





































 

58 

 
 
 
 
 
https://www.designforsocialchange.org/journal/index.php/DISCERN-J 
 
ISSN 2184-6995 
 
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 
International License. 

 

  

 

 
 
Social cause advertising is not your traditional advertising: A graphic 
design framework for social change 
 
Rafaella-Maria Lakeridou, Christos Karpasitis  
 
Published online: November 2022 

 
To cite this article:  
Lakeridou, R-M., & Karpasitis, C. (2022). Social cause advertising is not your traditional advertising:  
A graphic design framework for social change. Discern: International Journal of Design for Social Change, 
Sustainable Innovation and Entrepreneurship, 3(2), 58-78. 
 
 
  



 

59 

Social cause advertising is not your traditional advertising: A graphic 
design framework for social change 
 
Rafaella-Maria Lakeridoua, Christos Karpasitisb 
 

aUniversity of Central Lancashire, School of Arts and Media, Cyprus. rmlakeridou@uclan.ac.uk 
b University of Central Lancashire, School of Sciences, Cyprus. ckarpasitis1@uclan.ac.uk 

 

Abstract 

When designing advertisements, designers use a framework created by principles (guidelines) that form  

the foundation of the design. However, based on the literature, designers apply existing graphic design 

frameworks in social cause advertising without acknowledging that such advertisements differ from 

traditional advertising. These advertisements are designed not to promote a brand name but to influence 

the public and attempt to change social behaviour towards a cause. When designing for social change, 

designers should differentiate their advertisements and apply a tailored framework with the most effective 

and influential graphic design elements. Although some academic studies exist on how advertising can 

initiate social change, further investigation is needed on which graphic design elements are the most 

effective. Such research can add new knowledge to the multidisciplinary fields of graphic design and 

advertising and to the existing literature. This paper describes how social cause advertising differs from 

traditional advertising and presents the need for a graphic design framework for out-of-home social cause 

advertising. The objective is to identify graphic elements that can be applied specifically in the design of 

out-of-home social cause advertisements and build a tailored framework. The research followed a mixed 

methods approach: quantitative (surveys) and qualitative (interviews) data. The findings indicated that 

specific graphic design elements (like monochromatic colour schemes, geometric shapes, etc.) can be 

applied in social cause advertising to build a tailored framework targeting different age groups/genders. 

Such findings lead towards more public engagement and action towards the social cause advertised; but 

also add new knowledge to existing research, which suggests that elements like image and typography are 

the most effective visualization techniques. This research is part of a PhD in Graphic Design inspired by 

social cause advertisements. The researchers, who lost a loved one due to ischaemic stroke, devote this 

research to create awareness for different social causes and design for social change. 

 

Keywords: Social cause advertising, Out-of-home advertising, Graphic design, Graphic design elements 

 

Introduction 

Social cause advertising differs from traditional advertising in that it does not attempt to promote a brand, 

product or service and increase sales. Rather, it attempts to change social behaviour, raise awareness, 

educate or promote a public benefit towards a cause (Landa, 2021; Gupta, 2012). Social cause advertising 

has been around for years because of its immense power to promote action. Karen and Fox (1980) point 

out that social cause advertising aims to move people from intention to action, while Gupta (2012) argues 

that social cause advertising is one of the most effective means to create social awareness, bring social 

change and shift the public mindset. On the other hand, out-of-home advertising (which is the main focus 

of this research) covers all advertising that is seen out of home, such as billboards, transit advertising, 

posters, etc. (Altstiel & Grow, 2006). Studies have shown that this type of advertising is ideal for raising 

awareness, but also vital in providing information and enhancing knowledge (Manickam, 2014;  

Walia, 2012). 

 



 

60 

Generally, graphic design involves a creative process to build a visual. Designers use a framework created 

by a set of principles (guidelines) that can assist in creating a visual design. In this paper, we argue that 

social cause advertising should be more clearly differentiated from traditional advertising when it comes  

to design. It is observed and reported that designers apply universal design techniques in social cause 

advertising, without acknowledging which design elements are the most favourable amongst different 

demographics to create effective advertisements. Such criteria are important, as this will enable designers 

to reach their target audience and engender a more favourable attitude. For example, visual language  

is a key asset when composing an advertisement. Kronrod et al. (2012) concluded that language in 

environmental campaigns needs to be carefully assessed and selected. Hence, as social cause advertising  

is based on collecting issues and addressing them to the public, designers must identify and apply elements 

that the public favour. 

