjective that primarily relates to taste.

Our recent research shows how synaesthetic associations can also be created by the image only, in what researchers call visual metaphors. For instance, Popclik advertises its headphones by showing them on a comic-like black and white background.

Here, only the drawings within the space defined by the headphones are illustrated in colour.

The positive feelings that we tend to associate with colourfulness (as opposed to black and white) are arguably used to convey a positive judgement about the quality of sound that the advertised headphones reproduce.

In other words, this advertisement is an example of a visual synaesthesia by which sound is described in terms of colour.

Not only do we have purely linguistic and purely visual synaesthesia: language and images can also interact.

The image above advertises Toblerone through the image of a triangle, a musical instrument that recalls the characteristic shape of the chocolate bar. Music is also mentioned in the slogan "Music to your mouth", where it is explicitly connected to the taste of the advertised product.

In other ads, the image seems to visually "translate" synaesthetic combinations that are commonly used in language.

For instance, a lemon-flavoured soft drink has been advertised by the image of a lemon wearing a spiked mask. This combines with the slogan "L&P sour lemon. Sharp as. Bit different aye".

Together they provide a visual realisation of the conventional and commonly used linguistic synaesthesia "sharp taste", with the lemon representing the taste and the spikes on the mask the sharpness (touch).

Visual communication is extremely powerful. As these ads show, it allows us to evoke multiple sensory domains and establish creative associations between them by effectively combining words and images.

What's not yet clear is whether these synaesthetic print advertisements have the same effects on sales and brand memorability as the complex experiences used in multisensory experiences.

If so, learning how advertisers use these techniques to brand new products can help us to become more aware of our behaviour as consumers.
Marianna Bolognesi is a postdoctoral researcher at the University of Oxford, and Francesca Strik Lievers is a postdoctoral researcher in linguistics at the Università degli studi di Genova. This article first appeared on The Conversation

# data[].attributes.attachment_link.title
How advertisers manipulate all our senses at once

# data[].attributes.attachment_link.description
We're so bombarded with commercial messages every day that creating an ad that actually sticks in the mind is an increasingly difficult task. Research shows that one way to make advertised products more memorable is to engage consumers' feelings and emotions by stimulating multiple senses at once.

# data[].attributes.headline
23 Types of Advertising Appeals (persuasion)

# data[].attributes.subject
23 Types of Advertising Appeals (persuasion)

# data[].attributes.body
Visme

# data[].attributes.attachment_link.readable_text
Video Transcript

If you had to guess, how many ads do you think the average person is exposed to daily? A hundred? 500? Maybe a thousand? Digital marketing experts actually say that we're susceptible to anywhere from 4,000 to 10,000 ads a day.

Whether it's TV commercials, magazines, online articles, radio advertisements or even those videos that you want to skip before watching a Youtube video, you are nearly constantly exposed to various brands.

Now, if you're a marketer yourself, this poses a problem. How do you get your ad to stand out? Well to begin, you must understand the two categories of advertising appeals - emotional and rational. From there, you decide from the 23 types of appeals that will effectively reach your audience.

Now, what are those 23 types of appeals? That's a great question and that's exactly why I'm here.

Hello world! My name is Mike Ploger with Visme, and over the next few minutes I will explain and provide advertising appeal examples of each of these 23 types of appeals to help you better brand your product.

Emotional Advertising Appeals

1. Personal Appeal

Our first 14 types of appeals fall under the emotional category. These are intended to provoke feelings and emotions through imagery, impactful texts and even strong music.

The personal appeal is often referred to as the emotional appeal. It can persuade a viewer by inciting sadness, jealousy, happiness, anger, you name it.

Take this Gillette ad for example. It appeals to the concerns of fathers by using actual sandpaper and research to show the importance of skin to skin contact with a newborn baby, and the effects it could have later on.

2. Social Appeal

Everyone wants to feel included or a part of the most popular trends, and we're all influenced by what surrounds us. The social appeal captures just that. This IKEA example makes use of the social appeal by playing into the insanely popular TV show - get your ad to stand out.

Even non-watchers like myself know the phrase that Winter is Coming . But IKEA put their own twist on it after learning that the show uses IKEA rugs to recreate Jon Snow's cape. Fans of the show instantly recognize it appealing to their social desires.

3. Fear Appeal

Everyone has a fear. Some we're willing to admit, others we're not and some way may not even realize. Use of strong visuals helps bring out those fears in us.

Here, the fear of losing even the most exotic animals may motivate us to want to save their habitat. If so, we note the link and we take action.

4. Humor Appeal

Bringing humor into an ad can be very effective. It'll grab attention and spark response in a viewer. However it is much more rare because humor is subjective. What one person finds funny, another person might find offensive. So a marketer must fully understand their audience.

Given its name, Virgin Mobile will push the boundaries of their advertisements with sexually charged ads. This bus here is no exception.

5. Endorsement Appeal

We have all seen celebrities and athletes put their name on a product. Whether it was Beyonce in Pepsi or Payton Manning in Papa John's. Or even Mr. T in Snickers.

We're all influenced by these huge names even though they have nothing to do with their creation of a product. These ads stir popularity, and if your favorite celebrity is using a product, you are more likely to follow suit.

6. Sexual Appeal

We have all heard the phrase sex sells, and most often it does. That why companies employ the most attractive models and even use sexy product shots in their ads.

The most thought of example with this is Victoria's Secret. But you also see with Old Spice, GQ and Calvin Klein as you have here.

Heck, even Hardee's gave it a whirl when Kate Upton was seen eating their burgers in a sleek convertible. It's not something you'd expect but hey, they went for it.

7. Romantic Appeal

A lot of us are suckers for a good love story, and just as romantic movies are big hits, the same can be said with romantic advertisements. They give us powerful, inspiring feelings and it even will give us a sense of nostalgia.

Ralph Lauren utilizes this appeal quite often, and quite frankly it doesn't take much. Just a couple of that shares the look of love and happiness.

8. Youth Appeal

The target audience for the youth appeal is actually the older generation. But advertisers will use actors who are much younger than that target audience. The advertisers want the consumer to feel younger and more energetic, and they lead us to believe that this can happen by using their product.

This Centrum Silver ad uses Bruce Springsteen's energy and passion despite his age and in doing so it makes us believe that Centrum Silver is what creates such liveliness in someone.

9. Adventure Appeal

Car companies, active lifestyle brands and travel companies love the adventure appeal. Hypothetically, these show us where their product can take us. It's new and exciting to the consumer and it even creates a sense of what if.

Think of Patagonia or Jeep as seen here. Just by seeing this ad, it makes me want to get a car that can take me to the beach, off-roading or wherever life takes me. Unfortunately for now, I'm stuck with a standard sedan.

10. Popularity Appeal

Similar to the social appeal is the popularity appeal. When a lot of people want to wear or do something, you want to do it too. And companies will purposely brand their products with their logo to ensure society picks up on that trend.

One excellent example of this is actually a video which marketed the release of Baywatch in 2017. They held a slow mo marathon and hundreds of the movie anticipators participated in the event. I can guarantee you've never seen anything like it, so I encourage you to check it out to see what the popularity appeal is all about.

11. Musical Appeal

Just like in the movies, the music played over an ad must complement the setting or else the mood can be very confusing. The right music can inspire emotion or even encourage action from a viewer.

There's an advertisement by Kohler TV where their music is upbeat and provides a very happy energy that adds to the color in quick shot transitions. In the end, this will make a viewer want to buy their brand rather than one of the others.

12. Empathy Appeal

Our twelfth appeal is the empathy appeal. And this can actually be one of the more tricky techniques. You've got to get the viewer to identify a problem that they've maybe never seen before, and this is typically used in public service announcements to evoke emotion in understanding a cause.

Which is exactly what you have right here with this Safe at Home Foundation advertisement. The viewer will better understand the consequences of domestic violence and be more inspired to help after seeing the powerful imagery complemented by some research.

13. Potential Appeal

Turning dreams into reality is exactly what you have with the potential appeal. This is all about what could be. And LEGO nailed it when they helped kids see their potential with a series of ads placing them in rockstars, fire suits or space suits as you have here.

These ads were placed all around schools, playgrounds and museums. Where not only the kids would see it, but their parents would as well.

14. Brand Appeal

The brand appeal allows companies to sell their products for higher cost due to consumers wanting to reach a higher status level that can only be achieved by wearing or using the brand. This product has nothing to do with quality and everything to do with perception.

Take Starbucks for example. Everyone wants to be a part of the exclusivity that the logo carries. One's status rises when drinking Starbucks, rather than an off brand of coffee.

Rational Advertising Appeals

1. Pain Solution

Now that we've covered all the emotional appeals, let's break into the rational ones. These are focused on facts and logic, and are much more trustworthy and authentic than the emotional appeals that we just covered.

The first type of rational appeal is the pain solution. Now most of us will wait to act until there is a problem that needs to be solved. We know we need help when these ads direct us on where to go and what to do to solve the issue.

This IKEA ad here focuses not on the product but the solution that they are providing for their consumers. Brands are typically much more successful if they identify a problem and create a solution to fix it.

2. Scarcity Appeal

The scarcity appeal is most often paired with the words "limited time." The products maybe available but not for long, and it may be even harder to find, making it more desirable for the consumer.

Coke nailed this appeal with their personalized bottles campaign. Everyone wanted a bottled with their name on it or to send photos of bottles to their friends. Sure, more impulse buys were made with this appeal but who didn't want a Coke with their name on it. I sure did.

3. Statistics Appeal

Next we have the statistics appeal. Whoa, Mark Zuckerberg, Marla Zuckerberg? This ad transform the Facebook creator into a woman. Why? To highlight the wage inequality between genders.

With facts and statistics and in this case, a little imagination, you can appeal to those who are more rational in their approach.

4. Testimonial Appeal

Now, although it's effective, testimonials don't just have to be someone speaking highly of a product. You can think outside the box.

Like Doritos did when they asked fans to submit Super Bowl commercial ideas. Yeah, they got the public involved and more people were interacting with their brand. By thinking outside the box, these ads stand out from the crowd.

5. Contrasting Appeal

Our fifth rational appeal is the contrasting appeal. And surprise! We have another IKEA example. Clearly they need to pay their advertising team more as they have some of the best examples that we have seen.

Now, the contrast appeal can compare your product with another, or even highlight what life would be like without your product. Here, you can see then contrast between the unboxed IKEA unit and the surrounding units that clearly need to shop at the store.

With contrast, you can show how your brand is a step above the rest in a subtle way.

6. Status Appeal

Our next ad example is not a shoe ad, this isn't a shoe sole ad, this is actually a car advertisement. By appealing to those who have a love for fancy leather shoes, you are also reaching those who have a love for fancy cars like, BMWs.

It all signifies a certain status level that is quite subliminal. Often you'll see apartments and fashion brands using this method and I do hope that whoever drove with these shoes, didn't get too many speeding tickets as they had a clear love for the gas pedal.

7. Transparent Appeal

Not every person or a product is perfect. And guess what? That's OK. Being transparent about your flaws with an audience can show realness and in a sense actually earn brownie points.

Volkswagen had a problem with third row sitting in one of its earlier models. When they revealed a new model with additional seats, they played off of that previous model. We've posted a link to this commercial down in the description, so I encourage you to check it out for yourself.

8. Beauty Appeal

With the beauty appeal, advertisers are showcasing their product in the most appealing way possible. Whether it's perfect lighting or maybe photoshopping blemishes, all the focus will be on the product. This way the buyer can compare and choose the product that's right for them.

This catalog from West Elm has beauty shots of all their products perfectly staged, lit and accessorized.

9. Natural Appeal

Speaking of photo editing, sometimes a more natural appeal will connect better with an audience. It's not about the promise of perfection and more about natural beauty.

This ad by Lane Bryant takes the expectations of attraction and throws them in the trash with the I'm No Angel campaign. It's everything Victoria's Secret is not, and that message will leave an impact with their target audience.

Hey, ladies and gentlemen, that is it. That is all 23 advertising appeal examples. So now, it is your turn. Next time you are watching TV, reading a magazine or scrolling through the web, see if you can detect which type of appeal is being used.

Then, when you want to market your product, you will have an idea of how to do so.

Before you go, make sure you subscribe to our channel and head to Visme.com to see how we can help you. Until next time, my name is Mike Ploger with Visme, helping you Make Information Beautiful.

# data[].attributes.attachment_link.title
23 Different Advertising Appeal Examples From Top Brands | Visme

# data[].attributes.attachment_link.description
When you're creating advertisements for your business, you need to know how to appeal to your audience. What is really going to make them take action to become new (or returning) customers? Take this into consideration with every new ad.

# data[].attributes.body
Google Arts & Culture

# data[].attributes.body
The Tate Modern

# data[].attributes.attachment_link.readable_text
Graffiti art has its origins in 1970s New York, when young people began to use spray paint and other materials to create images on buildings and on the sides of subway trains. Such graffiti can range from bright graphic images (wildstyle) to the stylised monogram (tag).

Graffiti as such is rarely seen in galleries and museums, yet its aesthetic has been incorporated into artists' work. Early exponents of graffiti in art included the French artist Jean Dubuffet who incorporated tags and graphic motifs into his paintings, and the New York artists Jean-Michel Basquiat and Keith Haring who could be defined as street art pioneers.

More recently, graffiti artists such as Barry McGee and Banksy have had their work exhibited in commercial spaces.

# data[].attributes.attachment_link.description
Tate glossary definition for graffiti art: Images or text painted usually onto buildings, using spray paint

# data[].attributes.body
berlinstreetart

# data[].attributes.attachment_link.readable_text
Every art form or art movement have their specific language. We can find many art historical dictionaries or glossaries in any library in virtually every language. Still, one of the biggest art movements - Street Art and Graffiti in a broader sense - has been deprived of its right to have such a lexicon. This is why we embarked on a neverending journey of starting and building a glossary of Street Art and Graffiti words.

Categorizing a complex, differentiated and rich subculture of Street Art and Graffiti is practically impossible, but we tried to group these words into three basic categories - Cultural terms, Styles, and Techniques. Please, be aware that any of the terms can refer to more than one category and that this attempt in classification was done in good faith.

We present you with the ultimate glossary of Graffiti and Street Art, a growing lexicon of terms that we will continue to update.

Cultural terms

Adbusting - Or Subvertising is the practice of altering and making satirical interventions on public, corporate or political advertisements. It's marked by humor, satire and often sharp criticism of certain societal issues, most often consumerism.

All-city - Gaining this label means to become a famous graffiti writer in the entire city. The term originates from New York, and it used to mean - to be known in all the five boroughs, while this "fame" was spread by the subway.

Angel(s) - a famed and well respected graffiti artist who is no longer alive. Admirers and followers would make tribute portraits of "Angels" or they would tag their names with hovering halos above, adding the dates of their birth and death.

Back to back or End to end - Huge graffiti piece that covers a wall from one end to the other, similar to pieces found on the western side of the Berlin Wall. On a subway train, it refers to a piece that covers the entire train, end to end. Abbreviation - B2B or E2E. Usually painted below the windows of a car, they are sometimes called window-downs.

Bite - To steal someone's art, ideas, names, tags, letter styles or palette. Often a term related to "toys" (see below).

Black book - A sketchbook of a graffiti artist, a treasured possession. Usually, it's filled with sketches of new pieces or other writers' tags, containing the entirety of an artist's body of work. A document of illegal works, a black book is carefully hidden away from authorities, so it doesn't become evidence against its author.

Buff - To erase, paint over in one dull color, or otherwise remove graffiti, often with chemicals and pressure guns with sand or water.

Burn - To burn can mean either to make a better piece than a rival artist, or to snitch on someone (on purpose or accidentally). A burner piece is a complicated work that takes a lot of time and effort, a style statement, often legal.

Cannons - Spray cans. Term that probably originates in Brooklyn, NY.

Cap - Or Tips - is the nozzle for the spray paint can. Different types of aerosol caps are used to get different effects or styles, from Thins, Rustos, to Fatcap.

Crew - Also spelled as Cru or Krew, is a group of writers that work together, usually in a similar style. Although crew activity does reflect gang behavior, their prime objective is graffiti and not serious criminal. Crews often engage in large collaborative pieces, but a crew piece can also be executed by anyone in a group. If a single member is arrested, he can be held liable for a joint work.

Culture jamming - The act of subverting media culture and mainstream cultural marketing according to the principles of anti-consumerist social movements. A form of subvertising or adbusting, usually with a distinctively political purpose.

Deface / Cap / Go over - To ruin another artist's piece. A writer named "Cap" would rudely make throw ups over existing graffiti, giving a name to this infamous practice.
Going over a piece is the ultimate sign of disrespect and represents a declaration of graffiti war. Still, there is a hierarchy of styles in which case going over can be tolerated. Usually, it means that low quality work is OK to be painted over with something better. The other way around is generally unacceptable.

Dress-up - To paint over a specific enclosed are entirely - to completely change a shop window or a doorway that has previously been graffiti-free.

Fatcap - A wide spray can nozzle, that covers a wide area at once, used to fill in the pieces.

German Montana - A brand specializing in graffiti-related products, such as spray cans etc. Not related to Spanish Montana, a company that came up with the idea first. The two companies had a dispute over the name.

Ghost - A paint stain that is left after a graffiti work has been badly buffed.

Hat (honor among thieves) - For an artist with a solid reputation in the graffiti community, a trusted member who does not snitch, is said that he's wearing a "hat".

Head / King - Head is a highly respected writer in a certain area, similar to King or Queen. Kings or Queens are graffiti artists that are famous among other writers for their skill, style or courage. Self-proclaimed kings often paint crowns into their work, but this practice is risky because their claim must be valid in the eyes of the others. Usually, kings or queens are declared by other kings or queens.

Heaven spot (Heavens) - Challenging pieces of graffiti painted in places that are almost impossible to reach and require a significant level of acrobatics. Painting in heaven spots can lead to injury or death (they can 'hit up heavens'), which only contributes to the reputation of the writer. Furthermore, heavens are also rather difficult to remove.

Hip-hop - Late 70s and early 70s culture marked by early rap music, breakdancing and visual style that gave birth to the graffiti culture.

Invisible - A rare and symbolic form of graffiti that represents only quickly sketched logos.

Krylon - A brand of spray paint, once popular with writers, heavily used in the 70s and 80s. A sign of graffiti nostalgia, known for its 5-spot logo. Despite a new line of paint issued in 2008, it's considered that only a toy would use a 360 krylon, the cheapest variation of the spray can. The first line of paint, "original krylon", is considered a collectors' item.

Landmark - A graffiti piece executed in a location that is hard to reach or hidden, difficult to buff, generally in place for at least 5 years. Usually marked with a date of painting. These works are held in high regard by the writers.

Legal wall - A piece that is made legalley, with permission from the wall owner or the authorities. Only a testified illegal writers can get respect for legal walls.

Lock on - Sculpture in public spaces, generally locked or chained to public fittings such as light posts and similar. It's non-destructive, installation-type of art.

Married couple - A vintage subway term originating from New York, signifying two subway cars that are permanently tied to each other. In graffiti, it means two whole cars painted next to each other, sometimes with a painting being connected across the gap - a sign of the "marriage".

Moniker - A street name of an artist, their nickname and label.

Pichação - Celebrated style of graffiti created in Sao Paulo, Brazil. Created by the misfits as a form of social protest, these works bear considerable risk, being painted in hard-to-reach places. More popular for its meaning than for its stylistic qualities.

Post-graffiti - A generic, recent term that includes everything that could be seen as Street Art.

Rooftop - Heaven graffiti painted on rooftops.

Rook - A trustworthy crew member.

Run - Time that a graffiti piece spends on a surface without being removed, duration of a piece. "It run for a year" can be said.

Slam - To do graffiti in a very public or otherwise risky location.

Slash - To cross-out or to tag over a piece of another writer. A serious insult - same as Cap.

Spanish Montana - A brand specializing in graffiti-related products, such as spray cans etc. Not related to German Montana, a company of the same name that followed the steps of Spanish Montana. The two companies had a dispute over the name.

Toy - A word describing either poor work or a painter without skill, sometimes a newbie. "To toy" someone else's graffiti means to go over it. An acronym meaning "tag over your shit", often placed on top of bad, or "toy" work.

Tree - Graffiti that is chiseled into a tree bark.

Undersides - Graffiti painted on the underside of a subway or train car. Often lasts longer than the usual train tag, because it's spotted later and not as visible.

Whole car/ whole train - A large graffiti piece executed by one or multiple writers that covers the entire outside surface of a train car. Whole train graffiti covers the entirety of a train.
Difficult to paint, these works are more often collaborative, done in limited amounts of time (often under 5 minutes) with limited color schemes. If successful, this is one of the most respected graffiti forms out there.

Writer - A graffiti artist.

Styles

3D Style - An effect used on basic graffiti letters to add an illusion of a third dimension. The first artist who started embellishing letters in this way is Phase 2. In graffiti culture, 3D refers to letter writing, but there is another version of 3D painting on pavement that is very popular called Chalk art. Chalk art and 3D graffiti are very different in both concept and aesthetics and they are not to be mixed.

Abstract Style - Letters are generally not a part of the Abstract style, but the painterly skill and harmony an artist demonstrates in a piece. The goal is similar to abstract painting - to make a harmonious piece with specific dynamics and balance by the use of basic artistic elements - line, shape, geometry, color and composition.

Anti-Style / Ugly Style - Also known as "ghetto style" or "ignorant style". A deliberately toy or seemingly unskilled style of writing and painting. It stems from the 70s graffiti culture in New York, but it spread gaining popularity in the 80s and early 90s in San Francisco. Anti-style does not follow any rules and is highly individualized, but often visually awkward. We can see examples of this type of painting in San Francisco, New York, Paris, Berlin and other bigger cities in Europe.

Backjump - A throw-up or a panel piece that is executed quickly, often on a momentarily parked train or bus.

Blockbuster Style - Blockbuster or "straight" letters are big, square, robust and simple. More readable than most graffiti, they are usually painted in two colors, often combinations of plain black, white and silver. Used to go over other work, or to cover train sides more easily, blockbusters are good for supreme coverage.

Bombing - An act of painting many different walls inside one city area or train within a very short timeframe. To "hit". Graffiti bombers are prone to using simpler styles, tags or throw-ups, because speed is an important factor. It can also mean - to go out writing.

Bubble Style - An old, a bit dated graffiti style of simple, rounded, bubble-shaped letters, generally easy to read. Throw-ups are often painted in this style, because it's easy and quick to execute.

Cartoon / Character - A widely recognized cartoon or a character figure often borrowed from comics, popular culture or TV. Writers dedicated to cartoons often invent their own characters and imagery. Cartoon graffiti adds humor to a piece, easily adapted to the most of the lettering styles.

Challenge (Insides) - Challenge graffiti is made to mark that somebody "was there". Just like insides, it's often painted indoors. Insides are a more specific reference to tags written inside public transportation vehicles - trains, busses etc.

Complex Style - A generic term for graffiti that uses complicated lettering, an abundance of color and that is hard to execute. These works are difficult to read, but they are visually impressive.

Dubs (UK) - Graffiti executed in silver or chrome paint, originating from London, UK. They can be found around railway stations or in the streets. Dubs are usually a crew effort.

Free Style - A combination of styles without one defining characteristic. An individual expression.

Full Monty - A piece that covers an entire area, wall or object. It can contain a coarse, but a highly effective message.

Mop - A homemade graffiti painting tool. Usually used to paint larger tags. It has a rounded tip and leaves a fat line that drips. Mops can be done in different paints.

Mural - A wall painting applied on either outside or an inside surface, or a ceiling. In street art, it refers to a large, elaborate wall piece that requires significant skill to paint. Unlike graffiti, murals normally respect the architecture of the wall and the building, sometimes even the surroundings. They are often legal.

Old School - A generic term that refers to the times of early graffiti, to the 70s and early 80s. It can relate to the hip-hop music of that period as well. Old-school writers enjoy a lot of respect because they were there from the beginning, many of them having invented particular styles of writing. For example, Phase 2 created bubbles, clouds and 3D, and Blade and Comet started using blockbusters first.

Own Style - A style characteristic for one specific writer.

Piece (free-hand) - Short for "masterpiece", painted free-hand. A big and complex piece of wall painting that is time-consuming and difficult to execute. It's characterised by many different components, such as rich palette, 3D elements, and other visual marks. A work of a more experienced writer, earning them extra respect.

Punition - A type of graffiti writing in which one word is repeated countless times, until it covers an entire surface. The name comes from the punition lines used to punish children at school.

Roller graffiti - Graffiti that is painted with a roller and paint, rather than with a spray can. There are special techniques related to this type of writing.

Semi-Wildstyle - A simpler form of Wildstyle, more discernible than the full-on wildstyle writing.

Sharp - A manner of writing very geometric, angular letters with lost of sharp angles and corners, taking the pointy and piercing elements to an extreme. Letters are altered greatly,often unrecognizable, giving off a fierce and furious impression.

Tag - A signature of a writer, very stylized, written quickly, usually in one color that contrasts the background. Denotes the artist's moniker. The simplest and the most common type of graffiti. Used as a verb, "to tag" means "to sign", which derives from a classical practice of artists signing their works.

Tagging - To write tags. An accepted term in today's pop culture, often meaning something other than graffiti writing. After it first appeared in Philadelphia with messages Bobby Beck was leaving around city's freeways, tagging has evolved in many different ways. Different manners of tagging can be found in different cities, often depending on the region and local culture, and naturally, the artist himself. New York tag writer of the early 70s, TAKI 183 is considered one of the forefathers of graffiti and tagging in general.

Throw-up - Sometimes called a "throwie" is a simple form of graffiti, sitting between a tag and a bomb. It's usually painted with a simple letter outline and then filled with color. Hollow throw-ups are called "Hollows", while painted are known as "Fill-ins". Throw-ups are often made in bubble or blockbuster style that support quick execution. Artists would use throw-ups and tags to cover as many surfaces as possible, competing with their rivals. These graffiti works are stylistically defined and recognizable, unlike pieces that are more liberated and painterly. Along with a tag, a throw-up is an artist's logo.

Wildstyle - Very complex and highly stylized form of lettering that is often impossible to read by non-writers. The letters can get so complicated, borderline abstract, containing 3D elements, with a lot of connections, arrows, and interlocking. Generally, wildstyle is seen as one of the most demanding graffiti writing styles, reserved only for those with serious skill.

Techniques

Domming -A spray-painting color mixing technique where one color is sprayed over another wet layer and the two nuances are then rubbed together. An abrasive tool, such as sand or sandpaper, can be used to create effects in domming. The term derives from the word "condom", synonymous to "rubber". Sometimes referred to as "fingering", because it's executed with fingers.

Etching - In graffiti, it refers to the use of acid solutions to create frosted glass (Etch Bath), to write on windows. Potentially hazardous. In Norway, there were trains taken off the rails because of the danger these solutions posed for public health.

Extinguisher bombing - To do graffiti with a fire extinguisher filled with paint. This technique can cover large surfaces, but it leaves a fat, messy, dripping line and it's not suitable for fine work.

Fading - An aerosol color blending technique.

Fill-ins - A term denoting the painted interior of letters, throw-ups or pieces, usually in a single, solid color.

Installation - An art genre of three-dimensional, site-specific works that are usually created having that particular locale in mind. They can be executed in the interior or in the exterior. Exterior installations fall into the domain of public art, land art, public interventions or street art, although these art forms often overlap.

Outlining - Making a sketch or a preparatory drawing, done on paper or in a black book while planning a piece. An outline can also refer to a wall sketch, or to the contour of a throw-up or similar graffiti work, a boundary that can be filled.

Poster - A paper-based work created in the studio that can be wheat-pasted onto a wall. Following a long and rich history of poster art, graffiti culture has taken this easy and effective public expression tool and transformed it into one of the most favored paste-up formats.

Scriber - A scribing or scratching tool. An instrument tipped with a ceramic or a diamond drill bit, used to engrave a tag into a surface, usually inside a public vehicle. A destructive tool.

Scribing / Scratching -Also known as "scratchitti", scribing is a destructive technique of hand-engraving or scratching a tag into a surface. It can be done using a simple key, knife or sand paper, although scribing pros use a Scriber.

Stencil - One of the most popular form of street art. Stencil pieces are made with stencils made out of cardboard, paper and other materials that help create a nice, figurative image quickly and well. The pre-prepared design is cut out and then transferred onto a wall with a spray or roll-on paint. Easily repeated on different walls. Multiple layers of stencils can create very beautiful and elaborate images, allowing the use of a lot of colors and details.

Sticker - Stickers are used to bomb, slap or tag a surface or an area without writing. Graffiti stickers are usually designed and printed well ahead, containing traits of an artist's style as well as his message. Sticker messages often contain political or social critique, referring to a specific issue. Many brands produce their own stickers.

Wheatpasting / Paste-up - Wheat paste or flour paste is an adhesive made of flour or starch and water. It's used to glue paper-based images to a wall, giving a name to a street art technique. Many artists who create their paper-based works in the studio engage in wheatpasting when they distribute their pieces around an area. These works can be simple or complex, depending on an individual artist. Works made and installed this way are called paste-ups. The technique is quick and easy to execute in the street, although each piece can take a lot of time to invent and prepare in the studio, showing the artistic mastery of its author.

Yarn bombing - A recent type of street art activity that makes use of crocheted or knitted colorful yarn coverings, thrown on different parts of public furniture such as sculptures, fences, light posts, monuments etc. It's also known as guerrilla knitting, urban knitting, or yarn storming.

# data[].attributes.attachment_link.title
Street Art and Graffiti Words - The Ultimate Glossary

# data[].attributes.attachment_link.description
Every art form or art movement have their specific language. We can find many art historical dictionaries or glossaries in any library in virtually every language. Still, one of the biggest art movements - Street Art and Graffiti in a broader sense - has been deprived of its right to have such a lexicon.

# data[].attributes.body
Widewalls

# data[].attributes.attachment_link.readable_text
Just like any other subculture, graffiti and street art have their own specific language and terms, with hundreds of words and phrases used to describe different graffiti fonts, styles and aspects. As it is the case with other jargons or colloquialisms, some phrases and words used in the world of graffiti are region-specific and they vary in different cities and countries.

Today, we take a look at ten most commonly used graffiti slang words. We have described the origins of each term, the meaning it has in graffiti world and its current application to the graffiti culture.

Angel

Graffiti term 'angel' is most commonly used when referring to a famous or highly respected graffiti artist who has passed away. Graffiti writers who admire 'angels' tag their names with floating halos, make tribute pieces with their faces or write tags with the dates of their birth and death. Featured is the photograph of 'angel', a tribute mural piece he did in the memory of graffiti writer Ozone who was tragically killed by a moving train. It was painted on the same wall on which Banksy and Ozone had a small artistic dispute when Ozone painted over one of Banksy's pieces.

King

'King' (or 'queen' for female writers) is a graffiti writer who is especially respected among other writers. Some people refer to different writers as kings of different graffiti styles, and the term is regionally subjective. Self-declared kings often incorporate crowns into their pieces but other writers tend to slash them out if they have not gained that rank in their eyes. Typically a writer can only become a king if another king has called him a king. Featured photograph is of a graffiti painted by Team Robbo on the piece of the London wall, which was the battle ground in a graffiti war waged between and .

Married Couple

'Married couple' is an older subway term, originated from New York City and used to describe two subway cars which are permanently coupled, identified by their consecutive numbers and the shared single air compressor and electrical generator between them. In graffiti world, the term 'married couple' refers to two simultaneous train cars painted next to each other with a single painting evenly spread across both cars. Some graffiti artists cleverly twist the term by connecting the two paintings across the gap between the two cars, often in a humoristic or obvious way, in order to emphasize the marriage.

Heaven Spot

'Heaven spot', or 'heaven' in short, is a graffiti term which refers to dare devil graffiti pieces that are painted in places that are hard to reach, such as rooftops, overpasses and freeway signs, thus making them hard to remove. Heaven spot pieces often pose dangerous challenges for graffiti writers to execute, but because of that, they increase an artist's notoriety. The term 'heaven spot' also encompasses a double meaning, as writing on dangerous locations may lead to accidents and result in artist's death, thus going to heaven, or 'hitting up the heavens'.

Piece

The graffiti term 'piece', short of masterpiece, is used to describe a large, complex, time-consuming and labor-intensive graffiti painting, usually painted by skilled and experienced writers. It is generally agreed that a painting must have at least three colors to be considered a graffiti piece, but 'pieces' often incorporate color transitions, shadows and three-dimensional effects. The word 'piece' is also used as a verb meaning 'to write'. Featured photograph is of a wonderful piece by the graffiti artist Risk (ACT crew) painted in Sheffield, UK, which sadly does not exist anymore as the disused building it was painted on was demolished to make place for a new housing project.

Tag

Tag is the most basic and the most prevalent form of graffiti. It can be treated as an essential answer to the question 'What does graffiti mean?', and it's certainly the most famous embodiment of graffiti culture. Graffiti tag is usually written with marker or spray paint and in one color, which is sharply contrasted with its background. Tag is a stylized personal signature and contains graffiti writer's name, also known as a moniker. Graffiti writers often tag their pieces, following the practice of traditional artists who sign their artwork. Since the beginning of tagging in the mid twentieth century, individual graffiti scenes have developed very different forms of tagging that are unique to specific regions. The word 'tag' is also very widely used as a verb meaning 'to sign', even in other, non-graffiti related types of occasions.

Back to Back

The term 'back to back' refers to graffiti piece that is painted all the way across a wall, from end to end. Similar to 'back to back' graffiti, trains sometimes receive 'end to end' paintings, often abbreviated as 'e2e', when a train car has been painted along its entire length. 'End to end' graffiti were used to be called 'window-downs', but this is an older expression that is fading from popularity. The meaning of this graffiti term can be expanded, as 'Back to back' is also widely used to describe 'throw-up' graffiti that are painted one after another.

