White Rain Shampoo

schemes	1) orthography	emoticon	Textual animation of facial emotion.	None
wiki		acronym	Abbreviations using initial letters.	None
wiki		l33tspeak	Alphanumeric substitution and intentional misspelling.	None
wiki		portmanteau	Word blends.	None
b	2) error	tmesis	A word is separated into two parts, with an insertion.	None
wiki		spoonerism	A switching of corresponding sounds.	None
b		enallage	Intentional grammar misuse.	None
a (p. 471)	3) alliteration	consonance	Repetition of consonant sounds.	Continuous repetition of the “L” sound: Lemon, Lemony, Lather, Little
a (p. 472)		assonance	Repetition of vowel sounds.	None
a (p. 466)	4) hyperbaton	parenthesis	Insertion of an interrupting verbal unit.	“Not that you should turn him into putty.”
a (p. 466)		anastrophe	Inversion of usual word order.	None
a (p. 468)	5) omission	ellipses	Omission of words implied by context.	Leaves you a little change for other little goodies.
a (p. 469)		asyndeton	Omission of conjunctions	None
b	6) emphatics	diacope	Emphatic repetition after an intervening phrase.	None?
b		epizeuxis	Repetition of one word	Lemon
b		enumeratio	Detailing parts or arguments.	No wonder the other concentrate is green: (See why tonight. Try White Rain Concentrate… The one with lemon)
b		scesis onomaton	A string of generally synonymous statements.	None
a (p. 476)	7) arrangement	climax	Ordered by increasing importance.	None
wiki		anticlimax	Ending a climactic structure with something of less importance.	None
a (p. 470)	8) repetition	polysyndeton	Liberal use of conjunction.
a (p. 472)		anaphora	Repetition of words at the beginnings of successive clauses.	None
a (p. 473)		epistrophe	Repetition of words at the ends of successive clauses.	None
a (p. 474)		epanalepsis	Repetition of a word at the beginning and end of a clause.	None
a (p. 475)		anadiplosis	Repetition of the last word of one clause at the beginning of the next.	None
a (p. 463)	9) parallelisms	parallelism	Similarity in structure in phrases or clauses.	None
a (p. 464)		isocolon	Parallelism with a similar number of words or syllables	None
b		tricolon	Isocolon with three parts	None
a (p. 464)	10) balance	antithesis	Juxtaposition of contrasting ideas, often in parallel structure.	None
a (p. 477)		antimetabole	Repetition of words, in successive clauses, in reverse grammatical order.	None
a (p. 478)		chiasmus	Reversal of grammatical structures in successive clauses.	None
tropes	1) comparison	metaphor	An implied comparison.	Not that you should turn him into putty, but he should melt a little
a (p. 479)		simile	An explicit comparison.	None
a (p. 480)		synecdoche	A part stands in for the whole.	None
a (p. 481)		metonymy	Substitution of an attribute or suggestive word.	None
a (p. 491) a (p. 492)	2) oxymorons	. . . as paradox	A combination of normally contradictory terms	None
		. . . as a pun	A combination of terms designed to communicate a potential contradiction	None
a (p. 482)	3) puns	antanaclasis	Repetition of a word in two different senses.	None
a (p. 482)		paronomasia	Use of words which sound alike but have different meanings.	None
a (p. 483)		zeugma/syllepsis	Use of a word understood differently in relation to other words.	None
wiki		paraprosdokian	The latter part of a sentence causes the audience to rethink the first part.	I haven’t slept for ten days, because that would be too long. –M Hedberg
a (p. 485)	3) substitution	anthimeria	Substitution of one part of speech for another.	None
a (p. 485)		periphrasis	Substitution of a proper name for a descriptive phrase of vice versa.	None
a (p. 485)	4) personification	prosopoeia	Investing objects or abstractions with human qualities	None
a (p. 487)		apostrophe	Addressing the prosopoeia	None
b	5) exaggeration	hyperbole	Using exaggerated terms for effect.	Leaves you a little change for other little goodies/ Not that you should turn him into putty, but he should melt a little
a (p. 487)		auxesis	Magnifying the importance of something by using a disproportionate name.	“Leaves you with a little change for other little goodies”
a (p. 487)	6) understatement	litotes	Using understatement for effect.	None
a (p. 488)		meiosis	Diminishing the importance of something by using a disproportionate name.	Other little goodies
b	7) apophasis	euphemism	Substitution of innocuous-seeming words for something unpleasant.	None
a (p. 482)		paralipsis	Invoking a subject by denying that it should be invoked.	None.
