ACKNOWLEDGEMENT

Of the many people who have been enormously helpful in the preparation of this project report, I am especially grateful to the institute, the guide and the project coordinator for giving me an excellent opportunity to learn and consolidate my knowledge. I would particularly thank Mr. Zargar Zahoor, my guide for his continued support, encouragement and valuable suggestions. I acknowledge his contributions towards the completion of this report. I would also like to acknowledge my friends for providing their support, help and friendship and also their continuous flow of interesting illustrative materials. I would like to give very special recognition to the countless other people who have been generous with their time, support and encouragement.

KARIMUDDIN .!.". "pplied art #th year $epartment of !ine "rts and "rt %ducation &amia Millia Islima 'ew $elhi( )*

PRESS ADVERTISING +he purpose of advertising is sell your goods or service to a reader, but to induce him to purchase or possess it and the sale is made as a result of the reader,s mental and emotional reaction to what you say and how you say it. " modern industriali-ed society cannot progress without advertising, however desirable results can be achieved only when the entire creative planning and organi-ing is sound. LAYOUT " layout or composition is the construction of a design or a picture placed together in a satisfactory and pleasing manner or arranging of various units or components of a design or a picture. +his may suggest that the layout is a speciali-ed field of two dimensions within a given area and that the field of design is governed by certain clearly defined principles, conditioned by an infinite variety of specific factors. It may be concerned with a single object which has to be placed agreeably within the given area or it may be the placing of a collection of objects, all to be satisfactorily arranged to form pleasant whole. roadly speaking, a layout is a matter of principality, variety, order, balance and suitable relation to the intended purpose, to which are added the natural ability and the good taste of the designer and his awareness of layout as a creative, dynamic factor in advertising. PRESS LAYOUT It is a design or a satisfactory arrangement of various components of a layout within the given area to form a pleasant whole for a suitable purpose such as an advertisement be printed in a newspaper. +he foundation of a successful press layout mainly depends on a convincing argument and a good sense of display. If this foundation is sound, it is easy to build an impressive press layout. " thorough understanding and knowledge of the subject product or service is essential for a good layout. +his understanding is of great help in conveying the character of subject

and also in the treatment of the layout. "n attractive presentation of an illustration or a product should be the main purpose of a good layout. +his approach will impress arouse curiosity in a buyer and retain his interest, and eventually correct information is conveyed to him through advertisement. +ruly effective layouts are produced by .Inventiveness. .Observation.. +he layout artist must concentrate on portraying
the theme or basic idea which he desires to convey. In order to prepare a successful layout, the following for are the main considerations:

and

PRINCIPALITY: /rincipality lays down that every design should contain one principal subject, part of a subject or group of subjects, in order to achieve unity of interest. +here should be no doubt as to the principal unit of the design, otherwise, his attention being divided, the observer.s eye will tend to wander without finding an immediate point of rest and is likely to move on. /rincipality of subject can be secured by three main methods. +hey are. !irst, by giving prominence to tone subordination of less important areas in tone. " strong contrast in light and dark can be used to increase the force of the principal unit and gradations of tone can be secured by using pure black 0color1 in some parts and shades of grey which can be obtained from tints or wash in other areas of the design. 2econdly, principality can be secured by lines progressing or leading up to the unit. It is not essential that there should be obvious unbroken lines, but there should be lines made up of accents or points of attraction which the eye automatically, follows, skipping such breaks as are necessary for variety and interest. +his definite line or continuity of points of attraction, leading up to the principal unit, is evolved in the process of making or building up the layout, and forms the important basis of a satisfactory design. +hirdly principality depends a great deal on the correct placing of the unit in the given shape or frame. +he position of the principal unit of the layout within the frame is of the utmost importance. VARIETY: 3ariety means that a layout should have enough freshness or change of appeal to engage and hold the interest

