CHAPTER- IV

CARTOONS AND CARICATURES IN MODERN INDIAN ADVERTISING

4.1 INTRODUCTION

Chapter four focuses on the changing trends of creativity in Indian

advertising. The chapter also highlights upon the changing approach of

visualisation and concepts adopted for persuasion and appeal in advertising. It

also explores and scrutinises the various components of modern advertising

such as multimedia, internet, online advertising, digital advertising, mobile

advertising, and social networking. The chapter also attempted to evaluate the

advertising campaigns of few assorted brands to understand the application

and relevance of cartoons and caricatures in modern Indian advertising, its

creative approaches, different visual elements and effective use of various

modern age advertising tools and innovations in recent advertisements.

Advertising is about striking the right note of the many marketing chords

that informs and persuades the consumers to buy a product, service or an idea.

Advertising in India is also thriving with the traditional advertising trend with the

latest innovative advertising strategies. In a small span of time, Indian

advertising has occupied a niche for itself to place it on the global map of

advertising which started with the need to sell by town criers and hawkers, was

the oldest mode to advertise. As marketers looks for ways to keep pace with

technology and media, advertising trend have changed dramatically. Newer

technology has shifted the focus from mass promotions to target audiences.

The Indian advertising industry is witnessing a sea change from the very time

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of its inception into the Indian society and culture. The age old advertising

trends in India had made a parallel practice with print advertising and other

innovative trends like television commercials, outdoor, radio, internet, online

advertising etc. The mode of advertising had shifted its focus from traditional

media with the advent of new media of digital advertising. The new media has

altered the trend of one way flow of information to interactive sessions, where

the consumers have also become a part of the process. So instead of being

force fed advertisement, users are now getting empowered to choose from a

diversified set of new brands (Sharma and Singh, 2009).

With the advent of technology, the internet has positioned itself as one of

the very few media alternatives that can be used for almost all advertising

purposes across all possible market segments. It has become a major medium

for communication and entertainment and is equally important when compared

with the traditional media such as print and electronic media. It has

revolutionised the advertising scenario as well, by introducing international

brands and made them more acceptable, especially in urban India. It is one of

the cost effective way to advertise a product which made easy accessibility for

an advertiser to reach the consumers with a click of a mouse. With increasing

number of channels and websites, advertising tends to keep track of the

Modern advertising that flourishes with development of technology and

research had led to increased sophistication in advertising in recent time.

Digital enhancements of visual images were now possible with the help of

various tools. The advent of digital advertising with internet and websites

opened up new possibilities for the consumers as well as the advertiser. A new

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means of shaping the brand image is now possible with the introduction of

digital media, where every page of the website is filled up with advertisements.

A synonym for internet advertising, new media advertising has brought a

revolution in the field of advertising and initiated a new dawn in branding and

competitive world targeting a huge online audience.

Online media advertising is one of the upcoming and growing segments

in Indian advertising sector. It is a form of promotion that uses the internet for

the purpose of delivering the messages. It may also be defines as a form of

marketing communication on the internet intended to persuade the internet

users. It is one such medium which is accessible by anyone to everyone, that

too in any part of the world (Gupta,2012). It is very interactive compared to the

traditional means of advertising, since the consumers can pick and choose the

information, sales message and buying modes that fit their individual needs.

The growth of this particular media attracts the attention of the

advertisers as more productive source to bring in customer. With the vast

accessibility and reach it has become one of the important parts of our daily

life. Various online business magazines has come up in recent time to keep a

close look at the changing trend of our lifestyle, consumer needs, fashion, food

habit etc. Advertising viewed or consumed on mobile phones or tablets is

increasingly an inherent component of online advertising today. The new age

advertising has opened up new communication options for personalised

customers. More prospective customers are going online everyday and they

are spending more on internet rather than traditional media.

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4.2 CHANGING TRENDS OF CREATIVITY IN INDIAN ADVERTISING

From the hand painted hoardings to digital advertising, creativity in

Indian advertising made a spectacular transition from its early stage to recent

time. With innovative and creative execution of the advertising message,

irrespective of theme, advertising appeal, visual elements, and execution style,

a complete makeover is evident with widespread usage of various technique

and rendition in recent time. Better techniques of visual representations were

utilised to create positive appeal about the product. Line drawings were

replaced by digitally enhanced visuals to make advertisements more lively and

attractive. Fascinating presentation of visual elements such as photographs,

illustrations, drawings, visual dramatisation of the advertising message etc.

arouse interest about the product and establish positive association with the

consumers (Rege, 1990).