 

By creating a tailored framework with elements that are the most favourable and effective amongst 

different demographics, designers will be able to customise their campaigns. Timke’s (2019) visual analysis 

on disability and advertising recommended that disability be represented more carefully in social 

awareness campaigns. More specifically, Timke (2019) suggested that designers should start using images 

that represent different disabilities more clearly. Therefore, in our proposed framework, designers would 

be able to use a specific type of imagery, such as graphics, drawings or photographs. 

 

Related studies have been conducted on the multidisciplinary fields of graphic design and advertising 

(Borba et al., 2015; Manickam,2014; Nazim, 2020; Park, 2014; Troy, 2019). However, these studies 

examined different aspects of graphic design or advertising without focusing specifically on graphic design 

elements. According to Troy (2019), although a few academic studies on advertising design and initiating 

social change exist, further investigation is needed. Therefore, this research focused on graphic elements 

such as line, shape, texture, colour, value, typography and image. We investigated how these elements 

could be applied in designing out-of-home social cause advertisements to build a tailored framework that 

will attract more people and lead towards more public engagement and action towards the social cause 

advertised. For example, as stated by the National Heart, Lung, and Blood Institute (2022), although 

women’s heart disease awareness has doubled since 2002, it remains the leading cause of death. 

Therefore, with this research’s potential to inspire action towards prevention, a tailored design will  

not only show a different perspective on social causes like heart disease (e.g. inspiring more women  

to be aware and increase checkups), but also connect with societies through a more supportive and 

favourable approach that will increase health assessments in general and reduce mortality. 

 

Out-of-home social cause advertising 

Out-of-home social cause advertising addresses social issues publicly through out-of-home media. The 

Outdoor Advertising Association of America and advertising agencies such as DASH TWO, bMediagroup  

and the Empire Group use the term out-of-home advertising for: 

 

• Billboard advertising - The traditional large, printed advertisement on a podium positioned for the 

public eye. 

• Transit advertising - Content displayed on public transport vehicles. 

• Posters - Print advertisements, often displayed in noticeable places specifically for people on foot. 

• Street furniture advertising - All forms of out-of-home advertising displayed at street level/ printed  

on outdoor furniture. 



 

61 

• Place-based advertising - Located within a specific location where a particular group of people 

congregate for different purposes. 

 

This research focused on the list above, as it was important that the findings apply to all media classified  

as out-of-home. According to one study, this type of advertising can be more reliable, accurate, highly 

appealing and effective advertising tool than Internet advertising (Borisova & Martynova, 2017).  

 

Graphic design elements 

Dabner et al. (2013) note that every discipline has its own set of rules and methods. Graphic design  

is a discipline which follows fundamental principles to create an effective composition and form a visual 

language for the public (Poulin, 2018). Graphic elements are building blocks which compose a design 

(Samara, 2011). Below, the key design elements are listed as presented in multiple sources (Dabner  

et al., 2013; Evans & Thomas, 2012; Poulin, 2018; Resnick, 2003). The elements are applied in all types  

of advertising as they give character to the design. Therefore, studying the elements gives a better 

understanding of their function in the design composition. However, each element has different variations. 

An investigation of the graphic design elements will enable this research to conclude on each element’s 

role and how it can be utilised in social cause advertisements for maximum impact. 

 

Line 

A line can be actual or implied. However, for this research, it was most appropriate to investigate literal 

lines in design, as implied lines are a conceptual element. Lines add character and direction to the design, 

yet they can communicate emotion and give unique characteristics. Figure 1 illustrates the different line 

variations applied in design, as presented by Field (2018). 

 

 
 
Figure 1:  Line variations (Field, 2018). 