of a reader. It is achieved by making subtle changes in areas, line, tone, color, spacing and placing in the containing shape. ORDER: "ll the components of a layout should be placed in a logical se4uence of importance and variety is controlled by bringing order into a layout. It is secured in a layout by the arrangement of lines, tone and color, continuity of line or accents, concentration and cohesion, transition and opposition, rhythm and symmetry, spacing and placing in the containing shape. BALANCE: +he unity of a layout or composition is achieved only by the establishment of balance between the various which make up the design. %ach object in the layout has a definite attraction for the eye, and it exerts a definite influence upon other units, being in competition with them for the attention of the observer. 5hen a layout is poised, with both sides of similar weight and value, and is nether top(heavy nor bottom(logged, it is in balance. alance can be secured by the logical unity of the elements or the masses of the units which should be distributed to produce e4uilibrium in the arrangement. +hough every unit must be taken on its merits, the appearance of the whole in relation to other units is the main consideration. 5hatever position a unit holds, or however great a degree of dominance it shows, it must harmonies with its surroundings. alance 2ymmetrical or "symmetrical in a layout can be secured by tone areas, line and spacing. !itness in a design is always aided in its balance by good taste. +he designer must also keep in mind that a layout if over( stressed loses its force, like an argument. More efforts should be made to translate the spirit of the subject to be advertised, pictorially or by message. In designing layouts, the designer should try to understand the role and principles of good typography. 6emember, an advertisement is made up of many parts which together form a means of making known the particular product or service. In order to achieve satisfactory results, different components of a layout, vi-7 a 8eadline, /icture or Illustration, 9opy matter. 'ame plate or :ogotype, +rade(Mark and "ddress etc., should be placed in

proper se4uence in order of importance and the whole arrangement must be creative, simple legible, purposeful and suitable for reproduction.

COMPONENTS OF A LAYOUT THE HEADLINE: " headline is an introductory sentence or a selling phrase for the service to be advertised. +he primary function of headline is to provide an eye(focusing point to attract attention and to convey in a flash a sales massage which will arouse and sustain interest. It is best regarded as an advertising sign post alike the duty of a sign post, the headline points to the heart of the story, it may do this in conjunction with a picture or text. " headline must also establish a relationship between the reader and the advertisement by talking to him more about his problems than about a product. It may also emphasis strong, special selling points, identify the product and help to break masses of text or picture, if necessary. It should create and satisfy some amount of curiosity. 2pecific interest as opposed to general interest will have better effects on selling, but do not carry the specific 4uality to the point of annulling curiosity. +he test of a headline is to ask whether it can be used for numerous oilier things with the same effect. If it can, then it is not a good headline. +here are two main types of headlines self( contained and run(on. +he self(contained headline is either a complete phrase or a sentence and can stand separately in the advertisement and yet make sense. +he second kind leads straight on, either into a sub(headline or into the copy matter of the advertisement. 2ome headlines can be either self(contained or run( on as preferred. +he ideal length of a headline is that which needs the least amount of time to read it from left to right it. 'ormally, a headline with four or five words should be ideal. FORMS OF HEADLINE: "fter discussing the nature of a headline, it may take any one of the following forms or a combination of any two forms ;( 1. QUESTION: It is often preferred, for the psychological reason that when we are asked a 4uestion, our natural inclination is to frame an answer, even though it is a mental one. 2. POSITIVE STATEMENT: It calls. for believable claims or facts to convince the prospective customer. " fact embodied in the headline conveys useful information and arouses specific interest.

3. SUGGESTION: +he use of a suggestion in a headline is sometimes preferred to a positive statement and specially when it is directed to the cultured classes. 4. COMMAND: +his form should not be used when the advertisement is intended to appeal to the refined or rich classes. " suitable headline may be chosen from different forms to perform its function of creating interest in the reader. " headline may ask 4uestions, make definite, positive claims or decidedly negative claims, offer news related to the problem, identify the product, evoke emotions, caption a picture, associate ideas, appeal to .the bargaining instinct, make people laugh, announce news, or give orders. BUILDING THE HEADLINE: +here are three important methods of building headlines; 1. THE AROUSED SELLING POINT METHOD: In order to build a headline around selling points, it is essential to dig out all the selling points and choose special, strong points. ut it is not always that special selling points yield the best headlines. 2ometimes, even lesser selling points suggest headlines that attract attention and serve the purpose more than the major selling points. 6emember, every selling point is capable of treatment in one of the four forms. 2. THE LINES OF APPEAL METHOD: +he method of building a headline around lines of appeal is the same as given above. %very product has certain definite lines of appeal mainly divided into 8ead appeal and 8eart appeal. 3. THE INSPIRATIONAL METHOD: It consists of the process of allowing one.s thoughts to flow freely about the subject and then jotting down words tint convey the message in the best way. +he following points constitute some principles for general guidance in building a headline; <. " headline of one or two words may be set in all capitals.

