USE OF COLOURS IN POST-MODERNIST INDIAN CREATIVE ADVERTISEMENTS

Authors

  • Ms Ali Saha Research Scholar, Department of Applied Arts, Faculty of Visual Arts, BHU, Varanasi, U.P

DOI:

https://doi.org/10.29121/granthaalayah.v2.i3SE.2014.3556

Keywords:

Indian Independence, Country’s Modernization, Creative Advertisers

Abstract [English]

Post Modernism in India is believed to have evolved after Indian Independence in 1947 and continues till the early 20’s. When we talk about Post Modernism in context to India, it is often connected to the country’s modernization and decolonization. After the Indian independence, advertising developed with the development of forms of media at each decade. Since the beginning, colours have stirred our emotions. White chalk was a precious tool in the hands of Palaeolithic artists. Gold from the very first civilisations reminded us of the sun. A desire for the mysterious and exotic blue changed the course of history. Colour was definitely grabbing worldwide attention as the civilizations advanced, but it certainly wasn’t easy to get hold of. This is why it became the ultimate symbol of luxury. Those who could afford it, used favourite hues to decorate their surroundings. Today, not so long since the beginning of the Digital Revolution, we have free access to any colour we can possibly think of, and more and we use it in abundance and variances in Indian Advertising, basically since 1950’s when colour ads occupied special importance amongst the people who were only confined to black and white images and ads. Colour is powerful because it can change our mood – the mood of potential customers. Advertisers and designers are well aware of, the fact that customers are not guided entirely by logic when making purchases, but tend to be driven by less identifiable factors such as emotions. Through colours we can control reactions of an audience and provoke them to certain behaviours. Creativity in one word can be described as being different, i.e. different from the quo. The designer’s role is to build clear and understandable communication through the impact of colour. Creative advertisers use more dramatic mixture of colours in those ads to differentiate them from the general clutter of the ads and also to produce stronger communicative effect. The following paper presents examples of ads from mid 1990’s till the onset of 21t century and description of its colours. This paper will also present the aesthetics related to those colours and their suitability in designing those ads, to attract maximum consumers by appealing their senses.

Downloads

Download data is not yet available.

References

Andrews, J. and Smith, D.C. (1996), “In search of the marketing imagination. factors affecting the creativity of marketing programs for mature products”, Journal of Marketing Research, Vol. 33, pp. 174‐87.

Coughlin, M. and O’Connor, P.J. (1985), “Gender role portrayals in advertising: an individual differences analysis”, in Hirschman, E.C. and Holbrook, M.B. (Eds), Advances in Consumer Research, Association for Consumer Research, Ann Arbor, MI, Vol. 12, pp. 238‐41.

Crowley, A.E. (1993), “The two‐dimensional impact of color on shopping”, Marketing Letters, Vol. 4, pp.56‐9. DOI: https://doi.org/10.1007/BF00994188

Clydesdale, F.M. (1993), “Color as a factor in food choices”, Critical Reviews in Food Science and Nutrition, Vol. 33, pp. 83‐101.

Collins (1993), English Dictionary.

Khouw, Natalia. (1995), “The meaning of color for gender”, available at: www.colormatters.com/khouw.html (accessed 21 April 2003).

Manendra Mohan, Advertising Management(concept and cases),31st reprint 2010,Tata McGraw-Hill.

Mundell, H. (1993), “How the color mafia choose your clothes”, American Demographics, November, pp.21‐3.

Pantone (1992), Pantone Color Preferences Study, Pantone Inc.

Paul.J , Creativity in Advertising-Impact on Communication Effect and consumer Purchase Behaviour, Cochin, 2001, pp.195.

Stuart, E.W., Shimp, T.A. and Eagle, R.W. (1987), “Classical conditioning of consumer attitudes: four experiments in an advertising context”, Journal of Consumer Research, Vol. 14, December, pp. 334‐51.

Taft, C. (1997), “Color meaning and context: comparisons of semantic ratings of colors on samples and objects”, Color Research and Application, Vol. 22, pp. 40‐50.

Worth, L.T., Smith, J. and Mackie, D.M. (1992), “Gender schematicity and preference for gender‐typed products”, Psychology and Marketing, Vol. 9 No. 1, pp. 17‐30.

Zinkhan, G.M. “Creativity in Advertising”, Journal of Advertising, Vol. 22(2), June,

1993, pp. 1-3.

http://www.colourlovers.com/blog/2008/05/29/color-in-quotes

http://www.arttherapyblog.com/online/color-psychology-psychologica-effects-of-colors/#.VFm601fyQgw

http://www.emeraldinsight.com/doi/full/10.1108/01409170610645439 19 http://en.wikipedia.org/wiki/Indian_aesthetics

Downloads

Published

2014-12-31

How to Cite

Saha, A. (2014). USE OF COLOURS IN POST-MODERNIST INDIAN CREATIVE ADVERTISEMENTS. International Journal of Research -GRANTHAALAYAH, 2(3SE), 1–7. https://doi.org/10.29121/granthaalayah.v2.i3SE.2014.3556