Black Book

'Black book', also called 'piece book', is a graffiti writers' sketch book in which they draw and plan out potential graffiti works, but it can also be a book featuring a collection of tags written by other graffiti writers. Graffiti writers use their black books to perfect their style and save their ideas for possible later execution in public spaces. Quality black book, made of thick pages so the ink does not run, is a must have for any graffiti artist, and can be bought for a fair price at art supply stores. As it can be used as material evidence in cases asking " is graffiti art or vandalism ", the writers carefully guard their black books from the possible seizure by the police and city authorities.

Throw-Up

'Throw-up' or 'throwie' is a widely referenced graffiti term, most commonly used to describe tag-like drawings of bubble letters designed for quick execution (we all know why) of graffiti words, and usually consisting of artist's name and only two colors. More strictly, it's meaning in subway art is described as an outlined name painted quickly with only one layer of spraypaint, even though many consider it to be bubble letters of any sort. Featured image is of the famous Panic Room by , meticulously painted throw-up intervention he did in the Au Vieux Panier hotel in Marseille, France. Another famous and highly representative throw-up graffiti artist is a New York City street art legend .

Whole Train

The meaning of the term 'whole train' is quite self-explanatory in the graffiti world. It is used to describe train cars which have been completely covered in graffiti, from the first to the last car of the train composition. Being an extremely demanding artistic intervention, whole train painting demands a group effort and it is usually executed by multiple artists or graffiti crews. As in any other group activities, the diversity of styles employed by different artists yields wonderful results, and it is one of the most respected forms of graffiti art as it involves patient, time limited work and represents a great risk of getting caught by the police.
All images for illustrative purposes only

# data[].attributes.attachment_link.title
10 Graffiti Terms and Their Meaning | Widewalls

# data[].attributes.attachment_link.description
Just like any other subculture, graffiti and street art have their own specific language and terms, with hundreds of words and phrases used to describe different graffiti fonts, styles and aspects. As it is the case with other jargons or colloquialisms, some phrases and words used in the world of graffiti are region-specific and they vary in different cities and countries.

# data[].attributes.body
Streetbounty

# data[].attributes.attachment_link.readable_text
In recent years, the role of the media and news has been pretty controversial. There has been a lot of turmoil regarding the trustworthiness of news outlets and their coverage of events. Photojournalism has always been a big part when it comes to the news coverage. Although the role of photojournalism has changed quite a bit, I believe it is still a vital and important part of the modern news. Furthermore, it also raises awareness of current global problems and presents them on a whole different level.

Description

As a short definition, Photojournalism is the telling of a story through photographs. Based on this simple foundation, is a complex genre that is struggling these days and fighting for its own legitimacy.

In its history, Photojournalism was important to tell all the untold stories of the world. Photojournalists traveled the world to give a voice to the unheard. Their pictures gave awareness to the struggle of people that were left alone otherwise.

A single picture in some cases was so powerful, that it changed the public opinion and also had a real impact on politics.

Photojournalism in its core is an objective way to educate people about the stories that the Photojournalist is covering.

With that goal in mind, Photojournalism continues the tradition of even older journalism that was using paintings or written stories. Through the technological advancement and improvement of photography, it became a more suitable and quicker medium to cover events.

Photojournalism is more immediate and a more truthful representation of reality compared to paintings, which were heavily influenced by the painter.

Telling a Story

Pictures of Photojournalism should have a meaning to the viewer. The meaning can be further explained by relevant captions and a description of the general context.

Nonetheless, there is the saying that a picture is worth more than a thousand words.

This is especially true for great pictures that are not only drawing in the attention of the viewer but are able to encourage to see the story behind the picture.

The story is what "sells" the photograph and conveys the emotion. It helps the viewer to connect with the protagonists and see further than what is clearly visible.

There are different styles when it comes to telling a story in Photojournalism. Some photojournalists prefer to work on complete series and projects. Rather than having a single image that tells the story, they like to develop a story throughout the series of their pictures.

Sometimes, photojournalists also write the accompanying text themselves.

As You can see, a photojournalist is more than a photographer. He is not only there to picture the scene, he is a storyteller. Not only through the picture itself, but also with the help of written text.

Purpose of Photojournalism

The goal of photojournalism is to show the world and its stories to the average person in this world. Long before rolling film and the television as a medium where established, it was very difficult to find information on current events or stories about other parts of the world.

There were newspapers, but written text alone isn't that engaging and in a way not as easily accessible as pictures. When reading about these stories, there is a lot of room up for interpretation and it demands a heavy involvement of the reader.

A photograph, on the other hand, can be understood by everyone. The best photojournalistic photographs take people to different places and the viewer is able to relive the events, that unfolded in front of the photographer.

Though its original purpose has very good intentions in showing an unfiltered world, to the persons that are not able to travel themselves, we also have to account, that from its very beginning, photojournalism has been used to propagate certain opinions or views.

In fact, the first professional photojournalists were only able to do their work, because they got paid by the government to narrate a story that fits their agenda. In most cases, it was to promote a war and its causes. Of course, the war wasn't shown in its full detail. Rather, the published pictures were a very filtered version that glorified war and kind of painted a romantic vision of it.

In an ideal world, rather than being dependent on the government and its financial support, photojournalists would be an additional force to keep the government in check. The photojournalists present the real impact of their decisions and help to educate the voters about the actions of their representatives.

Ethics in Photojournalism

Photojournalists often travel to conflict zones, disasters or other areas that are struck by misery and misfortune. Traveling to these areas with the purpose of taking pictures opens up a lot of questions regarding the ethics of photojournalism.

Often times, photojournalists are accused to exploit the distress of others, to benefit for themselves, rather than helping them directly. Although the photojournalists may not be directly helping the individual, I strongly believe that the photographs are still one of the most powerful mediums to raise awareness and indirectly help the people in need.

It does seem a bit harsh, but without these pictures and the impact they are enforcing, the rest of the world would never hear their stories. Without being aware of the suffering, there would be little interest in changing their situation and helping them.

News articles also don't have the same impact without some accomplishing photographs. To be really affected by the suffering of others, we need to see the immediate situation. Emotions are the strongest instrument in addressing people that are able to help.

To address politicians that are able to intervene and the population to raise money. Putting the people that are suffering on a display might not be the most ethical thing, but it is the most effective way to bring attention to their dire situation.

Working in an emergency area requires the photographers to be aware of the ethical conflicts they are facing. They need to have a strong mindset to not be let down by their own emotions, when in the middle of a conflict zone and to be able to deliver great photographs. In addition, they need to be aware of the backlash that they might be facing, either by the public opinion or by some political groups, that disagree with the image that the photojournalist is sharing.

Rules in Photojournalism

Photojournalism can have a real impact on politics and the public view. Therefore it comes with a lot of responsibilities.

One of the earliest works in photojournalism that portrayed the housing situation in New York, lead to an improvement in the regulation of the apartments.

There are a lot of rules attached to photojournalism when it comes to the best practice. Apart from the typical rules in photography to create compelling pictures, photojournalism has its own set of rules, to enforce their legitimacy and establish trust.

Photojournalism should always be seen as the objective view. With the photographer having an active influence on the scene, it is obvious that there is always a subjective view to a degree.

To establish this objective view, there are a few rules that should be followed in photojournalism.

Here You can see 10 principles of photojournalism that are stated by a US university. To make it short, I filtered out the photography related ones and focus on the rules, that are more about the moral of photojournalism.

In Street Photography, it doesn't matter who Your subjects are or what their background is. What is more important is the single picture and which story it tells. It isn't important if the story reflects the real situation or does tell something that hasn't been there. Street Photography is not about the objective truth, it is about telling a story and the subjects are only anonymous props.

In Photojournalism, there is a different standard. The story that is told should be as close to the objective truth as possible. If a person becomes the main subject in a photojournalistic work, then it becomes increasingly important to know their name. The name does add some legitimacy to the picture and the story that it tells. In addition, the photojournalist should also ask for more background information. This helps to understand the context of the photograph and the people that are in it.

Photojournalism is about telling real stories. Those stories can be told the easiest when the photographer simply captures what is happening in front of him. Obvious posing or re-enacting is something that should be left to Hollywood.

A photojournalist should aim to get his pictures candidly and if he needs a posed portrait for a series, he should state that the photograph is not candid.

To get unique pictures, the photojournalist has to enter a world, that would leave most people too afraid to enter. He has to have the guts, to overcome his own fears and get close to his subjects. Not be afraid of any repercussions and be determined to tell an outstanding story.

Aside from these principles, there are also other rules of photojournalism that have been established to keep the credibility of the photographs.

Post-Processing in Photojournalism

One of the most important rules is that photo manipulation should absolutely be avoided. Since the pictures are meant to show real scenes, any manipulation does break this goal.

The more difficult part is to determine which kind of post-processing already can be coined as manipulation. No picture, whether today or even in the film era is 100% pure. They are all edited in some way or another. Sometimes it is just a different crop and other times there is a little dodge and burning. Those are very basic editing techniques and don't really change the content of the image, but rather the appearance.

The line is clearly overstepped when the picture has been manipulated in a way that it does affect the content. For example, if You are using the clone & heal tool, even if it is just to brush away some dirt, or unpleasant objects in the background.

Steve McCurry has manipulated his images in this way and since then he acts as a "visual storyteller" rather than a photojournalist who tries to show the true life abroad.

To not risk any manipulation allegations, keep the post-processing minimal and rather try to get the image perfectly in-camera.

Recent Tendencies

If You are following the news, there has been a change in how photojournalism is perceived and how it does reach the news. Although one could argue, that this has been going on since the beginning of photography, photojournalism is often misused and instead of trying to show the objective truth, it is often a booster to push one's agenda.

This misuse and propaganda style spread of these pictures isn't new. What is new is, that the content doesn't even really matter and that the visuals of the images are more important than their message.

Instead of presenting a story, news outlets are out hunting for the most dramatic and emotional pictures. Again, this is not to say that this has been going on forever, but it has reached an extreme, that it is very difficult to take the news seriously nowadays.

They are more focused on creating the most buzz, instead of informing people.

The Internet and additional sources of information might have facilitated this trend, as it puts some added pressure on the established news outlets. On the other hand, the Internet also offers some other sources of photojournalism.

I doubt that this trend can be stopped and the news will always be going for the more extreme and emotional stories, rather than trying to portray some objective information.

Nonetheless, Photojournalism is still very alive. It is different and not so much positioned in the mass media as it was some decades ago. The purpose also has shifted slightly. Has photojournalism been more focused on spreading information, photographers are more focused on the story part when creating a complete series.

Read also this great article about the change in Photojournalism.

Sources of Photojournalism

Since I find it more difficult to find serious and good photojournalism on most "traditional" news outlets, because they are rather trying to appeal to the emotional side of things instead of spreading objective information, I want to present some sources where You can see complete bodies of work in regards to photojournalism.

Of course You have to accept that these sources will never be 100% free of any opinion and that they are trying to portrait some sort of message, nonetheless, I find them to be of very high quality and interesting.

When I started with Street Photography and also became more interested in discovering Photojournalism, Lensculture was my favorite place to have a look at the best photo series that are happening right now.

They still are one of my favorites, but recently they are starting to become more commercial. Recently, they are very heavily promoting their own awards and are collaborating with Magnum very strongly. I am not really fond of these kinds of collaborations because it is nothing but a money sink for 99,9% of the photographers and even in case You are winning, there is not much to gain.

So if You can ignore all the "Call for entry" kind of articles, then there are still great stories to be discovered.

As one of the last traditional news sources that also employs Photographers directly, they often are cited as the main source of information.

In my opinion, they are doing a fantastic job and are one of the least "sensationalism" news sites, but rather are focused on providing accurate news.

If You are curious about their photographers, You can have a look at them here. The photographers are spread around the world and the immense amount of photographers that are employed by Reuters helps to work on long-term series rather than quick emotion driven news.

In addition to news outlets, there are also some photography collectives or agencies focused on long-term projects. The best-known one is Magnum Photography.

On their website, You can have a look at their great portfolio that they have collected since their beginning in 1947.

If You are curious, You can also find some photography books.

The second big collective that is dedicated to photojournalism is Noor Images.

On their website, You can find regular updates on their current projects and completed series. You can also witness where the photographers currently are and on which projects they are working.

This can be some interesting insight into the work of a photojournalist.

In my list of photojournalism examples, I have displayed the work of the World Press Photo Awards. What is so great about them is that they are not focused only on social Documentary, but also include other topics likes Sports or Nature Photography.

Those are also very often overlooked when speaking about photojournalism.

Final Remarks

Photojournalism might not be in the great spotlight anymore compared to the early 20th century, where there weren't many sources of information. Photojournalism was a medium, that was able to convey the stories of the world much more directly than any written news article was able to.

Through Photojournalism, people got direct access to these events and didn't rely on an author.

Photographs are a much more direct source and ideally, they are also more objective.

Although the recent trend for more sensational photographs in news doesn't promote the true meaning of photojournalism, it doesn't mean that this genre is less important or on a decline. It has changed and rather than presenting pure information, Photojournalists are becoming more like visual storytellers themselves.

I hope this answers Your question:"What is Photojournalism" and shows the importance of this genre.

# data[].attributes.attachment_link.description
In recent years, the role of the media and news has been pretty controversial. There has been a lot of turmoil regarding the trustworthiness of news outlets and their coverage of events. Photojournalism has always been a big part when it comes to the news coverage.

# data[].attributes.body
Contrastly

# data[].attributes.attachment_link.readable_text
Described in simple terms, photojournalism is a branch of photography that uses photos or images to tell a story. A person who practices photojournalism is called a photojournalist. His photos come out in newspapers and magazines, as well as in non-traditional visual media like websites or blogs.

In some cases, photographers work with a journalist or writer assigned to the news beat. This means that the photographer takes photos related to certain news stories while the journalist takes care of writing the details of the events.

Many photojournalists, however, work on their own. Their works are often published as stand-alone features in newspapers and magazines. Photo blogs are also an important medium for these photojournalists.

Characteristics of Photojournalism

Photojournalism has qualities that make it different from other branches of photography. These factors help photojournalists come up with images that stir the mind and touch the soul.

1. Photojournalism is relevant.

The main objective of photojournalism is to tell a story better than the text or write-up that usually accompanies the photos. Therefore, it should capture images that have meaning or relevance to the story being told.

For example, a story about a mother reunited with her daughter after being apart for 20 years will be more effective if it is accompanied by a photo showing them rushing into each other's arms.

2. Photojournalism is timely.

Photojournalism should tackle current issues. It should feature something that's on the news, or something people are talking about. This will make the images more interesting to the audience or reader.

After her triumph in the London Olympics, for example, numerous photos of US gymnast Gabrielle "Gabby" Douglas in action were spread throughout the Internet. These photos were accompanied by short descriptions of how Gabby captured the attention of the crowd and the judges. The images helped people from different parts of the world to experience her victory and celebrate with her.

3. Photojournalism is objective.

Photojournalism is not biased. It does not take sides. Therefore, the images should accurately show events as they are. Some photographers, however, argue that to be completely objective is quite difficult. According to them, the term " honest " is more appropriate in describing photojournalism. No matter what a photojournalist believes in; whether he prefers to be objective or honest, the most important thing is for him to present the images as is.

The secret is not to force the situation. For example, a photojournalist shooting a burial scene should not force his subject to shed tears because he wants to create a dramatic effect. Real emotions are captured candidly.

4. Photojournalism is narrative.

Photojournalism works best if it is presented as a narrative. The photos should come with a short write-up or article stating important facts about the incident or event. It should tell a story.

For example, a photo that shows two little girls lifting a small box of old clothes tells a clearer story than one that shows a box marked with " Old Clothes ".

5. Aesthetically Interesting

Photojournalists follow certain photography principles that are intended to help them produce photos that catch the attention of different audiences. Photos with the right focus, angle and color will attract more people than those that come out blurry or unfocused.

Different Fields of Photojournalism

If you are a serious photojournalist, you should be flexible enough as there are several photojournalism fields that you may be assigned to.

General News pertains to any event that is planned ahead of time. Examples are press conferences, product launch ceremonies and fund raising dinners.

Spot or Breaking News - refers to any event or incident that is unplanned. You don't know where or when it will happen, and sometimes, it shouldn't even have happened! Examples: a house or building fire, a burglary or a car accident.

Documentary Photojournalism - this refers to long term photography projects like trailing a candidate during the campaign period or documenting the life of an orphaned child.

Sports Photography - the most action-packed side of photojournalism. You can take photos of any sport: a basketball game, a football championship match and even a special Taekwondo tournament.

Portrait Photojournalism - this is not your typical portrait photo. In photojournalism, portrait shots involve significant members of the community shown in their usual environment, like a race car driver beside his car, a doctor inside the operating room or the US President in the Oval Office.

Basic Photojournalism Tips

Even if you've been taking photos for years, you cannot be called a good photojournalist if you do not know the basic rules of the practice.

1. Good photos tell a story better than the text that comes with it. And in order to tell a story, your photos should have the following elements:

1. humans or people

2. emotions, i.e. facial or non-verbal expressions

3. action

4. something extraordinary or unusual (like a blind father braille-reading a story to his kid)

2. Your photos should focus on the faces of people, not on their backs or the backs of their heads. Take photos of people in action; of people doing things. Avoid taking photos of people shaking hands or handing out awards as these tend to bore the audience.

3. Make sure that your subject is always in focus. Know what your central subject should be. For example, when taking photos of people stranded because of a storm, your focus should be on the people, not on the torrent of rains. If you want to focus on the rain, your story should be about the storm, not the stranded people.

4. Think twice or thrice before deciding to take photos of naked people. This practice can be quite tricky as the photos might be misinterpreted by some groups or individuals. Study the circumstances first before taking the photos. For instance, when doing a story about bare-chested native women, you need to determine first how to take the photo in a manner that won't come out offensive, or in a way that can be interpreted as gratuitous. Ask yourself if the nudity can really add something to the story before making a decision.

5. Finally, always take note of the angle of the shots you are taking. To make sure that you choose the right angle, take a couple of shots in different perspectives. This is similar to what film directors do when they want to capture the scenes of their movies in different points of view.

Photojournalism is an effective way of telling stories and disseminating information to a diverse group of people. Compared to texts or plain articles, photos are more attractive. People are drawn to them because the images are colorful and interesting. Best of all, photojournalism works because it does not rely only in words and phrases; photographs paint real pictures of events and emotions.

# data[].attributes.attachment_link.description
Described in simple terms, photojournalism is a branch of photography that uses photos or images to tell a story. A person who practices photojournalism is called a photojournalist. His photos come out in newspapers and magazines, as well as in non-traditional visual media like websites or blogs.

# data[].attributes.headline
2. Styles & Approaches to Portrait Photography

# data[].attributes.subject
2. Styles & Approaches to Portrait Photography

# data[].attributes.attachment_link.readable_text
Published 28th February 2019

Are you put off by how complicated portrait photography can seem if you're new to it?

Don't be. In this article, you'll find out what portrait photography equipment you need, and the 10 styles and approaches to portrait photography that you really need to know.

Do I Need Lots Of Expensive Portrait Photography Lighting?

Not at all. A basic lighting kit with two flash heads and two stands is all you need to start out with, and for some portrait photography techniques, you'll be able to use natural light if you like.

Flash Heads

As mentioned above, flash heads are a must-have piece of portrait photography equipment if you want to shoot indoors or in a studio. You don't need loads of lights, just one will do to start off with, but two is better, and will give you far more versatility in portrait photography lighting styles.

Light Stands

These are essential for supporting your flash heads safely, and can be adjusted to different heights and angles. They also fold down for easy storage.

Modifiers

To start with, a softbox like the Aputure Light Dome II is probably the best option until you get used to using your lights. Softboxes are like tents that go around your flash head, and diffuse and bounce the light, so that it's far softer than it would be with a bare flash head. This makes them great for portrait work, as well as product, food and fashion photography.

The Aputure Light Dome II has two types of diffusion material, and that allows you to choose between the 1.5 stop diffuser, and the 2 stop diffuser, which lets less light through. It also comes with a 40 degree grid, which will give you a harder-edged, more defined lighting style.

Tripod

Although a tripod isn't a strict necessity for using with flash heads, it's still useful to have one, especially if you plan on doing outdoors shooting, or working in low light. Tripods like the Beike Q99C Carbon Fiber Tripod/Monopod with Ball Head support your camera safely and securely at different angles, and this model is sturdy yet lightweight, making it an ideal tripod for travelling around with.

Reflectors

These are the most inexpensive piece of portrait photography equipment, yet one of the most useful.

Reflectors are used to bounce extra light back into the shadow parts of your image, and they do make a massive difference to the look of the portrait.

They are made up of a flexible inner part, which is covered with white, silver or gold material. They are often circular, and fold down into a bag for carrying.

Styles & Approaches to Portrait Photography

Portrait photography isn't all about sitting someone down in a studio and taking headshots. There are several different styles, and it's about finding the type that suits you and your way of photographing.

1. Traditional

Traditional portraiture is very much about the face and expression, so it tends to be either a headshot, two-thirds, or full-body. It's the classical style of portraiture, and is generally meant to portray someone as they actually are - so no outlandish poses!

Subjects in this approach to portrait photography tend to look directly at the camera, so strong eye contact is important to get the full impact.

Camera height and angle need to be carefully thought out beforehand. If your subject is sitting, you should sit too, so as not to be too far above them when shooting.

Environmental photography is generally about the subject's relationship with his or her environment. For example, a portrait of a chef in a kitchen, an artist in their studio, or a seller with their wares, as in the image above.

This approach to portrait photography isn't to be confused with candid images of a person at work - environmental portraits are usually posed and thought out beforehand, and the subject is fully aware that they are being photographed.

3. Candid

The subject in a candid image is usually unaware that they are being photographed, and because of this lack of awareness, candid images often give us a powerful glimpse of a person's real emotions or motivation.

Street and documentary photography tend to fall into the candid category - but not always.

The glamour portrait photography technique is used to give the subject an alluring look, and is intended to heighten their sex appeal or romantic appearance. Boudoir photography is an offshoot of glamour portraiture, and has become very popular in recent years.

Glamour portraits are often shot with a beauty dish, such as the Hypop Bowens Collapsible Beauty Dish. This kind of portrait photography lighting gives a smooth, even light that makes skin look great.

5. Lifestyle

Often used in advertising imagery by brands wanting to promote an "aspirational" type of living that involves their products. It's not so much about the people, but the way they live their lives, and is a mixture of posed, candid and environmental photography.

Lifestyle is also popular in wedding and family portrait photography, and can be done indoors or out, but it is always bright and cheerful. For shooting lifestyle images indoors or outdoor, the Godox AD400Pro Witstro Portable Outdoor Flash Strobe and the Godox AD600 Pro are the perfect portrait photography lighting solutions.

This approach to portrait photography owes a lot to fine art. Surrealism is taking the everyday and adding another dimension, so that you see a different reality, like in the image above.

Conceptual work is often seen in fine art photography, high-end advertising or fashion editorial imagery, where it is not always clear what the message in the image is. It's often ambiguous, and up to the viewer to decide. The image below is conceptual:

7. Close-Up/Macro

Close-up or macro portrait photography involves extreme close-up shots of a subject or part of a subject. With people, you can bring out the detail in an eye or the texture of the skin.

This kind of image requires extra portrait photography equipment, such a macro lenses and a tripod for best results.

8. Abstract

Abstract portraits are of parts of a person, and are often used in fine art photography. They may or may not be made into collages and parts of larger works.

9. Formal

Formal portraits are an approach to portrait photography that is used in business, school and often ID photos.

Corporate headshots and portraits like the one above are posed to give the subject an aura of professionalism.

10. Street

Street styles and approaches to portrait photography can be candid or posed. Great street photos are taken simply by wandering and immersing yourself in the people around you.

For inspiration, look at the work of Henri Cartier-Bresson, Vivian Maier or William Egglestone - all brilliant street photographers of the past.

Conclusion

There is no one "correct" style or approach to portrait photography, just as there is no "right" way to take a photograph. Portrait photography is subjective, just like any other type of photography, and each viewer will see a photo differently. That is part of the beauty of photography!

Above all, don't be afraid to experiment, or to make a mistake - we all make them, and even the great photographers have made plenty of mistakes along the way!

If you're still figuring out what style of photography you'd be most suited for, check out our blog post 'How to Find Your Style in Photography (Find Your Niche) here.

# data[].attributes.attachment_link.title
10 Styles & Approaches To Portrait Photography You Need To Know

# data[].attributes.attachment_link.description
Are you put off by how complicated portrait photography can seem if you're new to it? Don't be. In this article, you'll find out what portrait photography equipment you need, and the 10 styles and approaches to portrait photography that you really need to know. Do I Need Lots Of Expensive Portrait Photography Lighting?

# data[].attributes.attachment_link.readable_text
Video Transcript

Marketing Color Psychology. Yeah, this isn't kindergarten anymore. Prepare to see colors like you never have before.

Hello world! I'm Mike Ploger and here with Visme - the visual communication tool that enables you to create stunning visuals to wow your viewers.

Now, what's one easy way to catch your viewers' attention? Perhaps incorporating the perfect colors meant for your image?

Let's all take a minute and rewind back to our youth for a second. We're young, we're playing hide and seek with our friends, throwing back popsicles like water. And while you may not have known it, we're also learning associations with color.

Think about it, your favorite color likely came from positive experiences with that single color when you were growing up. But as you grow older, you likely learned what colors represent.

Blue represents intelligence, green is associated with nature and yellow signifies happiness.

But the meaning of color does not stop there. There's so much more to learn in the realm of color psychology and you've come to the right place to get started. Shall we?

Primary, Secondary and Tertiary Colors

Okay, let's start with a quicker view. Can you name the three primary colors? Are you thinking to yourself, yellow, blue and red maybe?

If so, you deserve that popsicle. But why are these the three primary colors? Well, it's because these are the only colors that cannot be created when mixing any other two colors together.

So, what happens when these colors combine? I'm glad you asked.

Secondary colors are created from the combination of two primary colors. In the color wheel, these are visualized in between the primary colors as you can see here.

And if you want to live life on the wild side, you'll combine a primary color with a secondary color creating a tertiary color - mind blown. Right?

And if you want to dive even further into these colors, check out our video where Visme founder Payman Taei takes you through a journey for picking the best colors for your slides.

The Color Wheel / The Color Picker

When you take all the primary, secondary and tertiary colors and throw them all together, you have what is called a color wheel.

Any and every color imaginable is available in the color wheel and you can find a version of this on the Visme dashboard when you edit your projects. The color picker is nearly identical to the color wheel allowing you to find the perfect color for your designs.

Color Nuances

Color nuances are important in visual marketing because they convey your brand personality. Choosing the right color nuance can either detract or support your overall message. So, let's take a look at the different nuances and how they differ.

Pure colors or hues are any colors unaffected by tints or shades. There's no brightness added, no darkness added. It's the original color seen around the outer edges of these color wheels.

And as I mentioned, one way to alter a pure color is with tints. This is when white is added to that original color, making things brighter.

Now, on the other hand, shades are your natural hues affected by black coloring, hence these colors appear darker.

A variation of these two would be adding gray to the pure color. These are called tones and can create millions of different colors.

The easiest way to adjust to each of these color nuances is by adjusting the saturation of your color. A pure color is at normal saturation but desaturated with white, gray or black to form an entirely new color.

This is when color pairing is crucial. Some saturation of blue look great with yellow, while some blues you should stay away from.

Color Harmonies

Okay, time to take another step in our coloring book. We've learned how to mix colors but now it's time to learn how colors can work together to form a color scheme.

These are called color harmonies and the possibilities are endless. So, I have a few pop culture references to help.

1. Warm and Cool Colors

Did you know that the color wheel is split up between warm and cool colors?

By looking at this image here, you can see how red, yellow and orange are on one side of the color wheel making them warm while blue, green and violets are on the other side making them cool.

Breaking into color psychology, warm and cool colors represent different emotions. With warm colors, you think of summer days and the heat. Cool colors remind us of the colder months or even just a clear, blue sky.

A good way to think of warm and cool colors is in interior design. Warm colors in a room makes it feel cozy and comfortable. Cool colors provide a sense of cleanliness, even making a room seem bigger.

The right combination of warm to cool colors will make a room or design pop. And if you're using mostly cool colors, add a spark of warmth to emphasize something you feel is important.

2. Complementary Colors

Complementary colors are direct opposites of one another on the color wheel. But hey, opposites attract.

You'll often see complementary colors paired together like yellow and purple, red and green or a lighter blue with a strong red as seen here in this Blade Runner 2049 poster.

There is one thing to remember when using two complementary colors - avoid using 50% of one color and 50% of the other. This can make a graphic look difficult to look at.

Make one color more dominant while the other complements that main color. You want to look for an 80-20 split.

3. Analogous Colors

Analogous colors are those colors that are aligned next to one another on the color wheel. Think red, yellow and orange. All those warm colors that we talked about earlier and how good it looks on this Kung Fu Panda poster.

Analogous schemes provide a sense of calmness and knowledge without too much excitement. Think nature and how the leaves gradually change over time come the fall.

You want to use three colors when attacking the scheme with one dominant color and two used as accents.

4. Monochromatic Colors

Now, a monochromatic scheme takes one single hue and uses colors of different shades, tones and tints.

This graphic of the Grand Budapest Hotel took one color - pink - and altered the color for every item within the graphic. While it's a beautiful piece of art, if you're looking for a marketing design, I recommend using color harmonies with more contrast.

5. Triadic Colors

Triadic colors. Triadic. Triangle. That's exactly what it means. This is when you take three colors in an equilateral triangle from the color wheel as you can see here.

With the triadic color scheme, you are guaranteed to have either two warm colors and one color or two cool colors and one warm. This also means that you will have either three primary colors, three secondary colors or three tertiary colors.

Note that if you do use three secondary or three tertiary colors, your image could look dark and jumbled. Primary colors provide more vibrance and life. This is why I want to stick with a triadic harmony of primary colors for your digital graphics.

6. Split Complementary

Now, moving on, split complementary has three colors as well. And begins like that of a complementary harmony before splitting for two colors directly opposite of one another. It's much easier to understand by looking at our color wheel here.

These schemes are generally attractive to viewers but you've got to remember to have just one dominant color with the other two split colors filtered in. You can see with the red, splitting into that blue and green in this poster here.

7. Tetradic Colors

Okay, just a couple more to go. The tetradic harmonies takes two sets of complementary colors and put them all together in one single graphic.

This is one of the more difficult harmonies to properly complete but when it's done right with shaded, tones and tints, they can be captivating.

If this is what you're after, make sure to do plenty of testing to find a happy balance between all the colors. Too much of one color can often send viewers into confusion.

8. Square Colors

And last but certainly not least, are the square color harmonies. They are just as they sound. Four colors, all equal distances from one another.

Once again, this scheme can either be powerful or overwhelming. Stick to 80% of a dominant color with 20% for the accent colors. Disney not only nailed the movie Inside Out, but they also nailed this scheme with their poster for the movie.

Color Meanings and Symbols

Okay, now that you've learned how to pair colors with one another, let's look into the meanings of individual colors.

After all, a color can have a positive or a negative connotation so you want to ensure that you are choosing the right color for your audience.

Yellow

Yellow! I'd say it's a good place to start. It's the color of the sun, bananas and the unforgettable smiley face. The color is typically associated with creativity, optimism and liveliness as long as there isn't too much shade thrown in.

You can see the colors in this graphic here. The bright yellow makes you feel good while those darker shades almost make you feel sick. Yellow is inviting and it's a big reason why McDonald's features the color on their world famous Golden Arches.

Red

Red. It's my favorite color, maybe because it's the first color that we all see as babies or maybe it's because of the desire from more power and importance, given that's what it embodies.

Red is memorable and transcendent. Many marketers use red for their call to action buttons and rightfully so. People notice red. It's a big reason why stops signs bear the color.

The tricky part with red is the number of connotations that are paired with it. Red can either be positive or negative, which is why it is key to clarify its intent with words alongside the color.

Blue

Blue is another color that emits a wide range of emotions. For one person it symbolizes intelligence and a sense of calmness, for the other person it's cold and sad.

You'll often stumble upon blues used by corporate and technology websites or hospitals. Not just to symbolize intelligence, but trust as well. Also fun fact, blue is the most preferred color by all consumers. Maybe something to keep in mind.

Orange

When it comes to pop, there may be no better color than orange. Its vibrance is both creative and inviting. You want to use brighter oranges for elements that you want to stand out.

And if you're looking for a good background, a shaded orange could work to provide a sense of warmth for a viewer.

Green

Often, when we need a break, we might step outside or go for a walk. This very well could be because of the green trees and nature around us that provide a sense of refreshment and serenity.

Can you name one eco-friendly company that doesn't use the color green? Color psychology has essentially created a rule through the term going green and it's now recognizable everywhere.

Violet

Violet. A character from the Willy Wonka movies and also a color which symbolizes royalty. It's majestic, noble and lavish. Not to mention, it's also termed to be very pretty.

It provides a sense of truthfulness and wisdom. It is also a crowd favorite among many female consumers. Unless your graphic is intended to be spiritual or regal, use violet sparingly.

Pink

Now, while violet has long been marketed for women, so has pink. It's a color of happiness and positivity. I mean, have you ever been angry when you saw pink cotton candy? I haven't.

And while pink is often associated with feminine products, it can be gender neutral as well. Just be careful and make sure you do your research. If you're selling a hammer, pink might not be your best option.

White

White is a color that we see all around us. It's the primary color for paper and the walls in our homes or offices. That might be because it symbolizes cleanliness and clarity.