). " headline with six to ten words which embodies important selling points should be set in capitals and less important words in small capitals or lower case letters. =. " headline running into a line or two is better set in upper and lower case lettering. #. "void use of all capitals when the type face is heavy.

*( "void Italic faces in all capitals as they are not easily readable. >. In case a large si-e of display(type is not feasible, use of all capitals is justified but the choice of type should be of small si-e with enough white space around it to add attention value. ?. 6eadability of a headline judicious spacing between letters. in all capitals needs

@. Ase one face the headline as far possible and let that be of the some family. B. +ypographical stunts in a headline invariably disturb attention, therefore, convey the message in a manner which is simple and clear. THE SUB-HEADING: " sub(heading serves the purpose of a guide by leading the reader towards the copy matter. It is used as a means of breaking up long copy so that it looks visually more attractive. 2ub(headings are also necessary to identify sections of the advertisement or various items advertised together. +he choice of a sub( heading should be such that it makes the general impression of a layout more attractive. THE PICTURE: +he prime function of a picture or an illustration is to attract attention, arouse interest and make a graphic interpretation of an idea in the shortest possible time. " picture, to be most effective, must have a suitable, creative theme to hold the attention of the observer and to deliver its message. "

picture that does its work well can be linked with the headline 0or copy1 and both being based on the same idea, compel onlooker to read the message, create goodwill about the subject or product and arouse curiosity. THE TE T: +he message or additional information about the subject as put into words by means of type(set 0or some times hand(written1 method is known as copy matter or text. +his explains the reasons why the public or an individual should buy an article, or make available the service offered therein, 9opy matter, except the illustration, includes every factCidea, urge or direction. In short, it is a piece of silent sales talk. +he main function of copy matter is to invite attention, to convey a message convincingly to readers, in a familiar easy to( understand language, awaken their interest and persuade them to possess the goods or utili-e the service made available to the suitable selection of advertising media will be a waste, if the text of the advertisement itself is so badly written that people will neither read it nor act upon it. +he best advertisements are read without any effort, as if they could not have been written better any other way. FORMS OF COPY: "ll text or copy may be conveniently divided into the following classes; INFORMATIVE COPY: It gives the reader interesting and impressive information. +his contains the element of name publicity and is supplemented by useful information regarding the service advertised. If often impels the reader to immediate action. SUGGESTIVE COPY: It creates emotionally a feeling for the service advertised. REMINDER COPY: +he aim of such copy is to attract attention and to make the name of the product, trade(mark, or some idea even better known than it already is. +he success of reminder copy mainly depends on repetition and not merely on description and argument. "part from the three broad classifications of advertisements defined above, copy may be further classified as $ialogue copy or 2tunt

copy, etc. ut it is difficult to put all advertisements into one or another of these forms or classifications. STAGES IN COPY WRITING: 9ollect all possible information of the service to be advertised. Make an .analysis of the subject on a sound basis of market research. 9hoose strong selling points or special information and extend the same. $raft the copy great care so that every word counts !inish the copy in a familiar, easy(to(understand language. esides the above, precautions against the following mistakes in copy writing should be taken; 0D1 +he essay opening7 0ii1 /overty of facts 0in1 3ery faulty language7 0iv1 :uke warm language7 0v1 Ase of stereo(typed phrases7 0vi1 Obscure meaning; 0vii1 Ansupported statement of opinion7 0viii1 Over done superlative 0iv1 "buse of competitors and 0x1 Ander or over(estimation o0 readers knowledge. THE NAME BLOCK: +he amount of display given to the name will be governed by the circumstances, principally by the nature of the business. In order to give a continuity and a sort of familiarity to the firm that is advertising a particular brand of product, its essential that the name of the advertiser or the brand name of his product be given clear and distinctive display with maximum readability. 2ome names are incorporated in trade(marks or logotypes which make identification more easy. Other names appear simply in a particular style or type used for an individual advertisement as when a name is used in the headline. randed goods call for simple, bold and perhaps repeated name display so as to establish and maintain brand consciousness. +he treatment of letters that will go make the name block should be eminently legible, distinctive, pleasing in ideal in keeping with the product simple enough to stand considerable reduction or capable of looking e4ually elegant when enlarged. . TRADE MARK: " trade(mark is often used to establish and maintain brand consciousness, so that the prospective buyer thinks or remembers the name when laying the product. " trade(mark is a