Since print advertising in India had always remain to be the most widely

used advertising medium for its consistency and effectiveness, different other

mediums such as outdoor, transit advertising also implemented and utilised the

flexibility of various creative concepts in printed format. As print advertisements

in newspapers and magazines began to cater both local and national

audiences with general and customised products, stirs the interest of the urban

readers with various forms of advertisements that began to channelise a new

sensibility for new concepts in advertising in India.

Along with the print advertisements, especially indoor medium, the

growing trend of outdoor advertisements also indulged many advertisers to

exploit the out of home campaign medium, popularly known as the

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in India to promote the brands. They were placed in different vantage points to

catch the attention of the public in move. With the introduction of various

practices of outdoor advertising mediums such as hoardings, LED signs,

gantry, neon signs mobile displays, airport signage, mall advertising, metro

advertising etc. the products has gained a rich impetus among the other modes

of brand promotion (Paul,1997).

Furthermore the digitalisation of the printing technology had replaced the

traditional hoardings and billboards with vinyl sheets and flexography. The high

tech tools and techniques of OOH advertising provide great flexibility in

executing the campaign with less effort within a shorter amount of time.

Creativity in Indian advertising acquired a distinct space in Indian

consumers. It built up many unforgettable advertising campaigns that created

many unique and classic brands of all time such as

etc. The recall

value and positioning of these brands witnessed a dynamic change in Indian

advertising scenario with new creative ideas and elements which relied heavily

commitment.

Advertising scenario in India has altered in many ways with the changing

trend of technical and conceptual changes. The shifting mode of creativity and

visualisation in advertising is well evident with the changing concepts and

visual elements such as illustrations, photographs, colour and typographical

application, that were adopted in various advertising campaigns throughout the

different phases of the development of advertising in India. For example the

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print advertisement of , a soft drink brand shows the changing trend of

visual revision. In its early advertisements, it has utilised the USP (Unique

Selling Proposition) of the product with the aid of caricatures of human figures

to support the visual with simple rendering of the typography and visuals in

both halftone and colour. But in recent time, the visual elements and execution

technique adopted by the brand experienced a complete makeover of the

overall presentation of the advertising message in terms of conceptual and

technical approach of the selling proposition. The print advertisements now

features photographs of live model, enhanced typographic design with an

appropriate headline and unique typeface against a refreshing colour scheme

with new elements surrounding the model (Plate 4.1).

The transitions from manual illustrations and painted advertisements to

the adoption of actual photographic representation of the products and models

also impelled a new set of response and appeal among the Indian consumers.

Striking dramatisation of visuals and pictures in multi colour, began to appeal

the customers in a different mood. For example, the print advertisement of

, made a complete visual transition from its early set

of advertisements with simple execution of visuals and texts to create

immediate impact about the USP of the product with effective execution style

and innovative concepts to cater the changing Indian lifestyle (Plate 4.2).

Widespread usage of rich technology and new tool of advertising also

began to generate challenging concepts and innovative ideas in Indian

advertising. Today, graphical manipulation of images and artwork opened up

new possibilities in promoting a product, service and idea using different design

software and visual effects tools. All forms of print advertisements, outdoor and

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transit campaigns were now viewed with latest visualisation style and

techniques with the advent of multi colour printing technology (Paul, 1997).

The shifting tendency of creativity in Indian advertising is also evident

with the changing trend of advertising appeal and response of the consumers

towards the product. Different direct and indirect approach of visuals, themes,

creative appeals and conceptualisation techniques were utilised by advertisers

to attract the attention of the consumers. Combination of captivating graphics

with imaginative and thematic contents created surreal environment for the

consumers to establish an image that distinguishes them from their

competitors. Many more brands have translated their marketing proposition into

verbal and visual devices with creative ideas, which is an extremely challenging

task to meet the objectives of advertising in recent time (Gupta , 2012).

The advent of computer technology and introduction of graphic software

for image manipulation has created new facade for Indian advertising. The

advertising message is now communicated with new innovative ideas, visual

effects and rendition to instill humourous proposition. For example, the print

advertisements of Gum (Plate 4.3), has creatively crafted the

symbolic idea of liquid filled quality of the gum with the bizarre appearance of

human gesture to create quick response about the quality of the gum. It

advocates to humourous appeal of the product with catchy graphical

manipulation to express the idea for brand.