 
Shape 

Shapes in design can be symbolic or create a pattern (Wong, 1972) and are an important building block in 

visual grammar. More specifically, shapes add characteristics to the design composition. According to Wong 

(1993) and Malamed (2011), three universal shape groups known as the basic types of shapes are used in 

design (Figure 2). 

 

 

Vertical line Horizontal line Diagonal line Zigzag line 
or  

Jagged line 

Curved line 
Delineating line Calligraphic 

line 

Implied line 



 

62 

 
 
Figure 2: Three universal shape groups (Wong,1993 and Malamed, 2011). 
 

Texture 
The element of texture is defined as the look and feel of a surface (Resnick, 2003). Visual texture refers to 

the effect of the surface which can add richness and dimension (Poulin, 2011). Texture can be described 

through a variety of visual effects ranging from flat and shiny to bumpy and rusty (Poulin, 2011) (Figure 3). 

 

 
 
Figure 3:  Visual effects (Poulin, 2011). 

 

Space 
Space is a conceptual element which refers to the area within the design known as positive space or 

negative space (Figure 4). Positive space is an area which contains graphical elements such as shapes, 

images and typography. Conversely, negative space is the empty area of the composition. Space in design 

creates a visual effect which has an impact on human perception (Samara, 2014).  

 

 
 
Figure 4:  Negative and positive space (Samara, 2014). 
 

Colour 
Colour in graphic design is a powerful element which delivers meaning, emotional moods and functional 

information (Buether, 2014). The use of colour in design conveys a story. However, the element of colour  

is a broad subject which can be investigated and specialised solely as research. For this research, it was 

most appropriate to investigate the six types of colour schemes, as they are the foundation of colour 

composition (Figure 5). 

 

Geometric 
shapes 

Organic shapes Abstract 
shapes 

Positive 
space 

Negative 
space 



 

63 

 
 

Figure 5:  Six colour schemes (Feisner, 2006). 

 

Value 
When referring to the element of value, one refers to the degree of colour (Figure 6). The element of value 

is a tool which indicates how light or dark design elements appear in a composition. Value can be used for 

multiple purposes, ranging from creating a contrast to building a visual hierarchy amongst the design 

elements. Value can evoke feelings in design, as dark values indicate mystery, while light values can reflect 

happiness (Smith, 2017).  

 

 

 

 

 

 

 
Figure 6:  Value scale (Smith, 2017). 

 

Typography  
Typography (or fonts, as known by many) is an element which cannot pass unnoticed, as it is the process  

of making language visible (Cullen, 2012). Typography gives character to the content of the composition. 

This research examined the typography categories most used in advertising (Figure 7).  

 

Monochromatic colour 

schemes 

Complementary colour 

schemes 

Split complementary 
schemes 

Triadic colour schemes 

Analogous colour 

scheme 

Tetradic colour 

schemes 



 

64 

 

  

 

 

 

 

 

 

 

 

 

 

 

 
Figure 7:  Typography used in advertising (Amplify, 2019; Amstel, 2019; Inman,2020; JGI Outdoor, 2020;  
The Perfect Media, 2019). 
 

Image  
Images are a powerful visual element and essential in several disciplines, such as advertising, as they can 

bring a design alive (Ambrose & Harris, 2006). Drawing a summary from authors like Meggs (1992), Poulin 

(2011) and Landa (2021), this research focused on two types of images (Figure 8).  

 

 
 
Figure 8:  Image type. 

 

Concerning the impact that each element can have on the design of advertisements and on influencing 

public perception, research suggests that the impact can differ across different elements and demographics 

(Guthrie, 2009). Moreover, research conducted by Park (2014) on the most effective ways of 

communication in a cause-related campaign design found that images, infographics and typography  

were among the most comprehensible elements for the intended audience. 

 

Methodology  

To develop a graphic design framework for out-of-home social cause advertising, this study was based  

on a deductive approach and was supported by mixed-methods research. Quantitative and qualitative data 

were collected simultaneously, and the results were combined in the overall analysis (Tashakkori  

& Teddlie, 1998).  

