Ø Nothing appeals to the mind more than a publicity image. While many of the images we see tend to escape our memory as soon as we take a corner, publicity images trigger imaginary memories in our minds whenever we see anything of close resemblance. “Publicity images also belong to the moment in the sense that they must be continually renewed and made up-to-date,” (John, P. 130).
Ø In many cases, however, Publicity images tend to refer to the past while speaking of the future, therefore falling short of their purpose of speaking of the current moments. The general customization to the publicity images makes people ignore their impacts in creating awareness and their usefulness. For example, one may only take note of an image since it carries the information about an area or subject of his interest.
Ø Publicity is perceived as the competitive channel that tends to benefit the consumer, the manufactures and the large economy. The publicity images are founded on the principles of freedom of choice and purchase by the clients. In the free market scenario, a publicity image of one brand and one firm competes effectively with that of another firm.
Ø It is; therefore, best to understand the publicity images as not a mere collection of competing messages, but a standalone message that is used to propose to the general public.
Ø Publicity images use paintings or sculptures to appeal to the authority and pass the required message the public. The arts quoted by publicities serve to assert influences and appeal to the richness and the uniqueness of the selected group of people.
Ø Publicity is, therefore, a conglomeration of cultures of the consumer world, whereas oil paintings are a celebration of private properties. However, the fundamental question remains as to how publicity and oil can be neatly fused to complement each other without the glaring contradictions in their uses and contexts.