It is important to note that every piece of advertisement contain various

creative elements of appeal that focuses on solving communication problems

related to the selling of the product. But there are differences of opinion on the

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context, to what constitutes advertising creativity, whether it focuses on the

attention of the consumer or the product. The changing creative trend of Indian

advertising made a complete visual transition from the soft sell, hard sell,

informative style to a more deliberate, humourous and edgy approach.

Since the study focuses on the background of the importance and

application of humour in advertising, there are many creative Indian

advertisements envisaged in recent time which made a direct entry into the

mind of the consumers with humourous proposition. These witty elements

generated more intense emotional responses, which mobilises the opinion and

attention of the consumers through creative persuasion, which is both direct

and indirect in their approaches.

Humour in Indian advertising in current scenario had initiated a new set

of creative appeal which made a parallel discourse with the conventional

acceptance of commercial illustrations, cartoons, caricatures and other fictitious

elements for easy brand recall, to a more conceptual arrangement of the theme

of the advertising messages. Non specific images were notably replaced by

digitally enhanced photographs and pictures using multimedia, showing specific

real people and subjects from real life situation. Conceptual ideas of interesting

and entertaining storylines were now used in the advertising campaigns, uses

images and visuals associated with the USP (Unique Selling Proposition) of the

product. They distracts the audiences from the stereotyped representation of

illustrative images to a more intense, indirect and exciting visualisation. Such

entertaining situation is well depicted in various print advertisements and TVC

with memorable slogans and advertising jingles. The print advertisement of

and (Plate 4.4), presents a perfect

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example of using an interesting and indirect approach of visualisation, other

than unadventurous visuals to tell the consumers about the selling proposition

of the product. The immediacy of the visuals bestows brand image with fun and

excitement and help the brand to attain its selling proposition. Such unusual

depiction of the advertising message makes the advertisement interesting and

memorable, which had transcended the stereotyped visual depiction of humour.

But it is also interesting to note that the changing trend of using such

creative approaches sometimes disgrace our social norms with unethical

advertising also, which contradicts the acceptance of such visuals for selling a

product. Distorted images and inappropriate visualisation to establish

humourous appeal sometime creates abusive impression in the mind of the

consumers. Even though the humourous representation of the advertising idea

encourages visual indulgence about the product with the consumers, it

sometimes becomes disapproval and insulting to accept the contents of such

messages.

The inappropriate caricature and mockery become insulting and

deplorable for both the brand and the product which might get rejected by the

consumers. Humour in advertising does not always enhance the visual appeal

of the consumers. The exaggeration claims of the advertising message also

brings offensive and repulsive attitude towards the product. The caricatures

and cartoons used in the advertisements were sometime discourteous for the

viewers and make unexpected condition for the consumers to violate the norms

of social values. An inappropriate visual element distorts the brand image of the

product and makes the product unsuitable for consumption. In a recent case,

teaser campaign used to promote the car in India causes controversy

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among the people and the Ford Motor Co has apologized for making such

Proposition) by using

caricatures of celebrities. The trio advertisement showcased three different

situations using celebrities from different professional fields (Plate 4.5).The first

one features a caricature of former Italian Prime Minister Silvio Berlusconi at

the driving seat flashing a victory sign, with three women bound and restrained

had pushed the limits of public acceptance through exaggerated

claims. Of the other series of advertisements, another showed a caricature of

Formula One driving ace Michael Schumacher with three rivals, Sebestian

Vettel, Lewis Hamilton and Fernando Alanso also stuffed and their mouth

tapped in the cargo trunk. Another advertisement shows a Paris Hilton like

character hauling what appear to be the Karashian sisters in the cargo bay.

To a large extent modern day advertising is significantly different from

the traditional approaches of the past. Quite a good number of present day

advertisements seem to be totally unrelated to the selling any particular

product at all (Kazmi and Batra,2008).There seems to be an obsession with the

changing creative trends of the images and feelings in the recent

advertisements which shows almost absence of any concrete claims about the

product. For example brands such as and say little if anything

about athletic shoes, but rather concentrate on concepts such as winning and

unifying spirit of sports.