 

Both primary and secondary data were collected during this research. Secondary data related to graphic 

design and social cause advertising were obtained from sources like journals, books and articles published 

between 1972 and 2022. Such data helped the researchers to empower the primary data, which were 

Illustrations Photography 

San-serif 
fonts

Arial

Berlins 
Sans

Calibri

Franklin

Gill 
Sans

Helvetica

Lucida 

Grande

Tahoma

Verdana

Serif fonts

Baskerville

Georgia

Time 
New 

Roman
Garamond

Didot



 

65 

obtained through web-based surveys and through interviews. These two methods were combined in similar 

studies in the past (Dombrowski et al., 2013; Troy, 2019), as such data collection helped strengthen  

the research. 

 

Table 1 summarises the research instruments used in this research and their purpose. Survey 1 (n = 150) 

investigated the participants’ perceptions, attitudes and favorability towards different graphic design 

elements and styles applicable in out-of-home social cause advertisements. Survey 2 (n = 50) was an 

advertisement recall test that investigated which advertisement graphic design elements contribute more 

to recalling a social cause. The participants in surveys 1 and 2 were initially identified using convenience 

sampling, followed by snowball sampling whereby each participant was asked to share the survey with 

eligible friends. The sample population represented a range of demographics such as age, gender, 

nationality (e.g. American, Cypriot, Lebanese, Australian, etc.) and region of residence (e.g. Europe,  

Middle-East, Asia etc.). 

 

Survey 3 (n = 11) targeted professionals in the design industry and their perceptions of different graphic 

design elements and how social cause advertisements are designed. Finally, interviews with 3 professionals 

in the design industry helped obtain more in-depth information and deeper insights into the aspects 

addressed in Survey 3. For survey 3, agencies from across Europe, the Middle East, the USA and the 

UK were selected and contacted through a personalised email invitation. These agencies were selected 

based on their portfolio to ensure that they were experienced with social cause out-of-home advertising. 

The participants in survey 3 were also invited to participate in a short virtual interview.  

 

Table 1: Research instruments applied and purpose. 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

N = number of participants 

 
The sample consisted of adult participants aged 18 and over (Table 2). To understand the audience,  

the population was divided into generations to enable the researcher to understand the different 

Target 

Group 
Instrument Ν Purpose 

General 

Public 

 

Survey 1:  

(web-based 

via Qualtrics) 

 

 

 

150 

Investigated perceptions, attitudes and favourability 

towards different graphic design elements and styles 

applicable in out-of-home social cause advertisements. 

Survey 2: 

(web-based 

via Qualtrics) 

 

 

50 

Conducted an advertisement recall test, specifically on 

existing out-of-home social cause advertisements, and 

determined which elements (e.g. typography, graphics, 

colours, headlines, etc.) attract the general public but 

also contribute to remembering the social cause.  

Design 

Agencies 

 

 

Survey 3: 

(web-based 

via Qualtrics) 

 

11 Understand from professionals in the design industry: 

(i) how social cause advertisements are designed 

and 

(ii) how different elements and styles are perceived. 

Interviews 

(Virtual via 

MS Teams) 

 

3 

Obtained more in-depth information on the aspects 

addressed in the design agencies survey.  



 

66 

demographics and their preferences in order to develop a tailored graphic design framework for the 

general public. 

 
Table 2: Age groups and generations. 

 

 

 

 

 

 

 

 

 

The demographic data of the respondents to Survey 1 is shown in Table 3. Of the respondents, 81 (54.0%) 

were female and 69 (46.0%) were male. 

 

Table 3: Demographic characteristics - Survey 1 participants (N = 150). 

 

 

 

 

 

 
 

 

 

 

 

 

 
 

*N = number of participants 

 

The survey was divided into two sections, as follows: 

Section one: Qs1–5 were about demographic variables: gender, age, nationality, etc. Such data gives 

background information on the research population and also helps divide findings into different categories 

for comparison (e.g. gender and age preferences). 

 

Section two: Qs6 20 examined public perceptions, attitudes and favorability towards graphic styles and 

elements (e.g. Please rate the level of attractiveness for the following line variations: 1 = not at all 

attractive, 2 = slightly attractive, 3 = moderately attractive, 4 = very attractive and 5 = extremely attractive). 

