the subject’s eyes, through advertising. However,
the line where the copy close-ups are generally
gets smaller, and on to the used to show expression,
text on the right-hand side, and in contrast to make-up
again centred. At the end advertisements, the child
of this line is the small text in the Barnardo’s ‘Believe in
calling the audience to Children’ campaign is totally
action; asking them to text expressionless. This is
a number. This rejection unsettling for the audience,
of everything we are used and again we are relieved
to in visual composition that Barnardo’s is there to
is certainly intentional, look out for such children.
the designer of the ad Note that in this image
wants the audience to feel of a young girl, the soft
discomfort and unfamiliar, horizontal line is again
reinforced by the copy. ‘He centred, as in the image of
told his parents to f**k off. the blonde boy. However,
He told his foster parents this time, the copy changes
to f**k off...’ This isn’t any from bold and the smaller
ordinary kid. He’s the kind text calling the audience
of kid who has problems, to action is in line with the
and his poor behaviour is subject’s mouth. In this
often misunderstood by advertisement from the
adults, because, after all, he campaign, the audience’s
is just a kid. This is the kind focus is far more on the
of kid that Barnardo’s looks subject’s mouth, than the
out for. The more uneasy we eyes as was the focus of the
feel by the composition of previous ad. This reading
the image, the more relived path foregrounding the
we are that Barnardo’s is importance of the mouth
there to look after kids like may emphasise the copy,
him. which describes the girl as
Use of White Space inarticulate.
(a.k.a. negative space): Extra-diegetic gaze: The
white space is not merely use of the extra-diegetic
empty space, that the gaze, or breaking the ‘fourth
designer didn’t get round wall’ is not particularly
to filling up. Space not used unique in advertising,
by other visual elements and refers to the gaze
campaign set his focus
becomes a visual element of the subject on the
and exposure and did
in itself. Most designs try audience, recognising
exactly as that character
to use some white space as the audience’s presence
from Hollyoaks suggested
it stops an image looking and therefore balancing a
– pointed and shot. But this
overly busy or cluttered. power relationship with the
selection of shot type was
Conversely, leaving a lot audience. The subject is not
just one stage in a series
of white space creates a putting on a performance
of decisions that included
particular aesthetic. In this or a spectacle for the
the age, race and gender of
case, used alongside a close audience’s pleasure, and
the children as subject; the
up of a child’s face, the use instead is gazing on us as
language and typography
of white space draws the the audience as we gaze on
of the copy; the size, focus,
eye to the image. It also him. However, most extra-
colour and texture of the
emphasises the isolation diegetic gazes in print
images; the lighting and
of the subject, making him advertising are inviting
tone; the size of white
seem totally alone. But either identification,
space and ultimately, the
reading left to right, after or admiration. The
composition of all of these
the expanse of white space, subjects of the ‘Believe
elements to challenge
we finish the print narrative in Children’ campaigns
conventional aesthetics of
at the Barnardo’s logo, the are inviting neither of
print advertising. By doing
charity that is there to help these. In fact, they are
so, Barnardo’s reinforce their
him. defiant of any contact at
core message – not all
Use of Close Up: Again, all. This challenges usual
children are easy or come
the use of the close-up stereotypes of children in
from loving backgrounds.
challenges what we are print advertising as happy,
But Barnardo’s is there to
used to in print advertising. cheeky, conventionally
support all children, no
Most print advertising uses attractive and ultimately
matter how difficult they
a less confrontational lovable kids.
might be.
shot type, with the In all probability, the
exception of some make- photographer for the
Lucy Scott-Galloway teaches Media
up and beauty product ‘Believe in Children’ Studies at Newham 6th Form
College.
46 MediaMagazine | February 2008 | english and media centre
MM23S&
G13.02.08.indd 46 14/2/08 12:33:40
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68