Visual marketing

Visual marketing is the discipline studying the relationship between an object and the context . Representing a disciplinary link entre economy , visual perception laws and cognitive psychology , [1] the subject Mainly Applies to businesses Such As fashion and design .

As a key component of modern marketing , visual marketing focuses on studying and analyzing how images can be used to make objects in the center of visual communication. The intention is that the product and its visual communication become more and more likely to be marketable and successful, and that they are open to persuasion [2] . Not to be confused with visual merchandising , which is one of its facets and more about retail spaces; here, Marketing gets customers in the door. Once inside, merchandising takes over-placement of products, signage, display materials, atmosphere and employee staffing.

Harnessing the power of images and visuals can make a marketing plan more powerful and more memorable. Images – when done deftly – can turn things over and over again. That helps people envision their minds – and remember it when it comes time to buy. [3]

Visual marketing can be part of every aspect of the Communication Mix. Marketing persuades consumer’s buying behavior and Visual Marketing enhances that by factors of recall, memory and identity.

Growing trends in the use of picture based websites and social networking platforms like Pinterest , Instagram , Tumblr , Timeline feature of Facebook justified the fact That People want to believe what They See, and therefore, need for Visual Marketing.

Visual marketing includes all visuals like logo, signage, sales tools, vehicles, uniforms, right to your Advertisements, Brochures, Informational DVDs, Websites, everything that meets the Public Eye.


Table showing the evolution of Visual Marketing in terms of Time-Perception-Critical interpretation – Paolo Schianchi

The roots of this way of interpreting objects in Susan Sontag’s essay Notes on “Camp” , written back in the 1960s; They are represented in a way that they are represented, being the result of a series of considerations that touch upon the object’s history, its symbolism, its manifestation and realization in the eyes of the beholder. [4] As it is developed, visual marketing highlighted the masking of an object, which instead of just being a product, turns into the star of its own ‘production’, so it changes from itself into something else , at the precise moment it enters the market [5] According to Paolo Schianchi ,architect and designer , an Italian visual marketing academic: [6]

“(…) Objects are: real, as what we see; visible – what they are made from; perfect – their classic identity; communication – their bond with taste; form and function – container and content; emotion – the story they can evoke; critical operation – the language that consecrates and exposes it; industrial operation – making them active and productive; image – the what and the how ; anonymous – just because it exits (…) “

All of these components – which belong to the definition of the market and the scope of the market – are the research and planning that encompasses the scope of visual marketing.

So, this branch “(…) acts on several levels of the design of an object: the idea (objects have to meet certain functions and be neutral, round, sharp-edged, eccentric shapes, etc.); a certain period in a geographical area, then turned into a luxury item, at another time disguised as eco-friendly etc.) and in the end, the exhibition – in a trade fair, in a showroom and at other events (the object is It is an inexhaustible goal, but it is an inexplicable form of functions, an unapproachable art and object design, etc.). (…) “ . [7]

In the words of Umberto Galimberti , Italian philosopher and psychoanalyst [8] “(…) Even when there is no lack of money, the desire – now defined by fashion , and often the only thing being consumed is the myth itself …… (…) “ .

This concept is taken up again by Gillo Dorfles in his book  The daily fetish  : “(…) This is why I believe The concept of “mythical image” is a concept which is designed to meet the needs of the world. [9]

The mythology that covers the subject of becoming one with the other, is decoded, in this branch through the study of various visual and verbal languages ​​belonging to the groups of interest.

So it is a question of whether or not to be affected by the nature of the problem, or to be affected by it. golf gold football fans), personal (connoisseurs gold collectors), cultural (art and classical music lovers), etc. All these groups contain visual, verbal, sound, gesture, olfactory and formal codes that they refer to and use to communicate … ” [10] So, the expressive group behaviors lie behind the new sub-alphabets whose decoding can be used to create direct marketing methods with the group itself.