You won't find many graphics without at least a touch of white. If so, I'm willing to bet that the graphic leaves you feeling overwhelmed.

White is one color that can be used to cover nearly an entire image. After all, the term white space is all about leaving some room on a graphic blank so a viewer isn't confused.

Black

Black is a color of elegance and formality. You want a sleek look? Use black. It's why our phones and cars are often the color. Black is a great background color as well. So long as it's paired with vibrant colors in the foreground.

Brown

Brown is similar to green in that it provides a sense of all naturale. It's a supporting color that needs to be just right. One shade of brown can look clean, while the other appears dirty.

Think paper bags, they're a big part of that going green trend that I've mentioned earlier. But the tint must be just light enough to make it feel clean, not dirty.

Metallics

And lastly, gold, silver and bronze all fall under metallic colors. Yes, technically these are color pigments with metallic powder mixed in, which is why they're difficult to use on screen and on paper.

However, if you're striving for a glamorous look, talk to your printing agent to see how they can help you achieve that perfect metallic color.

Ladies and gentlemen, that's all I have for you today. Take some time to determine which colors and harmonies you think are best for your visuals and get to work on designing.

One place you could start is Visme's website. Head to Visme.co today where we have a color picker with millions of color choices, and if you still can't decide, there's predetermined color palettes to help you get off the ground.

Also, don't forget to subscribe to our channel. Where we have new content arriving all the time.

In the meantime, I hope we were of some help today and we hope you'll come back with any of your digital design questions and needs. For now, I'm Mike Ploger with Visme, helping you Make Information Beautiful.

# data[].attributes.attachment_link.description
Video Transcript Marketing Color Psychology. Yeah, this isn't kindergarten anymore. Prepare to see colors like you never have before. Hello world! I'm Mike Ploger and here with Visme - the visual communication tool that enables you to create stunning visuals to wow your viewers. Now, what's one easy way to catch your viewers' attention?

# data[].attributes.attachment_link.readable_text
Color makes a design come alive.

It can attract attention, set a mood, and even influence our emotions and perceptions.

But sometimes it can be hard to know where to start when choosing a color palette for your design project.

So we've done the hard work for you- giving you 100 color combinations inspired by nature, food & drink, travel, and everyday items.

Want to use these color combinations in Canva? Click here to sign up for free if you haven't already (if you haven't - are you kidding me?!).

Canva lets you change the colors of your design by entering the hex code in the color menu. Check out the video below for a quick tutorial on how:

Web designer? Check out The Color Combinations of 50 Stunning Websites.

Nature

01. Fresh & Bright

Fresh greenery and colorful blossoms make springtime a welcome sight after a long winter. This color palette features bright shades of green and coral that will make your design pop. These types of colors might be used for a spring- or summer-season event poster or perhaps an advertisement that wants to come across as fresh and youthful.

02. Subdued & Professional

Red and blue are some of the most common colors that businesses use for branding, and for good reason. Red says "confident and powerful," while blue says "calming and trustworthy." This palette offers a little bit of both, with slightly desaturated shades that aren't overpowering. To the conservative blue and gray hues, the brick red shade adds a burst of extra color that is still professional. This would work well in any corporate context or for a more "serious" design project.

03. Dark & Earthy

Desert landscapes are full of dramatic contrasts, and so is this color scheme. For an unexpected color combination that is more toned down than bright and garish, try this pairing featuring shades of plum and reddish-orange.

04. Crisp & Dramatic

Iceland's natural beauty is legendary, and this palette tries to capture its dramatic contrasts. The warm, grayish undertones of the top two colors contrast nicely with the cooler greens. A range of lighter and darker shades makes it easy to combine any two or three of the colors and have them still complement each other.

05. Cool Blues

Monochromatic color schemes (made up of the various tints, tones, or shades of one color) are extremely versatile. While this palette may not qualify as monochromatic according to the technical definition, for visual purposes, it creates a similar effect. With a color as multipurpose as blue, this combination could be used just about anywhere.

06. Outdoorsy & Natural

If you have a brand or need a design that emphasizes natural or "green" qualities, a color palette featuring greens and browns is a logical choice. Rather than your typical dull shades, this palette brightens things up with a splash of lime green.

07. Watery Blue-Greens

08. Primary Colors With a Vibrant Twist

09. Refreshing & Pretty

Crisp turquoise hues set off bright yellow and bubblegum pink for a palette almost reminiscent of Easter candy. If the pink makes the palette too "girly" for your design's purposes, just leave it out and opt for the top two aqua shades plus the yellow for a bright, clean combination.

10. Playful Greens & Blues

The bluish shades at the top and bottom of this selection have gray undertones, which makes them almost neutral - a great foundation for playing with more daring tones like the lime green.

11. Fresh & Energetic

The almost neon shades of blue and green balance out the other two more conservative colors and add a bright freshness that gives the combination some kick. This kind of scheme might work well for a fitness brand or any design that needs to balance a businesslike feel with an energetic vibe.

12. Surf & Turf

This landscape features both warm and cool colors in both bright and subdued shades. The beachy, mellow color palette inspired by it draws from those contrasts for a combination that brings to mind relaxing island vacations - just one example of how we can associate color with certain places, moods, or emotions.

13. Autumn in Vermont

14. Icy Blues and Grays

Contrasting warm grays with cool, glacial blues makes for a dynamic color scheme that's more visually interesting than your average combination of drab blues and grays. If you're in need of a palette that's more restrained, instead of opting for navy and dark gray, try these lighter, brighter hues.

15. Birds & Berries

16. Day & Night

17. Stylish & Retro

The muted shades of this color scheme have a vintage vibe, with the light aqua and gold particularly being colors that were popular in the 1950s and 60s. But that doesn't mean this combination looks dated. These colors (and the mid-century modern aesthetic in general) have seen a resurgence in popularity and still look stylish.

18. Shades of Citrus

19. Sunset to Dusk

20. Bright & Tropical

21. Warm Naturals

22. Bold Berries

23. Summer Sunflower

This combination has an outdoor feel to it, like a summer baseball game: you have the red dirt of the baseball diamond, the green grass in the outfield, the bright sun in a blue sky overhead. However, it's more subtle (and has more variety of color) than, say, the more obvious greens and browns in #6.

24. Modern & Crisp

Pairing black and white with bright, crisp shades of green makes for a modern palette that is sophisticated without being too serious. Instead of pairing red or blue with your black and white, freshen things up with some green.

25. Timeless & Nautical

Food & Drink

26. Neutral & Versatile

Neutral colors like the shades of gray and tan here are very versatile and can be paired with almost anything. A color scheme of all neutrals, however, can be quite nice, too. Depending on how you apply it to a design, it can be upscale and sophisticated (think branding for a luxury hotel) or calming and comfortable (think the décor of a favorite neighborhood coffee shop).

27. Cheerful Brights

28. Garden Fresh

29. Summer Barbeque

30. Berry Blues

31. Lemonade Stand

32. Serene & Spa-Like

Calming, spa-like greens and blue - great by themselves - look a little more lively with a splash of raspberry as an accent color. Adding a brighter or bolder accent color to a more restrained selection is a nice technique to liven up a color palette and give it a little extra interest.

33. Fun & Tropical

This happy blend of colors doesn't take itself too seriously. Have a summer party invitation to design? Maybe a children's event poster or advertisement? A palette like this one will make it clear where the fun is at.

34. Spicy Neutrals

Shades ranging from light to dark make it easy to apply this color palette to a design. There's enough contrast that you can choose a background color, a text color, and an accent color or two just from these four.

35. Pastels

Applications for a pastel palette will be somewhat limited - designs having to do with Easter, spring, babies, or tea parties are pretty safe choices. Pastel colors generally come across as pretty and delicate, so you'll want to make sure your design calls for a similar mood if you want to use a color combination like this one.

36. Bold & Cultured

37. Sunny Citrus

38. Crisp Complementary Colors

Red and green is one of three pairs of complementary (or opposite) colors on the traditional color wheel; others include orange/blue and violet/yellow. When combined, these colors make a striking, high-contrast impression that can be a little jarring if you don't use them carefully. That's why, for this palette, the reds and greens have been balanced and toned down (not full saturation like the red and green you see on Christmas decorations) for a fresher twist on a complementary color palette.

39. Warm & Rustic

40. Neon Night

41. Jewel Tones

42. Polished & Inviting

Warm grays with a pop of golden yellow is a combination you'll see sometimes in interior design and home décor contexts. It's primarily neutral (and the warmness of the grays feels calming and inviting) but the yellow adds some cheerfulness and energy for an overall palette that's refined but not stuffy.

43. Fresh Greens

44. Wintery Reds

Reminiscent of winter berries and bare branches against a snowy sky, this combination of colors would make a great alternative to your traditional Christmas or holiday palettes. The rich reds paired with violet-tinged grays feel festive, but sophisticated.

45. Summer Fiesta

46. Chocolaty Browns

Who says brown has to be boring? Add some red and violet undertones, and you have a full, rich color palette that - like these chocolate cupcakes - feels a little decadent.

47. Naturally Elegant

48. Cozy & Warm

49. Violet Sunset

50. Strawberries & Cream

Travel

51. Grecian Holiday

52. Bold & Basic

White, black (or in this case, very dark navy), red, and yellow is a very common combination. But with these saturated shades, it certainly isn't boring. If you're looking for a bold palette that doesn't mess around with unusual colors but that still makes a strong, eye-catching statement in your design, this type of color scheme is an easy one to apply.

53. Vineyard Neutrals

54. Modern & Urban

55. Misty Greens

56. Sunkissed Village

Many cliff-hugging villages along the Mediterranean coast are painted in warm pastels. You can replicate that sunny, carefree look with this selection of shades and bring a little of the Italian dolce vita to your design, creating a warm and welcoming effect.

57. Sun & Sky

58. Aqua Blues

59. Urban Oasis

60. Candy-Coated Brights

These vibrant hues look like they belong in a candy store, and they're sure to give a design some youthful energy. Just make sure that it's okay that the overall effect of the design is a little "loud," because like the graffiti they're inspired by, these colors certainly aren't quiet; they're out to make a statement.

61. Muted & Antique

62. Classy & Timeless

It's hard to replicate a metallic effect with just flat color, but dark blue and gold is a timeless combination that you'll see on everything from swanky party invitations to the official colors of elite schools and sports teams. To add a little class to a design, try some combination of the two colors. (If you can manage to get your design printed with gold foil accents, even better!)

63. Cosmopolitan

64. Cheerful & Friendly

65. Nightlife

The ink colors that all printers use (cyan, magenta, yellow, and black; abbreviated CMYK) make a striking combination on their own, similar to the neon and illuminated signs of a big city at night.

66. Coastal

67. Maritime Brights

68. Vintage Charm

69. Understated & Versatile

70. Arctic Sunrise

Blue and gray always work nicely together (and you could certainly use the bottom three selections of this palette by themselves) - but the addition of a light coral pink, along with the brighter blues, gives this combination a little extra sparkle.

71. Mediterranean Afternoon

Lunch at an Italian restaurant, anyone? Some of the things most often associated with Italian cuisine - wine, rich tomato sauce, fresh handmade pasta - all make an appearance in this color scheme. Try it out to add some warmth and flavor to a design. The inclusion of a creamy neutral shade balances out the more colorful selections; you can use it as a background or base color and one or more of the others as tasteful accents.

72. Hazy Grays

73. City Sights

74. Retro & Relaxing

75. Green Fields

Everyday Items

76. Distinctive & Unexpected

77. Sleek & Modern

Black, gray, and white are always acceptable, usable colors. But add some cobalt blue, and those run-of-the-mill neutral shades become a backdrop for a modern, attractive palette that could work for any design style, from corporate to trendy.

78. Orange Accent

79. Beyond Black & White

Red or blue might be common pairings for basic black and white, but here, a deeper red along with a brighter turquoise blue gives a fresh twist to a familiar combination.

80. Shabby Chic Neutrals

81. Warm & Cool

82. Industrial & In-Control

83. Autumn Oranges + Complementary Neutrals

84. Pool Party

85. Classic Metallics

86. Subtle & Versatile

Reminiscent of colors you might see decorating a beach house, this palette is slightly nautical, slightly faded and vintage, but the hues included here won't box you into a certain style. They're pretty versatile and subtle, and won't overwhelm your design.

87. Professional & Traditional

88. Light & Natural

Photo credit: Flickr/Teresa Romano

89. Shadowy & Dramatic

90. Golden Afternoon

91. Dark & Handsome

Dark wood, leather, old books - things you might find in an English pub or one of those gentlemen's clubs you see in old movies. If your design could use some suave sophistication, try out this combination of rich browns plus a lighter, smoky neutral shade.

92. Technology Meets Nature

93. Cheerful Blues + Pink

94. Exotic & High-Impact

95. Back to School

96. Bright & Painterly

97. Urban Living

98. 1950s Kitchen

99. Smoky Purples

100. Trendy & Metropolitan

We hope that left you feeling inspired. Let us know in the comments section if you know of a color combination that deserves a spot in the list.

Happy designing!

# data[].attributes.attachment_link.title
100 Brilliant Color Combinations and How to Apply Them to Your Designs - Learn

# data[].attributes.attachment_link.description
Color makes a design come alive. It can attract attention, set a mood, and even influence our emotions and perceptions. But sometimes it can be hard to know where to start when choosing a color palette for your design project.

# data[].attributes.body
Canva

# data[].attributes.body
PPT

# data[].attributes.body
Shutterstock

# data[].attributes.attachment_link.readable_text
Alex is a passionate graphic designer from Texas. She grew up captivated by the world of color, typography, and print design.

Learn everything you need to know to successfully use color in design. Discover color theory, color meanings, and color modes to help you pick the right palette for your work.
Cover image via vhpicstock.
You make color choices all the time, even if you don't realize it. It usually happens by instinct, but there's actually an entire science behind it called Color Theory. Color

Theory describes how different colors relate to each other, and how they look when they are combined into many color schemes. An offshoot of color theory is color psychology, which explores colors and emotions. Combined, these two areas of color knowledge are important information for anyone dealing with colors, whether you're a small business owner creating a flyer for an upcoming event, a designer selecting a color scheme for your next project, or an entrepreneur designing a logo for your newest startup.

In this complete guide, we'll go through the basics of the color wheel, color theory, and global color meaning and how these relate to visual marketing, branding, and design. We'll also cover the common color profiles and systems (think print vs. digital), how to use color inspiration to your advantage, and how to use design applications to manage color swatches.

And, if your next adventure in color is establishing a palette for your brand, look no further than our color palette generator. You can extract color palettes from a photo and learn more about the color tools in Shutterstock Create.

Color Terminology

Before we go into the nitty gritty aspects of color theory, let's go over some essential terms.

Hue refers to the pure, saturated colors seen on the color wheel above.

Tints are achieved by incorporating elements of white to brighten and desaturate a single hue. Tints of a color are often much calmer than their saturated counterparts.

Tones are achieved by adding gray to a hue, dulling the overall chroma.

Shades are achieved by adding portions of black to a single hue, creating a darker hue.

Saturation refers to the overall intensity, or chroma, in a color. A pure hue is more saturated than its tint or tone.

Value refers to the general lightness or darkness of a color. A lighter hue has more value than a darker hue.

The Color Wheel

You've probably seen a color wheel in your art classes, or remember the famous acronym "Roy G. Biv" to remember each color of the rainbow. The color wheel is an illustrative diagram that shows 12 colors around a circle, used to represent each color's relationship to one another. Colors arranged opposite each other are complementary to one another. Colors located near other colors share common characteristics and often pair well together.

Let's dive in and explore the different types of hues present on the color wheel.

Primary Colors

Primary colors are the "original" colors, consisting of red, yellow, and blue. You can't mix any colors together to get these colors.

This powerful triad shapes the foundation of color theory as we know it. These three pigments are the building blocks of an extensive color range, or gamut. When combined, they create secondary and tertiary colors along with all hues in between.

Secondary Colors

Secondary colors are formed from an equal mixture of two separate primary colors. Yellow and blue mix to create green, yellow and red mix to create orange, and blue and red mix to create violet.

On the color wheel, secondary colors lie in the middle of and equidistant from the two primary colors used to create it. The secondaries are grouped in a triad that creates an inverted equilateral triangle.

Tertiary Colors

Tertiary colors are created by combining adjacent primary and secondary hues. For example, a primary color, such as yellow, and a secondary color, such as green, mix to create yellow-green.

The name of each tertiary colors begins with the neighboring primary color combined with the neighboring secondary color. You will never see the name green-yellow; it will always be yellow-green.

Color Schemes

Using the color wheel you can make any color scheme or combination, but some will look better than others. Just as colors mix to create new colors, colors can be paired to create visually pleasing combinations. Luckily, you don't have to sit for hours trying out every color combination to find on that looks good. You can use tried and true color schemes to find a combination that works. We've gone over the most important color schemes below, plus information on how to use these principles when you're making color palettes containing multiple hues.

The color palette images below can also be found within our 101 color combinations, inspired by images in Shutterstock's collection.

Monochromatic Colors

Monochromatic color schemes focus on a single color, often using variations of that hue by incorporating tints, tones, and shades. It might sound like a boring palette, but this provides variations in value that add interest and dimension to your composition.

This color scheme is extremely versatile and easy on the eye. Using many hues in a design can often overwhelm the viewer and obstruct the design's tone, but subtle color variations on one hue help to simplify a design without making it too flat.
Image via Patiwat Sariya.
Achromatic Colors

Colors that lack chroma and saturation, such as whites, grays, and blacks, are called achromatic. Many artists prefer to work in achromatic environments because they provide direct indications of value through dramatic shadows and highlights.

Analogous colors are a group of three or four colors that border each other within the color wheel. The word "analogous" means closely related, so the combination of these hues has a harmonious appeal similar to monochromatic color schemes.

When picking analogous groups for your composition, keep your palette grounded by using exclusively cool or warm colors together. Stick to a dominant hue and accentuate with its analogous counterparts. This aurora borealis color scheme creates a smooth transition from green to blue, which neighbor each other on the color wheel.

Complementary Colors

Complementary colors exist on opposite sides of the color wheel; one color is usually a primary color and the other a secondary color. The main complementary colors are blue and orange, red and green, and yellow and purple.

Pair complements together in a composition for added contrast and visual intensity, as seen below. The vividness of the orange citrus fruits stand out against a light blue backdrop.

Split-Complementary Colors

Split-complementary color schemes might look similar to complementary schemes, but this combination incorporates the two neighboring hues of a color's complement, such as yellow paired with blue violet and red violet.

This color scheme has a similar visual appeal as complementary schemes, but without the intensity. Bringing in analogous colors can help to soften the stark contrast of complements.
Image via Maciej Bledowski.
Double Complementary (Tetradic) Colors

Complementary colors are already intense in nature; double complementary, or tetradic, color schemes up the ante by using two pairs of complements.

Tetrads, such as yellow and violet paired with green and red, use rich values that are often hard to harmonize. To keep a balanced composition, choose a dominant color and lower the saturation or intensity of the other hues.

Triadic Colors

A triad consists of three colors that are placed equidistant from each other on the color wheel, forming an equilateral triangle as seen below. Triads can include three primary, secondary, or tertiary colors.

Yellow, blue, and red form a vibrant triad that can be difficult to balance. Let one hue shine, like the yellow on the car below, and accentuate with other triadic hues, such as the blue and red found on the beach gear atop the car.

A good rule of thumb when designing is to create hierarchy. Instead of allowing colors to fight for the spotlight, assign a dominant color and then sprinkle with accents.
Image via alphaspirit.
Color Meaning and How It Affects Branding

Color psychology focuses on color symbolism and meaning and how colors and their combinations impact human emotions. The principles of color psychology can be applied to many industries and pursuits, helping marketers create effective branding or a new homeowner select the right color for their dining room. Each hue evokes a specific emotional responses from viewers, shaping how that consumer perceives the overall design on display. When it comes to product development, marketing, and branding, this positive brand perception can influence consumers' purchasing decisions and ultimately increase sales.

Read on to learn how each color is typically perceived and learn when to use a specific color in your design.

Warm Colors

Warmer colors such as reds, oranges, and yellows stimulate the senses and elicit a sense of cheerfulness with their vibrancy. These colors pack tons of emotional meaning, but they can easily be overwhelming when used as the dominant hue in a composition. Tints, tones, and shades of warm hues are your best friend because they help to desaturate a hue without negating its positive effect.

Apply warm hues in moderation by sprinkling them as an accent color across branding elements, or pair them with cooler tones for a harmonic balance.

The Meaning of Red

Known for its striking and vivid personality, red brings out intense emotional responses in its viewers. It can heighten appetite, excitement, and anxiety. Restaurants often incorporate red into brand elements to take advantage of that increased appetite. Brands also utilize shades of red to give off a thrilling and adventurous tone.

While red is a bold and powerful hue, always use it sparingly, especially when paired with other vibrant hues. Too much intensity can weaken a design and stir up the wrong emotions, even inciting aggressiveness. A fully-saturated red is best used in accents or in subtle brand elements. When used as a dominant hue, soften it with tints or shades.

The Meaning of Orange

Orange marries the fieriness of red and the cheerfulness of yellow. Its vibrance usually indicates confidence, casualness, and a fresh start.

Be mindful of the colors you pair with orange. A pure orange paired with black is intrinsically linked to Halloween. Try blue tones for a contrasting complement or stick with warm analogous hues by incorporating yellows or reds, like in this grapefruit flat lay pattern.

While orange tones often give off a friendly demeanor, brands might want to use this hue sparingly. Decrease its vibrancy by utilizing tints, tones, and shades of orange, or opt for muted versions such as peach, terracotta, or apricot to add a sense of elegance.

Images via Zamurovic Photography.
The Meaning of Yellow

This sunshine hue evokes warmth, cheerfulness, and serenity in its purest form. Yellow's eye-catching hue is also a color people notice instantaneously, typically used in reference to caution, road signs, and security vests. Brands take advantage of yellow's notice-ability to attract customers to their stores, making it a popular color choice for retail stores.

Consider using yellow's tints or tones in branding accents, instead of utilizing the attention-grabbing hue as a dominant color. Too much yellow can be overwhelming to viewers and seen as a cheap tactic to increase sales.

Yellow can be tricky to pair with; stick to monochromatic, analogous, split-complementary, or triadic hues for a successful color palette. This agate texture below effortlessly incorporates yellow's tints and tones for a look that's easier on the eyes.

Cool Colors

On the other side of the spectrum, cooler hues tend to elicit calmness and trustworthiness. Blues, greens, purples, and even pinks tend to be more versatile; they can be integrated into branding elements as a dominant or accent color.

Add emphasis to your composition by experimenting with a cool hue's complement, or apply warmer tones as an accent to its cooler counterpart.

The Meaning of Green

This versatile hue is often associated with lush forests, fruitful harvests, and prosperity, instilling a sense of growth, safety, and recurrence. Green is also a common color used in branding and logo elements. This hue is packed full of meaning, making it ideal for sustainable and eco-friendly brands, financial institutions, or grocery chains.

Green is especially easy on the eyes, making it ideal as a dominant color or an accent. For an effortless color palette, pair green with monochromatic, analogous, or complementary color schemes. Monochromatic and analogous combinations, seen in the dew drops below or in the aurora borealis above, create a peaceful and harmonic palette. Complementary schemes, such as muted reds and greens, contrast especially well when paired together in a composition. (Be careful not to go full Holiday season, though!)

The Meaning of Blue

From the bright blue skies to the dazzling oceans, blue is know for its overall positive associations. This well-liked hue symbolizes peacefulness, trustworthiness, and loyalty with its calming nature. But there are a few negative connotations associated with this hue, which is known for its melancholiness and its symbol of depression.

Blues are universally loved, meaning that many brands utilize some shade of blue in their campaign or logo. So, how do you stand out in the vast sea of blue? Utilizing unique color combinations is a sure way to attract attention.

Pairing blue with a warmer hue, such as an orange or yellow, is a great starting point. Create your palette using tried-and-true complementary, triadic, or analogous color schemes. Or, if opting for a muted composition, incorporate blue's tones and shades with a warm accent color, as seen in the marble texture below.
Image via marbleszone.com.
The Meaning of Purple

This secondary hue marries the stability seen in blue with the energy in red. Purple also has significant historical meaning; it was a popular color choice among emperors and kings, creating a aura of royalty and exclusivity.

As times change, so do color meanings. Nowadays, purple is typically used to symbolize peace and luxury. Ultraviolet, Pantone's 2018 Color of the Year, is an optimistic and mystical take on the common violet hue, looking very future-forward.

Purple's peaceful and luxurious allure works well with brands that offer high-end products or impart a tranquil environment, such as a yoga studio.

Using purple in its purest form can easily overwhelm a design; instead, try to incorporate its tints and shades, as seen in the fashion portrait below. Pair purple with its complement, yellow, for a bold contrast, or incorporate split-complementary schemes for a more subtle contrast.

The Meaning of Pink

When thinking of shades of pink, most picture femininity, romance, intimacy, and lightheartedness. But, like other colors, pink has a different cultural meaning overseas; in Japan pinks are seen as more masculine, and in Korea it symbolizes trust. Understanding how colors translate across cultures is extremely important in the creative realm.

In the Western hemisphere, pinks are typically used when branding feminine products and cosmetics, due to the general association of pink to "girlier" things. Recently, pink has become a much trendier color within design; you've probably seen the repetition of the famous Millennial Pink subtly integrated into photography and designs, even when they don't pertain to feminine items. That's because pink is evolving right alongside with popular notions of identity.

Pink is often a trickier color to integrate within a composition, but when you think of pink as a simple tint of red, you can easily utilize the color wheel to your advantage. Pink marries well with muted green hues, along with analogous or monochromatic color schemes.

Understanding Color Profiles and Systems

While color combinations are extremely important to your design, it's also essential to distinguish between the different types of color profiles and systems. The main color profiles, RGB and CMYK, exhibit colors in distinct processes, which affects the overall color range you can use in a design. RGB color profiles can display more vibrant hues, while CMYK profiles are not able to reproduce those similar values.

Spot and process colors also affect the colors used in your design; the color gamut available between these color systems is drastically different. When printed, spot colors appear more intense and uniform, while process colors are produced with CMYK dots, resulting in a more limited color range.

RGB

The RGB color profile consists of Red, Green, and Blue hues that combine to create extensive variations of colors that exceed the gamut of a CMYK color profile. This color mode exists exclusively in screen displays, such as in computer monitors, mobile devices, and television screens.
RGB diagram via petrroudny43. Color wheel via Yulia Glam.
Instead of utilizing ink to produce hues, the RGB profile uses additive processes to produce color by blending light. This is the exact opposite of subtractive color processes, such as mixing paints or dyes. The presence of all RGB primaries at full intensity yields white, while the absence of color produces black. The color displays on your screen result from the presence of those RGB base hues.

When attempting to print a design that is exclusively in a RGB color profile, your design will produce hues different from the screen preview. CMYK color profiles have a smaller gamut than RGB profiles, so when printing, the color present in your design will attempt to find a CMYK equivalent. These equivalents may be muddied or much less vibrant, ultimately affecting the overall tone of your design. As a rule of thumb, always set your online only designs in the RGB color profile to avoid color changes.

CMYK

The CMYK color profile contains and Key (Black) that combine to produce a range of hues. This four-color process works for any type of printer. When zoomed in on printed images you can see the four-color dots that layer to create different hues and gradations. Dots per inch result from printing and involve the CMYK color profiles. Although all printers produce prints in CMYK, the end result may vary among different styles and models of printers.
CMYK diagram via petrroudny43. CMYK dots via SkillUp.
In RGB color spaces, all primaries combine to produce white with additive color processing. CMYK modes combine with subtractive color processes, meaning all primaries mask to yield to a blackish hue. As inks and dyes are layered upon each other, they subtract from the white of the paper.

CMYK color profiles produce a smaller gamut than RGB color profiles, so only use this profile when designing for print.
Read a more in-depth analysis of CMYK and RGB color profiles, plus how to access and edit these color profiles in Adobe programs.
Process Color

The most common method of offset printing involves process colors. These colors are produced by a combination of cyan, magenta, yellow, and key (black), or CMYK inks. Each process color is comprised of percentages of cyan, magenta, yellow, and black inks. Process colors provide a limited color range when compared to spot colors.

Process, or four-color, printing is ideal for jobs that require multi-colored inks to produce an image or design. Each screen is printed at a different angle to produce a cohesive image.

Spot Color

In offset printing, spot colors are produced when inks are laid down in a single run, rather than in multiple dots. Spot, or solid, colors consist of pure and mixed inks that are produced without the use of screens or multicolor dots.

Spot colors are ideal when color accuracy and consistency across print jobs is crucial; company logos and color-specific brand elements that feature few colors should be reserved for spot color printing.
Read more about the advantages of utilizing process versus spot colors in your designs, plus how to access and convert between each color mode in Adobe programs.
Finding Inspiration to Use Color in Designs

When figuring out the colors to use in your designs and other creative projects, search for inspiration all around you. Look outside and take in the natural hues, or observe established works of art across all disciplines to see colors combinations you might not have thought of originally. Step outside of your color comfort zone if you want to conjure up some truly eye-catching palettes.

Sampling colors from photographs or becoming familiar with unique color combinations from other designers is another great place to start. This helps to submerge yourself into current color or design trends, while getting accustomed to which hues translate well into your project in terms of its feeling and the overall tone. That being said, always check yourself if you're becoming color-happy; too many colors in a design leads to a complicated mess and can obscure the overall message of the design.
Image via Chamille White.
I like to look around design websites like Dribbble and Behance to see modern color schemes and how they're thoughtfully applied across different projects. You can also look up established color palettes from these 101 color combinations and 25 retro swatches made by yours truly.

Select the link below to download 25 free retro swatch files. Each file is available in the RGB color profile and is compatible across Adobe Illustrator, InDesign, and Photoshop. If you don't have access to design software, you can input the six-digit hex codes shown on each color swatch image.
Download Now
To download the 101 free color swatches, select this download link below. Each file within this folder is also available in the RGB color profile and is ideal for use in online or web designs.
Download Now
How to Upload Free Swatch Files in Adobe Illustrator

Click the hamburger dropdown in the Swatches panel and select Open Swatch Library > Other Library and select one of the swatch files.

How to Use Your Free Swatches in Adobe Photoshop and InDesign

In the Swatches panel, select the hamburger dropdown menu and click Load Swatches and select an individual swatch file to see it pop up within the panel.

This guide is everything you need to know to get started with color picking, whether you're choosing the colors for your logo, or selecting artwork for a room in your house. Now that you know the basics of color theory and color psychology, you'll start to really see that color is everywhere. Stay curious about colors, because trends are always evolving and there are always new ways to play with the color wheel.

Get 10 free images

Try Shutterstock and get 10 images for free.
Use PICK10FREE at checkout.

Searching for more encompassing articles to increase your color and design knowledge? Check these out:

Recently viewed

# data[].attributes.attachment_link.title
Complete Guide to Color in Design: Color Meaning, Color Theory, and More

# data[].attributes.attachment_link.description
Learn everything there is to know about the use of color in design, from color theory to color meanings, and everything in between.

# data[].attributes.body
Canva

# data[].attributes.attachment_link.readable_text
You could have the most beautiful graphic elements in the world, but if your composition isn't up to scratch, all of that goes out the window.

So, it's safe to say that composition is pretty important. So, what exactly is a composition? Well, in very simple terms, it's the part where all the separate elements come together to form a whole. When all of your type, your images, your graphics and colors, come together to form one cohesive design.

A successful composition means that you have arranged, distributed, aligned and compiled your design in a way that not only looks good but is also highly functional and effective. So, let's run over a few tips, tricks and techniques that will have you mastering composition in no time.

01. Find Your Focus

Just like we were all told in school, having focus is a very important thing. A key element to any good composition is a strong focal point, as it helps your viewers' eyes naturally settle on the important pieces of your design first.

When choosing your focal point, keep in mind that the main goal of any design is communication. Whether you're communicating an idea, some information, or simply a feeling or emotion, your design is telling a specific story, so be sure to choose a focal point that helps this story get told in the strongest, most effective way.

Some ways to draw focus are through techniques like scale, contrast and leading lines, all of which we'll discuss in depth later on. But for now, let's analyze an example.

02. Direct the Eye With Leading Lines

Just like you point at something when you want people to look at it, by positioning certain lines and shapes in certain ways you can control the viewpoint of your design, aka where viewers' eyes go when they see your design.

A common use of leading lines that you might be pretty familiar with is within flowcharts. Flowcharts use lines to direct your eye from one point to the next in an obvious way. Check out this save the date card by Paper and Parcel that uses flowchart leading lines to present the information in a fun, unique way.

Leading lines can also guide you to various tiers or points of information. As previously discussed, you want the eye to first land on the main focal point, but then where does it go? By positioning and adjusting your leading lines you can not only direct the eye to the focal point of your design but also throughout the rest of your design.

Of course, not every design you create will have such obvious lines for you to adjust to direct viewpoint, but this doesn't mean you're up the creek with no paddle. Find shapes and lines within your images and graphic elements and use them to direct the eye in certain ways.

03. Scale and Hierarchy

Scale and visual hierarchy are some of those creative fundamentals that can really make or break your designs, so it's important to have a good hold on them to maintain a successful composition.

In a very brief explanation, hierarchy is the arrangement and design of elements in order to visually signal importance. So, you might make a more important element bigger and bolder than a less important element which might be smaller and fainter.

Hierarchy is particularly important when it comes to type. For a much more comprehensive and detailed discussion of typographical hierarchy, be sure to check out why every design needs three levels of typographic hierarchy.

