The principles of advertising arrangement . 1. E M 1 II A S I S II. E M P II A S I S III. EMPHASIS IV. E :\I P II A S I SBY POSITION IX P. A D P O S I- BY CHANGE OF BY A CONTRAST-IN THE BEST PLACE. TION ON THE PAGE. SHAPE FROM OB- ING SIZE WELL LO- LONG TO CIRCLE. GATED ON PAGE. one tone, without change of in-flection, or change of pitch, theresult is monotonous, and onefinds that his interest is gone,not only in listening to thesound of the voice, but to whatit has to say as well. On the other hand, erratic gyra-tions from one pitch to another,repeated over and over, are alsodistracting, mono
The principles of advertising arrangement . 1. E M 1 II A S I S II. E M P II A S I S III. EMPHASIS IV. E :\I P II A S I SBY POSITION IX P. A D P O S I- BY CHANGE OF BY A CONTRAST-IN THE BEST PLACE. TION ON THE PAGE. SHAPE FROM OB- ING SIZE WELL LO- LONG TO CIRCLE. GATED ON PAGE. one tone, without change of in-flection, or change of pitch, theresult is monotonous, and onefinds that his interest is gone,not only in listening to thesound of the voice, but to whatit has to say as well. On the other hand, erratic gyra-tions from one pitch to another,repeated over and over, are alsodistracting, monotonous anduninteresting, and I particular-ly want you to see the analogybecause this so clearly appliesto our advertising. It is dis-tracting when the attention fol- one thing at a time. Again, thissame principle is illustrated inmusic, in an orchestra, or per-haps in a German band whichsometimes plays for a long timealmost exactly evenly, in an upand down, wavelike motion. Itbegins to get on your the trombone belchesforth, and
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectadverti, bookyear1912