One of the inspiring people this anthropological approach is Almost Marc Augé , Who in His book “Time in ruins” (Time in ruins) Notes That: “the world picture Where is the omnipresent reality requires to be reflected in icts image … “. [11] Paolo Schianchi’s research [12] underscored the act of putting together the image of the reality of the world of reality. when combined differently. If correctly decoded, these expressive elements become a part of the world. [13] This aspect of visual marketing helps to create targeted marketing campaigns that go straight to the users’ emotions and representations of reality, using their own expressive language

The roots of this lie in principle Vilém Flusser ‘s “Into the universe of technical images,” (originally published as Ins Universum der technischen Bilder), Where he claims: “… all ethics, all ontology, epistemology all will be excluded from the pictures, and it will be good or bad, real or artificial, true or false, or even what it means. The only remaining question is what I can experience … “ . [14]This is how the author introduces the concept of the expressive emotion to the origin of visual and verbal sub-alphabets, which belong to each individual at the moment they become part of an interest group. Visual marketing has taken these concepts on the face of a person and their languages, because they are alive and well. “… a double life, where each person is the representation of themselves, becoming inseparable from the physical person, as objects are from their image … ” [15]

Visual Marketing consultants plan around this, moving from the design of the object to its visual display, and in so doing creating the mythology around it. Theories on visual marketing have been developed by author and professor in Consumer Science, Michel Wedel . [16] [17]


  1. Jump up^ David E. Meyer, University of Michigan, review to volume Visual Marketing
  2. Jump up^ Fathali M. Moghaddam, Social Psicologia, Zanichelli 2002 – Main life and secondary life, based on RE Petty-JT Cacioppo, The elaboration likelihood model of persuasion, in L. Berkowitz, Advances in Experimental Social Psychology, vol. 19, S. 123-205 – New York, Academic Press
  3. Jump up^ Visual Marketing: 99 Proven Ways to Small Businesses to Market with Images and Design
  4. Jump up^ Susan Sontag, Notes on “Camp”, Partisan Review 1964
  5. Jump up^ Jim Bettman, Duke University, Fuqua School of Business: “ALTHOUGH vision is Perhaps the primary human sensory modality, vision research is Perhaps The Most advanced of research is sensory systems, and marketers Provide a variety of visual information to Consumers via ads , packaging, and other media “(…)ISBN 978-0-8058-6292-8
  6. Jump up^ P. Schianchi, Nuvole di Estetica e prodotto, S. 39, ISRE Edizioni Salesiane, year XVII, No. 1, 2010
  7. Jump up^ P. Schianchi,Nuvole di Estetica e prodotto, p. 39, ISRE Edizioni Salesiane, year XVII, n ° 1, 2010
  8. Jump up^ U. Galimberti,I miti del nostro tempo, Feltrinelli 2009 – p. 103
  9. Jump up^ Dorfles G.,He feticcio quotidiano,Castelvecchi Editore, 2012, p. 138, edited by Massimo Carboni
  10. Jump up^ Paolo Schianchi,I linguaggi del visual marketing: gli architetti non sono tutti uguali. in: B & O, n. 356, year XXXVIII, p.28-29, Ed. Gruppo 24 Ore, Milano, 2012.
  11. Jump up^ Marc Augé,Rovine e Macerie, p. 131, Torino, Bollati Boringhieri 2004
  12. Jump up^ Antonella Camisasca,The forma che not t’aspetti. in: B & O, n. 356, year XXXVIII, Ed. Gruppo 24 Ore, Milano, 2012
  13. Jump up^ Paolo Schianchi,I linguaggi del visual marketing: gli architetti non sono tutti uguali. in: B & O, n. 356, year XXXVIII, p.28-29, Ed. Gruppo 24 Ore, Milano, 2012.
  14. Jump up^ Vilém Flusser,Immagini, as tecnologia ha cambiato the nostra percezione del mondo, p. 179, Roma, Fazi, 2009
  15. Jump up^ Paolo Schianchi,Design. The raffigurazione di se stesso, p. 19, Il Sole 24 Ore Business Media, 2010
  16. Jump up^ Michel Wedel
  17. Jump up^ Visual Marketing, 2007.Wedel M.and FGM Pieters (Eds.), New York: Lawrence Erlbaum Associates, Marketing and Consumer Psychology Series, CP Haugtvedt (series Editor)