Scale is often used to help communicate hierarchy by drawing attention toward and away from certain elements, thus signifying their importance to the communication.

Scale is also an incredibly handy tool for giving your design proportion and a sense of size. You can make things seem incredibly detailed, intricate and tiny, or you can make them big and grand.

By contrasting a small scale element next to a large scale element in your composition, you can create a number of different effects.

04. Balance Out Your Elements

Balance is a pretty important thing in many regards, and your designs are absolutely no exception.

But how do we strike that perfect balance within our designs? Well, let's run over two common types of balance and how to master it.

First, we have symmetrical balance . Symmetrical balance does what it says on the tin - it balances your design using symmetry. By reflecting certain design elements from left to right or top to bottom, you can create a strong sense of balance.

Another kind of balance, and an arguably more common type is asymmetrical balance . Asymmetrical balance is also a fairly self explanatory term, in that it concerns creating balance without symmetry.

In the above design, the three central circles are the largest elements in the design, but they are balanced out both by the type, the fine line graphics, and the small, heavily textured circle in the bottom corner.

A good technique for mastering asymmetrical balance is to think of each element as having a 'weight' to it. Smaller objects might 'weigh' less than larger objects, and heavily textured elements might 'weigh' more than flatly colored elements. Whatever the case for your design, balance these weighted elements out until you reach an effective equilibrium.

05. Use Elements That Complement Each Other

You've heard of complementary colors, but what about complementary design elements? One key element to a successful and effective composition is taking the time to carefully and purposefully select each element of your design so that each part complements the whole.

A common error in compositions is using images that don't complement each other. So, when using more than one image in your composition, try to make sure that they all look effective and cohesive when grouped together. There are a lot of different ways to achieve this, here are a few pointers.

Use photos from the same photoshoot. This is an easy way to ensure your photographs look cohesive as they were likely all under the same art direction and photographic style. Check out this magazine spread by Jekyll & Hyde and Elena Bonanomi that does just this to create a beautiful layout.

With the prevalence of filters and Color your photos similarly. image adjusting tools, you are able to color and adjust your photos to have more cohesive and complementary palettes. Check out this poster design by that runs a monochromatic filter over each photograph to tie each image together in a more natural way.

Choose photos that are shot in similar ways. Try to choose images that have similar aesthetics and styles, for example, if one image is heavily minimal, choose others that are minimalist-inspired to complement that. Have a look at this website design example by that has chosen images that all have a certain ruggedness to them with plenty of texture, wood grain and cooler tones.

Creating a cohesive layout also means pairing type and imagery that complement each other. Each different typeface when used under the right circumstances has certain tones and ideas associated with it - a detailed, cursive typeface with lots of swashes and curls for instance might signal elegance and sophistication. So, choose your typeface with purpose and intention.

06. Boost (or Reduce) Your Contrast

Contrast is an incredibly useful tool for both highlighting and hiding certain elements of your design. By upping the contrast or using a high contrast feature color, you can help an element stand out and draw attention. Likewise, by lowering the contrast, you can make an element fade into the background.

While the vibrant color in the previous case works to highlight the design, this next example uses a vibrant color to hide an element of the design.

In this way, contrast can also be used to 'hide' certain elements of your designs as well as create meaning within them. So, use contrast with purpose with your design, whether it's to adjust focus toward an element or away from it.

07. Repeat Elements of Your Design

Repeat after me: "Repetition makes for successful compositions."

To maintain consistency and a logical layout, try to take specific elements from one section of your design and apply it to other sections. Maybe a style of type can be applied to more than one section of your design, or perhaps a graphic motif can be used more than once. So, try to tie your design together with repeated elements.

Repetition is a key factor when it comes to multi-page layouts. Repeating elements of your layout and/or design helps each page flow into the next, creating a cohesive set of pages.

For example, check out these magazine spread designs by and Elizaveta Ukhabina . In this design, each layout's composition is similar, the only differences being in the written content, colors, and use of imagery. This repeated composition helps readers quickly recognize the format and therefore familiarize themselves with the information much quicker.

This poster repeats certain type stylisations, graphics, and line weights throughout to maintain a cohesive and effective design. If it were to suddenly use a thick, bold, pink line-based graphic somewhere in the middle, the cohesion would be lost. So, by keeping the font palette and color palette small and the graphic styles simple and alike, the design is kept beautiful and strong.

When designing, keep a record of the typefaces, line weights, colors, etc. that you use, and try to repeat them somewhere else throughout your design to tie the piece together as a whole.

08. Don't Forget the White Space

The easiest way to offend white space is to refer to it as 'empty space'. Emptiness implies that it should be full of something, that it's not doing its job, but this is not quite the case.

White space when used strategically can help boost your design's clarity and overall look by balancing out the more complicated and busy parts of your composition with space that helps your design to breathe.

So, how do we use white space in our designs?

Scale down your graphic elements. By scaling down your imagery, type, graphics etc. you can create some luxurious white space around your focal points while staying within the frame of your original graphic. For example, check out this recipe card design by Serafini Creative that scales down the central design to create a beautiful frame of white space around the design.

Don't fill up every space with content. As mentioned just before, white space is not empty space, it's doing its own job and serving its own purpose, so don't feel the need to fill any white spaces you have with more content.

When designing your piece, ask yourself if each element of your design is 100% necessary. Do you need all of that type, do you need the bright blue title, do you need 3 different images? By subtracting the unnecessary bits and pieces of your design, you can create a more direct design that makes the most of white space.

09. Align Your Elements

When designing a composition that has many elements in it, don't just throw them all on the page and call it a day, because aligning these elements is a quick and easy way to transform your design from shabby to chic.

Aligning your elements in a strong and logical way also helps you create order amongst many elements. So, if you're using a lot of images, a lot of type and/or a lot of graphic elements, alignment might just be your very best friend.

Alignment is also very important when dealing with type. There are many ways to align your type, but a good rule of thumb for longer pieces of copy is to stick with left alignment as this is the easiest for the eye to navigate and make sense of.

10. Divide Your Design Into Thirds

The rule of thirds is a simple technique where designers divide their designs up into three rows and three columns, and at the points where the vertical and horizontal lines meet is where your focal points should be.

Designer William Beachy plays by this rule with his designs as you can see in the example below. By placing focal points at each line intersection, his design is made striking and effective. Beachy also notes that "By avoiding a centered design you add some motion and interest."

Using the rule of thirds is a great way to kick off your design's composition as it gives you a quick and guide to positioning and framing your elements.

Check out this website design by Gajan Vamatheva for National Geographic and take a moment to imagine where the rule of thirds lines would intersect. You might notice that the lines would intersect over the focal point of each image - the two hikers in the first timage, and the largest bird in the second. The lines would also intersect at points around the text boxes, drawing the eye to these points.

When you find a design that you think is very effective, try to mentally break it down and look for the underlying structure that it was built on. Did it use the rule of thirds? Or maybe it used a specific grid layout. Either way, dissect inspirational examples and take a leaf from their books wherever you can.

Over To You

There are a lot of things to consider when putting together your design's composition. Particularly if you're a beginner, it might take you some effort, and a lot of time spent moving things around, resizing elements and then moving them around again, but keep at it.

# data[].attributes.attachment_link.title
10 rules of composition all designers live by - Learn

# data[].attributes.attachment_link.description
You could have the most beautiful graphic elements in the world, but if your composition isn't up to scratch, all of that goes out the window. So, it's safe to say that composition is pretty important. So, what exactly is a composition?

# data[].attributes.body
a video

# data[].attributes.body
OWL Purdue

# data[].attributes.attachment_link.readable_text
This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

Visual Rhetoric: Text Elements
Summary:
These resources will help students and teachers better understand the use of visual elements for rhetorical purposes.

Text is so obviously visual that its visual nature and power is often invisible. While it might be interesting to look at the history of typography, or the way type has been transformed by computers, what we really need to do is think about what type does. Let's consider a few examples using some words that are probably unfamiliar < http://www.lipsum.com/> to you so that you can better "see" the type without considering the actual meaning of the words (though we'll talk later about why meaning and visual should and cannot be separated).

Even with just these four type faces, we can see different personalities (however limited), levels of formality, and even hints of the rhetorical concept ethos emerging (one's credibility). Novice designers tend to choose fonts not according to their rhetorical situation, but rather to what they think looks pretty, or cool, or whatever. But it's important to think about the kinds of visual/cultural associations that different fonts bring with them. Here are the same four fonts, with text that appears visually/culturally appropriate:

The first two fonts (Arial and Century Schoolbook, respectively) may not jump out at you as having a whole lot of cultural associations; that's partly by design-the fonts are deliberately nondescript (especially Arial), and thus are used quite commonly. Not so with the fonts used for "Medieval History" (Dauphin) and "Bigfoot Captured!" (Futura Xtra Black Condensed Italic). The "Medieval History" text looks like our cultural conception of Medieval script. That is, the font looks almost like it was hand-written. Likewise, we've all seen tabloid papers in the checkout lanes of the supermarket, announcing in bold, loud text all sorts of incredible news.

Let's look again at a negative example, where these cultural codes are ignored:

Again, the first two examples may not jump out at you. But if "In deepest sympathy" were on the front of a sympathy card, it would seem cold, callous, impersonal. With the "Lafayette Teen Center," that font face may be appropriate in, say, a fundraising drive, but probably not for promotional materials to get teens to come there off of the streets (for that, we'd want a font that was exciting, more youthful in appearance). The "Chemistry Lab Report" example might seem OK at first glance (it's formal, it evokes a sense of history with the word "chemistry"-though chemistry is a relatively young discipline), but it fails rhetorically because it does not acknowledge the expectations of the general audience of chemists or chemistry instructors. Taken in that light, in fact, the text for "Chemistry Lab Report" looks ridiculous. Likewise with "Museum of Natural History"; we still see the tabloid headline in it, as though "Overtaken by Mutants" were the words we'd expect next!

Headline versus Body Text

Keeping in mind the ideas we've already covered, there is an issue of readability involved in font choices. For example, this script font is fine for the following headline text:

However, let's repeat the text from the preceding section in the same font:

Now, that font may be OK if that's all the text there is. But can you imagine reading that for five pages? 25? An entire biology textbook? Absolutely not! This is specifically why we have fonts like Times New Roman or Arial (though there are far better choices, in print, than those): they are comfortable to read for quite awhile; we don't have to strain to read the words.

Text and the Web

When novice designers bring some of their bad font-choice habits to the Web, the results can be disastrous.

First, there is the issue of how fonts get handled on the Web. You may have a computer with hundreds or even thousands of fonts installed on it, and as you're designing for the Web on that computer, it may seem no big deal to use Poster Wangedoodle Medium Xtra Bold, or whatever font it is that you're feeling is appropriate. However, you must realize that not all users have that (and many other fonts) installed on their computers. So stick with the simple standard for HTML text: Arial, Verdana, etc. In certain Web-authoring programs, you can also specify simply San Serif (no ornamentation, like Arial) or Serif (ornamentation, like Times New Roman); in these cases, your Web audience's browser will use a common font on the user's machine.

Second, following directly from the first issue, is screen readability. Some fonts that look awesome in print fail miserably on the screen (and vice-versa; Times New Roman is a great screen font, but doesn't work as well when it's printed). Again, even assuming the compatibility issues we just covered, fonts meant to look like handwritten script become practically illegible. And if the font used on a Web page isn't on the user's computer, they may just get a string of boxes or nonsense characters.

TEXT SUMMARY:
Questions to Consider When Choosing Fonts

1. What kinds of expectations does my audience have regarding fonts? Are they scholars or soccer fans? Church-goers or movie-goers?

2. What am I representing in my font choices? Am I a job applicant? A student writing a seminar paper? A club officer making a poster to advertise a formal dinner?

3. What kind of text am I running in different fonts? Headlines or fine print? Body text or bulleted lists?

4. What distance is my text being viewed at? On a greeting card or a bumper sticker? A poster or a flyer?

5. What fonts are commonly available on computers that I can use for the Web? What kinds of alternatives are available for text that cannot be displayed in Web browsers?

# data[].attributes.attachment_link.title
Visual Rhetoric: Text Elements // Purdue Writing Lab

# data[].attributes.attachment_link.description
This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice. Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission.

# data[].attributes.body
OWL Purdue - Font Features

# data[].attributes.body
Visme

# data[].attributes.attachment_link.readable_text
Video Transcript

Hey everybody, Payman again and I'm here to do another episode of Making Information Beautiful.

Today, I'm gonna talk to you about one of the things that I struggle with a lot in the past and it has to do with pairing fonts, and many designers, beginners or intermediate designers, when they get into a design program be it photoshop, illustrator or tools such as ours, Visme, Prezi and so on, they have a vast array of fonts and they feel they can just like a kid on a candy store. So they just go and try to mix and match all sorts of fonts together.

The problem is that it doesn't work so well. And what I wanna teach you today is there are certain guidelines that you wanna follow that would allow you to pair fonts and actually have a cleaner and a more aesthetic design. So here we go.

1. Type of fonts

Number 1 is the type of fonts. There's actually 2 different types of fonts. There's hundreds of fonts but they fall into 2 categories. One is Serif and another one is San Serif.

Serif fonts and San Serif fonts, what is the difference? Serif fonts have these little teeth there kinda like knobs and in the case of San Serif fonts, they're kinda more of a modern font; they have no edges and no teeth, so a little bit more of a smoother looking.

And so that's what distinguishes most fonts from each other. Those are the 2 types of categories.

Now let's talk about the difference between the Serif and San Serif from aspect of actual fonts. Serif fonts are like Times New Roman, you know there's Georgia and then with San Serif, you have Arial, you have Helvetica, you have Lato and so on.

Now, there's also fonts vs. typefaces. There are hundreds of different fonts but there are also typefaces.

What are typefaces? Typefaces, think of them as a collection of the design. Basically, it's a series of fonts that they kind of have a similar looking feel to them. So in the example over here which you see is there's Verdana and there's also Lato.

So Lato is the font, Verdana is a font, they're 2 different fonts. However, Verdana and Lato, they're actually very similar typefaces.

They have an emulate and similar type of a feel to each other. Now, there's an example behind me and in this case, if you look at it, there's 2 fonts that are paired to each other. There is the header which is in Helvetica, it's a San Serif and in Times New Roman the text below it.

So there is this way which you wanna do is to utilize different typefaces. And this allows you to have a little bit of contrast, a little bit of differentiation, okay?

2. Contrast

Now contrast. Contrast - I've talked about this before and there's a topic that I've just did a few weeks ago, talking about contrast in terms of foreground versus images, text on the front versus in the background as far as images.

So I talked a lot about that and the same thing actually applies in fonts. In fonts you can actually achieve contrast through a few different ways. So you can do that through size, you can have contrast through weight, you can achieve it through spacing, through style and also through color, okay? So there's an example behind me and there's a title, "Let's Change The Way We Design" and there's a body text below it. So I'm gonna show you a few of these different types of contrast that are all applied to this example.

Now, there's a font weight. So the font weight if you look at it, there's a "Let's Change The Way We Design" and it has a bold field to it, the word design is a lighter. There's the same font but it comes in different weights.

So that's one example that you're doing is you're distinguishing the contrast between the title and one word versus the actual rest of the title. Now another one is font sizes. So if you notice the title, the header is actually much larger. So much larger font versus the actual content below it.

And so what you're doing is you're achieving contrast utilizing fonts sizes. It allows you to decide on what you want the audience to focus on. In this case, the majority of focus goes towards the header itself. Now another one is font color. So if you look at here, colors allow you to basically engage your readers and allowed you to emphasize certain elements. So although we have on the header the same font used and although the word design is actually a lighter format, however the color of the "Design" is actually jumping at you, it is kind of engaging you and that's where your eye goes towards. So you can use color to achieve that.

Spacing: Spacing is extremely important as well, we talked about it in design all the time. The use of white space, so in this case by using spacing between the header and the content below it, the body text, you're achieving a certain sense of contrast.

And last but not least is style. So with style, you're talking about the whole mechanism and if you look at this example, it's kind of we're using the modern San Serif typefaces and so what you're getting is a modern feel. You're using this type of typeface to achieve that and then also your eye kind of flows from one point to another.

So if you look at this example, there's a couple of rectangles, green rectangles to the top and bottom and there's also the word Design, so it actually works like a triangle. So your eye goes from one point to another and that's how you're able to achieve that with the use of styles as well.

3. Consistency

And also, let's talk about consistency. So consistency is a key element in font pairing, although I talked about using different typefaces, you also still want to be consistent. And what you want to do is to avoid using multiple different types of fonts with each other. So you want to stick to using like a couple of different fonts. In the example above, we have 3 different types of fonts used.

Sometimes you use many different kinds. You wanna avoid that. What you want to do is to stick with only 2, maybe 3 fonts. So the same content is actually used underneath and in that case you have a header in 1 font style and then we have underneath of it, the body text and another. So you have this contrast and yet it is actually minimal and it has a nice feel to it.

Another one is where the mood of the fonts. Different fonts can actually emulate different moods and in this case what you have is 3-4 different fonts used and each of them has a different mood. That doesn't really go with each other. And so what we want to do instead in this example is we're using the script font with a neutral font. The neutral font can kind of go with any type of font and the script is kinda have the uniqueness in terms of the typeface.

Again, we're pairing 2 fonts and they kind of flow nicely together.
4. Content
Let's talk about content. The content also should drive the type of font that you select, right? It's not so much where we always force to font into the content but also the other way around.

If you look at this example, "Farm Fresh Grapes" and there is a nice image, kind of organic grapes I'm assuming, beautiful, tasty, right behind of it and so the use of the font is actually correlated with the design.

The words, the content and also even the image behind it, there's a certain you know, there's a certain context of the design is achieved through the use of the font.

Another example is this one. There's the word "Good Morning" and if you look at it, it's going with the image behind it. So again what you're doing is you're complimenting using the content, selecting the font and complementing the actual words and this can go with the text and also with the image behind. It's all part of one design.
5. Let's Practice
Now, let's do a practice, alright? I taught you a few different elements about how to pair fonts, a few examples. I wanted to actually do a real practice experiment.

Let's do one together. In this case, I have an example behind me. The background is a little bit blurry, we have kind of a hard to read text, at the same time the header and the body are both in Arial.

Again we're gonna do some font pairing, we're also gonna do a little bit of a design practice to put the fonts together and achieve some spacing, contrast and so on.

All the 5 things I've talked about, we're gonna achieve here.

The first thing that we want to do is that there's high quality background. You want to select the background that goes with the design. The text is kind of hard to read but you know, "Finding Your Brand's Visual Voice".

The images selected behind it, it actually correlates with that. So what you're doing is selecting the image that goes in the background with the text and also it's fitting the content of the text. Now, next thing, let me go over here. Now "Finding Your Brand's Visual Voice", again, what we're doing is using the space wisely.

By using the space in this case, what we're doing is taking the font and we've taken the content and actually put it into a smaller area, it's falling into the second half. And so you have a certain openness and also you have a focal point which in this case is starting to serve as the content area.

Next, what you want to do is to visually separate the text from the background. Again, this goes back to the contrast, what we're doing is very simply putting a shape that is dark, so it allows the white text to stand out, there's a certain level of transparency with that. Now next thing we want to do is to you want to decide what texture attract the attention first. So "Finding Your Brand's Visual Voice", the word "Visual Voice" is one of the focal points here. So what you do is you actually reduce the size of the other text and also the "Visual Voice" is in all caps, so that's kind of standing out. So that's where your attention goes to first.

And the next thing is we've take the text in the last example. If you look at it we've got text that's pretty wide and we want to follow the same scheme and achieve the same padding from the left side. We're gonna actually reduce the font size and also have it in the same parallel and again as a pattern on the left. So what we want to do next is to utilize a script because that will go pretty well with the Sans font for the header.

Now, what we've achieved here is with all these different elements and the balancing, there is a kind of a clean, easy to read typeface set and also we have a kind of a nice hierarchy and balance for the design. And the last but not least is we're adding a line and that just kinda helps to create a bit of an additional visual hierarchy.

This was a good example for you to understand as far as how you could take those you know, guides for combining fonts and utilizing the contrast in terms of the font style, color and so on to achieve a clean harmonious design.

I hope you put a few of these to work and it doesn't matter if you're creating a powerpoint presentation, if you're creating infographics or just a flyer, these guides and these principles are pretty much the same and if you follow them, I promise you you'll have a better end result for your project.

See you guys next time!

# data[].attributes.attachment_link.title
How to Select and Pair Fonts in your Design | Visme

# data[].attributes.attachment_link.description
Video Transcript Hey everybody, Payman again and I'm here to do another episode of Making Information Beautiful.

# data[].attributes.body
Matrix Toolkit

# data[].attributes.attachment_link.readable_text
Looking for a comprehensive list of film techniques and a breakdown of how they create meaning? Well, this is it. In this searchable guide, you'll find all the important film techniques you need to discuss in your essays.

All about the Ultimate Film Techniques List

Films take us on journeys; we become immersed in worlds beyond our own. The best films lead us to ask questions about our world as well as ourselves. However, sometimes it can be difficult to translate our reactions to film into meaningful English analysis.

We've put this list together to help you make sense of these choices and analyse films more effectively.

When filmmakers construct their films, they combine multiple techniques together to develop meaning. Film combines visual elements with auditory elements to develop meaning.

To understand how the various techniques combine to create meaning, watch the following video we have put together that lists the techniques employed in various film scenes.

Film Techniques Toolkit from Matrix Education on Vimeo

The list below provides some of the key film techniques for writing about cinematic texts.

Ultimate Film Techniques List

There are a huge number of techniques that are used in films to convey meaning. Below are some of the must-know techniques that are included in the glossaries of Matrix English Theory Books.

Camera angles refer to the tilt of the camera in relation to the scene and the characters. Unusual camera angles can emphasise an action sequence, disorientate the audience, and suggest the relationship between characters.

The main angles are:

Low - Establishes the power of the character or object

Eye-Level - Allows the audience to get personal with the character(s)

High - Presents the subject as vulnerable or lacking in power

Worm's Eye - Presents the figure as very large and/or powerful

Canted (also known as a Dutch Angle)- Develops psychological unease or tension.

Bird's Eye - Often used to establish a shot and characters' relationship to it

2. Bridging Shot

A shot that marks the passage of time in a film. This is sometimes a series of newspaper headlines, a calendar, tress going through seasonal changes, or the hands turning on a clock.

This bridging shot marks the passing of evening. Note the fast turning of the clock hands and rapid melting of the candle.

Colour, especially the choice of colour palette or scheme, can reflect the mood of the piece. Colour in a scene can also be enhanced through lighting.

For example, in The Great Gatsby (2013), the use of a vibrant colour scheme reflects the opulent lifestyle of New York elites in the 1920s.

You can learn more about colour symbolism at Studio Binder.

4. Cucoloris

Cucoloris is a lighting technique where an object is placed between the light source and the subject in order to create a patterned shadow. A staple of film noir.

5. Cross-Cutting

Cross-cutting is an editing technique where actions are established as occurring at the same time. The camera will cut away from one action to another action elsewhere to suggest these things are occurring at the same moment.

Cross cutting is used in Christopher Nolan's Inception (2010) to build tension in a crucial action scene.

6. Dialogue

A conversation between two characters is called dialogue. Written by scriptwriters to convey the film's plot, dialogue is also useful in conveying character.

7. Dissolve

A transition that moves between one shot and another by overlaying one shot and fading the first image out while strengthening the second shot. This can denote daydreams, memories, the passing of time, or signify phone conversations and long-distance communication.

Consider this example from Paul Thomas Anderson's Inherent Vice (2014):

In this dissolve, we are taken to one of Larry "Doc" Sportello's memories that are triggered during a phone call.

8. Dolly Shot

A dolly is a wheeled cart that the camera and operator are seated on. A dolly shot is a shot where the dolly is pushed along to move with the action. This is similar to a tracking shot, but without the tracks so that the camera can have a broader range of motion.

The video below discusses the difference between dolly shots and zooms and how they can be used (or even combined) to create effects and meaning.

9. Editing Sequence

The order of each shot and how they have been put together to create a scene. This is usually based upon the storyboard used by the director.

However, some directors such as Werner Herzog refused to use storyboards, and shoot many scenes which they edit together by trial and error.

10. Editing Wipes

In editing, wipes are used to transition between scenes in a variety of ways rather than just cutting. Types of wipes include:

Horizontal wipe - the wipe moves horizontally across the screen

Vertical wipe - The wipe moves vertically across the screen

Diagonal wipe - The wipe moves diagonally across the screen

Star wipe - The wipe is the shape of an expanding star to demonstrate something special happening

Heart Wipe - The wipe takes the shape of a heart expanding or contracting to illustrate romance or friendship

Clock Wipe - The wipe is a circular motion like a clock arm to illustrate the passage of time

Matrix wipe - a patterned transition between scenes

In this scene of Mark Waters' Mean Girls (2004), we see a horizontal wipe being used to draw emphasis to Karen's appalled facial expression.

Put your film knowledge into practice!

Studying English shouldn't stop because you're at home! We provide you with clear and structured online lesson videos, quality resources, and forums to ask your Matrix teachers questions and feedback!
Learn more about our Matrix+ Online English course now.
11. Establishing Shot

A type of extreme long-shot that establish the context - time and setting - of a scene or film. Often establishing shots use famous landmarks or places, like the Sydney Harbour Bridge.

12. Eyeline Match

A type of cut where the shot of a character looking at something cuts to a shot of the thing they were looking at the same level. This type of cut is used to show the audience what they were looking at.

It's used in Stephen Daldry's The Hours (2003) to capture Clarissa's fearful expression as she watches Richard perched on the window sill.

13. Fade In/Out

An editing technique where the shot fades out from one shot going to black before fading into a new shot.

This scene from Mark Waters' Mean Girls (2004) fades out, as Cady processes how Regina was just hit by a bus.

14. Flashback

Images that refer to previous events in the characters` lives. Flashbacks can be used to foreshadow future events.

15. Intertitle

Text which is printed on a background and placed between filmed scenes through editing. In silent films, intertitles can convey dialogue and exposition.

16. Iris

Similar to other editing wipes, this is a type of transition where the screen irises closed around a particular thing on screen. These can be used to signify daydreams, provide a dramatic transition, or signify the end of a scene.

17. Jump Cut

A cut that moves fractionally forward in time. These shots focus on the same subject but either use a different angle or have the subject in a different position to illustrate that time has moved forward in time. Jump cuts are usually used to show time passing forward.

Below is an instance of jump cuts in Frank Oz's Little Shop of Horrors (1987).

Lighting contributes to the mood of a film and suggests interpretations of a character. Are they good? Are they nefarious?

Low key lighting emphasises the shadows in a shot, while lighting from above or below can suggest that a character possesses sinister qualities.

19. Long Take

Also called a sequence shot (and occasionally referred to as a one-shot)

20. Match Cut

Jumps from one shot to another similar shot that matches the composition of the first shot.

Here's an example of a match cut in the opening of Taylor Swift's Style music video.

21. Mise en scène

Mise en scène translates as 'what is put into a scene'. This French expression refers to the composition of a scene, including placement of characters, costume, make- up and setting.

22. Montage

A montage is a type of editing sequence where a series of shots play rapidly to create a narrative. Often a montage will be accompanied by a unifying piece of music to convey the dominant mood connected with the sequence.

Animated GIF: A montage from Fritz Lang's Metropolis (1927)

23. Mood

Mood refers to the feelings suggested by the combination of all the elements on the screen and the accompanying sound. Another way to refer to the mood is to discuss atmosphere.

Music can convey the theme, mood and atmosphere. There are different types of music in films.

The score is extra-diegetic music composed for the film, designed to evoke the film's desired mood for the audience.

Music heard by the characters in the film is called diegetic music.

25. Over the Shoulder (OTS)

A type of sequence shot or tracking shot where the camera follows a character by following them and shooting over their shoulder. Like a Point of View shot, an over the shoulder shot focalises (that is, focuses in on) on the characters experience.

Stephen Daldry's The Hours (2003) utilises an over the shoulder shot of Virginia frustratedly speaking to Leonard.

26. One-Shot

Also referred to as a or Sequence Shot. A one-shot is actually a type of long-take or sequence shot where the effect of being one shot is created through editing. For example, Alejandro G. Iñárritu's 2014 film, Birdman uses careful editing to give the appearance of a single take.

In some cases, a one-shot is used to refer to whole films made in one take, such as the 2015 film German film, Victoria.

27. Panning Shot

A shot where the camera swivels horizontally around a fixed point to follow the subject.

A panning shot is used in Amy Heckerling's Clueless (1995) to show Cher chasing her father around the kitchen to give him a glass of orange juice.

28. Point Of View Shot (POV)

A shot that is taken from a character's point of view, like a first-person video game. Point of View shots focalise (that is, focus in on) a character's experience.

29. Rack Shot

A shot where the camera shifts the focus while holding the same shot to bring another object into focus. Rack shots change the depth of the shot.

The example below is from the TV series Sherlock. In it, the focus shifts from Sherlock to Watson.

Animated GIF: In this rack shot, the focus shifts from Sherlock in the foreground to Watson in the background.

30. Scene

A unit of narrative used to divide up a dramatic text or film. A scene usually takes place in a single location and focuses on a single action in one moment of varying length.

31. Setting

The place where the action of the film occurs.

32. Sequence Shot

A sequence shot is a single long take shows a series of actions happening one after another within the same shot. Sequence shots are occasionally called long takes and one-shots. Sequence shots are very hard to do and can develop quite a lot of meaning.

A famous example is Martin Scorses's Copacabana shot from his 1990 film, Goodfellas.

This shot illustrates the Henry Hills' wealth and connections while he shows off to his date. This take combines over the shoulder and point of view perspectives.

33. Shot Type

Shot types indicate how close or far the camera is from the characters. Shot types range from Extreme Long Shot (XLS), where the characters may be very small and embedded in a landscape, to Extreme Close Up (XCU), where part of the character's face makes up the whole shot.

The shots are:

Extreme Long Shot (XLS)

Long Shot (LS)

Medium Long Shot (MLS)

Medium Shot (MS)

Medium Close Up (MCU)

Close Up (CU)

Super Close Up (SCU)

Extreme Close Up (XCU)

Image: Examples of various shot types

34. Sound

The sound of a film helps to create atmosphere - this can include:

Like music, sound can be divided into:

Diegetic: occurring in the world of the film

Extra-diegetic (occurring outside the world of the film)

An object used to suggest ideas in addition to, or beyond, their literal sense. For example, the glass slipper in Cinderella symbolises the opportunity that Cinderella has to live a different life. Watch films carefully to spot symbols and their potential meaning to the plot. If a symbol recurs throughout the film it is a motif.

Animated GIF: This GIF is from Sam Mendes' American Beauty (1999). The dancing plastic bag symbolises how beauty is found in things that are often discarded. The bag is rubbish to many, but its dance in the wind is beautiful.

36. Steady Cam

A type of camera that is used in action sequences. A steady cam rig allows the camera to be worn by the operator so they can follow an action sequence without the shot become overly jerky.

This video shows examples of shots taken with the steady cam, explained from the perspective of a steady cam operator.

37. Transitions

A way to transition between shots. Transitions involve cuts, fades, and wipes (see above for specific definitions).

This is a good video that explains these various techniques.

38. Tilt

When the camera tilts in shot to show the subject away from the horizontal axis.

Example: A tilt shot of Captain America

39. Title Card

40. Tracking Shot

A shot that follows a subject as they move.

In Jane Campion's Bright Star (2009), a tracking shot of Brawne is used to capture her grieving reaction to Keats' death.

41. Two Shot

A shot that features two characters and is used to establish or develop their relationship.

42. Zoom

The camera zooms in or out to focus on an object or to show how far away it is. Zooms can be used for dramatic effect or can be used to show objects in relation to each other for scale.

See Dolly Shot above for a video discussing the difference between Zooms and Dolly shots.

Thanks for reading the Ultimate Film Techniques List

We hope you found this ultimate film techniques list useful. Don't forget to check the individual articles to broaden your knowledge of film like Matrix students do.

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site's author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

# data[].attributes.attachment_link.title
The Ultimate Film Techniques List [2022 UPDATE]

# data[].attributes.attachment_link.description
In this Guide, we give you the ultimate film techniques list to help you identify and analyse your set films. 2022 Update.

# data[].attributes.attachment_link.title
How to Speak Movie Part 2: Mise en Scène

# data[].attributes.attachment_link.description
From the “I have a dream” speech to Steve Jobs’ iPhone launch, many great talks have a common structure that helps their message resonate with listeners. In this talk, presentation expert Nancy Duarte shares practical lessons on how to make a powerful call-to-action.

# data[].attributes.body
Wix

# data[].attributes.attachment_link.readable_text
You might have the most gorgeous design in the world ready for your website - fonts, graphics, colors, images. But without the right composition, you can't be sure your visitors' eyes will be locked on the screen.

Composition is the way in which design elements are put together - or, aligned and arranged - to create a balanced and visually appealing web page. Good composition creates an easy way for readers to navigate your website while strengthening the main message that you want to communicate with them. Applying basic concepts and techniques in composition are the building blocks to creating a beautiful and functional website. We're here to walk you through the essential composition rules you need to know.

Create Hierarchy

Some elements of your website design will be more important than others. Creating a hierarchy of these elements will ensure that the most important things are seen first - such as a page title, image, or button. The hierarchy will also guide your reader's eye to those elements in a natural and engaging way. Here are a few techniques for creating hierarchy within your web design:

Size, Scale, and Typography

Achieve layout nirvana usinga combination of size, scale, and typography. Though the first two may seem similar, they each hold different functions within web design. Size and scale will help you signal to your visitors where to focus their attention first, add weight to your messaging, and create a sense of order on the page.