recognition or reminder and tells the story of the company simple and effectively. It serves to guarantee the 4uality and reliability of the product. THE PRICE: +he display of the price of the product offered crates a certain amount of interest among buyers abort the availability of the product and respect for the fairness of the advertiser in stating his prices clearly. 'ot mentioning prices may fail to create the necessary interest. +herefore, only those who are genuinely interested in the product will en4uire with the manufacturer or dealer, others may ignore it. THE PANEL: " panel like a sub(heading helps to break the monotony of an advertisement, which has to say a lot. " panel is useful in isolating parts of the copy or the picture in order to emphasi-es some special offer or for urging reader to ask for a sample THE COUPON: Inclusion of a coupon in an advertisement induces readers to reply very conveniently if they are expected to do so. if space permits, it is always advisable to give coupon for the benefit of 4uick action. " coupon usually promotes a kind of interest of at least creates a certain amount of tempt at7 the mind of the reader to write for, the advertised product. esides producing positive action, a coupon also helps in checking on the value of the media in which it appears. 2ince a coupon is meant to be torn and used, some attention to its design and pacing must also be paid. +he best or an ideal coupon for easy disposal is a triangular one appearing at the bottom, outer corner of the page. esides a triangular coupon, another popular form is rectangular which should also appear at the bottom, outer corner. 9oupons on the right(hand page corner have an advantage in position over those which need to be cut or preferably torn from the paper. " coupon should be as complete or foolproof as possible and it should have some suitable display around it to draw attention to it. THE BORDER: +he use of borders and rules are sometimes advisable in a layout, to separate one advertisement from others

surrounding it, and also to give it an individuality and unity. +he functions of a border are; 0i1 +o prevent a disjointed appearance, in order to gain unity in a design7 0ii1 +o help an advertisement to remain a self(contained unit, 0iii1 +o help an advertisement stand out on the page, and 0iv1 +o offer 0specially in the case of hand(drawn borders1 a standardi-ed feature. 0v1 Over(ornamentation of a border is a common fault, as it disturbs harmony. orders are mainly of two kinds( hand drawn and printer(set. +hough arrows and sweeping curves cannot be strictly called borders, yet they serve the same function. THE ADDRESS: it is not necessary to include addresses in all advertisements but it pays to include them in advertisements for new products, or for those which are bought only occasionally, so that prospective buyers can write directly for supplies or for addresses of stockiest or dealer. +he amount of display given to the address will depend mainly on the nature of the business. PREPARING A LAYOUT: +he principles and techni4ue applied to the preparation of a layout do not differ much in essentials, whether it is a large job or small, advertisement or jobbing work. +he main concern of the designer or visuali-ed is the appeal side of the advertisement displayed, and this is achieved in two ways pictorially and psychologically. +his is achieved in two ways pictorially and psychologically. +he artistic 4uality of the design is essentially its pictorial appeal and to make sure that the design has also psychological appeal, the items displayed must be in such a manner that each one is allotted its proper place and value. It is essential here to collect all relevant facts and detailed information of the product or service to be advertise, to find out at least the exact purpose of the job, the si-e of space available, the type of publication for which it is meant, the effect it is desired to produce, the kind of reproduction and printing to be used, along with time and cost. +his information and the set of other facts will enable the designer to make a choice of appeal and form an idea

of the relative importance of the several elements. "fter the selection of the proper type of appeal to think of ways that might express it suitably. +his is the most direct and positive way to gain reader,s response, and it provides a broad to creativeness and originality. STAGES IN MAKING LAYOUTS +here are generally three different stages 0or types1 in layouts; THE ROUGH LAUOUT: "fter an exchange of thoughts with the copy writer, in order to become familiar with the problem, the designer attempts to form mental picture of the various components of a layout and their agreeable arrangement. +his he does by considering the idea with an open mind, by weighing them on their merits and examining how best the ideas would fit into the scheme of things, thereby suggesting the aims and the policy of the campaign . 2lickness of treatment, a sense of the dramatic effect in design will always embody an arresting 4uality in the layout thus prepared. +hen transfer theses visual images on to the paper in the proportionate si-e. +his is done generally with a > pencil on a tissue Ead, which is the most suitable paper to serve the purpose. +his rough arrangement on a paper when place beneath another tissue paper, helps the designer to revise, repeat or combine the best features in two or more visuals and simplify them to get the best arrangement possible. 5hile making these sketches attention should not be allowed to be diverted to the use of types to be employed for the job. ut it is necessary to concentrate on drawing the various groups of the copy in the forms of lines and masses giving them different shapes, while impart unity to the different items of the job into a closely integrated whole and the design automatically will ac4uire balance. roadly speaking, the bulk of advertisements are made up on areas or masses of different weights which are re4uired to be arranged. +hey are three; the white of a paper or unfilled space7 the grey of the light illustrations and light(faced type, and the black of the heavy, massy illustrations, and the large heavy(faced name(block or display type.