wiki	8) profanity	blasphemy	Disrespectful use of religious language	None
sv		body taboos	Use of rude words for body functions and/or sex.	None
sv		intensifiers	Suggests a strength of feeling but no unique meaning.	None
wiki		minced oath	An altered, “polite,” form of profanity	None
a (p. 489)	9) irony	antiphrasis	Verbal irony of patent contradiction.	None
b		epitrope	A pretend concession.	None
wiki		sarcasm	The use of antiphrasis in mockery.	None
a (p. 488)	10) question	erotema	Asking a rhetorical question.	None
a (p. 488)		anthypophora	Asking and then answering a rhetorical question.	None
b		aporia	Engaging in a mock debate with a series of rhetorical questions.	None
visual	1) color	hue	The identification of the colors.	The whole ad is bright and full of life because of the bright whites and yellows, as well as the greens on the actual product. There’s also the subtle blue of the car in the picture there was well as the browns from both the woman’s hair and the guy’s shirt. While the outside stuff is bright and white, the actual images in the ad are somewhat dark in comparison. The colors are not all that vivid, probably due to how old the ad itself is, and it only pops in certain areas.
c (p. 39)		value	The lightness or darkness of a color.
c (p. 39)		saturation	The purity or vividness or depth of a color.
	2) light	high contrast	Bright lights and dark shadows.	There’s a bit of darkness in the pictures , like the one with the woman and the car as well as the picture of the man and woman next to each other. The overall image is bright, however.
		low contrast	Little difference between darks and lights. Pleasant. Little shadow.	The bigger picture of the woman with soap suds on her head blends together with the background pretty well, somewhat leading into one another.
	3) perspective	flat	No illusion of depth	It could be said that some of the pictures of the people appear flat in some regards, but the bottle of shampoo actually looks much more flat than anything else in the image, almost like a painting in how 2D it is.
c (p. 40)		geometric	An illusion of depth and space.	The other images are much more spaced out and in depths than the shampoo bottle. The man and woman are somewhat stacked on each other, putting the woman in front of him. You can also tell that, with the image of the woman with soap on her head, the soap kinda oozes over her forehead, adding a bit of depths into it as well.
	4) diagonals	balanced	The image is symmetrical and stable.	The image is not very symmetrical at all, due to how much is going on in it at once. Words are all over the place, yet uniformed where they are at, the pictures are scattered about, and there isn’t anything complementing each other in how it is placed.
		oblique	The image seems unstable and pulled to the side.	The image is pulled in all directions because of how it is set up. It’s pulled towards the top by the large lettering and the picture of the woman and her car, it is pulled to the right side by the man and the woman, and is pulled towards the bottom left because of the massive head of the woman in the corner
c (p. 49)	5) space	open	The tops and sides seem empty.	The tops and sides have a lot going on, with only a few spaces open here and there
c (p. 49)		closed	The tops and sides feel enclosed, trapped.	The image is a lot more closed off because of how much is going on in nearly every inch of the picture, save for the few spaces of open whiteness.
d (p. 43)		empty	There are few figures in the frame or is much white space.	There are a few open white spaces on the page here and there, but aside from those, there’s a lot of commotion going on in the ad.
d (p. 43)		full	The frame is dense with figures.	The frame is fairly full due to the number of pictures they crammed in there, as well as the columns of words they placed in it as well.
d (p. 53)	6) focus	grounding	Is there a foreground, middleground and background, as in traditional Eurpoean art, or is it compressed?	There is a clear distinction between foreground (The woman with soap on her head), the middle ground (The man and the woman), and the background (The woman with her car). It’s almost like a tier list, with the background being the “least important” with the foreground being the “most important”
c (p. 45)		focalizers	Are figures or colors or spaces used to pull the eye across the image?	Not used at all because of how disjointed and scattered everything in the image is.