Size: Your most important elements should often be the biggest. This holds especially true for titles, images, and calls-to-action (instructing your audience to take an action such as "contact us"). By making your most important information large and prominent, your reader will naturally understand what he or she should know - or what action you are pushing them to take - quickly and seamlessly.

Scale: A single element has no scale until it's seen in comparison with something else. In general, your most important information should be the largest - then scale down text or photos that are less crucial to your message. What's more, lack of scale can lead to a static and boring design, as well as ambiguity in meaning.

Typography: By arranging text according to distinct type styles (e.g. bold, decorative, script) or with scaled font sizes (e.g. 16, 18, 21, 24, 36, 48, 60, 72) you will instantly draw the viewer's attention to the largest-sized type first - which is usually, but not always, the headline. Learn more about the ins and outs of typography here.

Color is another design tool that can be used to accentuate more important elements within your website's composition. Bursts of color can guide the viewer's eye to focus on certain elements and away from others. Bright colors will jump from the page, while muted colors or grayscale will deter the eye. Similarly, lighter shades of color appear more "distant" and fall lower on the hierarchy than richer, darker ones. Design elements that benefit from strong color include headline type, borders, backgrounds, buttons, and popups.

Where you place a design element on a page is another technique for creating hierarchy. Within a circle, for example, the center is the most hierarchical point. It draws the eye and therefore is understood to have a higher level of importance. The same principle applies for the placing of elements on your website.

On a website, our eyes are generally drawn to the top left of the page. We then scan right, and down. In turn, the most important elements should follow in this order. Similarly, if you've got a great blog with a list of articles, the most relevant will be placed at the top.

The consistency of the Internet has taught us certain basic rules that we're used to following, even if we have no idea they exist. We expect a menu at the top of the page. Sign in details or a shopping cart will most often be found in the top right corner. This kind of positioning can all inform the placement of elements in your website.

Find Your Focus

Creating a strong focal point is key to good composition. Whether you want visitors to purchase a product, book a service, or subscribe to a newsletter, you'll need to find a way to shine a spotlight on what matters.

Though hierarchy is one technique for drawing attention to certain elements, there are several other design concepts that can be used to achieve focus. The trick is to use design elements that draw attention, but don't overpower the rest of the elements on your page. Remember, no one area of the composition should draw your eye so much that you completely miss the others.

In addition to strong hierarchy on each page, try out these design techniques to help your visitors navigate without thinking.

White space

White space can be your website's best friend. Contrary to what you might think, it's not always there to be filled. In fact, calling it "free space" is a common faux pas. It can be used as a key component of your website's design - white space enables your website to "breathe" as well as balance out the busy parts of your composition. Adding too many design elements, filling up the screen with crowded type and overlapping images is a big no no.

Leading Lines

If there is a specific path you want people to follow on your pages, leading lines are often a great option. Sure, it seems obvious, but adding actual lines to guide people's eyes can help. Check out this landing page for a creative use of leading lines.

Create Contrast

If you feel your site design is lacking that special something, it could be contrast. Contrast is the difference between two or more elements - it's a wider concept that includes scale. With contrast, you can generate visual interest and guide the attention of the user. It's not only a great technique for distinguishing items of greater importance but also balances the general organization, flow, and hierarchy of your content. Here are a few ways to effectively use contrast on your website:

Color: Color is perhaps the easiest, and most familiar, way to create contrast. Two very different colors (such as black and white) have a high contrast. Two colors that are very similar to each other (like blue and green) have a low contrast. A high contrast color scheme will make your chosen element pop from the page. Using a softer color palette (such as pastels or earthy tones) are low contrast themes that also work well together.

Scale: When contrasting two elements, we usually want to make the difference a big one. Contrast in size can be an obvious technique. By placing two design elements of contrasting size on the same page you are pointing out to the viewer what they need to pay attention to (often the larger object), and ranking one against the other (letting them know what's important).

Shape: Contrasting shapes can be anything from small details like rounding the corners of a square button to integrating eye-catching shapes to break up the page design. Check out this frozen yogurt company to see how they have used shape contrast to highlight their product's main selling point: its nutritional value.

Develop a Design Rhythm

Though it might sound funky, every good website has a rhythm - or visual flow - worked into its composition. Rhythm is created by repeating certain design elements throughout your site. You can choose to repeat colors, shapes, patterns or another element (see below.) Rhythm in your website looks clean, visually pleasing and helps your site to be easy to navigate. It also gives users feelings of comfort and control, whether consciously or not. Consistency is key.

Common places to create rhythm in your website design include the following:

Page Layouts: You may often see repeated layout patterns on the different pages of a website. Each page's layout doesn't have to be identical, but using consistent layouts gives your site a familiar, comfortable rhythm.

Navigation: Navigation bars and menus always contain repeated items, so your users know how to move around, no matter where they are on your site.

Icons: From a shopping cart to social media buttons, your website's icons should be the same size and shape.

Text: Consistent use of line-length, line-height, and font sizes can create a sense of rhythm.

Blog Index: If you add a blog to your site, make sure the posts that show up on the same page follow the same visual format: most commonly a title, lead image and a first paragraph or two.

Images: Rhythm from images comes in several forms. If you include a gallery in your website, a layout with repeating rows and columns helps people to slow down and scan carefully. Using a similarly-sized image in the same place on every page can also create rhythm.

Your goal is to create a sense of harmony between all the on-screen elements that is consistent on every page.

Though there's a lot to sort through when it comes to composition, stick to these guidelines and we know you'll do just fine.

# data[].attributes.attachment_link.title
Essential Composition Rules for Your Website | Website Building | Wix Academy

# data[].attributes.attachment_link.description
You might have the most gorgeous design in the world ready for your website - fonts, graphics, colors, images. But without the right composition, you can't be sure your visitors' eyes will be locked on the screen. Composition is the way in which design elements are put together - or, aligned and arranged - to create a balanced and visually appealing web page.

# data[].attributes.attachment_link.readable_text
A figure of speech is a rhetorical device that achieves a special effect by using words in a distinctive way. Though there are hundreds of figures of speech, here we'll focus on 20 top examples.

You'll probably remember many of these terms from your English classes. Figurative language is often associated with literature and with poetry in particular. Whether we're conscious of it or not, we use figures of speech every day in our own writing and conversations.

For example, common expressions such as "falling in love," "racking our brains," and "climbing the ladder of success" are all metaphors-the most pervasive figure of all. Likewise, we rely on similes when making explicit comparisons ("light as a feather") and hyperbole to emphasize a point ("I'm starving!").

Did You Know?

Using original figures of speech in our writing is a way to convey meanings in fresh, unexpected ways. They can help our readers understand and stay interested in what we have to say.

Alliteration

The repetition of an initial consonant sound.

Example: She sells seashells by the seashore.

The repetition of the same word or phrase at the beginning of successive clauses or verses.

Example: Unfortunately, I was in the wrong place at the wrong time on the wrong day.

Antithesis

The juxtaposition of contrasting ideas in balanced phrases.

Example: As Abraham Lincoln said, "Folks who have no vices have very few virtues."

Apostrophe

Directly addressing a nonexistent person or an inanimate object as though it were a living being.

Example: "Oh, you stupid car, you never work when I need you to," Bert sighed.

Identity or similarity in sound between internal vowels in neighboring words.

Example: How now, brown cow?

A verbal pattern in which the second half of an expression is balanced against the first but with the parts reversed.

Example: The famous chef said people should live to eat, not eat to live.

The substitution of an inoffensive term for one considered offensively explicit.

Example: "We're teaching our toddler how to go potty," Bob said.

An extravagant statement; the use of exaggerated terms for the purpose of emphasis or heightened effect.

Example: I have a ton of things to do when I get home.

The use of words to convey the opposite of their literal meaning. Also, a statement or situation where the meaning is contradicted by the appearance or presentation of the idea.

Example: "Oh, I love spending big bucks," said my dad, a notorious penny pincher.

A figure of speech consisting of an understatement in which an affirmative is expressed by negating its opposite.

Example: A million dollars is no small chunk of change.

An implied comparison between two dissimilar things that have something in common.

Example: "All the world's a stage."

A figure of speech in which a word or phrase is substituted for another with which it is closely associated; also, the rhetorical strategy of describing something indirectly by referring to things around it.

Example: "That stuffed suit with the briefcase is a poor excuse for a salesman," the manager said angrily.

Onomatopoeia

The use of words that imitate the sounds associated with the objects or actions they refer to.

Example: The clap of thunder went bang and scared my poor dog.

A figure of speech in which incongruous or contradictory terms appear side by side.

Example: "He popped the jumbo shrimp in his mouth."

A statement that appears to contradict itself.

Example: "This is the beginning of the end," said Eeyore, always the pessimist.

Personification

A figure of speech in which an inanimate object or abstraction is endowed with human qualities or abilities.

Example: That kitchen knife will take a bite out of your hand if you don't handle it safely.

​ A play on words, sometimes on different senses of the same word and sometimes on the similar sense or sound of different words.

Example: Jessie looked up from her breakfast and said, "A boiled egg every morning is hard to beat."

A stated comparison (usually formed with "like" or "as") between two fundamentally dissimilar things that have certain qualities in common.

Example: Roberto was white as a sheet after he walked out of the horror movie.

Synecdoche

A figure of speech in which a part is used to represent the whole.

Example: Tina is learning her ABC's in preschool.

Understatement

A figure of speech in which a writer or speaker deliberately makes a situation seem less important or serious than it is.

Example: "You could say Babe Ruth was a decent ballplayer," the reporter said with a wink.

# data[].attributes.attachment_link.title
Definitions and Examples of the Top 20 Figures of Speech

# data[].attributes.attachment_link.description
A figure of speech is a rhetorical device that achieves a special effect by using words in a distinctive way. Though there are hundreds of figures of speech, here we'll focus on 20 top examples. You'll probably remember many of these terms from your English classes.

# data[].attributes.headline
Extract on Persuasion from Oxford DP LL textbook

# data[].attributes.subject
Extract on Persuasion from Oxford DP LL textbook

# data[].attributes.body
Aristotle's "modes for persuasion" - otherwise known as rhetorical appeals

# data[].attributes.attachment_link.readable_text
A rhetorical device is a linguistic tool that employs a particular type of sentence structure, sound, or pattern of meaning in order to evoke a particular reaction from an audience. Each rhetorical device is a distinct tool that can be used to construct an argument or make an existing argument more compelling.

Any time you try to inform, persuade, or argue with someone, you're engaging in rhetoric. If you've ever had an emotional reaction to a speech or changed your mind about an issue after hearing a skilled debater's rebuttal, you've experienced the power of rhetoric. By developing a basic knowledge of rhetorical devices, you can improve your ability to process and convey information while also strengthening your persuasive skills.

Types of Rhetorical Devices

Rhetorical devices are loosely organized into the following four categories:

1. Logos. Devices in this category seek to convince and persuade via logic and reason, and will usually make use of statistics, cited facts, and statements by authorities to make their point and persuade the listener.

2. Pathos. These rhetorical devices base their appeal in emotion. This could mean invoking sympathy or pity in the listener, or making the audience angry in the service of inspiring action or changing their mind about something.

3. Ethos. Ethical appeals try to convince the audience that the speaker is a credible source, that their words have weight and must be taken seriously because they are serious and have the experience and judgment necessary to decide what's right.

4. Kairos. This is one of the most difficult concepts in rhetoric; devices in this category are dependent on the idea that the time has come for a particular idea or action. The very timeliness of the idea is part of the argument.

Top Rhetorical Devices

Since rhetoric dates back to ancient times, much of the terminology used to discuss it comes from the original Greek. Despite its ancient origins, however, rhetoric is as vital as ever. The following list contains some of the most important rhetorical devices to understand:

1. Alliteration, a sonic device, is the repetition of the initial sound of each word (e.g. Alan the antelope ate asparagus).

2. Cacophony, a sonic device, is the combination of consonant sounds to create a displeasing effect.

3. Onomatopoeia, a sonic device, refers to a word that emulates the real-life sound it signifies (e.g. using the word "bang" to signify an explosion).

4. Humor creates connection and identification with audience members, thus increasing the likelihood that they will agree with the speaker. Humor can also be used to deflate counter-arguments and make opposing points of view appear ridiculous.

5. Anaphora is the repetition of certain words or phrases at the beginning of sentences to increase the power of a sentiment. Perhaps the best-known example of anaphora is Martin Luther King Jr.'s repetition of the phrase "I have a dream."

6. Meiosis is a type of euphemism that intentionally understates the size or importance of its subject. It can be used to dismiss or diminish a debate opponent's argument.

7. Hyperbole is an exaggerated statement that conveys emotion and raises the bar for other speakers. Once you make a hyperbolic statement like "My idea is going to change the world," other speakers will have to respond in kind or their more measured words may seem dull and uninspiring in comparison.

8. Apophasis is the verbal strategy of bringing up a subject by denying that that very subject should be brought up at all.

9. Anacoluthon is a sudden swerve into a seemingly unrelated idea in the middle of a sentence. It can seem like a grammatical mistake if handled poorly, but it can also put powerful stress onto the idea being expressed.

10. Chiasmus is a technique wherein the speaker inverts the order of a phrase in order to create a pretty and powerful sentence. The best example comes from President John F. Kennedy's inaugural address: "Ask not what your country can do for you- ask what you can do for your country."

11. Anadiplosis is the use of the same word at the end of one sentence and at the beginning of the subsequent sentence, forming a chain of thought that carries your audience to the point you've chosen.

12. Dialogismus refers to moments when the speaker imagines what someone else is thinking, or speaks in the voice of someone else, in order to explain and then subvert or undermine counterpoints to the original argument.

13. Eutrepismus, one of the most common rhetorical devices, is simply the act of stating points in the form of a numbered list. Why is it useful? First off, this devices makes information seem official and authoritative. Second, it gives speech a sense of order and clarity. And third, it helps the listener keep track of the speaker's points.

14. Hypophora is the trick of posing a question and then immediately supplying the answer. Do you know why hypophora is useful? It's useful because it stimulates listener interest and creates a clear transition point in the speech.

15. Expeditio is the trick of listing a series of possibilities and then explaining why all but one of those possibilities are non-starters. This device makes it seem as though all choices have been considered, when in fact you've been steering your audience towards the one choice you desired all along.

16. Antiphrasis is another word for irony. Antiphrasis refers to a statement whose actual meaning is the opposite of the literal meaning of the words within it.

17. Asterismos. Look, this is the technique of inserting a useless but attention-grabbing word in front of your sentence in order to grab the audience's attention. It's useful if you think your listeners are getting a bit bored and restless.

Examples of Rhetorical Devices

Rhetoric isn't just for debates and arguments. These devices are used in everyday speech, fiction and screenwriting, legal arguments, and more. Consider these famous examples and their impact on their audience.

1. "Fear leads to anger. Anger leads to hate. Hate leads to suffering." -Star Wars: The Empire Strikes Back.
Rhetorical Device: Anadiplosis. The pairs of words at the beginning and ending of each sentence give the impression that the logic invoked is unassailable and perfectly assembled.

2. "Ask not what your country can do for you, ask what you can do for your country." -President John F. Kennedy.
Rhetorical Device: Chiasmus. The inversion of the phrase can do and the word country creates a sense of balance in the sentence that reinforces the sense of correctness.

3. "I will not make age an issue of this campaign. I am not going to exploit, for political purposes, my opponent's youth and inexperience." -President Ronald Reagan
Rhetorical Device: Apophasis. In this quip from a presidential debate, Reagan expresses mock reluctance to comment on his opponent's age, which ultimately does the job of raising the point of his opponent's age.

4. "But in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow this ground." -Abraham Lincoln, Gettysburg Address.
Rhetorical Device: Anaphora. Lincoln's use of repetition gives his words a sense of rhythm that emphasizes his message. This is also an example of kairos: Lincoln senses that the public has a need to justify the slaughter of the Civil War, and thus decides to make this statement appealing to the higher purpose of abolishing slavery.

5. "Ladies and gentlemen, I've been to Vietnam, Iraq, and Afghanistan, and I can say without hyperbole that this is a million times worse than all of them put together." -The Simpsons.
Rhetorical Device: Hyperbole. Here, hyperbole is used to humorous effect in order to undermine the superficial point of the sentence.

Rhetoric. The discipline of discourse and persuasion via verbal argument.

Rhetorical Device. A tool used in the course of rhetoric, employing specific sentence structure, sounds, and imagery to attain a desired response.

Logos. The category of rhetorical devices that appeal to logic and reason.

Pathos. The category of rhetorical devices that appeal to emotions.

Ethos. The category of rhetorical devices that appeals to a sense of credibility.

Kairos. The concept of "right place, right time" in rhetoric, wherein a specific rhetorical device becomes effective because of circumstances surrounding its use.

"16 Rhetorical Devices That Will Improve Your Public Speaking." Duarte, 19 Mar. 2018, www.duarte.com/presentation-skills-resources/rhetoric-isnt-a-bad-thing-16-rhetorical-devices-regularly-used-by-steve-jobs/.

Home - Ethos, Pathos, and Logos, the Modes of Persuasion ‒ Explanation and Examples, pathosethoslogos.com/.

McKean, Erin. "Rhetorical Devices." Boston.com, The Boston Globe, 23 Jan. 2011, archive.boston.com/bostonglobe/ideas/articles/2011/01/23/rhetorical_devices/.

# data[].attributes.attachment_link.title
Rhetorical Devices: What They Are and How to Use Them

# data[].attributes.attachment_link.description
Rhetorical devices are tools you can use when constructing arguments and speeches. This list contains important rhetorical devices with examples.

# data[].attributes.attachment_link.description
Writers Write is a comprehensive writing resource. We have put together this list of 155 words to help you describe an author's tone.

# data[].attributes.headline
Examples of rhetorical devices in Steve Jobs' speech

# data[].attributes.subject
Examples of rhetorical devices in Steve Jobs' speech

# data[].attributes.attachment_link.readable_text
Ask anyone who the best contemporary speakers are, and there's a pretty good chance they'll rank Steve Jobs in the top five.

The late, great mind behind Apple didn't just dream up a company that changed the way humans interact. He was also a visionary and an unparalleled communicator. He knew exactly how to deliver his ideas in a way that moved audiences and left long-lasting impressions.

A number of Jobs' speeches have garnered attention for being stirring, inspirational, and well-written. Jobs' Stanford commencement speech, "Stay Hungry, Stay Foolish," given in 2005, is often cited as one of the most powerful speeches of the last few decades, and one of the best graduation speeches ever given (the video has more than 28.8 million unique views on YouTube.)

There are several reasons that Jobs became such a legendary speaker. First, Jobs wasn't afraid to be theatrical and dramatic. He used props, included shocking statistics and facts, and illustrated his words visually.

Jobs also knew how to structure a presentation-building suspense, keeping listeners engaged, and helping them envision what their future could look like if they embraced his ideas. We at Duarte call that structure a Sparkline.

Finally, Jobs' speeches were so powerful because of the way he used rhetorical devices to deliver his message. Rhetoric-which people sometimes call "the art of language" uses figures of speech and persuasive strategies to elevate language and make it more engaging, memorable, and entertaining.

When used properly, rhetoric can be a powerful tool for crafting speeches that stick. By couching his messages using rhetorical techniques, Jobs was able to deliver ideas that would go on to shape the world.
16 Rhetorical Devices Steve Jobs Used in the Macworld 2007 iPhone Launch
One of Jobs' best speeches was given at Macworld 2007-during the original iPhone launch. In this speech, he announced a new tech device that would change the world forever.

Throughout his talk, he used powerful tricks and tools. He repeated sound bites to make an impression; he showed the audience the new product in order to shock them; and he also painted a picture of the future that got people excited about what was coming.

But what made this speech one of his best was his use of rhetorical techniques, which made the announcement beautiful to listen to and moving to grasp. Take a look at the 16 most brilliant rhetorical devices used by Jobs during the iPhone launch:

Anaphora (means carrying up or back): The repetition of a word of phrase at the beginning of every clause.

"As you know, we've got the iPod, best music player in the world. We've got the iPod Nanos, brand new models, colors are back. We've got the amazing new iPod Shuffle."
-Steve Jobs

Epiphora: The repetition of a word or phrase at the end of every clause.

"Well, these are their home screens. And again, as you recall, this is the iPhone's home screen. This is what their contacts look like. This is what iPhone's contacts look like."

Symploke: The combination of one or several anaphora(s) with one or several epiphora(s).

" In 1984, we introduced the Macintosh, it didn't just change Apple, it changed the whole computer industry. In 2001, we introduced the first iPods, and... it didn't just change the way we all listen to music, It changed the entire music industry."*

*With parallelism and germinatio

Germinatio: The repetition of a word or word group within one sentence.

"That's 58 songs every second of every minute of every hour of every day."

"And so I've got voice mail how I wanna listen to it, when I wanna listen to it, in any order I wanna listen to it with visual voice mail."

Anadiplosis: The repetition of the last word of a sentence that is also the first word of the following sentence or sequence.

"And they garnered two percent market share. Two percent market share. iPod had 62 percent market share, and the rest had 36."

Asyndeton: Sequence or words or similar expression without the use of conjunctions.

"We've got movies, TV shows, music, podcasts, photos."

Polysyndeton: Repetition of conjunctions in a series of coordinated words, phrases, or clauses.

"It's got everything from Cocoa and the graphics and it's got core animation built in and it's got the audio and video that OSX is famous for."

Interrogatio: A rhetorical question in which the answer is self-evident.

"Isn't that incredible?"
"Want to see that again?"
"Pretty cool, huh?"

Exclamatio: An exclamation that expresses the emotional affection of the speaker.

"I just take my unit here, and I turn it landscape mode, oh, look what happens! I'm in cover flow."

"Wha, whoa, what is this?"

Aporia: A feigned statement of doubt by the speaker and a question to the audience about how he should act.

"Now, how are we gonna communicate this? We don't wanna carry around a mouse, right? What are we gonna do?"

Hyperbole: An exaggeration of the characteristics of an object or circumstance.

"Best version of Google Maps on the planet, widgets, and all with Edge and Wi-Fi networking."

Simile: An explicit comparison between two things, usually using "as" or "like".

"It works like magic."

Antitheton: The opposition of two facts of contrasting content.

"The kind of things you would find on a typical phone, but in a very untypical way now."

Metaphor: A comparison made by referring to one thing as another.

"A huge heart transplant to Intel microprocessors."

Climax: The increase from a waker to a stronger expression. Thus, a word sequence is arranged in ascending order.

"First was the mouse. The second was the click wheel. And now, we're gonna bring multi-touch to the market."

Personification: The attribution of human properties toward things or animals.

" It already knows how to power manage....and if there's a new message it will tell me."

Slogans
Mr. Jobs also had specific phrases he wanted to repeat over and over. According to Carmine Gallo, this was all intentional since "reinvent the phone" was in the press release Apple sent out before the keynote.

"Today, Apple is going to reinvent the phone, and here it is."

"So, we're gonna reinvent the phone."

"We wanna reinvent the phone."

"...You'll agree, we have reinvented the phone."

" Today Apple is reinventing the phone."

Blog post inspired by the work of Bernhard Kast.

# data[].attributes.attachment_link.title
16 Rhetorical Devices That Will Improve Your Public Speaking

# data[].attributes.attachment_link.description
Ask anyone who the best contemporary speakers are, and there's a pretty good chance they'll rank Steve Jobs in the top five. The late, great mind behind Apple didn't just dream up a company that changed the way humans interact. He was also a visionary and an unparalleled communicator.

# data[].attributes.body
155 words to describe an author's tone

# data[].attributes.attachment_link.description
Do you know how to talk about images? Are you not sure how to analyse a visual text? In this Guide, we give you the toolkit to analyse and discuss visual techniques with clarity and insight. Read this guide and nail the Paper 1 unseen images.

# data[].attributes.attachment_link.readable_text
When you read an article, it's important to clarify the issue being debated. When you're identifying the issue, phrasing something as a question can often help clearly state what is being argued over.

Should teens have the right to private medical appointments?

Should euthanasia be legalised?

Should fox poisoning be banned?

Should heroin be decriminalised?

IDENTIFYING THE CONTENTION

Contention is simply another word for point-of-view or opinion. Read the piece of persuasive writing carefully. What does the writer believe? Starting a sentence with the word 'that' can help you identify the writer's contention.

That reality television is a waste of time.

That teens should have access to private medical appointments

That fox baiting should be banned.

IDENTIFYING TONE

Tone refers to the overall feeling of a piece of writing. Here are some useful words to help you describe tone:

Logical: rational, reasonable, analytical, cogent.

Neutral: impartial, balanced, objective, unbiased.

Informed: knowledgeable, well-read.

Passionate: emotional, emotive, ardent, vehement.

Witty: humorous, satirical, lighthearted, tongue-in-cheek.

Persuasive techniques

Writers can use a range of techniques to persuade. When you're reading persuasive writing-or writing persuasively yourself-you need to think carefully about how techniques like these are used to position the reader to accept a particular point of view.

Alliteration. The repetition of words starting with the same to create emphasis, e.g. "And I can tell you it is distressing beyond words to watch an animal suffer like that and not be able to alleviate its agony."

Allusion. An allusion is a figure of speech that indirectly references something, such as a novel, song, play, television program, poem, a religious text, historical figure or event. Because allusions are indirect, the reader is required to make the connection themselves. In persuasive writing, allusion prompt readers to think about the issue in the context of such associations. The use this technique also allows the writer to ingratiate themselves with readers, who often feel clever if they pick up on a particularly subtle allusions.

Appeals. Writers often appeal to different emotions, including a reader's sense of or desire for:

Analogy. An analogy draws a comparison between two things to illustrate a point, e.g. "I'd like to have a new retina Macbook, for instance. But when I went to the Apple Store and tried to walk out through the front door without paying for it, waving off the protests of the blue shirted store Nazis because, "It's OK, I'm just torrenting it," that didn't work out so well for me." - John Birmingham, 'Why are you still stealing Game of Thrones?'

Anecdotes. Short, personal stories that help to illustrate a point, e.g. "For my three most recent books, on motherhood, cancer and nursing, I interviewed more than 300 people about the nuts and bolts of what our incredibly short time on this planet is really about - life, death, family and love. If there is one thing I can guarantee, it's that there will never be a person who lies on their deathbed, shaking with rage, sobbing, 'Dear God, I wish I'd spent more time watching MasterChef.'"

Colloquial language. Writers will often use everyday language to make themselves seem down-to-earth, e.g. "Fairness is the cornerstone of our constitution and our national identity. But as we head into an election year, I think we need to ask ourselves whether we really believe in a fair go for all."

Cliches. An overused expression. Although they should be avoided, cliches give writers an opportunity to express an idea to their readers quickly. Here are some examples of cliches:

Absence makes the heart grow fonder.

Alls well that ends well.

As light as a feather.

Time will tell.

Connotations. All words have connotations or associations. Some words, for example, may have the same literal meaning but very different connotations. Connotations may be negative or positive. Imagine an argument about dangerous breeds of dogs, for example, there are lots of synonyms for the word 'dog'-pooch, hound, puppies, mongrels. If you were making an argument that certain breeds should be banned, which words would you choose?

Emotive words. Words that provoke an emotional reaction from the audience, e.g. "But no, people from the bush were saying it is cruel to kill foxes with a poison that causes a slow, agonising death."

Evidence. Writers will often use evidence - which might take the form of facts, figures, quotes or graphs - to help support their argument, e.g. "According to the Australian Bureau of Statistics, males are 400 per cent more likely to commit an offence intended to cause injury than are females."

Expert opinion. Sometimes writers will use the opinion of experts to give further weight to their argument, e.g. "A new research report by Victorian doctors illustrates why: because when kids are worried their parents will be told their private medical details, they simply don't go to the doctor."

Hyperbole. Writers often exaggerate or overstate something to help persuade readers of their point of view, e.g. "Our experts will tell you a million reasons why it can't or shouldn't be done here. They have turned excuse-making into an art form."

Inclusive language. Inclusive language - using the words 'we' or 'us' - is often used to get a reader onside, e.g. "We might not like it, but our kids' right to confidential medical advice should take precedence over our right to know about it."

Imagery. Descriptive writing can be a powerful persuasive technique. Describing something vividly can persuade readers.

Jargon. Jargon refers to highly specialised words or phrases often associated with particular areas of study or research. Jargon helps experts explore and communicate complex ideas with each other. Although it might be difficult for mainstream readers to understand, the use of jargon in persuasive writing can help create the impression that a writer is knowledgeable. It can lend an air of authority to their writing, its complexity conveying that a writer has taken the time to understand complex ideas and their contention is well-considered, e.g. "When it comes to improving education, the evidence is clear: focus on pedagogy, interdisciplinary learning, flipped classrooms and cultivating the metacognitive."

Logic. A logical, well-structured argument can be very persuasive.

Metaphor. Metaphors, when one thing is described as another, help to persuade by describing, e.g. "I've been dying of it all week and can hardly type this column because of the Niagra of snot pouring down my face and the painful fires of a thousand suns burning in my joints and muscles, which being manly muscles are able to carry a much heavier load of pain than lady muscles."

Pun. A play on words often relying on homophones, homonyms or rhymes, e.g. "It's been a trying year for rugby league, what with betting scandals, controversies over players' alleged off-field behaviour and an unseemly on-field brawl that marred the sport's reputation on approach to the finals." Another example: "Racism is no black and white issue".

Repetition. The repetition of words, phrases and ideas can be used to reinforce an argument and drive home the message to a reader, e.g "It has been well established here and overseas that if teenagers think they can see a doctor in confidence, they are more likely to do so, more likely to go back for repeat visits, and more likely to disclose sensitive information."

Rhetorical question. A question where the answer is obvious, can help lead readers to a particular conclusion, e.g. "It has been well established here and overseas that if teenagers think they can see a doctor in confidence, they are more likely to do so, more likely to go back for repeat visits, and more likely to disclose sensitive information. And isn't this the outcome we want? "

Sarcasm. A mocking tone, e.g. "Not all of us can write Max Walker's How to Hypnotise Chooks, you know - for many years the biggest-selling title in Australian literary history."

Simile. Similes, when one thing is compared to another, can help to persuade by describing, e.g. "...as dumb as a sack of hammers..."

Tone. The tone of an article or speech refers to its overall feeling. Is it passionate? Logical? Reasonable? Mocking? Humorous?

THINKING ABOUT PERSUASIVE LANGUAGE

The best way to understand how persuasive language can be used to convey a point of view is by reading examples of persuasive writing. Read the newspaper on a daily basis, particularly the editorials and opinion pages. This will not only help you keep abreast of current events, it will also help you develop the language skills necessary to do persuasive writing yourself.

Read the following articles and answer the questions below to help you develop an understanding of how writers persuade.

Reading and annotating

Before you get started, you need read the text carefully and annotate it, identify:

issue

contention

tone

audience

arguments

language

persuasive devices

You can use this planning sheet to help you think about an article.

Persuasive technique

Emotive language

Connotation

Example

"They had eaten it during a weekend trip to the high country and died horribly."

"...stop foxes being culled in this barbaric manner. Use your voice, they said, spread the news and stop an inhumane practice."

Effect

Makes the reader feel sorry for the animals who eat the bait and builds a case for a ban on the poison.

The word "barbaric" makes the reader feel like this is uncivilized. The word "inhumane" has a powerful effect on the reader convincing them that it is cruel.

Argument analysis essay

In English, you will often be asked to write an essay about how writers or speakers have used language to persuade.

An introduction to an argument analysis essay describes the issue generally, the author's contention and tone. When remembering what to include in the introduction to an argument analysis essay, you can use the acronym FATCAT.

Form. What is the form of the piece of writing? An opinion piece? Letter to the editor? Speech?

Author. Who wrote the piece? What is their involvement in the issue?

Title. Make sure you include the title somewhere in your introduction.

Contention. What is the writer's point of view?

Audience. Who is the intended audience of the article?

Tone. What tone does the writer adopt?

Here is an example argument analysis about an article about poisoning foxes:

There has recently been considerable controversy over the use of 1080 fox bait to control Victoria's fox population. In his opinion article 'They're pests but cruelty is inexcusable', writer Dmitri Kakmi argues in a logical and, at times, emotive tone that fox baiting is cruel and inhumane, attempting to persuade both Victorians and lawmakers that we must change this barbaric practice.

Body paragraph

In the body paragraphs of an argument analysis essay, you will identify an argument, then discuss the persuasive techniques that a writer uses to support that argument. Always make reference to how different techniques make the reader feel or react.

We use the AAPEE structure when writing about this article.

Argument, Identify an argument.

Analysis. Analyse how the writer makes the argument overall.

Persuasive technique. Identify a persuasive technique used to make this argument.

Example. Given an example of that technique

Effect. Explain its effect on the audience.

You may repeat the PEE part as many times as you like!

O'Brien argues that parents should trust the professionalism of doctors, allowing teens to have private medical appointments. In making this argument, O'Brien recognises that, when it comes to their children, parents are likely to be swayed by the advice of experts, which means she approaches this in a logical manner relying heavily on evidence and the suggestion that parents should trust medical professionals. She supports this argument with the use of evidence, referring to "a new research report from Victorian doctors" which indicates children should have the right to private medical appointments. This use of expert opinion suggests that O'Brien's contention has widespread support by a trusted body of professionals and her use of this evidence positions parents to contemplate whether their right to know surpasses their children's health. Furthermore, O'Brien uses the positive connotations of the word "professional" when she states there are times when parents should "defer to other professionals whose job it is to protect our kids". The word 'professionals' has connotations of experiencing and training, further emphasising their credibility in the eyes of parents who might be wary of allowing their teenagers to have private medical appointments.