In these questions, some other criteria were also investigated, such as out-of-home advertising types and 

social causes (e.g. Please rate on average the level of attention you pay to the following out-of-home 

mediums: 1 = never, 2 = rarely, 3 = sometimes, 4 = often and 5 = always). 

 

Survey 2 included 50 participants, of whom 26 (57.8%) were female and 19 (42.2%) were male (Table 4). 

 

 

 

 

Generation Age group 

Generation Z & Millennials  18–30 

Millennials 31–40 

Millennials & Generation X 41–50 

Generation X & Baby Boomers 51–60 

Baby Boomers, The Silent Generation & 

The Greatest Generation 

61 and above 

Characteristic n % 

Gender  

Female 

Male 

 

82 

68 

 

54.7 

45.3 

Age (years) 

18–30 

31–40 

41–50 

51–60 

61 and above 

 

35 

69 

23 

12 

11 

 

23.3 

46.0 

15.3 

8.0 

7.4 



 

67 

Table 4: Demographic characteristics - Survey 2 participants (N = 50). 

 

Characteristic n % 

Gender  

  Female 

  Male 

 

29 

21 

 

58.0 

42.0 

Age 

  18–30 

  31–40 

  41–50 

  51–60 

  61 and above 

  

15 

21 

9 

2 

3 

 

30.0 

42.0 

18.0 

4.0 

6.0 
*N = number of participants 

 

This survey combined picture choices and closed multiple choice questions, using 30 advertisements, 
including two sets of 15 different social causes. The survey was divided into two main sections, as follows: 
Section one: Qs1–5 assessed demographic variables like gender, age group, nationality, etc. 

Section two: Qs6–25 were a series of short advertisement tests. Hence, 2 sets of 15 different social cause 

advertisements were tested. Each set was given 30 seconds viewing time, which corresponds to 

approximately 10 seconds viewing time per advertisement (this gave participants the experience  

of being out of home while simultaneously conducting a recall test). 

 

Survey 3 obtained data from design industry professionals (Tables 5 & 6). The population (N = 11) included 

directors, co-owners and designers from graphic design/creative firms and out-of-home advertising 

agencies that either specialised in social cause advertisements or had a strong knowledge of their design 

(e.g. some participants either worked in well-known design agencies or created popular social cause 

campaigns, ranging from climate change and environmental awareness to health and poverty). 

 

Table 5: Design agencies sample (N = 11). 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

ID Job Title Industry 

A Co-owner Advertising 

B Co-owner Graphic design 

C Co-owner Graphic design  

D Co-owner  Design for social change 

E Head designer Design for social change  

F Creative director Graphic design 

G Head and creative director  Design for social change 

H Director  Graphic design 

I Creative director  Graphic design 

J Director  Design for social change  

K Director Design for social change 



 

68 

Table 6: Demographic characteristics-  Survey 3 participants. 

 

Characteristic n 

Gender  

  Female 

  Male 

 

4 

7 

Age 

  18–30 

  31–40 

  41–50 

  51–60 

  61 and above 

  

4 

3 

2 

1 

0 

Position  

  Founder/Co-Founder 

  Creative Director 

  Junior Designer 

  Service Designer 

 

6 

3 

1 

1 
*N = number of participants 

 

The survey was divided into two main sections, as follows: 

Section one: Qs1–3 obtained demographic variables like gender, age group and agency location.  

Such information helps to evaluate cultural diversity in the sample and build a complete profile of the 

respondents. 

 

Section two: Q4s–21 assessed the respondents’ knowledge and perceptions of different graphic design 

elements and styles and the design of social cause advertising and out-of-home advertising (e.g. Please rate 

the level of emphasis on the following design elements when you are designing an out-of-home social 

cause advertisement: 1 = no emphasis, 2 = minor emphasis, 3 = neutral emphasis, 4 = moderate emphasis 

and 5 = major emphasis).  

 
With regards to the data measurement and scaling, a number of techniques were applied. Some questions 

were worded in an open-ended way and used semantic differential scales (Figure 9). 