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4. 3 CARTOONS AND CARICATURES IN MODERN INDIAN ADVERTISING

Cartoons and caricature had made a new dimension for visual

gratification and appeal in modern Indian advertising. With technological and

conceptual changes, new innovations in the field of advertising had prompted

new target audiences. Fictitious characters, puppets, animated mascots,

anthropomorphic animals, are some of the few visual components that had

used the animation technique in recent time to make better visual impression

on the mind of the consumers about the product with humourous appeal. The

vast domain of modern Indian advertising is offering an immense potential for

the growth of animation programming with computer generated image in both

2D and 3D animation. It provides two main areas of work: designing animated

characters and adding special effects to advertisements. With special effects

and animated humour in commercials, the audience is automatically glued to

watching the same programme instead of flipping channels between breaks.

Though the study focuses on the framework of print advertisements, it is

also apparent and imperative to understand the application and execution of

cartoons and caricatures with the electronic media of advertising such as

television commercials, internet etc. and new age media of advertising like

social networking sites, digital advertising, online shopping portals which

formulated the trend of new consumerism with new set of visual gratification

along with print advertisements.

Television as an electronic medium provides the ability to communicate

sight, sound, motion and emotion. If a picture is worth a thousand words, a

moving picture is worth ten thousand words. Advertising can generate trust,

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emotion and excitement and create long lasting and memorable brand with

television. The interaction of sight and sound offers tremendous creative

flexibility for an advertiser to persuade the consumer with quick response

(Sharma and Singh, 2009).

Television commercial made a tremendous entry into the Indian

advertising arena with motion pictures, animated films and advertising jingles.

The application of animation technique used in television commercials made a

narrative approach of putting the message across the audience with animated

images, had explored a new genre of advertising in India through storyboard

illustrations. For example, the television commercial of

featured a mischievous and playful animated character of a girl named

who propagates hygiene through clean and healthy hair in the Indian

television commercial in the early days of its inception in a subtle flat 2D

treatment of animation technique (Plate 4.6). But in recent time, a more

profound and realistic approach of animation is established with multimedia and

3D animated film with better visual reliability about the presentation of the

advertising commercials. The new set of animation is well evident in the TVC of

Perfetti Van Melle confectionery product . The product attract the

consumers with its tagline which had triggered the

evolution of mankind from monkey to man. Caricatures of three characters - a

monkey, a man and a donkey were used in animated film format to convey the

idea of the changing intelligent quotient of human kind, enlightened by

The unlimited scope of accommodating creative talent and the capability

for experimentation in the advertising world has created a niche space for

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animation. The concept of animation in brand endorsements gives room to

creative experimentation and the flexibility to make the character in both 2Dand

3D formats to do things that are beyond the reach of humans. The impact and

success, however, depends on how effectively it conveys the brand values and

the ideals that consumers would associate with. Animation provides an

important identity to the brand and helps fixing it firmly in the imagination of the

targeted consumers. The developments and application of animation had

challenged the monotony of the static characteristic of the presentation in

recent time and have provided a new domain for creative advertising in India.

For example, has re-invented the humour appeal of the brand image

from the static 2D logo in its recent animated TVC with the playful gesture of

the 3D images of the two elephants, celebrating the power of bond, ushered a

new trend of humour Indian advertising (Plate 4.7).

Since mascots and moppets forms the most common element to arouse

amusing situation, that is been utilised by the advertisers for promoting a

product which inspire humour in advertising to attract the attention of the

consumers, the changing trend of technological advancement had flourish the

new age mascots. It provides a lasting appeal and lends a whole new

dimension to the brand with the adoption of three dimensional images, as

competently as any celebrity does. Animated mascots such as

- mascot of Pillsbury, Duracell Battery , Bajaj Allianz

Insurance mascot- , and the queen of all endorsers the animated

mischievous (Plate 4.8 a,b,c,d) whose charisma is still unmatchable,

and splashed across all forms of media, made a new entry as animated

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character recently in the advertising campaign of , personifies the

particular product.

Animation had also added a new variety of visual effects with special

lighting, character animation, and texture in recent advertising trend also. The

soft drinks brand such as for example, has initiated this new trend by

using animated characters to promote the product (Plate 4.9). The refreshing

quality of the soft drink is well depicted in the advertising campaign that uses

computer generated 3D images for the characters and backdrops, in the form

TVC and print advertisements, made the campaign very adorable especially

amongst the children.

With the world of advertising turning more experimental, animated

characters are increasingly becoming the face of Indian brands. With more and

more animated advertisements being shown on Indian television, it is evident

that instead of using models or celebrities, companies are more open to using

the tool of animation in advertising. This includes advertisements being made

with the help of 2D, 3D and clay animation.