Writing a conclusion

Analyse the writer's conclusion. Conclude by discussing how the writer makes their final argument. Why does the article end in that way? The last paragraph will often be a final plea to the reader, a call to action or a dramatic statement intended to linger in their reader's mind.

persuasive language argument analysis

# data[].attributes.attachment_link.title
Analysing Persuasive Language | VCE Media, Victorian Curriculum, Media Arts, digital literacy, media education, filmmaking

# data[].attributes.attachment_link.description
When you read an article, it's important to clarify the issue being debated. When you're identifying the issue, phrasing something as a question can often help clearly state what is being argued over. IDENTIFYING THE CONTENTION Contention is simply another word for point-of-view or opinion. Read the piece of persuasive writing carefully.

# data[].attributes.attachment_link.readable_text
literary devices refers to the typical structures used by writers in their works to convey his or her messages in a simple manner to the readers. When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work. Below is a list of literary devices with detailed definition and examples.

# data[].attributes.attachment_link.title
Literary Devices and Literary Terms - The Complete List

# data[].attributes.attachment_link.description
Browse through our list of literary devices and literary terms with definitions, examples, and usage tips. Explore each device in depth through literature.

# data[].attributes.attachment_link.readable_text
Having the right elements for your design is only half of the journey to creating an awesome visual. Now comes the part where you put everything together to create a harmonious combination of shapes, colors and typography.

Even as a non-designer, you've recognized the difference between awkward-looking visuals that make you think "something just doesn't feel right" and content that is so pleasing to the eye that it draws you in and compels you to look more closely at its different elements.

In this post, we'll go over some of the ways you can apply basic composition rules to create more effective, professional-looking visual content, even without a design background.

1 Create a focal point.

One of the most apparent marks of an effective design is the way it draws your gaze to a central focal point.

Just like with any other form of communication, every design must have a core message and a clear goal. This can't be achieved, however, if the viewer doesn't know where to look first because there is no one thing that stands out.

For example, take a look at the two images above. What makes them effective pieces of visual communication is the fact that both of them have focal points created with dominant elements. Some of the different characteristics you can vary to create dominance in a design include:

In the case of the poster to the left, the size of the central image and intertwined letters is bigger in comparison with the rest of the objects, which helps to create a central, dominant element.

Its contrast with the dark background, along with the illusion of depth and the lines leading up to it, cause our eyes to immediately hone in on this part of the poster.

The poster on the right also draws viewers' eyes to a clear focal point. In this case, our gaze is instantly placed on the face of the girl lying down on the floor.

Besides the contrast created by the green shirt over a muted background, the pattern of the pavement and the caped woman's arm both create implied lines that lead viewers to focus first on the subject's face.

2 Create visual hierarchy.

The goal of a good visual design is to orient viewers' eyes in a specific direction.

The first step to doing this is creating a visual entry point into your design using a focal point, as covered above. Then, you can provide a path for your viewers' eyes to follow by applying other rules, such as visual hierarchy principles, which guide the arrangement of elements in a way that communicates the relative importance of each.

The design on the left, for instance, does just this by varying certain characteristics, such as size, contrast, color, typography and spacing. Even a viewer not trained in graphic design can tell that the most important part of the message is the title "Camp Fair" in large, bold white letters.

The design on the right achieves the same effect by applying the same visual hierarchy principles. When you first look at it, your eyes most likely follow this same path from the most important element to the least: 1) The title; 2) The man below the words; 3) The woman next to the man; 4) The number "800"; 5) And then the text to the bottom right of the page spread.

3 Use leading lines.

Another effective technique for creating a visual journey with your design is to use what are called leading lines.

Either implied by the natural shape of objects (such as the woman's arm reaching out in the first example above) or explicit through the use of actual lines, leading lines are used to direct readers' eyes to other elements on a page.

A perfect example is the design to the left, which uses this technique to first draw attention to the focal point ("unspooling") and then orient the eyes toward the information on each of the different lines; first the list of names in yellow, then the words in red, and so on.

While the image on the right is not as eye-catching as the first, it also uses leading lines to orient the gaze toward the focal point. In this case, the leading lines are implied by the shape of the piano and the elongated stems of the flowers over the piano cover.

4 Scale elements to create effects.

Another way to indicate the relative importance of elements is to adjust their scale. For example, the most important elements are usually larger and more prominent than less important ones. In this way, scale is used to establish the dominance or visual weight of an object.

In an effective design, all elements shouldn't have the same visual weight; if so, they would all be competing for attention and the viewer wouldn't know where to look first.

The poster to the left, for instance, uses an oversized element to create a dramatic effect and quickly draw attention to a clear focal point.

The one to the right uses the same technique, but in this case it is used to emphasize the relative smallness of the bird in relation to the owl. The leading lines implied by the shadows also lead us to look from the owl to the bird and then back to the owl again.

5 Balance your elements.

In most cases, you will want to achieve a balanced design in order to create visual harmony. But what exactly does "balance" mean in the context of graphic design?

According to Smashing Magazine, the concept of visual balance can be compared to balance in the physical world. Just as the scene of one very small person and another very large one sitting at opposite extremes of a perfectly balanced seesaw would throw off most viewers (as this would be physically impossible), so would an unbalanced design.

Like in the real world, each element carries a visual weight determined by its size, color and shape, among other things. For example, a large circle would have greater visual weight than a small one; or a highly textured object would have more weight than a flatter element.

Just like you would try to balance physical objects on a seesaw (by perhaps having the larger person move toward the center), so would you adjust the placement of visual elements on a page to achieve balance in a design.

Knowing this, you can achieve balance in a design either through the use of symmetry or asymmetry. While the first is often regarded as harmonious and balanced, it can also be perceived as boring due to its static nature. Asymmetry, on the other hand, is not conventionally seen as appealing but can be interpreted as dynamic and stimulating.

Take a look, for example, at the design on the left. Although asymmetrical, with most of the elements placed to the lower right of the poster, it is balanced out by the illustration, which carries significant visual weight due to its contrast with the dark background image.

Or, consider the poster on the right. It is mostly a symmetrical design that, although static and simple, is captivating due to the dramatic effect created by the contrast of the orange against the background and the effective use of negative space.

6 Use contrast to send a message.

Contrast is one of the most effective tools for making certain elements in your design stand out. As human beings, one of the first things our eyes notice is difference, whether this be a difference in color, shape, texture, size or position, among other things.

By nature, we tend to group similar objects together and differentiate between those that are dissimilar. Take, for example, the poster on the left. Our eyes are immediately drawn first to the object that stands out the most: the yellow rectangle and the words contained within it. Our gaze then moves on to the subject's face, the title and then the surrounding text.

In the second poster, we see the same effect. Color is used to create contrast and thereby draw attention first to the subject's head and then down to his feet and the textual message.

7 Create a cohesive design.

To create a well-composed visual, you also want to tie elements together to form a whole. By using complementary elements throughout, you can achieve a sense of unity and cohesion.

The poster to the left, for example, effectively creates a unified whole by using a running theme that acts as the invisible thread that pulls the design together. In this case, this unifying theme is the use of shapes to create perspective, both in the text and the three-dimensional mountain scene composed entirely of simple triangles of different shades and colors.

The same goes for the design on the right. Throughout the visual, the same white flat icons are used against a vibrant and colorful background.

8 Use repeated elements.

Another way to achieve a cohesive design is to repeat certain elements. This way, the viewer recognizes a visual pattern and knows what to expect next, especially when creating a multi-page design.

In this magazine spread, for example, the same 90-degree triangles are seen on several pages, along with the same typefaces and geometric elements such as circles and hexagons.

The color orange is also consistently used throughout, although the final two-page spread introduces a new yellow and black color combination that might throw the viewer off a bit.

9 Effectively use negative space.

You've probably heard this before, but negative space (or white space) is just as important to your design as the positive elements. It has many functions within a visual: It lets the readers' eyes rest; it gives room for visual pathways that the eye can follow; it draws attention to the main elements of your design; and it makes your design look clean, sophisticated and efficient.

Just look at how the design to the left creatively blends in negative space with positive elements, drawing attention first to the colorful skyline, then to the buildings and rain, down to the lone man with the umbrella.

Or, consider the example to the right which uses a significant amount of negative space to create a sense of drama and suspense. Also, it is useful for highlighting the smallness of a cottage in the middle of a vast and barren setting.

10 Use grids to align your elements.

One way to ensure that your design doesn't look disorganized and unprofessional is to use grids to align your elements. (You can learn how to use grids within Visme here.)

Look at how these two posters use the same grid layout to properly place elements in a harmonious and visually appealing manner. Since the layout has already been predetermined, it makes the work of composing your design a whole lot easier.

So, instead of simply eyeballing the placement of your elements, try to use a grid to make your designs look more organized and balanced. They can also help you identify your focal points and lay out the visual path you want viewers' eyes to take.

11 Follow the rule of thirds.

Finally, there's the very important rule of thirds, which you can follow by simply dividing your canvas area into thirds, both horizontally and vertically, as seen above. According to this simple principle, your focal points should lie at the intersections of these lines.

Although not a principle that must be followed for each and every design, the rule of thirds is helpful for creating dynamic designs that are not completely centered and symmetrical.

Also related to the rule of thirds is the Fibonacci sequence. When expressed as a rectangle, it produces a golden spiral seen in many well-known artistic pieces, as well as in nature, from hurricanes to flower petals.

When you overlay the Fibonacci spiral on the two posters above, you see that both have elements placed in accordance with this golden ratio and have focal points at the intersection of an invisible grid of thirds.

How have you applied these composition rules to create better designs? We would love to hear your comments and questions. Or, if you would like to share your project with us, don't hesitate to drop us a line in the comments section below.

# data[].attributes.attachment_link.title
11 Rules of Composition for Non-Designers

# data[].attributes.attachment_link.description
Having the right elements for your design is only half of the journey to creating an awesome visual. Now comes the part where you put everything together to create a harmonious combination of shapes, colors and typography.

# data[].attributes.attachment_link.readable_text
Analyzing Political Cartoons

Political cartoons: Pictures with a point

A political cartoon is a cartoon that makes a point about a political issue or event. You can find them in any daily newspaper, but they won't be in the comics section. Instead, look on the editorial pages - they're right next to the editorial columns, and across from the opinion essays. You can also find them in newsmagazines and on political Web sites. Political cartoons can be very funny, especially if you understand the issue that they're commenting on. Their main purpose, though, is not to amuse you but to persuade you. A good political cartoon makes you think about current events, but it also tries to sway your opinion toward the cartoonist's point of view. The best political cartoonist can change your mind on an issue without you even realizing how he or she did it.

Cartoonists' persuasive techniques

Cartoonists use several methods, or techniques, to get their point across. Not every cartoon includes all of these techniques, but most political cartoons include at least a few. Some of the techniques cartoonists use the most are symbolism, exaggeration, labeling, analogy, and irony. Once you learn to spot these techniques, you'll be able to see the cartoonist's point more clearly. You should also be aware of any political slant, or bias, that he or she might have. When you know where the cartoonist is coming from, it's easier to make up your own mind. You might also start watching out for the persuasive techniques used in other media, such as political ads and TV news programs. There are a lot of people out there trying to change your mind - it's a good idea to be aware of how they're doing it.

Persuasive techniques

Symbolism

Cartoonists use simple objects, or symbols, to stand for larger concepts or ideas. After you identify the symbols in a cartoon, think about what the cartoonist intends each symbol to stand for.

Exaggeration

Sometimes cartoonists overdo, or exaggerate, the physical characteristics of people or things in order to make a point. When you study a cartoon, look for any characteristics that seem overdone or overblown. (Facial characteristics and clothing are some of the most commonly exaggerated characteristics.) Then, try to decide what point the cartoonist was trying to make through exaggeration.

Labeling

Cartoonists often label objects or people to make it clear exactly what they stand for. Watch out for the different labels that appear in a cartoon, and ask yourself why the cartoonist chose to label that particular person or object. Does the label make the meaning of the object more clear?

Analogy

An analogy is a comparison between two unlike things that share some characteristics. By comparing a complex issue or situation with a more familiar one, cartoonists can help their readers see it in a different light. After you've studied a cartoon for a while, try to decide what the cartoon's main analogy is. What two situations does the cartoon compare? Once you understand the main analogy, decide if this comparison makes the cartoonist's point more clear to you.

Irony

Irony is the difference between the ways things are and the way things should be, or the way things are expected to be. Cartoonists often use irony to express their opinion on an issue. When you look at a cartoon, see if you can find any irony in the situation the cartoon depicts. If you can, think about what point the irony might be intended to emphasize. Does the irony help the cartoonist express his or her opinion more effectively?

Analysis questions

Once you've identified the persuasive techniques that the cartoonist used, ask yourself:

What issue is this political cartoon about?

What is the cartoonist's opinion on this issue?

What other opinion can you imagine another person having on this issue?

Did you find this cartoon persuasive? Why or why not?

What other techniques could the cartoonist have used to make this cartoon more persuasive?

# data[].attributes.attachment_link.description
Analyzing Political Cartoons A political cartoon is a cartoon that makes a point about a political issue or event. You can find them in any daily newspaper, but they won't be in the comics section. Instead, look on the editorial pages - they're right next to the editorial columns, and across from the opinion essays.

# data[].attributes.body
Feature Article: Feature articles cover a topic or person in greater depth than straight news articles. They also offer writers more freedom to use storytelling techniques or literary devices, and they are often accompanied by visual aids such as photographs, illustrations, or some other type of graphic.

Straight News Article: Straight news articles provide basic information to readers (the who, what, where, when, why, and how) on current events. They typically follow an inverted pyramid structure, with information presented in descending order of importance.

# data[].attributes.headline
Grant Snider "Incidental Comics" (amazing site)

# data[].attributes.subject
Grant Snider "Incidental Comics" (amazing site)

# data[].attributes.body
https://gonaturalenglish.com/9-kinds-of-humor-explained-in-english/

# data[].attributes.attachment_link.readable_text
An important part of fluency is being able to read different kinds of humor. Today we are going to look at nine different kinds of humor explained in English. Do you know what it means to be able to read someone's sense of humor? When we read someone we are able to understand them, not just their obvious spoken words but everything they might be implying. Humor is subtle. At times it can be hard to catch. Every culture - from family group to a classroom full of like-minded students, a city or perhaps even an entire country full of people might have its own distinctive sense of humor. Just like how different regions around the world have their own unique way of cooking food. We may share some ideas, but each is still so distinct. Have you ever noticed that?

So in the lesson, we are going to talk about the many different kinds of humor found around the world, but using English descriptive words. Many of these you will be familiar with, of course, as a big part of human bonding is the ability to laugh together. This lesson will help increase your vocabulary so that you are able to comfortably discuss humor in English.

Which kind of humor do you find the funniest? Let us know in the comments.

Physical or Slapstick Humor

This is probably the easiest one to explain. It is a physical kind of humor. This means someone is using exaggerated or wild body movements. Usually, there is gags, pranks and practical jokes involved but it always has to do with the body, or comedy around the body behaving oddly. Often times people are getting hurt, maybe they slip and fall, maybe something is falling on them. It can be painful to watch at times and yet it brings out the laughter in us humans.

Some classic examples of this type of humor could be Charlie Chaplin or the Three Stooges. If you ever enjoyed watching "America's Funniest Home Videos" growing up, this is another perfect example. Modern day "GIFs" can sometimes capture this style of humor.

Examples:

Self-Deprecating Humor

When someone is a master (or really good) at self-deprecating humor it means they are good at putting themselves down or making fun of themselves on purpose to amuse others. It is done in a way that makes everyone laugh rather than feel bad for them. Self-deprecating humor makes people feel comfortable because the person seems real and humble and able to make themselves vulnerable enough to laugh at themselves.

Example:

"Beauty is in the eye of the beholder, which is a pity because this week the National Association of Beholders wrote to tell me that I've got a face like a rucksack full of dented bells."

Surreal or Absurd Humor

This is the kind of humor one can spot in the story (or movie) "Alice in Wonderland". It takes the world and flips it upside dow. The result is so odd and strange that it ends up being funny - for some!
Sometimes called: weird, odd, offbeat, strange, quirky
Example:

Improvisation or Improv Humor

Improv is a form of live theatre where everything is made up on the spot. It is quite a difficult thing to pull off comedy in the moment or on the spot, but often times that awkwardness is what makes it funny. It generally requires a team of actors working together to build up the comedy. Saturday Night Live is a show that relies heavily on improvisational humor.

"Don't Think Twice" is a recent film all about the improv comedy world. If you are curious, I would recommend checking it out. You can watch the trailer here .

Witty or Dry Humor

Sometimes called: deadpan, highbrow, quippy, repartee (witty conversation), wisecrack, quick, clever, droll, wry, sarcastic

This can often be the most difficult humor to detect. It is an intelligent kind of humor that is the complete opposite of slapstick humor. Witty humor requires your mind to be active and engaged. It may not always be "laugh out loud" funny. In fact, the person who uses dry humor often shows little to no emotion at all. This is why it is often called "deadpan" humor. To have a deadpan face is to have an emotionless face. The way the person appears to be serious is a big part of what makes it funny.
Witty humor sometimes uses → Irony, sarcasm, satire, parody (but not always)
Sarcasm can sometimes be a big part of witty humor. It is a kind of humor that can hurt someone else's feelings when used in a mean way, but when used gently it can be funny without putting someone else down. A lot of sarcasm has to do with your tone of voice used and the use of irony. Let's say you let someone at the office know they left their car lights on and that person barks back at you "Perfect, just what I needed to hear on this wonderful day". They are using sarcasm to let you know they are having a really bad day. It doesn't mean they are upset with you, it just means they are actually not having much of a wonderful day at all. Sarcasm is not common everywhere in the world but it is very common in North America. If you hear someone using sarcasm, please don't take it personally as it is not about you and more about that person's personality.

Example of witty humor using irony and sarcasm:

" Some cause happiness wherever they go; others whenever they go."

- Oscar Wilde

Wordplay Humor or Puns
Sometimes called: "Dad jokes", play on words
Wordplay Humor sometimes uses → "puns, phonetic mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, double entendres, and telling character names" (from Wikipedia). Sometimes Wikipedia just has the all the right words and so we are just going to quote them on the subject.

Example:

I feel that Gabby explained it best! We all love to hear Gabby tell a great joke, right?

This is the type of humor most often used by stand up comedians. They find the bits of humor in examining our day to day lives. Let me share a little clip from the comedian Jim Gaffigan, explaining what life is like for all the McDonald's Lovers out there.

Potty Humor
Sometimes called: Juvenile humor, gag jokes, toilet humor
I am not sure if much needs to be said about this one.

Dark Humor
Other words to describe it: grim, black, bitter amusement, grotesque, or sick humor
Some people find humor in places that are dark or unpleasant. A "dark" topic would be death, for example. This is the type of humor most likely to offend others and so it is best tested on your friends who love you unconditionally. Have you ever played the card game "Cards Against Humanity"? It is a perfect example of what a dark sense of humor revels in. Nothing is "off the table" (not available) when it comes to this sense of humor.

Examples:

Question: Why don't cannibals eat clowns? Answer: Because they taste funny.

Question: What did Kermit the Frog say at Jim Henson's Funeral? Answer: Nothing

Conclusion

Thank you for reading this mini-lesson all the way to the end. We hope you were able to take away something helpful from this lesson on humor. When you are having a conversation with a native English speaker, now you will understand and have the words to call them on it when they are attempting to be funny - and maybe give them a taste of your own humor in return!

# data[].attributes.attachment_link.title
9 Kinds of Humor Explained in English | Go Natural English

# data[].attributes.attachment_link.description
An important part of fluency is being able to read different kinds of humor. Today we are going to look at nine different kinds of humor explained in English. Do you know what it means to be able to read someone's sense of humor?

# data[].attributes.body
https://gonaturalenglish.com/9-kinds-of-humor-explained-in-english/

# data[].attributes.attachment_link.readable_text
An important part of fluency is being able to read different kinds of humor. Today we are going to look at nine different kinds of humor explained in English. Do you know what it means to be able to read someone's sense of humor? When we read someone we are able to understand them, not just their obvious spoken words but everything they might be implying. Humor is subtle. At times it can be hard to catch. Every culture - from family group to a classroom full of like-minded students, a city or perhaps even an entire country full of people might have its own distinctive sense of humor. Just like how different regions around the world have their own unique way of cooking food. We may share some ideas, but each is still so distinct. Have you ever noticed that?

So in the lesson, we are going to talk about the many different kinds of humor found around the world, but using English descriptive words. Many of these you will be familiar with, of course, as a big part of human bonding is the ability to laugh together. This lesson will help increase your vocabulary so that you are able to comfortably discuss humor in English.

Which kind of humor do you find the funniest? Let us know in the comments.

Physical or Slapstick Humor

This is probably the easiest one to explain. It is a physical kind of humor. This means someone is using exaggerated or wild body movements. Usually, there is gags, pranks and practical jokes involved but it always has to do with the body, or comedy around the body behaving oddly. Often times people are getting hurt, maybe they slip and fall, maybe something is falling on them. It can be painful to watch at times and yet it brings out the laughter in us humans.

Some classic examples of this type of humor could be Charlie Chaplin or the Three Stooges. If you ever enjoyed watching "America's Funniest Home Videos" growing up, this is another perfect example. Modern day "GIFs" can sometimes capture this style of humor.

Examples:

Self-Deprecating Humor

When someone is a master (or really good) at self-deprecating humor it means they are good at putting themselves down or making fun of themselves on purpose to amuse others. It is done in a way that makes everyone laugh rather than feel bad for them. Self-deprecating humor makes people feel comfortable because the person seems real and humble and able to make themselves vulnerable enough to laugh at themselves.

Example:

"Beauty is in the eye of the beholder, which is a pity because this week the National Association of Beholders wrote to tell me that I've got a face like a rucksack full of dented bells."

Surreal or Absurd Humor

This is the kind of humor one can spot in the story (or movie) "Alice in Wonderland". It takes the world and flips it upside dow. The result is so odd and strange that it ends up being funny - for some!
Sometimes called: weird, odd, offbeat, strange, quirky
Example:

Improvisation or Improv Humor

Improv is a form of live theatre where everything is made up on the spot. It is quite a difficult thing to pull off comedy in the moment or on the spot, but often times that awkwardness is what makes it funny. It generally requires a team of actors working together to build up the comedy. Saturday Night Live is a show that relies heavily on improvisational humor.

"Don't Think Twice" is a recent film all about the improv comedy world. If you are curious, I would recommend checking it out. You can watch the trailer here .

Witty or Dry Humor

Sometimes called: deadpan, highbrow, quippy, repartee (witty conversation), wisecrack, quick, clever, droll, wry, sarcastic

This can often be the most difficult humor to detect. It is an intelligent kind of humor that is the complete opposite of slapstick humor. Witty humor requires your mind to be active and engaged. It may not always be "laugh out loud" funny. In fact, the person who uses dry humor often shows little to no emotion at all. This is why it is often called "deadpan" humor. To have a deadpan face is to have an emotionless face. The way the person appears to be serious is a big part of what makes it funny.
Witty humor sometimes uses → Irony, sarcasm, satire, parody (but not always)
Sarcasm can sometimes be a big part of witty humor. It is a kind of humor that can hurt someone else's feelings when used in a mean way, but when used gently it can be funny without putting someone else down. A lot of sarcasm has to do with your tone of voice used and the use of irony. Let's say you let someone at the office know they left their car lights on and that person barks back at you "Perfect, just what I needed to hear on this wonderful day". They are using sarcasm to let you know they are having a really bad day. It doesn't mean they are upset with you, it just means they are actually not having much of a wonderful day at all. Sarcasm is not common everywhere in the world but it is very common in North America. If you hear someone using sarcasm, please don't take it personally as it is not about you and more about that person's personality.

Example of witty humor using irony and sarcasm:

" Some cause happiness wherever they go; others whenever they go."

- Oscar Wilde

Wordplay Humor or Puns
Sometimes called: "Dad jokes", play on words
Wordplay Humor sometimes uses → "puns, phonetic mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, double entendres, and telling character names" (from Wikipedia). Sometimes Wikipedia just has the all the right words and so we are just going to quote them on the subject.

Example:

I feel that Gabby explained it best! We all love to hear Gabby tell a great joke, right?

This is the type of humor most often used by stand up comedians. They find the bits of humor in examining our day to day lives. Let me share a little clip from the comedian Jim Gaffigan, explaining what life is like for all the McDonald's Lovers out there.

Potty Humor
Sometimes called: Juvenile humor, gag jokes, toilet humor
I am not sure if much needs to be said about this one.

Dark Humor
Other words to describe it: grim, black, bitter amusement, grotesque, or sick humor
Some people find humor in places that are dark or unpleasant. A "dark" topic would be death, for example. This is the type of humor most likely to offend others and so it is best tested on your friends who love you unconditionally. Have you ever played the card game "Cards Against Humanity"? It is a perfect example of what a dark sense of humor revels in. Nothing is "off the table" (not available) when it comes to this sense of humor.

Examples:

Question: Why don't cannibals eat clowns? Answer: Because they taste funny.

Question: What did Kermit the Frog say at Jim Henson's Funeral? Answer: Nothing

Conclusion

Thank you for reading this mini-lesson all the way to the end. We hope you were able to take away something helpful from this lesson on humor. When you are having a conversation with a native English speaker, now you will understand and have the words to call them on it when they are attempting to be funny - and maybe give them a taste of your own humor in return!

# data[].attributes.attachment_link.title
9 Kinds of Humor Explained in English | Go Natural English

# data[].attributes.attachment_link.description
An important part of fluency is being able to read different kinds of humor. Today we are going to look at nine different kinds of humor explained in English. Do you know what it means to be able to read someone's sense of humor?

# data[].attributes.attachment_link.readable_text
If you were to go skydiving and bet your life on a folded-up pile of nylon, you would first go over a checklist and make sure everything is just right with your gear.

The same principle applies to your blog content if you don't want it to crash and burn when it hits the internet. The following are eight critical elements that should be included in your blog posts:

1. Magnetic headline

If you've ever met with investors and made an elevator pitch -a quick two-minute presentation about your business-you know that the goal isn't to get funding right then and there, but to deliver enough information so that the investors will want to hear more.

It's the same with a blog headline. It has to

Give some indication of what your article is about.

Make the prospect want to at least check out your first paragraph.

In other words, it needs to be magnetic-it needs to pull people in.

Sometimes adding emotional words to the headline will give it the added magnetism required. In other cases, the information you're offering will, on its own, be enough of a draw. However, even when you're presenting great content, spice up your headline with a word or two that will grab readers and make it stand out. People are moved to act by their emotions.

2. Compelling lead

I want to be very clear about how I'm using the word "compelling" here. In news reporting, a lead should pull together the important points of the news story. But that's not necessarily true in a blog. The first sentence or short paragraph of your blog must compel visitors to read your second paragraph-you want to draw your readers in. Don't take forever to get to the point, and make sure there's sufficient build up so that readers will want to know more about the information you're presenting and appreciate it once they understand your ideas.

3. Useful subheads

Subheads serve three purposes:

They break up the type to make the page more visually appealing

They help your reader navigate to important sections.

They boost search engine optimization (SEO).

Disclaimer: Regarding my third point, it used to be we insisted on using keywords in one or more subheads, but this doesn't seem as important anymore. I will explain this more in the next section when I touch on keywords; however, using descriptive phrases that capture your key "ideas" in subheads will probably help your SEO.

The first two points are always important. A long page of continuous type turns away a lot of potential readers. We'll come back to this in the section on graphics. Also, once readers finish your article, they may want to jump back and go over a point; subheads should help this.

4. Informative and engaging body

The body is the "meat and potatoes" of your blog post. It can be about anything-from new, incisive observations that will revolutionize the life or business of your reader to a funny story about what happened to you on the way to work yesterday. If you're establishing your authority, you'll want to author one kind of post; if you're trying to develop a personal relationship with your prospects, you'll want to author a different kind of post. The question is, "What's your goal today?"

As I mentioned earlier, the old rule said you needed to include a sufficient number of keywords into the body of your article; however, recent experience and research has shown that keyword usage and density is far less important to Google today. Google's algorithm is smart enough now to understand what you are writing about and index your articles properly for searches. Therefore, if you're doing a good job explaining your topic, Google will understand; you don't have to riddle it with robotic keywords.
Other Articles From AllBusiness.com:
5. Appealing graphics

It's a great idea to include graphics in your blog posts to illustrate points and break up text within the body of articles to make your pages more visually pleasing. Google measures the time spent on your pages, so your graphics, typography, and color scheme should work together to encourage visitors to stick around. Also, when you promote your content on social media, you should include a visually interesting graphic.

6. Powerful call-to-action

Almost every blog article should have some kind of call-to-action, which can take a variety of forms and be achieved through different tactics. Your first step is to decide what action you want your visitors to take. It might be to make a comment. It could be to read another blog on your site, or to check out a product or service you offer. You also could get a prospect's contact information by offering exclusive content in exchange for an email address.

7. Relevant internal link

Do you like free advertising? We all do, right? This is one reason you should include links to other articles on your site in every new article you write. Would a real estate salesperson just show one room of a house to a prospect? Of course not, and remember, one of your main goals is to get people to stick around your website.

Further, internal links have always been considered good for SEO. I think they benefit your SEO because they increase the number of pages per visit and time visitors are on your site. I don't think that the mere fact you include a link is very important; what's important is visitors see the link as relevant to their visit, click on the link, and spend time on the resulting page.

8. Good meta description

The meta description is the snippet Google displays in search results. Left to its own devices, Google will grab the first sentence or two from your article. This, however, may not always be the best way for your article to appear in search results.

All of my previous points concerned what visitors see on the web page-this point is different. The meta description is in HTML code. If you have a WordPress site, a plugin like Yoast lets you easily compose your meta description separately so you can fine-tune it.

You spend a lot of time creating written content for your website. Even if it takes a few extra minutes to go through the eight points I've mentioned here, it will be time well spent. Good blog posts have long life spans, so your extra effort will pay for itself several times over.
RELATED: How to Make Money With Your Business Blog This article was originally published on AllBusiness.com. Read all of Megan Totka's articles.
... Read More

# data[].attributes.attachment_link.title
The 8 Essential Elements Of A Successful Blog Post

# data[].attributes.attachment_link.description
If you were to go skydiving and bet your life on a folded-up pile of nylon, you would first go over a checklist and make sure everything is just right with your gear. The same principle applies to your blog content if you don't want it to crash and burn when it hits the internet.

# data[].attributes.attachment_link.description
How to improve your score in IB Language and Literature Paper 1. Whether you are a standard or higher level student, Paper 1 tests your ability to analyse unseen texts. If you are a standard level student, you will have to analyse one text out of a choice of two.

# data[].attributes.body
*Be mindful that many past papers are OLD course and samples are mediocre.
Check GC for more up to date P1 response samples and exemplars.

# data[].attributes.attachment_link.description
Despite what people say, advertisers know that language (and images) work at both the conscious and the unconscious level, and a person unaware of advertising’s claim on him or her is the per…

# data[].attributes.attachment_link.description
How to improve your score in IB Language and Literature Paper 1. Whether you are a standard or higher level student, Paper 1 tests your ability to analyse unseen texts. If you are a standard level …

# data[].attributes.attachment_link.embed_code
How to improve your score in IB Language and Literature Paper 1.

Whether you are a standard or higher level student, Paper 1 tests your ability to analyse unseen texts. If you are a standard level student, you will have to analyse one text out of a choice of two. If you are a higher level student you will be given the same two texts but you will have no choice: you must write an analysis of both texts. The texts will be unconnected – the topics and text types will be different – and you are not required to compare or contrast at all. You will essentially complete the same exercise twice. This is to reflect the greater number of lessons you will have had to explore a wider range of texts types, and the greater ability you should have when approaching texts by yourself. HL students will be given more time: 2 hours and 15 minutes compared to 1 hour and 15 minutes at standard level. All students will be given an optional guiding question that will focus your attention on important elements of the text, providing you with a ‘way in’ and helping you structure a worthwhile analysis.

There’s no doubt that paper 1 is a challenging exam. It represents 35% of your grade at SL and 25% at HL. It will be impossible to predict the topics and exact texts that may appear in this exam paper. The range of possible text types is wide, as illustrated by the examples given in the IB syllabus guide. However, that doesn’t mean you can’t prepare for likely text types. In the past, comics and cartoons, advertisements, speeches, opinion pieces, magazine articles, news reports and travel writing have frequently appeared on this paper. Less common examples have been song lyrics, movie posters, letters and even texts from the past, such as an extract from Samuel Pepys’ diary – he was an eyewitness to the Great Fire of London in 1666! Moreover, the IB subject guide is explicit in that you are not meant to exhaustively memorise features of different text types just in case one appears in your exam. Instead, you can learn approaches that are transferable to any text you are given and learn to recognise patterns of language that can help you analyse a text, ascertain its purpose and intended audience, and evaluate its success.

Travel Writing

Advertising

NEws Reports

Blogs

speeches

opinion columns

comics and cartoons

magazines

information Texts

Diaries

letters

interviews

advisory texts

scientific articles

texts for children

Charity Appeals

Recruitment campaigns

Descriptive Passages

Select a text type or scroll down to find explainers and key conventions, along with sample papers and responses. All these answers would score highly if produced in this exam; perhaps even 20 out of 20. However, it is important to note that these responses demonstrate only one possible approach each time. Alternative responses can also be valid. Discuss the responses with your classmates and teacher as you go through the course, and revise before your assessments and exams. Once you have read and written a few sample responses, you’ll be able to find strategies that work for you and will allow you to succeed in Paper 1, whatever text you may encounter.