THE COMPREHENSIVE ROUGH: +he comprehensive layout is a fuller version of ideas or the theme arrived at in the rough, showing the accurate, proposed arrangement, importance and weight of the various units. +he aim of this layout is to give a true impression of the proposed advertisement to the advertiser concerned and this design is submitted to him. In this comprehensive version, illustrations are drawn more accurately and in greater detail than in the original rough. In order to the give him a near(realistic understanding of the weight and character of the letters to be used in the finished advertisement, it is necessary that headlines, sub(headings and logotype be indicated in ink. +he main body of text and the number of panels are drawn with pen and ink to give an accurate idea of tones for types. In this, heavy lines will indicate large faces of type. 2ometimes, it is prepared like a finished large faces of type. 2ometime it is prepared like a finished layout for those advertisers who desire to have a very accurate representation before they approve of it. THE FINISHED LAYOUT: "fter the client,s approval, get the copy matter or headline type(set as re4uired. :ogotype or sometimes headline should be hand(lettered in ink maintaining the cored style and legibility. Illustrations should be drawn accurately or sue of photographs for the purpose could also be made. "fter satisfactory completion of the various components and their arrangement in the approved. Order it should be mounted on a card with an area of white space left around. Order to make it presentable and to give it a distinctive appearance, cover the design with a clean sheet of tissue or butter paper, slightly pasted on the back of the card. !inally, instructions for reproduction may be given clearly at the back of the design or at the bottom of the finished layout. 6eproduction of this finished layout is usually done with help of line andFor half(tone blocks. USE OF WHIT SPACE "n advertisement in which every nook and corner is occupied either with an illustration or type is repellant because it fails to attract the attention of the reader through lack of pleasing, open appearance and readability a 4uality most essential in every advertisement.

5hite space is absolutely necessary in a layout to give emphasis to each part by isolation or to gain better readability. It also helps in securing good balance, specially when a comparatively small and light illustration is given extra balancing value by being separated from the remainder. 5hite space prevents the various items in a lay( out from getting crowded and creating a sense of confusion. " good margin of whit space around the headline or any either important is capital way emphasi-ing it. +o make white space most effective it should be massed. It loses its value when white space is dispersed too much, though a closely set advertisement invariably gains by having daylight let into it. ATTENTION VALUE +he first important function of any advertising design is to gain attention, the second being its structural organisation for presentation of its selling message. +hus, advertising design may have two kinds of attentions value( of form and of idea. "n advertisement may attract attention by si-e, position movement contrast, isolation, colour or some other physical 4uality and it may also hold attention by the interest of a creative idea it expresses. "n advertisement should possess attention value of both form and idea, to gain strong attention value. +hus, attention value consists of the interest(holding devices used to increase the number of readers of an advertisement. !or that the visuali-e must always study the reading and interest habits of the masses and the classes, by means of research. 8e must also study reactions of readers to different types of layouts and illustrations. " layout can be built up with high attention value in numerous ways. " few of them are listed below, though not in their order of importance, since that is decided by the type of reader(group addressed. "fter selecting the suitable special type of appeal, very often two or even more means will be utilised in presenting the theme of one advertisement. SI!E: :arge space allows more attractive, illustrative treatment, fuller explanation and this incites many readers attention, may be without any counter attractions.