The transition from conventional depiction of fictitious characters in 2D

drawings and illustration used in print advertisements to the adoption of 3D

modeling use in TVC and film is evident with a new form of animation called

. It is one of many forms of stop motion animation where models are

made of malleable substance, usually plasticine clay. Each of the animated

piece, either the character or background is deformable. All traditional

animation is either done by cell animation or stop motion technique. Each

frame or still picture is recorded on film or digital media and then played in rapid

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succession, creating a fairly convincing illusion of continuous motion. But in

clay animation each object is sculpted in clay around a wire skeleton called

armature.

In current time, advertisers are trying to create a character that matches

the characteristics of the brand, lending it a fresh look and promoting a new

medium of communication using claymation technique. For example,

, , and are few of the several brands that

have succeeded in presenting the brand in an animated (Claymation) version.

The Television commercials for automotive battery brand, ,

executed entirely using the claymation technique to persuade the consumers

with caricatures of human characters ( Plate 4.10). In view of the same, another

character that was sculpted using the claymation technique is prominent with

mascot called The mascot seems to solve all the

worries of a middle class Indian, haunted by taxes and less savings, paving a

new way with the tag line (Plate 4.11). Animated

characters called and , executed using claymation technique for

Life Insurance advertising campaign, made a humourous approach

in delivering the message of the offerings of the insurance company. A unique

combination of witty and live action made the commercial memorable (Plate

4.12). In recent time, claymation also made a new entry with various

promotional activities with television channels, movies and advertising films

apart from being used in advertising consumer products. For example the

enticing claymation sequences used in the title track of the film

has added a new dimension to the existing scene of visual appeal in film

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promotion along with the stereotyped printed posters and simple animation

(Plate 4.13).

Cartoons and caricatures also had a decisive role to carry out with the

association of personification of animals and other living creatures in

advertising which was discussed in the preceding chapter. They are often used

in advertising, especially in print and television commercials, giving a human

characteristic which makes humourous appeal with their special physical

appearances. These animals are neither real animals nor real humans but are

hybrids or fake animals. Advertisements that feature anthropomorphic

representation of the image of animals are often very successful due to the

hilarious approach of the presentation which associates the creature with

human activity. The changing trend of concept and technology had instigated

few such occasions where 2D and 3D characters of animals were used in

advertising to create positive brand identity in real life situation. Advertisements

for brands like , and many other brands featured

animated images of tiger, frog, cockroaches, mosquito, spiders etc. to create

new dimensions for depicting the humourous image of an animal within a new

set of effective forms which shows a fresh approach for visual embodiment of

anthropomorphic representations (Plate 4.14). They were not intended to be

real, but carry the animated characters for hilarious appeal. Their presence

makes the brand memorable due to the unexpected condition created around

the storyline of the advertising message with almost real life like illustrative

approach. Everything in the field of advertising has changed with the changing

trend of creativity and technological innovations. The advent of new media in

Indian advertising had also opened up endless possibilities for the consumers

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in recent time to purchase a product at a click of the mouse. The concept of

online advertising had amplified the brand recall with new appeal and

approaches by using various animated mascots and fictitious characters,

portraying immense success through social networking media (Gupta, 2012).

The frequency with which different brands are exploiting the social

media platform using cartoons and caricatures as humourous elements of

promotion, has added a new facade to the brand strategies. Introducing

cartoon characters bestow the brand and its product with greater creative

flexibility in contrast to celebrity endorsement. It not only humanise the brand

but also bring them closer to the customers. Various social media platforms

had revived and restructured the discourse of cartoons and caricatures in

recent trends of advertising.

Virtual brand mascots are now playing another greater role in advertising

that not only persuade the consumers with humourous characters, but also

associate and endorse the brand with digital platforms, which renders a much

wider and fairer space to communicate. Social media sites like ,

, and , and various shopping portals etc. had created a more

flexible marketing strategy with unlimited space and time to communicate the

consumers. The consumer of today, love to interact online- like, comment,

tweet and share with these cartoon characters other than with faceless brand

communication. For example, in recent time, companies like Amul Vodafone

ICICI Direct with their animated mascots had utilised the social networking site

like Facebook and Tweeter to capture the attention of the consumers with

virtual mascots, other than interacting through traditional techniques (Plate

4.15). Social media also displays a strong attributes towards implementing the

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use of cartoons and caricatures in advertising, rather than celebrity

endorsement in recent time. Because if we look at celebrity endorsement, one

cannot avoid the fact that they come with higher costs. To many brands using a

particular celebrity sometimes causes confusion in the mind of the consumers

and makes poor brand recall. Such approach is likely to affect the brand

personality and the complete brand association might be lost, while using

humourous characters instead of celebrity endorsement makes unique

association with the brand.