Travel Writing

This kind of writing is less a text-type and more a category of writing. Travel writing can be as recognisable as a Lonely Planet or Rough Guide recommendation for a trip to a foreign country or city. Or it might take the form of an article, describing the experiences of the writer in a strange place, accompanied by photography, maps, or diagrams. It’s possible for Travel Writing to be ‘literary’ in tone and mood, full of imagery, vivid descriptions, and figurative language, recreating the characters and situations the writer met along the way like a novelist. Common themes in travel writing include the search for the self or one’s roots; curiosity about other people; the desire to be informed; the search for a religious, spiritual or abstract experience. If you want to find out much more about this genre, you can visit the course page for this unit of study. Or, simply browse this selection of Paper 1 materials from the category of Travel Writing:

Sample Responses:

Cycling Tips

Travel Tales

Tasmanian Caves

Fern Foray

Try for yourself:

Taj Mahal

Long Enough in Jo’burg

A Fish with Hair

The Mangyan of Mindanao

Key Features of Travel Writing

Viewpoint: travel writing often documents the personal experiences of someone exploring a new place or country so is often first person.

Perspective: an outsider’s perspective is common when reading travel writing, particularly if the destination is new, exotic or remote. Alternatively, the piece might be written from an insider’s perspective and is inviting you to visit or share an experience in a different part of the world.

Structure: look out for chronological timelines, past – present structures or a linear journey of discovery. Guidebooks will have clear headings and subheadings and will probably include box-outs and the like.

Information: travel writing often seeks to be informative and can present you with facts and figures, names and dates, historical or architectural or geographical information and more.

Description: if the writer is trying to make the destination tantalising, or to help transport the reader, you might find examples of visual imagery, vivid description, even figurative comparisons, helping you visualise a far-off place.

Visuals: photographs, maps, or floor plans of famous locations are all visual features that you might encounter in travel writing, particularly guidebooks.

Advertisements

The world of advertising is enormous, a classroom study of this text type might easily make up a good chunk of your course – and you’ll still have only scratched the surface of what this wide and varied genre has to offer. Unsurprisingly, advertisement texts have been extremely popular in Paper 1. They tend to be persuasive and you can easily learn a few key features to look out for. Studying the language of advertising claims and investigating issues like representation are interesting in their own right, and improving your media literacy when it comes to analysing images and knowing when you’re being manipulated or conned is an important aim of the IB Lang and Lit course. Advertising can be extremely creative too, and striking the balance between recognising effective writing and being skeptical about the things you read can make the difference between a good answer and a great one in Paper 1. Take a look through some of these examples to find common patterns of analysis that you can apply to your own study of adverts you encounter:

Sample Responses:

Uniqlo Selfless Selfie

Ethical Coffee

Arcadia

Try for yourself:

Chevrolet 2007

The Incredible Shrinking Man

A Bad Watch

Key Features of advertisements

Problem and benefit: also called ‘benefit and need’, the success of any advert depends upon appealing to the desires of its readers.

Image: a major component of modern advertising, images often tell visual narratives, or employ tactics such as ‘shock value’ or ‘sex sells.’

Slogan and copy: as the image is so important in ads, text is kept to a minimum. Slogans should be short, catchy, memorable and should have a relationship with the image; this is called anchoring. Look for typographical features such as bold fonts, underlined words and the like.

Association: ads sell products… but also sell values. You should be alert to the abstract concepts that the advert is associating with its product and brand. Understand that objects, settings, people and so on are symbolic.

Testimonial: adverts often include the satisfied quotations of customers who already used the product and are delighted with their purchase. Some ads feature celebrity testimonials.

Advertising claims: favourites include the use of weasel words, scientific claims, vague language, or bandwagon claims. There are many more for you to look out for, and you might also keep an eye out for jargon which sounds impressive, but doesn’t communicate meaning.

Persuasion: adverts are always persuasive. Even ads that are not trying to sell you a product or service might be asking you to think something, change your behaviour or help someone. Look out for any and all kinds of persuasive devices in advertising.

News Reports

Newspaper front pages and reports belong to broadly three categories: tabloid, broadsheet and online, each of which have their own particular conventions. You can study the news media in more depth by visiting the courses on journalism, bias, euphemism and the impact of technology on the news.

Sample Responses:

UK Weather Report

100 Meter Sprint

Try for Yourself:

Gat-Crash

Key Features of News Writing

Masthead: a strip across the top of a newspaper front page containing the name of the newspaper, the date of publication and the price. Tabloid papers from the UK are called ‘red-tops’ because of the red colour of the masthead.

Headline: the choice of words in a headline is essential to the tone and angle of the story. There are many techniques involved in creating headlines and you should definitely learn: slammer; pun; alliteration; elliptical headlines (which only include the keywords).

Visuals: all newspapers make use of photographs to accompany stories. Tabloid papers are dominated by images while broadsheet papers tend to use smaller photographs. Look out for pictures of people’s faces, which reveal emotion and create bias.

Copy: the main text of the article. Features you should be on the look out for are: sensationalism; vague language; emotive language and euphemism.

Embedded interviews: you can expect to find witness recounts, expert opinions and statements from authority figures in almost all newspaper reports.

Bias: all kinds of bias exist in newspaper reports, from selection bias (the choice of what content to include and what to exclude) to name-calling, to the use of certain facts and statistics and more.

Figurative Language: anyone who still thinks the news is purely factual needs to go back to the start of the course! News reports are a rich source of metaphor, simile, hyperbole, and exaggeration, often distorting reality in some way.

Blogs

It’s difficult to imagine modern life without digital communication. Following the development of the internet, readers have been empowered to both consume and produce written and visual content at the same time. A popular form of online text type is the blogpost, normally shortened to ‘blog.’ In many ways, blogs have a lot in common with magazine articles and opinion pieces; but instead of media institutions deciding what we should read about, independent reader-writers decide the topics for themselves. For this reason, blogs can be quirky, niche, and carry counter-cultural messages. Have a look at a couple of these responses to the ‘blog’ text type:

try for yourself:

Genetically Engineered Children

Swamp Water

Leadership Blog

key features of blogs

Viewpoint: blogs normally represent the interests and opinions of an individual, so are normally first person.

Purpose: Blogs are guided by individual interests or concerns so the purpose is flexible. A blog might seek to inform readers about an area of interest, topic or movement. They may also discuss an event or issue. Blogs might even function like an online diary, describing the day’s events and reflecting on an experience.

Diction: depending on the topic, writers of blogs could employ a specialist vocabulary or use technical terms.

Visuals: blogs may illustrate the text with cartoons, images or photographs (perhaps illustrated or taken by the writers themselves).

Structure: again dependent on the individual text, but you can look out for chronological and linear structures with subheadings, clear connectives or other features helping organise the text.

Speeches

Learning the features of persuasion – and how persuasion and propaganda overlap – form a part of your lang and lit course. So if you happen to be given a persuasive speech in your final Paper 1 exam, you can count yourself lucky. Persuasive speeches are organised around clear formal frameworks, such as appeals to logic and emotional appeals, and also provide a chance for individual speakers to express themselves stylistically. Check the formal features of persuasive speeches opposite and, if you want to learn more, visit the course page for this unit of study. Then browse these sample responses to see how to put your learning into practice:

Sample Responses:

Chicken Tikka Masala

William Morris Lecture

Try for Yourself:

The Pleasure of Books

Eulogy for Mahatma Gandhi

Eulogy for Sir Edmond Hillary

key features of speeches

Ethos: the speaker establishes his or her credibility and may allude to a moral, social or spiritual leader with whom the audience cannot disagree.

Logos: clear, reasonable arguments, facts and statistics and quoting experts in the field are all ways of establishing a logical appeal.

Pathos: emotive language and imagery are ways of helping the audience empathise with the feelings of other – often vulnerable – people.

Persuasive: the speaker attempts to make his or her listener think in a certain way, believe something or take action.

Direct address: the speaker tries to draw closer to the listeners by addressing them as ‘you’ – look out for the use of ‘we’ or‘us’ to include the speaker and listener on the same side – and be wary of attempts to compliment the listener.

Modality: modal verbs are small but important words (such as ‘must’, ‘need’, ‘should’, ‘might,’ and so on) that reveal the speaker’s degree of certainty and strength of feeling.

Rhetorical devices: all kinds of rhythmical, structural, auditory and linguistic tricks can be employed by a skilled speaker. They are too many to list here, but rhetorical strategies can be studied and learned.

Logical Fallacies: also called ‘argumentation fallacies.’ Common fallacies in speeches are glittering generalisations, simplification and slippery slope.

Opinion Columns

Often printed in newspapers or magazines, and sharing many of the features of persuasive speeches, the opinion piece is usually a thoughtfully considered argument about a controversial topic in which the writer takes a side or proposes a solution. Unlike other forms of text for mass consumption, the opinion piece does not pretend to be straight or unbiased. Although it may contain elements of concession or acknowledge the other side of the issue, the purpose of an opinion piece is to express an opinion in a convincing, persuasive or powerful way. An Op-Ed is a special type of opinion piece, normally shorter, which derived its name from its position opposite the editorial page. The op-ed carries the official position of the news institution on a topical issue of the day.

Sample Responses:

Learning Foreign Languages

Political Correctness

Try for yourself:

PC Language Saved My Life

I h8 txt msgs

What’s Wrong with MacDonalds?

Key features of opinion columns

Perspective: as an expression of a personal viewpoint, the first person is most commonly adopted for opinion pieces. Look out for ‘we’ instead of ‘I’ – a clever way of implying the viewpoint is commonly held.

Solid Arguments: an opinion piece might open your eyes to the reality of an issue, providing facts, statistics and information to help convince you of the writer’s viewpoint. Expect to see opinions backed up by studies, research or evidence of some kind. Keep an eye out for assertion, though, where a writer presents an opinion as if it were a fact.

Anecdotes: sometimes a writer will relate a small story from his or her personal experience in order to demonstrate a thoughtful approach to the topic at hand. You may find the opinion piece begins with this story, which acts as a kind of hook into the main article.

Structure: the writer of an opinion piece is not trying to keep you in suspense and the opinion is often obvious from the title or first few lines of the article. The rest of the article should support or develop the writer’s point in a number of ways. The ending should be strong and certain, perhaps reiterating the writer’s position.

Register and tone: you should be especially alert to the writer’s choices in this regard. Opinion pieces are often formal, but the writer may adopt an irreverent tone, be passionate, conversational, friendly, challenging, even sarcastic depending on the tactics used to convince you of a particular opinion.

Concession: although similar in many ways, opinion pieces are not quite the same as persuasive speeches, so the writer is not necessarily trying to change your opinion. In this case, you might find concessions to the other side of the argument or even an acknowledgement that the writer’s opinion is flawed in some way.

Comics and Cartoons

You might study a graphic novel such as Persepholis or Maus as part of your literature course; you may also be presented with a comic strip or cartoon in Paper 1. Students enjoy comics and cartoons because they are engaging and colourful – but make no mistake. This text type can be as subtle and sophisticated as any novel (just check out the list of features opposite). If you want to become an expert in the comic book form, you might like to read Understanding Comics: the Invisible Art by Scott McCloud. Don’t forget to check out one or two of the examples below, which demonstrate how this text type might be analysed in an exam:

Sample Responses:

Climate Change

Try for Yourself:

The 21st Century

Ted Rall

Kal Kallaugher Cartoons

First Dog on the Moon

Science Tales: Fracking

Mark Trail

Key features of comics and cartoons

Purpose: satirical or political cartoons aim to satirise, meaning to ridicule, lampoon or criticise a specific target. Comic strips may also poke fun, but tend to be gentler in the treatment of subject matter; their primary purpose is to entertain.

Structure: comics and cartoons are drawn in square boxes called panels, arranged in sequence and read in a linear fashion. The white space between the panels is called gutters.

Exposition: text that tells the story is presented as captions.

Speech and thought bubbles: so you can read the internal and external dialogue of the characters.

Mechanics: spatial mechanics is the use of space within each frame. Temporal mechanics is the way time can be slowed down, speeded up or stopped.

Artistic style: comics are drawn purposefully and with intention. Are the pictures crisp, heavy, weighty, light, cartoony, realistic, bright, dark? Can you tell whether the artist used pencil, pen and ink, or brush? Words that describe mood and tone can be useful when analysing style – and look out for symbolic uses of colour.

Emanata: items such as dots, lines, exclamation marks or onomatopoeia that depict action, emotion or sound.

Caricature: people and issues can be simplified, distorted or exaggerated for effect.

Humourous tone: look out for parody, irony or even sarcasm, particularly in political cartoons.

Magazine Articles

A wide ranging and popular text type, magazine articles differ from news articles in that they are not reporting recent events, but rather discussing events, issues, trends and topics that have a general, contemporary appeal. Increasingly, magazine articles are published online, as producers can reduce costs such as printing and distribution, and collect revenue through both subscriptions and advertising. There are many sub-categories of magazine article, such as the celebrity article, scientific article, interview and so on. Topics of a magazine article are wide, in truth it’s possible to write about anything and publish it as an article; more common topics include fashion, entertainment, food, sport, and lifestyle.

Sample Responses:

Fashion Show

Try for Yourself:

Shark Week

Broken Watches

Pitchforks and Plutocrats

Key features of Magazines

Headline: bold text that reveals the topic of the article and should provide a hook for the reader.

Images: photographs of people and places are common features of magazine articles. They are almost always posed, not natural, and are often as prominent as the copy.

Layout: look out for box-outs, bullet points, ears and other kinds of layout features.

Entertainment: although they might be topical and current, most magazine articles are designed to entertain. Information may be displayed in an appealing way, using pull quotes and subheadings.

Buzzwords: being up-to-date, relevant and current means some articles make use of buzzwords and words that are popular at the time of publication.

Interactive Features: increasingly, articles that would traditionally have been printed in magazines are being published online. In this case, look out for interactive features such as embedded videos, hyperlinks and tabs.

Embedded interviews: experts on or participants in the topic at hand are often interviewed and quotations are used throughout the article. In the case of celebrity articles, the whole piece could be the write-up of an interview.

Information Texts

Again, this is more a category of writing than a text type. Informational text range from cookbooks to technical manuals, encyclopaedias to public service announcements. Informational texts are meant to appeal to your head rather than your heart. An interesting angle from which to approach informational texts is to explore both the successful features and limitations of the text you are given. For example, an encyclopaedia might summarise a lot of points in a superficial way; an information poster might be overly technical; a cookbook might resort to national or ethnic stereotypes. You can find out more about stereotyping here – by it’s very nature, stereotyping is not informative. Alternatively, some uses of specialist language (called jargon) are only informative to the right reader. Take a look though one or two of these sample responses to see how you might analyse informational texts of different kinds.

Sample Responses:

Encyclopaedia Britannica

Try for yourself:

The Benefits of Cycling

How are ICC Judges Elected?

Taj Mahal

Frank Fenner Foundation

Joseph Rowntree Foundation

Key features of information texts

Neutral language: aiming to inform above all else, the register should be formal or semi-formal, the language accessible and the tone neutral.

Diction: some informational texts are aimed at particular readers and employ technical terms or specialist language – watch out for jargon, which may not communicate clearly.

Layout: these kinds of texts normally have a clear, easy to understand layout. They might use box-outs, lists, bullet points, page dividers and other organisational features to help guide you step-by-step through the text. Some informational texts are non-linear.

Facts and Statistics: presented in all kinds of ways: percentages; graphs; charts or numbers. Look for credible sources that are cited.

Typography: look for fonts, capitalisations, bold or italicised words, underlined words, or other features that help emphasise key points.

Images: often in the form of diagrams, images should reinforce the written text or be broken into step-by-step guides. They may be simplified.

Information: although this goes without saying, you should differentiate between general information and specific details.

Diaries

Arguably the most personal text type as the intended reader is usually… the writer him or herself. Almost since the advent of the written word, diaries have been kept by individuals to record daily events, reflect on personal experiences and try to make sense of the complex issues of society. A freeform text type, they tend to be more stylistic than formal, with each writer employing their own particular uses of language which reflects the way they see the world. That’s not to say you can’t prepare yourself for any eventuality – take a look at one or two of the responses below:

Sample Responses:

Oaxaca Journal

Try for Yourself:

African Diary

Journal of a Disappointed Man

Key features of diaries

Viewpoint: as one of the most personal text types, diaries are written in the first person and always express thoughts and feelings.

Perspective: diaries are written to be private as the reader and writer are the same person. Confessional is a particular form of diary writing that reveals a secret.

Structure: diaries function as records of the day’s events and are largely chronological. Look out for flashbacks when the writer begins at the end, then goes back to explore how and why an event happened.

Register and tone: most diaries are written in an informal or semi-formal register, using language the writer feels comfortable with. Look out for language which reveals the attitude of the writer (tone): it is not uncommon for diaries to be thoughtful and reflective, scathing and caustic… or anything in between.

Colloquialism: the writer might write as if he or she is talking and may use figures of speech in an original or entertaining way.

Letters

It’s not often you’ll read a text that has a particular individual reader in mind, but letters are exactly that. Letters need reading carefully to discover the relationship between writer and reader and to uncover the purpose behind the writing. Here are ways to respond if you should encounter this text type:

Sample Responses:

Dire Predictions

Try for Yourself:

Letter from the Front

Key features of letters

Name and address: formal letters are posted to the recipient, so they normally contain both the sender and receiver’s address, allowing the recipient to reply. The sender’s address is traditionally placed on the right hand side, with the date below it.

Purpose: people send letters for all kinds of reasons; to complain, to seek advice, to connect with a loved one or even to pass gossip. The purpose of this text type is completely flexible.

Register: letters can be formal or informal depending on the purpose and relationship between the sender and receiver. The tone can vary widely too: compare a formal letter of complaint with an intimate letter between lovers.

Salutation: a direct address to the recipient. Depending on context, they can vary from the formal ‘Dear…’ or even ‘To whom this may concern…’ to a quick ‘Hi…’

Sign off: you can tell a lot about the relationship between the reader and the writer from the way the letter ends. Formally, ‘yours sincerely’ is used if the recipient’s name was used and ‘yours faithfully’ is used when the writer does not know the name of the receiver. Non-conventional sign-offs can be used for a variety of reasons; check the end of the letter to see if the writer expects a reply.

Interviews

Often published in weekend magazines, and now increasingly online, interviews are the write-up of a conversation between a journalist (the interviewer) and an interviewee, normally a celebrity, expert in a field, or person in the public eye. Interviews are written to entertain or divert, but also fulfil the purpose of satisfying a reader’s curiosity for information: whether about how a famous writer works, how an individual became successful, or simply the lifestyle of the rich and famous. When reading an interview, the focus is normally on the interviewee’s thoughts and opinions. But look out for authorial intrusion, something you may have come across in your literary studies, where either directly or indirectly the writer of the article makes their opinions known as well.

Sample Responses:

Celebrity Big Brother

Jimi Hendrix

Try for Yourself:

Minoli Salgado

Bernie Ecclestone

Madonna

key features of interviews

Format: most interviews are either presented in question and answer format or as an article with responses embedded inside narration. Check to see if the balance of content is evenly split or if the focus is on the interviewee. If the interviewer’s own thoughts and feelings are apparent this is called authorial intrusion.

Register: as a record of a spoken conversation, a written interview is likely to contain examples of language that is more like speech. Look out for colloquialisms, idioms, contractions and even jokes.

Quotation: almost all interviews will feature direct quotation. Something the interviewee said might even provide the title. The writer may also use reported speech, either for brevity or as a stylistic device.

Structure: it is not uncommon to see a question- answer interview sandwiched between an introduction and conclusion written by the interviewer. The interview may be focused on one issue or may range across various topics.

Perspective: the interview presents a one-sided view on a topic or person, so is likely to be highly subjective. The interviewee may use assertive statements which present opinions as if they are facts. Don’t forget to analyze the language used by the interviewer in the article or questions to see how the writer can lead your opinion or create bias.

Advisory Texts

Since the 5th century BC, people have been giving each other advice in writing. Chinese general Sun Tzu wrote his advice on bamboo strips – now you can buy his collected works, The Art of War, in a bookstore. Newspapers and magazines feature advisory sections (in Britain, the writers of these columns are known as Agony Aunts or Agony Uncles). Elsewhere, institutions such as the medical practice, health services and even governments like to give advice. This means that advisory texts can take many forms: columns, articles, letters, posters or infographics are all text types that can give advice in one form or another. See for yourself by reading the sample responses to the papers listed here:

Sample Responses:

Self-help Guide

Try for Yourself:

Letter of Advice

key features of advisory texts

Tone: authoritative, reasonable, commanding or trustworthy. Look out for opinions presented as if they are facts.

Tense: the imperative tense (also called the command tense) can be recognised by the position of the verb at or near the start of the sentence.

Modality: modal verbs such as ‘must’, ‘will’, ‘should’ and ‘ought’ transmit strength of feelings.

Credibility: expert sources, research and scientific evidence might be used to establish credibility.

Register: official advice will be formal and persuasive; friendly advice will be delivered in a reassuring or intimate way. Sometimes, advice will include a warning.

Structure: look for cause-and-effect structures, step-by-step guides or linear structures that are easy to follow.

Scientific Articles

A sub-category of magazine articles drawn from publications such as National Geographic, New Scientist, Cosmos, Nature and more. There’s an interesting investigation to be had in the study of language and literature into the tension between science and the arts and, by reading though the sample papers below, you’ll notice how these two disciplines are not necessarily as different as you might think:

Sample Responses:

A Question of Time

The Silence of the Bees

try for yourself:

Journey of a Lifetime

Artificial Intelligence

Mission to Mars

key features of scientific articles

Diction: inevitably, writing about science and nature will involve using a specialist vocabulary of technical and precise terms.

Comparisons: some scientific concepts are quite abstract or complex, so writers of scientific articles might use similes and comparisons to make them easier for a wider readership to visualise.

Visuals: photographs, diagrams, charts and graphs are all likely to accompany and illustrate scientific concepts. Look out for examples of simplification.

Informative: the purpose of scientific writing is to share knowledge, so look out for informative features such as facts and statistics and clear explanations. Some articles will also simplify concepts for a more general readership.

Credibility: research, authoritative sources, and quotations by experts make far-out concepts more credible.

Structure: look out for both linear and non-linear structures and layouts, depending on the content. A text might provide a timeline or historical overview. Boxouts, summaries, explainers, glossaries can all help communicate complicated ideas.

Texts for Children

More a category of writing rather than a text type, texts produced for young people have distinctive features of their own that you may want to keep an eye on.

Sample Responses:

Tiktok and the Nome King

Enid Blyton

Try for Yourself:

The Monkey Fiddle

Word of the Year

key features of texts for children

Allegory: like symbolism, in children’s stories characters and objects often stand for things greater than themselves. The Wizard of Oz is a good example of allegory.

Diction: it would be unusual for children’s texts to contain too much difficult vocabulary, although stories and rhymes often use synonyms.

Visuals: look out for colourful visuals, vividly drawn people and places.

Fable: a particular type of children’s writing that anthropomorphises animals, who stand in for human characters.

Didactic: some texts for children are designed to teach a lesson or moral. You can look out for didactic messages in children’s texts.

Charity Appeals

A sub-category of advertising, charity appeals attempt to recruit you on behalf of a good cause and often ask you to donate either time or money. They are extremely persuasive, and often rely on similar methods to conventional advertising and persuasive speaking, tending to have more copy than conventional adverts. Take a look at the sample analyses to different charity appeals here and notice the elements they have in common:

Sample Responses:

The Smith Family

Try for Yourself:

Cold Weather Alert

Pink Rickshaws

Save the Bees

Adopt a Polar Bear

key features of charity appeals

Headings: look for headings and sub-headings that contain impactful and emotive language.

Visuals: like conventional advertising, charity appeals rely on visual elements such as photographs to quickly convey relevant information. Look out for body language and facial expressions that reveal need.

Statistics: in order to convey not only the scale of the problem, but also how the organisation has helped in the past. May be presented in summary or graphical form.

Metonymy: social problems like hunger and poverty are too large for one person to help solve; so charity ads often introduce you to a single individual who represents all those who your donation goes towards helping.

Pathos: charity ads appeal to your emotions by trying to make you sympathetic; by feeling sorry for someone you are more likely to help.

Persuasive: charity adverts are strongly persuasive, so look out for all kinds of rhetorical features including direct address, use of imperatives, modals and more.

Recruitment Campaigns

Frequently associated with wartime propaganda, recruitment campaigns can be used in a variety of contexts to encourage people to support a cause. A hybrid category of advertising and persuasion, recruitment campaigns would traditionally have been waged with pamphlets, leaflets, brochures and posters. Increasingly, this text type is being driven online, although certain traditional features survive; in particular, you can look out for webpages being formatted in three parts, as if folded into a brochure. Take a look at a couple of these responses to recruitment texts, then have a go at writing your own:

Sample Responses:

Further Education

Try for yourself:

Be The Change

We Are Nurses

Fridays For Future

key features of recruitment campaigns

Visuals: can be wholly visual, but likely to have some accompanying text (multi-modal).

Slogans: text may be minimal or in the form of slogans which are designed to be catchy. Pay attention to typography, fonts and emphasised words.

Persuasive: the purpose of a recruitment campaign is to persuade you to sign up to a cause or join an organisation. Recruitment drives are almost certain to use direct address and imperatives.

Pathos: the core of a campaign is often emotional, aiming to elicit feelings such as patriotism and duty on one hand, or guilt if one is not to sign up.

Card-stacking: a common feature of recruitment drives is they often fail to show the downsides of joining up! Ignoring parts of the argument that don’t fit your agenda is called card-stacking.

Simplification: along with a host of other fallacies, recruitment campaigns reduce complex issues to simple solutions. They may also invoke stereotypes.

Symbolism: elements of the text will connote concepts that are integral to the writer’s message. Look out for metonymy, where an individual is made to stand for the whole.

Descriptive Passages

Although descriptive writing is a major part of literary fiction, non-fiction writers may also write with the purpose of having you visualise a scene, event or person. Many forms of writing can be descriptive: autobiographies, travel articles, letters, diaries and blogs might all feature descriptive passages to one degree or another. Read through a sample response, then try your hand at analysing a descriptive passage:

sample Responses:

What is Poverty?

Try for yourself:

The People of the Abyss

Key features of descriptive passages

Diction: the aim of descriptive writing is to help you visualise what’s in the writer’s head, so vague language is not helpful. Descriptive writing employs concrete language in precise ways.

Imagery: as writing which is drawn from direct experience, description always involves imagery. Humans perceive the world vividly using our visual sense – but don’t forget about other ways of perception: sensory images can also be auditory, tactile, kinaesthetic, and even olfactory (the sense of smell).

Figurative Comparisons: similes, metaphors, and personifications are commonly found in descriptive writing.

Modifiers: the function of adjectives and adverbs are to describe.

Perspective: one of the most important features. For example, a piece from an outsider perspective will contain very different thoughts and feelings to a piece written from an insider’s point of view.

# data[].attributes.body
High and low modality
Strong/direct versus indirect voice

# data[].attributes.attachment_link.readable_text
10 examples of modals, Definition and Example Sentences

Here are English Modals Table and Example Sentences

Ability, doubt, astonishment, permission, Polite request

Example Sentences;

2. MAY

Permission, if not prohibition, supposition with doubt

Example Sentences;

Obligation, firm necessity, logical conclusion, probability

Example Sentences;

4. SHALL

intention, supposition

Example Sentences;

Wish, desire, will, confidence, in the future

Example Sentences;

6. OUGHT TO

Moral duty, insistent advice, strict recommendation

Example Sentences;

7. NEED

(un)necessity

Example Sentences;

Obligation arising out of arrangement or agreement

Unwillingness, forced circumtances

Example Sentence;

Wish (with "to like"), polite request, a habit of the past

Example Sentences;

# data[].attributes.attachment_link.title
10 examples of modals, Definition and Example Sentences - English Grammar Here

# data[].attributes.attachment_link.description
10 examples of modals, Definition and Example Sentences Here are English Modals Table and Example Sentences 1. CAN Ability, doubt, astonishment, permission, Polite request Example Sentences; I can play the football. Can I go out tonight? 2. MAY Permission, if not prohibition, supposition with doubt Example Sentences; It may rain tomorrow.

# data[].attributes.headline
4 sentence types according to fucntion/purpose

# data[].attributes.subject
4 sentence types according to fucntion/purpose

# data[].attributes.attachment_link.description
TYPES OF SENTENCES ACCORDING TO PURPOSE DECLARATIVE Imperative Definition: A sentence that states a fact, or wish. It ends with a period ( . ) . Definition: A sentence that is used to state a command or request. It may either ends with a period ( . ) or an exclamation point ( ! )

# data[].attributes.attachment_link.readable_text
We use words in writing. Shocking, I know! Do you know what else we use in writing? Here is a hint: they have already appeared in this paragraph. In addition to words, we use many different symbols and characters to organize our thoughts and make text easier to read. All of these symbols come in two major categories: punctuation marks and typographical symbols. These symbols have many different uses and include everything from the humble period (.) to the rarely used caret symbol (^). There may even be a few symbols out there that you've never even heard of before that leave you scratching your head when you see them on your keyboard!

Punctuation is the act or system of using specific marks or symbols in writing to separate different elements from each other or to make writing more clear. Punctuation is used in English and the other languages that use the Latin alphabet. Many other writing systems also use punctuation, too. Thanks to punctuation, we don't have to suffer through a block of text that looks like this:

My favorite color is red do you like red red is great my sister likes green she always says green is the color of champions regardless of which color is better we both agree that no one likes salmon which is a fish and not a color seriously

Punctuation examples

The following sentences give examples of the many different punctuation marks that we use:

The term typographical symbol, or any other number of phrases, refers to a character or symbol that isn't considered to be a punctuation mark but may still be used in writing for various purposes. Typographical symbols are generally avoided in formal writing under most circumstances. However, you may see typographic symbols used quite a bit in informal writing.

Typographical symbol examples

The following examples show some ways that a writer might use typographical symbols. Keep in mind that some of these sentences may not be considered appropriate in formal writing.

The frustrated actor said she was tired of her co-star's "annoying bull****."

For questions, email us at anascabana@bananacabanas.fake!

The band had five #1 singles on the American music charts during the 1990s.

My internet provider is AT&T.

Types of punctuation and symbols

There are many different types of punctuation marks and typographical symbols. We'll briefly touch on them now, but you can learn more about of these characters by checking out the links in this list and also each section below:

Period, question mark, and exclamation point

These three commonly used punctuation marks are used for the same reason: to end an independent thought.

Period (.)

A is used to end a declarative sentence. A period indicates that a sentence is finished.

Unique to them, periods are also often used in abbreviations.

Prof. Dumbledore once again awarded a ludicrous amount of points to Gryffindor.

Question mark (?)

The question mark is used to end a question, also known as an interrogative sentence.

Exclamation point (!)

The exclamation point is used at the end of exclamations and interjections.

Comma, colon, and semicolon

Commas, colons, and semicolons can all be used to connect sentences together.

Comma (,)

The is often the punctuation mark that gives writers the most problems. It has many different uses and often requires good knowledge of grammar to avoid making mistakes when using it. Some common uses of the comma include:

Coordinate adjectives: The cute, happy puppy licked my hand.

Try out this quiz on the Oxford comma!

Colon (:)

The is typically used to introduce additional information.

The detective had three suspects: the salesman, the gardener, and the lawyer.

Like commas, colons can also connect clauses together.

We forgot to ask the most important question: who was buying lunch?

Colons have a few other uses, too.

Semicolon (;)

Like the comma and the colon, the is used to connect sentences together. The semicolon typically indicates that the second sentence is closely related to the one before it.

Hyphen and dashes (en dash and em dash)

All three of these punctuation marks are often referred to as "dashes." However, they are all used for entirely different reasons.

Hyphen (-)

The is used to form compound words.

I went to lunch with my father-in-law.

She was playing with a jack-in-the-box.

He was accused of having pro-British sympathies.

En dash (-)

The is used to express ranges or is sometimes used in more complex compound words.

Em dash (-)

The em dashis used to indicate a pause or interrupted speech.

Test your knowledge on the different dashes here.

Parentheses, brackets, and braces

These pairs of punctuation marks look similar, but they all have different uses. In general, the parentheses are much more commonly used than the others.

Parentheses ()

Typically, parenthesesare used to add additional information.

I thought (for a very long time) if I should actually give an honest answer.

Tomorrow is Christmas (my favorite holiday)!

Parentheses have a variety of other uses, too.

Pollution increased significantly. (See Chart 14B)

He was at an Alcoholics Anonymous (AA) meeting.

Richard I of England (1157-1199) had the heart of a lion.

Square brackets []

Typically, square brackets are used to clarify or add information to quotations.

According to an eyewitness, the chimpanzees "climbed on the roof and juggled [bananas]."

The judge said that "the defense attorney [Mr. Wright] had made it clear that the case was far from closed."

Curly brackets {}

Curly brackets, also known as braces, are rarely used punctuation marks that are used to group a set.

I was impressed by the many different colors {red, green, yellow, blue, purple, black, white} they selected for the flag's design.

Angle brackets <>

Angle bracketshave no usage in formal writing and are rarely ever used even in informal writing. These characters have more uses in other fields, such as math or computing.

Quotation marks and apostrophe

You'll find these punctuation marks hanging out at the top of a line of text.

Quotation marks ("")

The most common use of quotation marks is to contain quotations.

She said, "Don't let the dog out of the house."

Bob Ross liked to put "happy little trees" in many of his paintings.

Apostrophe (')

The apostrophe is most often used to form possessives and contractions.

The house's back door is open.

My cousin's birthday is next week.

It isn't ready yet.

We should've stayed outside.

Slash and ellipses

These are two punctuation marks you may not see too often, but they are still useful.

Slash (/)

The has several different uses. Here are some examples:

Relationships: The existence of boxer briefs somehow hasn't ended the boxers/briefs debate.

