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Volume 1, Issue 1, 2011
Truth, Art, and Advertising: Considering the Creative Perspective of the Poet, the Painter, and the
Advertising Practitioner
Lee Earle, Associate Professor, Roosevelt University, [email protected]
Abstract
Creativity is at the heart of the advertising industry, and scholars have written extensively on this
subject for the last twenty-five years. But, in reviewing this literature, one word is hardly mentioned, a word
that award-winning advertising art directors and copywriters feel is essential to their work, a word as simple
as truth. Therefore, this essay looks at establishing truth in advertising, not as an ethical consideration,
but, rather, from the creative practitioner’s perspective in creating marketing communication. In order to
understand this connection between truth, creativity, and communication, this discourse will have two parts.
First, by drawing on the writing of art philosophers, there will be a better understanding of the relationship
between truth and creativity. And second, by reviewing the writings of agency practitioners, this paper can
establish how truth is fundamental to creating advertising; how these truths, while self-evident to many
agency practitioners, can be seen by an outside observer in three distinct ways: as a truth about a product,
a consumer, or a way of life.
Key words: art, creativity, creative process, advertising, truth
Introduction
“The pure and simple truth is rarely pure and never simple.”
Oscar Wilde (www.llywelyn.net/docs/quotes/wilde.html)
Scholars have found creativity to be among the most complex of human behaviors to describe (Gross, 1967;
O’Connor, Williams, and MacLachilan 1996). In advertising, these same questions have perplexed
researchers. As Reid, King, and Delorme observed (1998), creativity is one of the least scientific aspects of
advertising and at the same time one of its most important criteria. The decision of what “is good” and what
“is not good” in marketing communication is largely determined by context and criteria (Getzel and
Csíkszentmihályi, 1975).
For many marketing clients, “good” means delivering against “ROMI” (return on marketing investment).
However, for many advertising agencies, the concept of “good” is is equated to winning creative awards
(e.g., Cannes, Clio, One Show, etc.). 1For these agencies, this kind of recognition serves as the currency of
their success. While clients and agencies may not agree on the distinct meaning of “good,” there is still a
strong consensus from both that creativity plays a critical role. But one question remains: before an
advertisement goes to an awards judge, or for that matter a client, what makes the creators—the art director
and copy writer—perceive the work as good?
When examining the writings and thoughts of prominent agency practitioners, one word emerges time and
time again, a word as simple as “truth.” For these practitioners, truth is fundamental to creating engaging
and relevant marketing communication. For these creatives, a solution begins with a truth: whether about a
product, a consumer, or a way of life.
While truth is not the sole indicator of the good, the bad, or the dreadfully awful in advertising, for these
practitioners the existence of a truth can serve as a basic litmus test, a key starting point in evaluating a
creative message. Jon Nelson, Executive Creative Director at Carmichael Lynch, states it simply, “All the
best ads are based on truth” (Anderson, 2005). To confirm this view, Scott Donaton, an advertising
executive on returning from the Cannes Advertising Film Festival, noted, “The best advertising reveals truth
and insights, and not just about brands but—as with music, art, fiction—about life” (Donaton, 2002).
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In trying to address these conflicting views, Donald Gunn (1994) found that award-winning ads from the
Cannes International Film Festival did show a marked improvement in sales.]
It was the eminent advertising scholar White (1972), who first noted that many artistic domains share a
similar reality to advertising. He explained that creative people in music, art, literature, and film have an
aesthetic sense that allows them to recognize problems and come up with creative solutions. Psychologists
in studying creative people describe this problem solving as a search for truth (Kay, 1996, p. 111).
Therefore, this essay will explore literature from the arts to help link the concept of truth and creativity, a field
where truth and creativity has undergone considerable discussion and debate. By examining the writings of
20th century art philosophers (including Collingwood, Heidegger, Zuidervaart), this essay will help establish
the connection between truth and creativity in artistic expressions such as poetry and painting, as well as
advertising. And by making this connection, this review will address the following key points: 1) What is
meant by truth and creativity; 2) how does truth in art relate to truth in advertising; and, finally, 3) by
exploring truths in advertising, this paper will show how these truth can seen in three distinct ways: as a truth
about a product, a consumer, or a way of life.
Hopefully, by beginning this discussion, scholars, students, and educators will all see how truth is
fundamental to the creative process and why it is critical to brand communication. To help support this
discourse, examples of poetry and art, along with award-winning print advertisements, will be included
throughout this article to illustrate key points.