Recently, lot of other brands in India have started setting standards with

cartoons and caricatures on social media to make social causes interesting,

reaping amazing benefits for the company on social media and web pages.

Customer service gets a facelift with humourous characters to solve their

queries and problems. For example TATA Tea campaign had

utilised the virtual caricatures of politicians, corrupt officials etc. with an aim to

make tea more appealing to the younger generation with a message of

awakening. The online advertising campaign attempts to get the youth out of

their homes to participate and contribute to the cause of the nation against

various socio political evils (Plate 4.16).

With emerging competition, application of cartoons and other fictitious

characters in advertising through social media platform, propels greater brand

association and loyalty for a product. The current trend of conveying the

advertising message and brand attributes through various online innovations

such as interactive games, blogs, virals and many more to come has rendered

a new forum for branding a product.

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4.4 CONCLUSION

The chapter had established the facts, that the conceptual and

technological development has brought the consumer and the product to a

position of invisible reliability. Advertising had succeeded to persuade and

motivate the consumers with better visual relish of the advertising messages. It

is evident from the study that brand mascots and different cartoon characters

play an important role in creating brand image with its humourous appeal and

execution. It is been observed in the study that sophistication of advertising

appeals and application of high quality graphic images had changed the

perception of humour in advertising. Direct and indirect approaches of

humourous representation made a new genre of creative persuasion which was

limited to print advertisements with minimal visual appeal in early phase of the

development of advertising in India.

The changing mode of visualisation is noticeable from the study of various

advertising campaigns which had explored the advent of computer generated

image and multimedia, that had surpass the changing trend of creativity from

the traditional two dimensional presentation using caricature, cartoons,

illustration and photographs to 2D and 3D animation. It is also pertinent in the

study that use of cartoons and caricatures in the form of animation in Indian

television commercials and digital advertising in recent time had showcased a

parallel attribute with hand drawn cartoon characters, which we can see with

the outstanding advertising campaigns of the brand which had explored

the outdoor advertising campaign since the time of its inception to the new

media of advertising in recent time with digitally enhanced animated image of

the brand mascot to disseminate the information in humourous means with

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positive attributes for the products. It is been observed from the study that the

accessibility of new age techniques such as multimedia, animation and

computer generated images had not overstated the traditional media of

advertising, but had helped retain their individual characteristics to embody

humour appeal.

It is been established from the study that, even though the changing trends

of creativity had utilised the technique of art of hand drawn illustrations,

cartoons and caricatures and other witty images etc to endorse the product with

humourous appeal, the modern Indian advertising made a transition from such

stereotyped representation into a more subtle mockery in recent time with

intense persuasive advertising using non specific images. Conventional sets of

caricatures and cartoons using line drawings and simple illustrative styles were

explored and re-innovated further with indirect and conceptual approach of

utilising real life humourous situation using funny human and non human

characters with more intense visual appeal and pictorial dramatisation of the

advertising message. It is also been evident that such indirect approaches also

instigated the idea of disgrace advertising messages in some occasions which

seems to demoralise the attribute of the real purpose of using cartoons and

caricature for humourous appeal.

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Plate 4.1: Print advertisements of

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Plate 4.2: Print advertisements of Kitchen appliances

231
Plate 4.3: Print advertising campaign of

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Plate 4.4: Print advertisements showing humourous suggestion

233
Plate 4.5: Print advertising campaign of

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Plate 4.6: Animated character of Clinic Plus Shampoo

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Plate 4.7: Changing execution style of the mascot of

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Plate 4.8 a: , mascot of Pillsbury

Plate 4.8 b: Duracell Battery mascot

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 Plate 4.8 c : Bajaj Allianz mascot,

Plate 4.8 d: Amul India animated mascot,

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Plate 4.9 : Print advertising campaign of
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Plate 4.10: Claymation characters in advertisement

Plate 4.11: ICICI Prudential mascot , in claymation

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 Plate 4.12 : Advertising characters - and

Plate 4.13 : Title track design in claymation for film,

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Plate 4.14: Animated anthropomorphic animal characters

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Plate 4.15: Animated brand mascots on social networking sites

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Plate 4.16 : Online advertising campaign of TATA Tea

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