Alternatives: They accept cash and/or credit.

Fractions: After an hour, 2/3 of the audience had already left.

Ellipses (...)

In formal writing, are used to indicate that words were removed from a quote.

The mayor said, "The damages will be ... paid for by the city ... as soon as possible."

In informal writing, ellipses are often used to indicate pauses or speech that trails off.

Typographical symbols

Typographical symbols rarely appear in formal writing. You are much more likely to see them used for a variety of reasons in informal writing.

Asterisk (*)

In formal writing, especially academic and scientific writing, the is used to indicate a footnote.

Chocolate is the preferred flavor of ice cream.*
*According to survey data from the Ice Cream Data Center.

The asterisk may also be used to direct a reader toward a clarification or may be used to censor inappropriate words or phrases.

Ampersand (&)

The substitutes for the word and. Besides its use in the official names of things, the ampersand is typically avoided in formal writing.

The band gave a speech at the Rock & Roll Hall of Fame.

Bullet Point (*)

Bullet points are used to create lists. For example,

For this recipe you will need:

Pound symbol (#)

Informally, the pound symbol is typically used to mean number or is used in social media hashtags.

The catchy pop song reached #1 on the charts.

Ready 4 Halloween 2morrow!!! #spooky #TrickorTreat

Tilde (~)

Besides being used as an accent mark in Spanish and Portuguese words, the is rarely used. Informally, a person may use it to mean "about" or "approximately."

Backslash (\)

The backslash is primarily used in computer programming and coding. It might be used online and in texting to draw emoticons, but it has no other common uses in writing. Be careful not to mix it up with the similar forward slash (/), which is a punctuation mark.

At symbol (@)

The substitutes for the word at in informal writing. In formal writing, it is used when writing email addresses.

His email address is duckduck@goose.abc.

Caret symbol (^)

The caret symbol is used in proofreading, but may be used to indicate an exponent if a writer is unable to use superscript.

Pipe symbol (|)

The pipe symbol is not used in writing. Instead, it has a variety of functions in the fields of math, physics, or computing.

Not sure if you're using the hyphen, en dash, or em dash correctly? Check your writing on Thesaurus.com's Grammar Coach ™. This writing tool uses machine learning technology uniquely designed to catch grammar and spelling errors. Its Synonym Swap will find the best nouns, adjectives, and more to help say what you really mean, guiding you toward clearer, stronger, writing.

Whether you're using commas, apostrophes, or parentheses, start writing smarter today!

# data[].attributes.attachment_link.description
We use words in writing. Shocking, I know! Do you know what else we use in writing? Here is a hint: they have already appeared in this paragraph. In addition to words, we use many different symbols and characters to organize our thoughts and make text easier to read.

# data[].attributes.body
A interesting NPR segment.
Totally linked to our purpose in Lang & Lit: How language shapes a message?

# data[].attributes.attachment_link.readable_text
The country has been debating gun regulations for months. Later this week, a Senate committee will start work on various proposals, including a background check on every gun sale and a ban on assault weapons.

But this debate over guns goes beyond disagreements about policy. Advocates on both sides quite literally disagree on the terms of the discussion - as in, the words they use to describe it.

Ask "gun control advocates" to describe what this debate is about, and they'll say "control" really isn't the word they prefer.

"We find that it's one of those terms that has some baggage," says Mark Glaze, director of Mayors Against Illegal Guns. "We talk about gun violence prevention, because that's what it is."

"Gun control" suggests big government telling Americans what to do. "Violence prevention" - well, that's something everybody could support in theory.

"I've seen polling in which the phrase 'gun violence prevention' tests a good 17, 20 points higher than the term 'gun control,' " Glaze says.

Change words, and you can change opinions.

On the other side of the debate, the National Rifle Association does its own polling, though it's not as open about what the conclusions are.

"We do polling all the time, and, you know, it runs the gamut of how people feel about certain issues, and certainly that includes some language," says Andrew Arulanandam, an NRA spokesman. But "I'm not going to divulge our polling numbers out there."

You can make an educated guess about what the polls show by listening to the NRA's language. It never uses its opponents' phrase, "violence prevention."

"For us, it's a debate over gun rights," Arulanandam says.

The NRA talks about defending the Second Amendment and protecting the Constitution. Those are deeply held American ideals.

Words do more than just describe the world. They literally define it. They shape and frame it.

"Most people don't understand this," says linguist George Lakoff of the University of California, Berkeley. "Most people think that words just refer to things in the world and that they're neutral. And that's just not true."

Lakoff has written many books about this idea. "English does not just fit the world. English fits the way you understand the world via your frames," he says. "And in politics they are morally based frames."

This is not just spin. Words in political debates tap into deeply held principles - like freedom and safety - and the specific phrases people use determine which values come up, in the same way that playing different notes on a piano will make music that evokes different emotions.

These principles apply to every debate, not just guns.

Decades ago, pollster Frank Luntz helped Republicans figure out the power of words. He showed them that voters are more likely to oppose the estate tax if it's called a "death tax." He found that Americans like oil drilling more if it's called "energy exploration."

"The phraseology determines the context. And the context determines success or failure," Luntz says.

But words are not fixed points on a map. They exist on shifting ground. A phrase that once carried a punch may grow toxic or just fall limp.

"An example of this can be seen in the recent announcement that Planned Parenthood would no longer be using the term 'pro-choice,' " says Ben Zimmer, executive producer of the Visual Thesaurus.

Zimmer says Planned Parenthood realized that some people support abortion rights but don't identify with the term "pro-choice."

And he has lots of examples from government. Democrats used to proudly call themselves "liberal." They abandoned that word for "progressive." And now "liberal" is making a comeback.

Then, there's "reform." Zimmer says politicians of both parties tack that word onto any effort to change a program - from tax reform to immigration reform.

" 'Reform' is one of those terms that is very charged and helps to present one's own position as something positive - a way of advocating change in a positive light," Zimmer says. "But what counts as reform, of course, is in the eye of the beholder."

Politicians might call any proposal for change a "reform." But not every change is a good change.

# data[].attributes.attachment_link.title
Loaded Words: How Language Shapes The Gun Debate

# data[].attributes.attachment_link.description
The debate currently raging over guns goes beyond a disagreement over policy. Advocates on both sides literally disagree on the terms of the discussion - as in, the words they use to describe it. They know that the specific phrases they use tap into deeply held values in the people who hear them.

# data[].attributes.attachment_link.readable_text
The structure of a text is how it is organised and how its parts fit together. Writers structure their texts deliberately to have an effect on the reader.

Exam questions ask you to comment on how writers structure their texts to interest the reader. You should use terminology and show that you understand how structural features introduce and prioritise information in a text.

Structure of a non-fiction text

The structure of a non-fiction piece could be:

chronological - in date or time order

prioritised - the most important facts first (like a news article)

separated into blocks by subheadings - eg in a feature article

question and answer - eg in information leaflets

problem and solution - eg in agony aunt columns, or self-help guides

letter structure - a salutation (Dear...) and an appropriate ending (Yours sincerely...)

starting in the middle of an event, then providing further information to give several possible viewpoints

Using paragraphs to structure a text

Look at the way the key ideas in a piece are ordered. This will help you work out the structure. There is usually one important idea per paragraph, but some texts have more.

Within each paragraph, ideas can be structured in different ways. A common approach is to start with a topic sentence - the big idea - and then develop it with details or examples. Paragraphs often end with a hook to make you consider the ideas included in the paragraph that you have just read, or a link to the next paragraph.

The number and order of paragraphs, the order of the ideas, and how each paragraph is constructed are all features you can comment on. Why has the writer chosen to structure their paragraphs in specific ways?

Additionally, a shortened paragraph that stands out to the reader can sometimes indicate a change in viewpoint or significant point in the text that the writer may offer a counter argument.

This extract describes the events leading up to the 1666 'Great Fire of London'.

How does the writer structure the text to interest the reader?

September 2, 1666
It was a small mistake, but with great consequences. On September 2, 1666, Thomas Farrinor, baker to King Charles II of England, failed, in effect, to turn off his oven. He thought the fire was out, but apparently the smouldering embers ignited some nearby firewood and by one o'clock in the morning, three hours after Farrinor went to bed, his house in Pudding Lane was in flames. Farrinor, along with his wife and daughter, and one servant, escaped from the burning building through an upstairs window, but the baker's maid was not so fortunate, becoming the Great Fire's first victim. Did these cakes set fire to London?

The fire then leapt across Fish Street Hill and engulfed the Star Inn. The London of 1666 was a city of half-timbered, pitch-covered medieval buildings and sheds that ignited at the touch of a spark--and a strong wind on that September morning ensured that sparks flew everywhere. From the Inn, the fire spread into Thames Street, where riverfront warehouses were bursting with oil, tallow, and other combustible goods. By now the fire had grown too fierce to combat with the crude firefighting methods of the day, which consisted of little more than bucket brigades armed with wooden pails of water. The usual solution during a fire of such size was to demolish every building in the path of the flames in order to deprive the fire of fuel, but the city's mayor hesitated, fearing the high cost of rebuilding. Meanwhile, the fire spread out of control, doing far more damage than anyone could possibly have managed.

Extract taken from the diary of Samuel Pepys

opens with a "small mistake" and "great consequences", raising the question of how something small grew so big

the focus then shifts to Thomas Farrinor, a baker, thinking his "fire was out" - this detail the start of the Great Fire, building tension

a temporal reference "three hours after Farrinor went to bed" implies how control was lost in a short space of time as by then his house "was in flames" and there is the "first victim" - implying there will be many more victims

the question "Did these cakes set fire to London?" suggest that the idea is hard for the reader to believe - and intrigues them to discover how this was possible

the focus then shifts to the growing fire "leapt" and "engulfed", the wooden structure of London and the "strong wind" - together these elements suggest the fire will take over quickly, creating a quicker pace

contrast is used to show how useless the "bucket brigades armed with wooden pails" are as "the fire spread out of control"

the extract ends leaving the reader thinking about the vast "damage" the fire caused, and that no one "could possibly have managed" it

# data[].attributes.attachment_link.title
Structure - Language and structure - AQA - GCSE English Language Revision - AQA - BBC Bitesize

# data[].attributes.attachment_link.description
Learn and revise about the language and structure of non-fiction texts with this BBC Bitesize GCSE English Language (AQA) study guide.

# data[].attributes.attachment_link.readable_text
Looking for a comprehensive list of film techniques and a breakdown of how they create meaning? Well, this is it. In this searchable guide, you'll find all the important film techniques you need to discuss in your essays.

All about the Ultimate Film Techniques List

Films take us on journeys; we become immersed in worlds beyond our own. The best films lead us to ask questions about our world as well as ourselves. However, sometimes it can be difficult to translate our reactions to film into meaningful English analysis.

We've put this list together to help you make sense of these choices and analyse films more effectively.

When filmmakers construct their films, they combine multiple techniques together to develop meaning. Film combines visual elements with auditory elements to develop meaning.

To understand how the various techniques combine to create meaning, watch the following video we have put together that lists the techniques employed in various film scenes.

Film Techniques Toolkit from Matrix Education on Vimeo

The list below provides some of the key film techniques for writing about cinematic texts.

Ultimate Film Techniques List

There are a huge number of techniques that are used in films to convey meaning. Below are some of the must-know techniques that are included in the glossaries of Matrix English Theory Books.

Camera angles refer to the tilt of the camera in relation to the scene and the characters. Unusual camera angles can emphasise an action sequence, disorientate the audience, and suggest the relationship between characters.

The main angles are:

Low - Establishes the power of the character or object

Eye-Level - Allows the audience to get personal with the character(s)

High - Presents the subject as vulnerable or lacking in power

Worm's Eye - Presents the figure as very large and/or powerful

Canted (also known as a Dutch Angle)- Develops psychological unease or tension.

Bird's Eye - Often used to establish a shot and characters' relationship to it

2. Bridging Shot

A shot that marks the passage of time in a film. This is sometimes a series of newspaper headlines, a calendar, tress going through seasonal changes, or the hands turning on a clock.

This bridging shot marks the passing of evening. Note the fast turning of the clock hands and rapid melting of the candle.

Colour, especially the choice of colour palette or scheme, can reflect the mood of the piece. Colour in a scene can also be enhanced through lighting.

For example, in The Great Gatsby (2013), the use of a vibrant colour scheme reflects the opulent lifestyle of New York elites in the 1920s.

You can learn more about colour symbolism at Studio Binder.

4. Cucoloris

Cucoloris is a lighting technique where an object is placed between the light source and the subject in order to create a patterned shadow. A staple of film noir.

5. Cross-Cutting

Cross-cutting is an editing technique where actions are established as occurring at the same time. The camera will cut away from one action to another action elsewhere to suggest these things are occurring at the same moment.

Cross cutting is used in Christopher Nolan's Inception (2010) to build tension in a crucial action scene.

6. Dialogue

A conversation between two characters is called dialogue. Written by scriptwriters to convey the film's plot, dialogue is also useful in conveying character.

7. Dissolve

A transition that moves between one shot and another by overlaying one shot and fading the first image out while strengthening the second shot. This can denote daydreams, memories, the passing of time, or signify phone conversations and long-distance communication.

Consider this example from Paul Thomas Anderson's Inherent Vice (2014):

In this dissolve, we are taken to one of Larry "Doc" Sportello's memories that are triggered during a phone call.

8. Dolly Shot

A dolly is a wheeled cart that the camera and operator are seated on. A dolly shot is a shot where the dolly is pushed along to move with the action. This is similar to a tracking shot, but without the tracks so that the camera can have a broader range of motion.

The video below discusses the difference between dolly shots and zooms and how they can be used (or even combined) to create effects and meaning.

9. Editing Sequence

The order of each shot and how they have been put together to create a scene. This is usually based upon the storyboard used by the director.

However, some directors such as Werner Herzog refused to use storyboards, and shoot many scenes which they edit together by trial and error.

10. Editing Wipes

In editing, wipes are used to transition between scenes in a variety of ways rather than just cutting. Types of wipes include:

Horizontal wipe - the wipe moves horizontally across the screen

Vertical wipe - The wipe moves vertically across the screen

Diagonal wipe - The wipe moves diagonally across the screen

Star wipe - The wipe is the shape of an expanding star to demonstrate something special happening

Heart Wipe - The wipe takes the shape of a heart expanding or contracting to illustrate romance or friendship

Clock Wipe - The wipe is a circular motion like a clock arm to illustrate the passage of time

Matrix wipe - a patterned transition between scenes

In this scene of Mark Waters' Mean Girls (2004), we see a horizontal wipe being used to draw emphasis to Karen's appalled facial expression.

Put your film knowledge into practice!

Studying English shouldn't stop because you're at home! We provide you with clear and structured online lesson videos, quality resources, and forums to ask your Matrix teachers questions and feedback!
Learn more about our Matrix+ Online English course now.
11. Establishing Shot

A type of extreme long-shot that establish the context - time and setting - of a scene or film. Often establishing shots use famous landmarks or places, like the Sydney Harbour Bridge.

12. Eyeline Match

A type of cut where the shot of a character looking at something cuts to a shot of the thing they were looking at the same level. This type of cut is used to show the audience what they were looking at.

It's used in Stephen Daldry's The Hours (2003) to capture Clarissa's fearful expression as she watches Richard perched on the window sill.

13. Fade In/Out

An editing technique where the shot fades out from one shot going to black before fading into a new shot.

This scene from Mark Waters' Mean Girls (2004) fades out, as Cady processes how Regina was just hit by a bus.

14. Flashback

Images that refer to previous events in the characters` lives. Flashbacks can be used to foreshadow future events.

15. Intertitle

Text which is printed on a background and placed between filmed scenes through editing. In silent films, intertitles can convey dialogue and exposition.

16. Iris

Similar to other editing wipes, this is a type of transition where the screen irises closed around a particular thing on screen. These can be used to signify daydreams, provide a dramatic transition, or signify the end of a scene.

17. Jump Cut

A cut that moves fractionally forward in time. These shots focus on the same subject but either use a different angle or have the subject in a different position to illustrate that time has moved forward in time. Jump cuts are usually used to show time passing forward.

Below is an instance of jump cuts in Frank Oz's Little Shop of Horrors (1987).

Lighting contributes to the mood of a film and suggests interpretations of a character. Are they good? Are they nefarious?

Low key lighting emphasises the shadows in a shot, while lighting from above or below can suggest that a character possesses sinister qualities.

19. Long Take

Also called a sequence shot (and occasionally referred to as a one-shot)

20. Match Cut

Jumps from one shot to another similar shot that matches the composition of the first shot.

Here's an example of a match cut in the opening of Taylor Swift's Style music video.

21. Mise en scène

Mise en scène translates as 'what is put into a scene'. This French expression refers to the composition of a scene, including placement of characters, costume, make- up and setting.

22. Montage

A montage is a type of editing sequence where a series of shots play rapidly to create a narrative. Often a montage will be accompanied by a unifying piece of music to convey the dominant mood connected with the sequence.

Animated GIF: A montage from Fritz Lang's Metropolis (1927)

23. Mood

Mood refers to the feelings suggested by the combination of all the elements on the screen and the accompanying sound. Another way to refer to the mood is to discuss atmosphere.

Music can convey the theme, mood and atmosphere. There are different types of music in films.

The score is extra-diegetic music composed for the film, designed to evoke the film's desired mood for the audience.

Music heard by the characters in the film is called diegetic music.

25. Over the Shoulder (OTS)

A type of sequence shot or tracking shot where the camera follows a character by following them and shooting over their shoulder. Like a Point of View shot, an over the shoulder shot focalises (that is, focuses in on) on the characters experience.

Stephen Daldry's The Hours (2003) utilises an over the shoulder shot of Virginia frustratedly speaking to Leonard.

26. One-Shot

Also referred to as a or Sequence Shot. A one-shot is actually a type of long-take or sequence shot where the effect of being one shot is created through editing. For example, Alejandro G. Iñárritu's 2014 film, Birdman uses careful editing to give the appearance of a single take.

In some cases, a one-shot is used to refer to whole films made in one take, such as the 2015 film German film, Victoria.

27. Panning Shot

A shot where the camera swivels horizontally around a fixed point to follow the subject.

A panning shot is used in Amy Heckerling's Clueless (1995) to show Cher chasing her father around the kitchen to give him a glass of orange juice.

28. Point Of View Shot (POV)

A shot that is taken from a character's point of view, like a first-person video game. Point of View shots focalise (that is, focus in on) a character's experience.

29. Rack Shot

A shot where the camera shifts the focus while holding the same shot to bring another object into focus. Rack shots change the depth of the shot.

The example below is from the TV series Sherlock. In it, the focus shifts from Sherlock to Watson.

Animated GIF: In this rack shot, the focus shifts from Sherlock in the foreground to Watson in the background.

30. Scene

A unit of narrative used to divide up a dramatic text or film. A scene usually takes place in a single location and focuses on a single action in one moment of varying length.

31. Setting

The place where the action of the film occurs.

32. Sequence Shot

A sequence shot is a single long take shows a series of actions happening one after another within the same shot. Sequence shots are occasionally called long takes and one-shots. Sequence shots are very hard to do and can develop quite a lot of meaning.

A famous example is Martin Scorses's Copacabana shot from his 1990 film, Goodfellas.

This shot illustrates the Henry Hills' wealth and connections while he shows off to his date. This take combines over the shoulder and point of view perspectives.

33. Shot Type

Shot types indicate how close or far the camera is from the characters. Shot types range from Extreme Long Shot (XLS), where the characters may be very small and embedded in a landscape, to Extreme Close Up (XCU), where part of the character's face makes up the whole shot.

The shots are:

Extreme Long Shot (XLS)

Long Shot (LS)

Medium Long Shot (MLS)

Medium Shot (MS)

Medium Close Up (MCU)

Close Up (CU)

Super Close Up (SCU)

Extreme Close Up (XCU)

Image: Examples of various shot types

34. Sound

The sound of a film helps to create atmosphere - this can include:

Like music, sound can be divided into:

Diegetic: occurring in the world of the film

Extra-diegetic (occurring outside the world of the film)

An object used to suggest ideas in addition to, or beyond, their literal sense. For example, the glass slipper in Cinderella symbolises the opportunity that Cinderella has to live a different life. Watch films carefully to spot symbols and their potential meaning to the plot. If a symbol recurs throughout the film it is a motif.

Animated GIF: This GIF is from Sam Mendes' American Beauty (1999). The dancing plastic bag symbolises how beauty is found in things that are often discarded. The bag is rubbish to many, but its dance in the wind is beautiful.

36. Steady Cam

A type of camera that is used in action sequences. A steady cam rig allows the camera to be worn by the operator so they can follow an action sequence without the shot become overly jerky.

This video shows examples of shots taken with the steady cam, explained from the perspective of a steady cam operator.

37. Transitions

A way to transition between shots. Transitions involve cuts, fades, and wipes (see above for specific definitions).

This is a good video that explains these various techniques.

38. Tilt

When the camera tilts in shot to show the subject away from the horizontal axis.

Example: A tilt shot of Captain America

39. Title Card

40. Tracking Shot

A shot that follows a subject as they move.

In Jane Campion's Bright Star (2009), a tracking shot of Brawne is used to capture her grieving reaction to Keats' death.

41. Two Shot

A shot that features two characters and is used to establish or develop their relationship.

42. Zoom

The camera zooms in or out to focus on an object or to show how far away it is. Zooms can be used for dramatic effect or can be used to show objects in relation to each other for scale.

See Dolly Shot above for a video discussing the difference between Zooms and Dolly shots.

Thanks for reading the Ultimate Film Techniques List

We hope you found this ultimate film techniques list useful. Don't forget to check the individual articles to broaden your knowledge of film like Matrix students do.

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site's author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

# data[].attributes.attachment_link.title
The Ultimate Film Techniques List [2022 UPDATE]

# data[].attributes.attachment_link.description
In this Guide, we give you the ultimate film techniques list to help you identify and analyse your set films. 2022 Update.

# data[].attributes.attachment_link.title
Infographics vs. Text: How Does Visual Content Affect Reading Comprehension?

# data[].attributes.attachment_link.description
Do visuals really trump text? This survey completed by 1,428 American adults reveals surprising results on how we process infographics vs. text alone.

# data[].attributes.attachment_link.title
Bold Red Orange Pink Creative Block Process Infographic (1)

# data[].attributes.attachment_link.title
All the Old Knives review – Chris Pine and Thandiwe Newton add class to CIA spy drama

# data[].attributes.attachment_link.description
Pine and Newton play former lovers in this watchable Le Carré-esque tale of personal and patriotic betrayals

# data[].attributes.attachment_link.title
Ifem & Ceiling 8 - Chimamanda Ngozi Adichie

# data[].attributes.attachment_link.description
Alphonsus made vegetable soup. Ceiling and I were hanging out at the dining table after eating. “What a stupid idea to announce a ceasefire with Boko Haram, who came up with that? Is it that these people don’t think?” I asked. “They are eager to...

# data[].attributes.attachment_link.title
Font Psychology: Here’s Everything You Need to Know About Fonts

# data[].attributes.attachment_link.description
Using font psychology to build upon your site’s design can drive user experience and improve conversion. Fonts are potent elements within web design that can provoke emotions, direct attention, or even guide the user towards action.

# data[].attributes.attachment_link.readable_text
1. Monomyth

The monomyth (also called the hero's journey), is a story structure that is found in many folk tales, myths and religious writings from around the world.

In a monomyth, the hero is called to leave their home and sets out on a difficult journey. They move from somewhere they know into a threatening unknown place.

After overcoming a great trial, they return home with a reward or newfound wisdom - something which will help their community. Lots of modern stories still follow this structure, from the Lion King to Star Wars.

Using the monomyth to shape your presentation can help you to explain what has brought you to the wisdom you want to share. It can bring your message alive for your audience.

2. The mountain

The mountain structure is a way of mapping the tension and drama in a story. It's similar to the monomyth because it helps us to plot when certain events occur in a story.

It's different because it doesn't necessarily have a happy ending. The first part of the story is given to setting the scene, and is followed by just a series of small challenges and rising action before a climactic conclusion.

It's a bit like a TV series - each episode has its ups and downs, all building up to a big finale at the end of the season.

3. Nested loops

Nested loops is a storytelling technique where you layer three or more narratives within each other.

You place your most important story - the core of your message - in the centre, and use the stories around it to elaborate or explain that central principle. The first story you begin is the last story you finish, the second story you start is second to last, etc.

Nested loops works a bit like a friend telling you about a wise person in their life, someone who taught them an important lesson. The first loops are your friend's story, the second loops are the wise person's story. At the centre is the important lesson.

4. Sparklines

Sparklines are a way of mapping presentation structures. Graphic designer Nancy Duarte uses sparklines to analyse famous speeches graphically in her book Resonate.

She argues that the very best speeches succeed because they contrast our ordinary world with an ideal, improved world. They compare what is with what could be.

By doing this the presenter draws attention to the problems we have in our society, our personal lives, our businesses. The presenter creates and fuels a desire for change in the audience.

It's a highly emotional technique that is sure to motivate your audience to support you.

5. In medias res

In medias res storytelling is when you begin your narrative in the heat of the action, before starting over at the beginning to explain how you got there.

By dropping your audience right into the most exciting part of your story they'll be gripped from the beginning and will stay engaged to find out what happens.

But be careful - you don't want to give away too much of the action straight away. Try hinting at something bizarre or unexpected - something that needs more explanation. Give your audience just enough information to keep them hooked, as you go back and set the scene of your story.

This only works for shorter presentations though - if you string it out too long your audience will get frustrated and lose interest.

Grabbing attention from the start

Keep an audience craving resolution

Focusing attention on a pivotal moment in your story

Good for:
See also: An overview of in medias res storytelling at story-papers.com

Zak Ebrahim begins his talk with the revelation that his father helped plan the 1993 World Trade Centre bombing. His audience is gripped from the beginning, as he begins to recount the events of his childhood and the path he took after his father's conviction.

6. Converging ideas

Converging ideas is a speech structure that shows the audience how different strands of thinking came together to form one product or idea.

It can be used to show the birth of a movement. Or explain how a single idea was the culmination of several great minds working towards one goal.

Converging ideas is similar to the nested loops structure, but rather than framing one story with complementary stories, it can show how several equally important stories came to a single strong conclusion.

This technique could be used to tell the stories of some of the world's greatest partnerships - for example, web developers Larry Page and Sergey Brin.

Larry and Sergey met at Stanford's PhD program in 1995, but they didn't like each other at first. They both had great ideas, but found working together hard. Eventually they found themselves working on a research project together. A research project that became Google.

7. False start

A 'false start' story is when you begin to tell a seemingly predictable story, before unexpectedly disrupting it and beginning it over again. You lure your audience into a false sense of security, and then shock them by turning the tables.

This format is great for talking about a time that you failed in something and were forced to 'go back to the start' and reassess. It's ideal for talking about the things that you learnt from that experience. Or the innovative way that you solved your problem.

But best of all, it's a quick attention hack which will disrupt your audience's expectations and surprise them into paying closer attention to your message.

8. Petal Structure

The petal structure is a way of organising multiple speakers or stories around one central concept. It's useful if you have several unconnected stories you want to tell or things you want to reveal - that all relate back to a single message.

You tell your stories one by one before returning back to the centre. The petals can overlap as one story introduces the next but each should be a complete narrative in itself.

In doing so, you can weave a rich tapestry of evidence around your central theory. Or strong emotional impressions around your idea.

By showing your audience how all these key stories are related to one another, you leave them feeling the true importance and weight of your message.

Image/Source: www.sparkol.com

# data[].attributes.attachment_link.description
The monomyth (also called the hero's journey), is a story structure that is found in many folk tales, myths and religious writings from around the world. In a monomyth, the hero is called to leave their home and sets out on a difficult journey. They move from somewhere they know into a threatening unknown place.

# data[].attributes.body
​Many texts are multimodal, where meaning is communicated through combinations of two or more modes.

The 5 modes are:

Linguistic

Visual

Gestural

Spatial

Aural

# data[].attributes.attachment_link.title
What is MULTIMODALITY? What does MULTIMODALITY mean? MULTIMODALITY meaning & explanation

# data[].attributes.body
Linguistic
The linguistic mode refers to any sort of written or spoken text.The linguistic mode is the most common mode because it can be used in a variety of ways. Think of all the places where you find written or spoken texts!

Visual

This refers to images and characters, such as marks, signs, and symbols. The visual mode involves the use of color, layout, style, size, and perspective.

Think of road signs, for example. They seem purely visual because they don't use any language or sound. Signs rely on the visual mode to get their message across. However, they also use the spatial mode. That's why we can say that signs are multimodal texts.

Gestural

The gestural mode is about movement and how we interpret it. Examples of gestural modes include facial expressions, hand gestures, body language, and interactions between people.

The gestural mode is important in face-to-face conversations, in the theater, concerts, and other live performances, as well as in YouTube videos and other platforms. This mode is usually combined with the other modes.

Spatial

The spatial mode refers to the organisation of elements in a space. It also deals with the physical closeness between people and objects.

Here are two examples of the spatial mode:

A traditional theatre. The stage is on a platform and the audience sits in chairs below, facing it. Here, the power is in the hands of the performers. This spatial order allows the audience to forget about their surroundings and to focus on what is happening on stage.

A theatre-in-the-round. The audience sits in a circle that surrounds the stage. The performers and the audience are on the same level. This spatial order allows each audience member to get a unique view of what is happening on stage. Additionally, sitting in-the-round makes the viewers aware of each other, and enables their participation.

Both of these uses of the spatial mode create different experiences for the audience.

Aural

The aural or audio mode focuses on sound. This includes music, sound effects, ambient noises, silence, the tone of a person's voice, the volume of a sound, emphasis, and accent. Some examples of the aural mode are radio programs, podcasts, and audio plays.

# data[].attributes.body
There are four types of multimodal text:

Print-based - This is a printed text that combines different modes. Comic books, graphic novels, picture storybooks, posters, leaflets, magazines, and newspapers are all examples of print-based multimodal text. They combine the linguistic mode and the visual mode.

Digital - This is a virtual text that combines different modes. Digital texts can be internet-based, such as social media content, blog posts, vlogs, and online games. They can also be found offline. Some examples are films, animations, e-books, video games, and presentation slides. Digital multimodal texts can combine different modes. For instance, films and video games normally combine the linguistic, visual, gestural, and aural modes, whilst blog posts and e-books usually only use linguistic and visual modes.

Live - This is a text that is performed live.
Live multimodal texts include theater, opera performances, and concerts. Book premieres, poetry readings, and lectures are also examples of live multimodal texts. These usually combine four of the five modes: linguistic, gestural, spatial, and aural. Sometimes they can combine all five modes.

Transmedia - This is a text that tells a story or sends a message through a combination of media platforms (each of which uses various modes.) A transmedia text is a multimodal text within a multimodal text.
Each added platform in a transmedia multimodal text further develops the story or idea and enhances the user experience. Some games can be effective transmedia multimodal texts. Maybe you have played a mobile game that required you to engage in physical activity outside of the digital world. Think of Pokémon GO, for instance.

# data[].attributes.attachment_link.readable_text
By telling us your country of residence we are able to provide you with the most relevant travel insurance information.

Please note that not all content is translated or available to residents of all countries. Contact us for full details.

Travel Insurance

Simple and flexible travel insurance

You can buy at home or while traveling, and claim online from anywhere in the world. With 150+ adventure activities covered and 24/7 emergency assistance.

# data[].attributes.attachment_link.title
Understanding Narrative Structure in Documentary

# data[].attributes.attachment_link.description
By telling us your country of residence we are able to provide you with the most relevant travel insurance information. Please note that not all content is translated or available to residents of all countries. Contact us for full details.

# data[].attributes.body
155 words to describe an author's tone

# data[].attributes.attachment_link.title
75 Types of Scenes You Can Use in Your Screenplays - ScreenCraft

# data[].attributes.attachment_link.description
Ken Miyamoto lists all of the major types of movie scenes that screenwriters can use in their scripts.

# data[].attributes.attachment_link.readable_text
By Michael Schilf · January 19, 2010

The screenwriter uses lots of different kinds of scenes to accomplish very specific parts of the overall story. Sometimes the main purpose of a particular scene is to establish setting, or deliver exposition, or reveal important information.

The following list of scene types are not all, but the most common kinds of scenes found in screenplays today. And often times, a scene may be a combination of two or more scene types.

1. Setting - Where are we?

2. Atmosphere/Mood - What is it like there?

3. Introduction - Who is it we are dealing with here?

4. Exposition - Necessary information. Quick and Clever.

5. Transition - getting from one place to another. Fast.

6. Preparation - What will it take to prepare for the task at hand?

7. Aftermath - How does the character feel about what just happened?

8. Investigation - Gathering information.

9. Revelation - The reader/audience finds out something important.

10. Recognition - The character finds out something important.

11. The Gift - Using a prop with emotional investment and turning it into a weapon, emotional or otherwise.

12. Escape - The character is trying to get away, avoid, or hide.

13. Pursuit - The character is trying to follow, capture, or secure.

14. Seduction - Someone must convince someone else.

15. Opposites - Two characters from seemingly opposite poles are forced together.

16. Reversal of Expectations - A character expects a certain, very clear outcome, but another character surprises him, influencing him to reverse his intention and do something else - practically the opposite of what he planned to do.

17. Unexpected Visitor - Someone unexpected shows up. Problems arise.
Download your favorite screenplays here for free

# data[].attributes.attachment_link.description
By Michael Schilf · January 19, 2010 The screenwriter uses lots of different kinds of scenes to accomplish very specific parts of the overall story. Sometimes the main purpose of a particular scene is to establish setting, or deliver exposition, or reveal important information.