Truth, Creativity, and the Advertising Literature
“Truth Well Told”
Founding philosophy of McCann Erickson
(www.mccann.com)
The value of creativity to advertising can be demonstrated by the scale and scope of scholarship over the
last twenty years. In the many articles published, creativity has been examined with regard to role-based
models (Hirschman, 1989), factors of originality (El-Murad and West, 2004), varying client and agency
perspectives (Koslow, Sasser, and Riordan, 2003), as well as aspects of divergence and relevance (Smith
and Yang 2004). What has not been addressed is the relationship between truth and the creative process.
A search of the leading journals of the field, Journal of Advertising and the Journal of Advertising Research
(Zinkhan and Leigh, 1999), shows that not one article has been published that links these two terms or
concepts. Within the advertising industry, however, there is a somewhat different view, one that establishes
a strong correlation between truth, creativity, and communication. As an example, the American Advertising
Federation considers truth so critical that the organization lists it first among its governing principles,
“Advertising shall tell the truth, and shall reveal significant facts” (www. aaf.org). Another major industry
group, the American Association of Advertising Agencies, also confirms this belief: “We will not knowingly
create advertising that contains: false or misleading statements” (www.aaaa.org).
While some see the value of truth in advertising as an ethical consideration for marketers, truth can also
relate to the bottom line for a brand’s financial success. If a message is deemed misleading or untruthful,
there will be a negative bias in the consumer’s mind. Hugh Mackey in The Good Listener puts the concept
this way, “It’s not what our message does to the reader, but what the reader does with the message”
(Aitchison, 1999, p. 25). Does the audience accept the truth; does it live up to their expectations; does it
pass their common sense test; and, most importantly, does the message overcome the wariness of a buyer
towards a seller? Polly (1986), one of the first researchers to investigate this phenomenon of mistrust among
consumers, suggested that false or untruthful advertising “turns us into a community of cynics [who] doubt
advertisers, the media, and authority in all its forms” (p. 29).
Art: Creativity and Truth
“I owe you truth in painting and I will tell it to you.”
Paul Cezanne (Rockmore, 2004, p. 17)
A Western discussion about truth and art can be traced back to the early Greeks and Romans. Plato denies
the capacity of art to tell truth, insisting works of art, music, and poetry should be judged on the basis of how
they portray emotions. Creativity for Plato was meant for loftier pursuits, e.g., poetry being inspired by the
divine muse. As an example, he viewed sculpture as the work of skilled craftsmen. The Latin definition of the
verb “create” supports this interpretation as to “inspire” and “breathe life into,” as a higher force breathes life
into man (Sawyer, 2006, p. 12). On the other hand, Aristotle takes a somewhat contradictory view from that
of his teacher. He suggests Greek tragedy (what he refers to as “imitative arts”) can provide true insights
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into the events and characters of the day (Dorter, 1990). This interpretation can be construed as a nonconceptual view of truth, one that is based on what “rings true” for an audience. R.G. Collingwood in The
Principles of Art (1958) calls this truth an “emotional representation” (p. 53); how feelings an artist evokes
are based on the original experience.
The Poet
Once upon a midnight dreary, while I pondered weak and weary, Over many
a quaint and curious volume of forgotten lore, While I nodded, nearly napping,
suddenly there came a tapping, As of some one gently rapping, rapping at
my chamber door. ‘Tis some visitor,’ I muttered, ‘tapping at my chamber door Only this, and nothing more.’
The Raven, Edgar Allen Poe (1845)
In this example from one of Poe’s most famous works, he taps into his own consciousness. What he
perceives as true. The questions then is, how can the reader, who has not experienced this, relate to the
work? For most people, there has never been “a bird tapping at their chamber door.” The answer comes
from the fact the work evokes an emotional experience. The poem triggers a multitude of feelings for a
reader, one that has an emotional representation, and a sense that rings true. The philosopher Emmanuel
Kant in his Critique of Judgment considers this validity of truth multi-dimensional. He distinguishes “aesthetic
validity (beauty) from epistemic validity (truth) and moral validity (goodness or rightness)” (Zuidervaart, 2004,
p. 55). Later, in the mid-20th century, several European philosophers began to suggest that this aesthetic
was really a way of “knowing,” gaining an understanding of the world around us that captures a truth. This
knowledge offered a sense of confirmation, or orientation between artist and audience.