c (p. 49)	7) angle	high angle	Are we looking down on them?	No, we are not looking at these people from an angle
c (p. 49)		low angle	Are we looking up to them?	Only with the woman with the car, since the camera is angled up at her.
c (p. 49)		eye-level	Are we even with them?	We are mainly looking at the eyes of the woman with soap on her head, the man and the other woman in the image
d (p.37)	8) implied distance	long shots	Is the subject larger than people? (Buildings? Can you see their feet?)	Not used for this ad
d (p.37)		medium shots	Is the subject people in interaction (Are they about waist up?)	The man and the woman cover this catagory pretty well since they’re from the waist up and are “conversing” with one another.
d (p.37)		close-ups	Is the subject one person’s face?	The literal giant face of the woman with soap dripping from her head.
wiki	9) figures	representationality	To what extent does the image show “things” we can identify?	The ad is very clean-cut in what it is trying to show us, not really trying to show us any hidden agendas or anything.
wiki		abstraction	How realistic are the things?	The ad is incredibly realistic, from the actual picture of the woman and her car to the pictures of the man and the woman as well as the woman with soap on her head.
wiki		self-referentiality	Do the brushstrokes or lines or photographic artifacts call attention to themselves?	The white rain bottle in the center is trying to call a lot of attention to itself because of how bright it is and how the drop is literally coming out of the bottle.
	10) genre	style	Does the image fit into a particular “ism”?	I’d say that this one is maybe attempting to stand out from the crowd in the current time that it was made, since it’s far more ludicrous than the other images I saw
		icons	Are there key symbols or characters that call to mind a narrative or genre?	Not applicable.
type	1) stroke-height ratio	How thick are the lines in the type in comparison to the height of the letters?		The letters for the bolded words are wide and tall, moreso near the top of the ad where the bottom of it looks more close knit and smaller. The smaller text in the ad is just that: much, much smaller.
e	2) stoke weight	How varied are the weights of the different strokes? (What are the thickness differences between various marks in a letter?)		The image has a few different stroke weights and styles: The words on the White Rain bottle seem to sway over to the left, the thickness of the W’s much thinner than that of the W’s in the other parts.
	3) style	Bold?		The boldness of the words seem to only stem from what the ad thinks is important: White rain shampoo in particular.
		Italic?		There aren’t any italic words here
		Narrow?		The narrowness of the words seem to be the same when it comes to the smaller letters, but differ greatly between the bigger letters as you go further down the ad.
		Condensed?		The words don’t look very condensed anywhere
		All caps?		The all caps are reserved for the bolded words rather than anything else.
e	4) x-height	What is the ratio of the height of the letter x to the height of the ascenders (the upstoke in a d or band descenders (the downstroke in a p or q)?		The ratio of the letters is fairly similar throughout, save for some of the O’s and for the White Rain bottle itself, where the letters seem to bob up and down as you read across them, like they’re floating.
e	5) counters	hmnu (aperture)	How do these bowl-like spaces relate to each other in the typeface and how do they relate to other faces?	Couldn’t find this in the ad.
e		bdpg	How do these enclosed spaces relate to each other in the typeface and how do they relate to other faces?	With the font used in the ad, they are almost all the same, except for the White Rain bottle with how the letters seem to contrast each other more than anything else.
	6) emphasis	Color?		Colors for the words are black.
		Underlining?		No underlining in the ad at all.
		Animated?		None of the words are animated.
e	7) family	script	Approximating handwriting	Somewhat similar to the white rain bottle.
e		serif	Lines to link the reading of letters.	Letters seem more spaced apart than this.
e		sans serif	Without serifs.	More akin to the bolded lettering.
e		novelty	Created for a specific effect but hard-to-read.	Not really used except for the White Rain bottle.
e	8) spacing	tracking	Spaces between letters along a line of text (manipulated relatively evenly)	Kerning is more used in this ad than Tracking, since the letters don’t space themselves apart more to prove a point or anything.
e		kerning	Spacing between two letters (often different between different kinds of letters).
e		leading	Spacing between lines of text.	There is some leading in the text that I can see between the separate lines
e	9) family	What historical grouping does the font belong to and how typical is it or that grouping?		Transitional more than anything else since it seems like a more modern text than earlier text.
	10) legibility	The font itself		It is clean and legible.
		Copy issues		No copy issues.