POSITION: 2ome positions are better than others. +he top half of page of an advertisement has more attentions value than the lower half, and the right(hand page has better attention value than the left( hand page. 2imilarly, a spot or any other component at the optical centre is normally the point of greatest emphasis. /osition in the surrounding matter and the order of pages also influence attention value. CONTRAST: " heavy advertisement stands out among many light advertisements and vice versa. 9ontrast gives emphasis and is gained by si-e, colour, value, line texture, direction shape, etc. DOMINATION : %mphasi-ing illustration, headline or nay other component of an advertisement. 2i-e and contrast help to gain domination. ISOLATION: Gained by a liberal use of white space, or by display of an advertisement on a separate page. MOVEMENT: "ction in pictures and informal arrangement raise the focal point of attention 4uickly. 2uggestion of action in a text or a picture creates the movement for action. REALISM: 'aturalness, truthfulness to life, strong appeal in idea or illustration. UNUSUAL: "n unusual approach in perspective and in the art treatment of different components or some novelty in ideas help to gain this effect. DRAMATIC: +he dramatic approach is achieved by unuseal composition and by emphasi-ing colour symbolism. HUMOUR: It has many aspects to secure attention, from the cartoon to the delightful whimsy and it may consist of a play on words also. HUMAN APPEAL: "ny special appeal to the buyers which strikes at the basic sentiments or emotions.

TECHNIQUES: Ase of different techni4ues or textures or cropping or silhouetting photographs or even creative lettering 0either hand( lettering or typographical lettering1 help to secure attention. ALL TYPE: " layout containing no body text 0without copy matter1 or without illustrations, sometimes helps to achieve attention value. CAPTION AND PICTURE: 2ometimes several illustrations each with a caption, and each independent of the other, can help to secure attention value. UNDERLINING: In order to lay special emphasis on individual words in a headline or text, underline them to gain attention. DOTS AND ARROWS: " dot or a short arrow, pointing to a small illustration or any other component gives it emphasis. BACKGROUND: 2maller elements or components may be given emphasis by reversing, transferring or overprinting them on a background shape(rectangular or round, etc. use gray value or colour for the background(solid, screen or texture. DIRECTIONAL LINES: 5here a series of illustrations establishes strong directional line, elements placed at the end of the line have maximum attention. +he point of intersection of any two lines is the point of greatest attention value. USE OF BO ES: 2imple enclosure with a solid or screened line of dashes or dots isolate a small element or component and give it emphasis to gain attention. SHAPES: " change of shape helps to increase attention value. If your main illustration is rectangular in shape, you can give special to a small, minor illustration by making it an outline engraving or placing it in a s4uare. COLOUR: %ffective colour combinations have powerful attraction. 2ome colours are associated with certain ideas. +here are of course, many design variations possible within each of the above classifications. +he designer cannot afford to lose sight of good taste

in any of these methods in order to make a direct impact upon attention and reading of advertisements. 2ince obtaining attention value in an advertisement is the most important part of designers function, he should be constantly alert to its possibilities FORMS OF PRESS ADVERTISING +here are various forms of advertising in the press, namely, 'ewspapers, /eriodicals and Maga-ines, etc. NEWSPAPER ADVERTISING: 'ewspapers can be broadly divided into 'ational and /rovincial and sub(divided into morning evening, weeklies, bi(weeklies and may be even periodicals. 2ome of these are purely local or regional. %very newspaper or periodical should be judged on its own merits. 'ewspaper advertisements are the most efficient means and the cheapest way of reaching a mass market and that is why more than half the total expenditure on advertising is consumed by different kinds of press advertising. Most of the newspaper are printed in black ink, though some advertisements in them are printed in colour, besides black and white. MAGA!INE ADVERTISING: Most of the maga-ine appear weekly, fortnight monthly or 4uarterly and they are so numerous that their classification is a difficult problem. It is therefore advisable to classify them according to one,s re4uirements. +hese maga-ines offer three important advantages, namely, 0i1 to enable the advertiser to reach a selected group of readers, 0ii1 they are long lived and are often passed on to other interested readers, and 0iii1 they enable more faithful reproduction. +his makes it possible for the use of colour in printing and helps flatter the goods for sale. 8owever, maga-ines have an inherent drawback as their readership is restricted and not so vast as the readership of the national press. esides these, there is a very important group of publications, namely, the /rofession /ress or +echnical or +rade maga-ines. +hese are useful for advertising products or services which their professional readership may put to use personally or recommend to their clients.

+here is yet another miscellaneous collection of press media such as controlled circulation maga-ines, Guide ooks, $irectories, 8ouse maga-ines and +rade Anion &ournals, etc. the advertisement value of such maga-ines varies according to circulation and kind of readership. +here are a variety of ways of making advertising layouts in order to inform potential users about goods or services offered in the market. !or instance, layouts for retailer, distributor, educational, +echnical, /restige, etc, will re4uire different techni4ues for each of them to suit their propose. 2pace available in the press is usually as follows; by the whole page by half(page by 4uarter page and then by single columns