Label Line Poetics: For a Rhythmic Motto, Run the Meter

Label Line Poetics: For a Rhythmic Motto, Run the Meter Uncategorized

Label Line Poetics: For a Rhythmic Motto, Run the…

If you are intending on using your company motto as a music jingle, you know it needs appealing rhythm. However, if you have actually no plans to promote on radio or TV, you should still instill it with rhythm. Your label line (strapline, catchphrase, endline or motto) stands apart when it has the increased word craft of a line of verse. With a identifiable rhythm, your line really feels unified, and it is easier to keep in mind and duplicate properly. It has elegance. It flows. It dancings with life Triplle168

Say these 2 lines out loud, for circumstances:

Your gas storage container should have a tiger in it.
Put a tiger in your storage container.

Did you listen to how a lot more effective the second variation is? That is because of its rhythm.

English majors call the rhythm of a line of words “meter.” They have raftloads of technological terms for various kinds of meters – iambic pentameter, anapestic tetrameter and so forth. Thankfully you do not need to learn any one of that to use meter as an advertising device. All you need is to have the ability to acknowledge – and manipulate – the pattern of stressed and unstressed syllables in a line. In what complies with, a capitalized word suggests focus and a non-capitalized word doesn’t receive focus.

For instance, you had analyze the New York Times’s motto such as this:

ALL the NEWS that is FIT to PRINT

Barnum & Bailey’s label line:


And generally:

(DUM) de DUM de DUM de DUM (de DUM de DUM…)

Inning accordance with popular supervisor John Barton, creator of the Imperial Shakespeare Company, this pattern of rotating stressed and unstressed syllables is the poetic meter that most looks like regular English speech. It really feels both all-natural and unique. Without using any tricks or artifice, it handles greater strength compared to a series of words that has no identifiable pattern of focus.

Almost as common as the DUM de DUM de DUM meter illustrated over is one using triples, as in Clairol’s label line:

DOES she or DOESn’t she?

How all-natural this too sounds you can see in Crest’s motto, where the same rhythm is associated to a youngster:

LOOK ma, no CA vi ties!

This meter was definitely deliberate. Fiddle with the message and express the thought without rhythm, and you will notice it sheds its catchiness:

Hello ma, no tooth dental caries today!

A three-way meter normally either starts with a downbeat, complied with by 2 unstressed syllables, and repeats, or it starts with 2 unstressed syllables, after that a stressed one, and so forth:

TUM te te TUM te te (TUM te te…) or
te te TUM te te TUM (te te TUM…)

Knowingly or naturally, copywriters put a great deal of initiative right into arranging words so they have rhythm, and you should too. You do not need elegant hundred-dollar words, simply persistence in attempting great deals of various mixes, moving words to various settings and replacing basic synonyms with a various variety of syllables until you reach million-dollar treasures such as:

Melts in your mouth, not in your hands.
The Supreme Driving Experience
Do not simply book it. Thomas Cook it.

Exit mobile version