 

 Please rate on average the level of attention you pay to the following out-of-home mediums: 

1 = Never 2 = Rarely 3 = Sometimes 4 = Often 5 = Always 

 

Figure 9: Semantic differential scales. 

 

For some questions, Likert scaling was most appropriate. As shown in Figure 10, negative responses were 

scored with the lowest number. 

 

 Please select the level of agreement or disagreement for the following statements: 

1 = Strongly disagree 2 = Disagree 3 = Neutral 4 = Agree 5 = Strongly agree 

 

Figure 10: Likert scaling. 



 

69 

 

The other forms of survey questions were matrix, multiple-choice and picture choice questions. 

 

Findings 

The data analysis showed that different demographics had different preferences. Therefore, it was 

appropriate to divide the findings into two sections: 1) designing to attract age groups, and 2) designing  

to attract gender. 

 

Designing to attract age groups 

The participants (all ages) found delineating lines the most attractive (Table 7). However, the 31-40-years-

old age group found implied lines equally attractive. This suggests that the type of line that mostly should 

be used in the design of out-of-home social cause advertising is delineating. 

 

Table 7: Line variation attractiveness (age group preferences). 

 

Age (years) Line Variation 

Attractiveness of each  

line variation (within  

age group) % 

  18–30 Delineating line 50 

  31–40 

 

Delineating line 

Implied line 

 

69.2 

69.1 

  41–50 Delineating line 60.9 

  51–60 Delineating line 83.3 

  61 and above Delineating line 81.8 

 

With regards to shape preference, although the data collected from the designers indicated that organic 

shapes were the most used (54% of participants replied ‘often’ or ‘always’), over 52% of the respondents 

perceived geometric shapes as attractive (e.g. ‘very’ or ‘extremely’ attractive’). Such learning will be shared 

with the professionals who participated in this study. 

 

The element of texture is a visual effect. Of the professionals (N = 11) who participated in this study, the 

creative directors (n = 3) gave a 27.3% major emphasis on texture. Therefore, this element should not be 

used in out-of-home social cause advertisements, as a rating of 27.3% is deemed too low. Rather, texture  

is an element that should be applied in printed advertisements where the public can feel the surface. 

 

The element of space is applied as a conceptual element in design. The professionals (N = 11) gave a 54.5% 

emphasis on space when designing an out-of-home social cause advertisement, without any particular 

preference (e.g. negative or positive space). Therefore, space in design should be applied,  

as it is a component that draws attention to the content but also strengthens the relationship  

between the viewer and the communicating message (Samara, 2014). 

 

Most of the participants (50.7%) found monochromatic colour schemes the most attractive, except for the 

51–60-years-old age group, who had no preference. Therefore, to draw a conclusion on colour favourability 

for the 51–60-years-old age group, designers should rely on the second highest response within that age 

group, which was monochromatic.  

 



 

70 

Furthermore, value and colour are two elements which are combined to form a composition. The 

professionals (N = 11) gave a 54.5% emphasis on value when designing an out-of-home social cause 

advertisement. Hence, depending on the social cause, it is recommended that designers apply the most 

applicable shade (lightness or darkness) of monochromatic colour. 

 

With regards to typography, the findings showed some differences in the typeface preference (Table 8). 

The 18–30-years-old age group (63.8%) found the Didot typeface the most attractive, whereas the  

31–40-years-old age group (77.9%) and the 41–50-years-old age group (65.2%) both perceived the 

Garamond typeface as the most attractive. On the other hand, ages 51–60 years (83.3%) and 61 years and 

above (82.8%) both selected the Georgia font. However, ages 61 and above found Times New Roman 

equally attractive. 

 
Table 8: Typeface attractiveness (age group preference). 

 

Age (years) Typeface 
Attractiveness of each typeface 

(Within element) % 

18–30 Didot 63.8 

31–40 Garamond 77.9 

41–50 Garamond 65.2 

51–60 Georgia 83.3 

61 and above 
Georgia 

Times New Roman 

81.8 

81.8 

 

Lastly, concerning the most preferred type of image, most of the participants (ages 18–30, 41–50 and 61 

and above) found drawings the most attractive (Table 9). However, ages 31–40 (59.5%) had no preference, 

and ages 51–60 (8.7%) perceived graphics to be the most attractive. 

