Research of an advertisement image (on the basis of semantic testing of commercial videos) in this project is done using the example of psychological analysis of combined advertising strategies of  “accepting” a beer brand. It presupposed the following objectives:

 

• Calculating the relationship of product purchase to evaluation of its commercial video;

• Defining the most probable and significant beer brands for young people;

• Disclosing the basic formats that determine perception and estimation of beer commercials by young people;

• Demonstration of the estimates of the  most successful videos for each format;

• Assessing the adequacy of the exposed formats for estimation of a commercial video, and purchase motives;

• Finding the best commercial format strategies for the studied motives;

• Correlating advertising components before testing and on the basis of testing data;

• Finding the most stable beer image in the studied commercials;

• Demonstrating the potentialities of sense restructuring in the brand image ;

• Building an ideal advertising profile with the optimal combination of all the advertising strategies.

 

The subject of further research is psychological peculiarities of instrumental strategies of television commercials aimed at manipulating the brand (otherwise: which tools are most effective in revealing a commercial image).

 

The major objectives reduced to the search of technological and characteristic formats that determined dynamic aspects of commercials perception within a “young generation” mentality, as well as their optimal correlation in advertising and instrumental structuring of the advertisement strategy line.

 

The following statements  served the grounds for basic hypotheses:

 

• Instrumental branding strategies depend on the construction technique and psychological character of an advertisement;

• Semantic relations of the technical and characteristic formats of a commercial video determine the form and essence of effective advertisement strategies, with the purpose of gaining a significant motive rating for a brand.

Elements, signs and symbols of a graphic image construct the imagery and reveal its psychology. The integral perception of the picture depends on the sense load of each element, and their relations’ structure.  Sign, symbol and image are especially important where one’s emotions can not be expressed in words. The lines are an elementary part in the drawing of any figure, sign or symbol. One of the most widely spread line classifications is the one offered by the constructivist painter V.V. Kandinsky who developed a special theory to show how the lines help render a certain emotional state and create a desired image.

 

The project presents a semantic model of graphical image perception (Kandinsky’s Lines), which enables determining the sense characteristics and psychological profile of graphical images in the structure of different emotional states (passion, pain, interest, delight, beauty, loneliness). It is not only a sense association line of the studied graphics that the work contains, but also the indication of emotional effects of graphic perception. But, which is most important, it demonstrates strategies of arranging graphical material according to the specified motive of perception condition.

 

Practical application of research results in the semantics of graphical image has a wide range of opportunities, beginning with graphic design, psychology of a graphical image in advertising, and ending with suggestology and art-therapy.

The article is dealing with semantic analysis of visual means of composition and design, taking the example of cereal packs semantic testing in the youth market segment. Specific empirical results of semantic research in the field of commercial image have demonstrated various possibilities of optimizing the marketing and advertisement function in goods promotion within different market segments.