This is a 2013 online advert by Crisis Relief, a singaporean social organization that aims to help mothers

in need, published at a time when people actively use social media to share social problems to garner
attention. Crisis Relief targets an audience of young adults who believe that liking posts is helpful.
Through formal features such as composition, fonts, and visuals, Crisis Relief challenges young people's
perspective that an online like is not taking action.

Crisis Relief's online poster advert houses the message that liking posts is not helpful to people in need's
situations. The thumbs up symbolism is physically far away from the mother and child representing how
liking posts online is ineffective and does not interact nor help those in need. Furthermore, the negative
spacing around the thumbs highlights the emotional void and detatchment from online interactions
whereby an online audience cannot fully grasp the desperate situation of people in need. This
desperation is reinforced through the diagonal lines around the mother and child which constructs a
chaotic environment to convey the mother and child's looming feeling of helplessness. In addition, the
placement of the vulnerable family in te center abides by the rule of thirds to present them as the
subject to speak to their importance, juxtaposed by the faceless bystanders who only stick out their
thumbs without offering help. The mother is also faceless to widen the scope of the message so that it is
not only applicable to one mother, but instead to many around the world who are in need, establishing
the message as a serious global issue to increase its importance. Crisis Relief's online poster advert
sucessfully utalizes imagery to grab the audience's attention allowing for a smooth delivery of its
message to an audience acustomed to quick paced browsing in 2013.

Crisis Relief bolsters the credibility of its message through the features of an online poster advert. The
black and white color scheme lacks creative and vibrant colors, portraying the serious and solemn issue
of vulnerable mothers who cannot help their children. This black and white color symbolism
compliments the times new Roman font that is associated with newspaper articles associate this online
poster advert's message with the serious and factual tone of a credible news source. Additionally, the
contraction "isn't" prevents the register from being too formal in order to reduce the social proximity
between Crisis Relief and the audience, increasing the chances that the audience is convinced of its
message. Moreover, in the bottom corner, the ".org" at the end of the link is ethos as it denotes an
organization which is not for profit to convince the audience of Crisis Relief's pure intentions to help
instead of selfishly earning money. Lastly, the logo on the bottom right corner is sharp and a lighter color,
contrasting with the dark background. It grabs the audiences attention and brands itself as a sucessful
and recognizable organization to act as a bandwagon effect, appealing to the audiences wanting to fit in
to the majority. Through the 2013 context of production during the rise of the internet, Crisis Relief
establishes its online poster to be credible at a time when internet safety was primitive to indicate the
credibility of its message.

Crisis Relief challenges young adults' beliefs and values to help them realize that an online like is not
meaningful to those in need. The lifeless child's facial expression eminates a depressing and hopeless
mood which appeals to the audience's pathos to evoke sympathy. Addiitonally, the lack of empirical data
or statistics has the audience focus on their emotional response so they subconciously cannot discredit
Crisis Relief's message through logical reasoning. Crisis Relief further reinforces their pathos through a
lexical set consisting of "helping", "volunteer", and "life" to convey the importance of caring for others
which challenges the nonchalant browsing on the internet as a means to waste time. To add on, the
short sentences increase the reading pace to meet the needs of young adults who want quick
information delivery online. Then, the imperatives of the verbs "be" and "change" act as a call to action,
motiviating the audience to make meaningful change instead of passively liking online posts. By meeting
the needs of young adults who browse online in 2013, Crisis Relief then challenges their inactive online
liking to convince them that making a difference requires proactivity.

In conclusion, Crisis Relief uses formal features such as composition, fonts and visuals to deliver the
message that liking posts online is not meaningful action. It is effective as the online poster advert meets
the needs of an audience acustomed to browsing who want to make a positive difference in the world.
However, detractors might question how an online poster advert without any specific instructions would
inform the audience on where to make a donation or be a volunteer.