 

Table 9: Image type attractiveness (age group preference). 

 

Age (years) Image Type 
Attractiveness of each image type 

(within element) % 

18–30 Drawings 40.7 

31–40 No preference 59.5 

41–50 Drawings 18.5 

51–60 Graphics 8.7 

61 and above Drawings 11.1 

 

Designing to attract gender 

It is important to mention that the studies performed throughout this research took measures that allowed 

the participants to declare a nonbinary gender identity. However, during the studies, all participants 

declared themselves as either male or female. 

 

When designing to attract gender, the findings suggest delineating lines. Both the female (65.4% - within 

element) and the male (65.2% - within element) participants found delineating lines the most attractive 

option. Additionally, with regards to the type of shape, both females (55.5% within element) and males 



 

71 

(49.3% within element), also found geometric shapes the most attractive (e.g. ‘very’ or ‘extremely’ 

attractive). 

 

Further, both female and male participants found monochromatic colour schemes the most attractive 

(50.7%). However, some social causes (e.g breast cancer awareness and prostate cancer awareness) need 

to apply monochromatic colours accordingly. For example, when designing a breast cancer advertisement, 

designers can apply monochromatic red colours with different values to create pink tones. 

 

With regards to typography, the female and male participants had different preferences. The female 

participants found serif fonts like Didot, Garamond and Times New Roman the most attractive (Table 10). 

The male participants found serif fonts like Didot, Garamond and Georgia the most attractive (Table 11). 

Figure 11 presents a visual of each preferred typeface. 

 

Table 10: Typeface attractiveness (gender- female preference). 

 

Gender Typeface 
Attractiveness of each typeface 

(within element) % 

Female  Arial 

Baskerville 

Berlin Sans 

Calibri 

Didot 

Franklin 

Garamond 

Georgia 

Gill Sans 

Helvetica 

Lucida Grande 

Tahoma 

Times New Roman 

Verdana 

24.4 

53.7 

19.5 

29.3 

67.1 

11 

70.8 

53.6 

17 

18.3 

22 

22 

69.5 

20.8 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

72 

Table 11: Typeface attractiveness (gender -male preference). 

 

Gender Typeface 
Attractiveness of each typeface 

(within element) % 

Male Arial 

Baskerville 

Berlin Sans 

Calibri 

Didot 

Franklin 

Garamond 

Georgia 

Gill Sans 

Helvetica 

Lucida Grande 

Tahoma 

Times New 

Roman 

Verdana 

32.3 

58.9 

19.1 

30.9 

72.1 

19.1 

72.0 

63.3 

5.9 

19.1 

23.6 

16.2 

61.8 

14.7 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 11: Preferred typeface. 
 

Lastly, concerning the type of image, both female and male participants found graphics/illustrations the 

most attractive (Tables 12 and 13).  

 

Didot 
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 

a b c d e f g h i j k l m n o p q r s t u v w x y z 
0 1 2 3 4 5 6 7 8 9  

“The quick brown fox jumps over the lazy dog” 
 

Garamond 
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 

a b c d e f g h i j k l m n o p q r s t u v w x y z 
0 1 2 3 4 5 6 7 8 9  

“The quick brown fox jumps over the lazy dog” 
 

Georgia 
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 

a b c d e f g h i j k l m n o p q r s t u v w x y z 
0 1 2 3 4 5 6 7 8 9   

“The quick brown fox jumps over the lazy dog” 
 

Times New Roman 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 

a b c d e f g h i j k l m n o p q r s t u v w x y z 

0 1 2 3 4 5 6 7 8 9  

“The quick brown fox jumps over the lazy dog” 

 



 

73 

Table 12: Image type attractiveness (gender - female preference). 

 

Gender Imagery 
Attractiveness of each image type 

(within element) % 

Female  Graphics/illustrations 

Drawings 

Photographs 

No preference 

63.4 

23.2 

50 

13.4 

 

Table 13: Image type attractiveness (gender - male preference). 