The Painter
Figure 1 courtesy Spanish National Museum of Modern Art
Martin Heidegger, in his seminal "The Origin of the Work of Art” (2008), suggests imagination by the painter
is linked to truth. He maintained these truths have three important characteristics: process, originality, and
historical disclosure. To illustrate this concept, consider Picasso’s Guernica (Figure 1). The depiction in the
painting is not an exact representation of the attack by German forces against the small Spanish town of
Guernica in 1937. Rather, the painting, which was done in Paris away from the battlefield, is an
interpretation of the conflict. For the observer, the painting is not a reality, but it is still accepted as authentic.
Even with the visual abstraction of the violence, Heidegger would suggest the work has validity for both
painter and observer because the work is based on a shared knowledge of the tragedy.
Lambert Zuidervaart (2004) in his first volume on truth and art takes a slightly different perspective from that
of Heidegger. His theory builds upon the earlier work of Heidegger, but makes a distinction between
authenticity and validity. Zuidervaart called this approach “non-propositional and non-correspondence”
(2004, p. 209). In his construct, the purpose of all art (high or low, popular or esoteric, mass or folk) is to
provoke imaginative insight. Zuidervaart calls this a “creative interpretation of a life-giving disclosure” (2004,
p. 77). He further suggests truth in art is based on three criteria: authenticity, significance, and integrity (a
structure similar to Aristotle’s logos, ethos, and pathos). For Zuidervaart, authenticity is how an artist and
audience expect art to arise from authentic or real situations; how the creator and audience believe the
artistic work is genuine when the work captures a truth about life.
Referring again to Guernica, Zuidervaart would say that Picasso’s work is authentic because the painting is
true to the events that tragically occurred. For the second condition of significance, does the public
disclosure of the creative work have significance within the broader social context; does the audience find it
useful or worthy? For Guernica, this can be easily be answered by the importance the painting has held over
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the last 75 years. And finally, for the stipulation of integrity, does the work serve a higher purpose; does it
reveal a greater meaning? In Guernica, this is illustrated by Picasso’s use of the symbols of the horse and
bull, a cultural reference and homage to earlier Spanish masters.
Creativity in art, as it is in advertising, is a process of trial and error. And, for both, the solution is based on a
simple objective. Does this work have meaning within a broader context? Does it have what Zuidervaart
refers to as a life-giving disclosure? Collingwood confirms this observation by saying the artist only succeeds
when he or she affects an audience (1958, p. 300): what Zuidervaart calls provoking. For all of the arts,
creator(s) try to predetermine how an audience will react. For all these creative people, will the intended
target be engaged; will the audience find it relevant; will it be deemed meaningful; will the truth be seen as
having import? All these questions go to support Zuidervaart’s view about the importance of significance,
appropriateness, and integrity. For creative artisans, as well as advertising practitioners, there is a basic and
fundamental concern about how an intended audience will see their work. Will the audience connect with it;
will they find it relevant and worthwhile? Simply, will the creativity be considered valuable, useful, or
appropriate?
Collingwood describes this motive as “ex hypothesi” (1958, p. 301), or non-aesthetic. John Dewey reinforces
this view by suggesting that the objective of any creator is to try and connect with his audience based on a
truth, one formed by the dynamic flow between self (the creator) and environment (the audience). Dewey
called this interaction the correspondence between truth, meaning, and reality (Wintermute, 2006). He
further proposes that the creative process is not based on the creator sitting down and consciously
constructing a truthful insight from a personal experience. Rather, the artist adds to or subtracts from a work
based on his own aesthetic imagination, sensing an internal expression from his past, a moment
Collingwood calls, “aha” (Anderson and Hausman, 1992). Here, the creator, be it poet, painter, or agency
practitioner, intrinsically identifies a feeling or emotion as the solution. This process of trial and error
Collingwood characterized as, “Let us try it this way…and that way…[until]...there” (Anderson and Hausman,
1992, p. 302).
Creativity in advertising, as in poetry and painting, is built around this same trial and error, a search for
meaningful and truthful solutions (Meline, 1996). However, when you consider the creative work of
advertising versus that of art, there is a critical and distinct difference. In the world of art, the creator is not
working around an assigned product or service. He serves no other master. Yes profit can be a motive, but
the end result is not dictated or guided by a client, account executive, or creative director. Yes art can be
about profit, but there is no positive “economic model” as John Hartley would say (2008, p. 9). Instead, in
advertising creativity must serve a greater economic master, the business of building a brand.
Advertising: Creativity and Truth
“I’ve got a great gimmick; let’s tell the truth”
Bill Bernbach (Sullivan, 2003, p. 23).
