Use Of Colours In Post-Modernist Indian Creative Advertisements

Paradigm of knowledge, 2022

The problems of advertising are visualization, stylistics, and development tendencies. Methodology is based on socio-cultural, axiological, and comparative methods. Originality includes the scientific study of possible solutions in advertising communication, using associative connotations of color images. Color harmony in advertising is interpreted as a dynamic balance of contrasting elements of the visual info media. As an alternative to globalization processes with an aspiration to standardization and assimilation of cultural peculiarities, the process of a nation's selfidentification is actualized in posters. The functions of color in advertisements are here considered, e.g., expressive, physiological, emotional, informative, and aesthetic. The study on color in Advertising Design in a vast cultural context pays special attention to art-aesthetic aspects. The authors conclude that the use of visual means in advertising is orientated to a target audience with aesthetic ideals and national colors Paradigm of Knowledge № 1(51), 2022 from Italy, Switzerland, and Ukraine. The practical value of the obtained results lies in the application of this complex approach to color designing posters.

Global Journal of Arts Education, 2022

The study of color aesthetics should always consider color interactions. This study aimed to understand the color application in southern India by identifying it in the cityscapes and analyzing its characteristics. Field observations, a survey, and interviews were undertaken. An online questionnaire was administered to 39 undergraduate and master's degree students in Industrial Design courses at VIT University Vellore. The article discusses the appropriate methodology for color criticism research and its multidisciplinary field. The study concludes that color in Southern India has a complex and elaborated application. Color contrast and saturation can be used not merely to enhance and distinguish shapes and forms creating the visual effect of detachment between its elements but as a paradoxical economic status indicator.

A venture in a less traversed terrain of Indian scholarship, this article looks at the transformation in the value regimes that go into the making of colours in the Indian milieu. At one level, this study traces the sacredness imbued in colours and at another level the article delves into the genealogy that gives rise to a complex where colour, colonial investment in the economy of colours (with an aim at capitalizing colours as commodities), values and experiential dynamics enshrined in the imageries and practices associated with colours all come together. With these entanglements, the idea is to engage with the social fabrics and the politics of colours in the Indian milieu. In this rendering, the distinction between values and forms collapses giving us in turn a field of aesthetic experience. Mobilizing a wide range of registers (written as well as pictorial, archival as well as literary), this story is narrated with key rubrics, such as, ambiguous location of colour in the discourse on visuality, social and cultural life of colours and the manner in which Western science and modernity has influenced the values pertaining to colours. However, the core anxiety is parked on the relation between colour, aesthetic experience and the question of value.

The visual communication in the advertisement is a constant dialogue between the designers and the consumers. It has very powerful means of provoking the conscious of the spectator with unconventional and untypical images, associations, expressions, color metaphors, functions, qualities, which are used to flawlessly intrigue him/her. Every published idea should be clear and concrete, so it could provoke the right reaction from the audience of consumers. Otherwise the author may be in the situation to explain what he/she had in mind with this. This would make his/her whole work pointless. Unlike Fine Arts where the artist could afford frivolously to ramble about the main theme, in the advertising each idea must be very clear and memorable. The designers could not afford the luxury to complement the visual image with plenty of explanatory texts. A thorough knowledge of all techniques for visual impact is necessary. Their skillful implementation ensures a successful result.

HERALD of the National Academy of Managerial staff in Culture and Arts (Kyiv), 2016

OF THE POSTMODERN PERIOD Purpose of the research. Study of Сolour in Advertising is directed at systematizing the visual means of advertising cjmmunication and definiting their functional and stylistic specificity within Post-modernism. Methodology of the research is based on socio-cultural, axiological and comparative approaches to the analysis of visual language of Colour on the example of Advertising graphics. Scientific originality. The author examines the Advertising industry are not from the standpoint of Economics, Marketing or Management, but in terms of its artistic level in the global crisis of consumerism the End of XX -XXI century. Besides, the determination of stylistic trends and aesthetic problems of modern Advertising in the socio-cultural area are defined in this article. The significant deficiencies Advertising graphics in the context of Popular culture are accented: the advantage of stereotype, primitiveness, vulgarity and the actual lack of national imagerynowadays in the advertising environment are dominated pop-art, kitsch, eclecticism. The comparative analysis of the forming factors in the Advertising is found that the visual range are not perform illustratively and decorative function, but is formed as the cumulative visual-verbal model, and language of which relies on the methods and means of Art in the Postmodern period. The functions of Colour in advertisements as the gradual perception are considered (expressive, physiological, emotional, informative, positive-aesthetic). Conclusions. The synergistic possibilities of Colour in designing

Co-authors and collaborators: Ajanta Sen, Ravi Poovaiah, Robert Pulley - Introducing the context, the people and the times: In a touching feature on travel, a visiting design scholar from the Rhode island School of Design (Taguiri, 1999) had remarked: “some journeys cover great physical distances, while others are journeys in altered states.” Project Solar Eclipse, suggesting the occasion for the conception of the Project as well as representing the empirical arm of Colors of India (COI, 1998), is one such journey in altered state and carries the tale of real people in a fascinating time … Most of these ‘real people’ were painters, sculptors, tribal artists, textile artists, storytellers, printmakers, housewives, community workers, schoolteachers and educators at the forefront of people’s movements (movement for workers, movement for the demystification and popularization of science). Then there were the children, not just as real people, but as the ‘fascinating people’ of a fascinating time, since they had lent magic to the Project.

Carl Jung considered that color "is the native language of the subconscious." Overlooking the importance of subconscious in creating consumers’ behavior, the understanding of the "language" in which color speaks to us can not be neglected in carrying out marketing activities. Speaking the language of the subconscious can be one of the most powerful marketing tools ever created by the human being. We intend in this study to identify the most important elements which characterize the use of color in marketing.

2015

The use of Indian monumental and architectural elements and photography in the Indian visual art and advertising can be traced from the times of British Raj in Indian subcontinent. The study reveals the importance of visual culture of architectural images in advertising and communication. India is large country with many cultures and subcultures. It becomes important for the Indian consumer products manufacturer to reach and persuade the vast and varied background audience into action. During the eighties and nineties some of the fast moving consumer product companies made use of the famous Indian monumental architectural structures as images in their packaging as well as advertisements. These trends and visual culture of monumental architecture, projection of film actors in advertisements help to build and represent the culture, technology, art of the land.

Advertisements not only capture the nuances inherent in the lifestyle of the common people but also help in mapping their desires. Advertisements help to trace the social history of people in a given space and time. In this context, Judith Williamson (1978:19) holds that advertisements do not generate meaning by themselves but invite one to make a new meaning by means of texts and visuals. This assertion is backed by Micheal Saren et al who point out that “advertisements utilize a pre-existing referent system of meaning, because the product, prior to signification in the advertisement, has no meaning” (2007: 128). Advertisements help to trace the social history of people in a given space and time. In this perspective, India before the era of liberalization in the 1990s was much different and naturally print and radio jingles ruled the roost. With the proliferation of satellite channels, advertisers shifted to a different medium. Television advertising became a staple of Indian life. Later advertisers tapped new media channels like internet websites. Now more interactive digital models are being proposed based on the revolutionary touch screen innovations.