 

Gender Imagery 
Attractiveness of each image type 

(Within element) % 

Male  Graphics/illustrations 

Drawings 

Photographs 

No preference 

58.8 

20.6 

42.6 

22.1 

 

The framework developed 

Figures 12 and 13 present a summary of the findings and, more specifically, the framework with the graphic 

design elements that should be applied in the design of out-of-home social cause advertisements. Figure 12 

illustrates the elements this research suggests when designing to attract different age groups; Figure 13 

presents the elements suggested when targeting gender. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

74 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 12: Designing to attract age groups. 

 

 

 

 

 

 

 

 

 

 

 

 

18–30  

31–40 

41–50 

51–60 

61 and above 

Key Age: 
18–30 

Element Line: 
Delineating line 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Didot typeface 
Element Image: 
Drawings 

 

Age: 
31–40 

Element Line: 
Delineating line 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Garamond typeface 
Element Image: 
No preference 

 

Age: 
41–50 

Element Line: 
Delineating line 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Didot typeface 
Element Image: 
Drawings 

 

Age: 
61 and above 

Element Line: 
Delineating line 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Georgia or Times New Roman 
typeface 
Element Image: 
Graphics 

 

Age: 
51–60 

Element Line: 
Delineating line 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Georgia typeface 
Element Image: 
Graphics 



 

75 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 13: Designing to attract gender. 

 

Discussion 

This paper investigated graphic design elements that can be applied specifically in the design of out-of-

home social cause advertisements and presented the key elements for effective advertising. Although 

elements currently applied in the design of out-of-home social cause advertisements may be influential, 

such form of advertising should have a tailored framework. These findings suggest that social cause 

advertising should be differentiated from traditional advertising. Hence, a universal graphic design 

framework tailored for the design of out-of-home social cause advertisements was developed after 

carefully analysing data collected from surveys and interviews. 

 

The designers who participated in this study who specialised in out-of-home advertising reported a lack  

of good design in social cause advertising. Such forms of advertising should have a graphic design 

framework to create more effective out-of-home social cause advertisements, to attract the public  

(reach more people) and lead towards more public engagement /action. 

 

Moreover, according to the interview data, the characteristics of the target audience should play a key role 

in the design decisions about social cause advertisements. More specifically, campaigns should be designed 

to meet the target audience’s demographic characteristics (e.g. gender and age). These research findings 

could have a positive impact on practice, such as the design process and achieving design for social change. 

However, this claim should be further tested in long-term studies. For example, further research should be 

conducted to determine more specifications for the elements presented in this paper as well as the validity 

of the proposed framework. In our opinion, the next steps of this research are to present findings to 

designers and practitioners. 

 

On the other hand, with regards to the impact this research can have on the literature, our research 

supports existing research about increasing awareness towards a social issue. In an empirical study 

conducted in Jordan, ‘The Effect of advertising campaigns in encouraging women's early breast cancer 

screening’ (Alhawamdeh & Azzam, 2019), the main findings showed that in a specific advertisement 

Male 

Female Gender: 
Male 

Element Line: 
Delineating line 
Element Space: 
Negative & positive space 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Didot, Garamond and Georgia 
Element Image: 
Graphics/illustrations 

 

Gender: 
Female 

Element Line: 
Delineating line 
Element Space: 
Negative & positive space 
Element Shapes: 
Geometric shapes 
Element Value 
Element Colour:  
Monochromatic colour schemes 
Element Typography: 
Didot, Garamond and Times New Roman 
Element Image: 
Graphics/illustrations 

 

Key 



 

76 

campaign, there was a 54% effect in encouraging women´s early breast cancer screening due to the overall 

design. Therefore, with our research, designers can tailor advertisements with specific elements favoured 

by females regardless of their age group (Table 10) e.g. delineating lines, geometric shapes, monochromatic 

colours (light red value to create pink tones), typefaces like Garamond or Times New Roman and 

graphic images. 

 

This research can have a significant impact when designing for social change. The visual content included in 

social cause advertisements can influence the public by creating an attraction (attracting more people), 

which can lead towards more public engagement and action. The findings aim to motivate and connect 

with the public, as our mission and responsibility as designers is to design for action. 

 

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