In advertising, as mentioned earlier in this paper, many practitioners have referred to the need for truth. To
further illustrate this concept consider these examples from The Copy Book: How 32 of the Greatest
Writers Write Their Advertising (Abbott, Begins, Brignull, Cox, Durfee, Cooke, et al., 1995), Paul Silverman
suggests, “A copywriter is like a lawyer building a case for clients by selecting truths” (p. 150); Jim Durfee
adds, “Every product has its own truth” (p. 46); and Steve Hayden points out, “Make the truth as interesting
as it can be” (p. 69). In another book on advertising copy writing, Kiss and Sell (2004), Robert Sawyer
advocates, “Writing and re-writing until the words tell the truth” (p. 22).
But what do these creative mean by truth? And how do they use this concept of truth in creating their work?
In reviewing these and other prominent agency legends, the concept of truth and its meaning begins to
immerge in three distinct ways; that these truths, while self-evident to the creator, can be divided by an
outside observer into three distinct categories: as truth about a product, a consumer, or a way of life.
True to the Product
When creative directors were asked about the value of audience research, one of the few benefits they
mention is the ability to find a truth about a product (Chang, 2006). These creatives know they need
something to base their message on, something to engage their audience with. As the philosopher Dewey
would suggest, they wanted a truth to establish a connection between the creator, environment (the
product), and the audience. Luke Sullivan, an award-winning writer formerly with Fallon and author of the
popular creative text, Hey Whipple Squeeze This (2003), suggests he is always “looking for a central truth
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and seeing how he could dramatize the benefit” (Abbott, et. al., p. 82). It could be said Sullivan was looking
to make the truth-exciting, novel, and appropriate—a view that supports the theories of Heideggar and
Zuidervaart, where truth reveals an insight, an understanding of life.
In Brands and Branding, Clifton (2003) expands on this concept. “The brand must be true to itself and keep
the promises it makes” (p. 83). Much of the work from Doyle Dane Bernbach during the 1960s exemplifies
this approach, creative work that illustrates Zuidervaart’s imaginative insight as creative interpretation. As
an example, while other auto print advertisements of the day were showing cars dashing down the road or
sitting in driveways surrounded by happy admiring families, Doyle Dane showed a Volkswagen against a
stark white backdrop with a remarkably simple yet truthful headline “Lemon.” The ad (figure 2 below) then
went on to explain that the product “had missed the boat” because it did not live up to quality standards.
Figure 2 courtesy of Volkswagen Group of America
True to the Audience
If the basic purpose of advertising is to persuade and not just communicate, then an advertising message
must connect emotionally with the intended target. This emotional appeal can be more important than a
rational or functional benefit many times. This truth goes to what Heidegger refers to as aesthetic validity, or
what Collingwood calls an emotional representation; how people identify with feelings based on personal
experiences. Ernie Schenck, a creative director at Hill Holiday, acknowledges this emotional truth as being
insightful, intelligent, and displaying an understanding of human nature (Pattero and Schenck, 1998).
There are many examples of this approach in product categories such as fashion, athletic shoes, or
automobiles. In these cases, a marketing message appeals to an audience based on desire, delight, or
aspiration. As an example, consider this award-winning mall display by Crispin Porter and Bogusky from
Miami (figure 3 below). The work taps into an experience from childhood. The appeal is not to “buy the car
because it is a child’s toy.” Rather, the message is based on the creator’s knowing one of life’s celebrated
little emotional moments, and helping the consumer re-connect with it.
Figure 3 courtesy © 2007 Mini, a division of BMW of North America, LLC.
The appeal, or emotional representation, simply suggests that the Mini is “childlike fun,” or, as a One Show
judge pointed out, “a perfectly contained little truism” (One Show Annual, 2003, p. 151). This example also
demonstrates what Heidegger and Zuidervaart call the validation of truth, a process whereby the intended
audience identifies an emotion, which adds to the historical disclosure. As Zuidervaart would suggest, this
work has the values of authenticity (the childhood experience of the creator and the consumer) and
significance (the appropriateness of the message to the product).
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In this example for Preparation H (figure 4 below), the truth in this case is built around the creators knowing
what it feels like for the audience not to have the product, the pain a person experiences with hemorrhoids.
Figure 4 courtesy of Wyeth Healthcare
While this image is not true in the rational or empirical sense, for the consumer, the image is true in an
emotional sense, or as Collingwood would say, an emotional representation. Here the observer identifies a
true feeling based on an original experience.
True to Life
In the current realm of advertising today, truth can also relate to a lifestyle (Leyden, 2004). Marketing
consultant David Altschul explains if a brand is to have any emotional traction, it has to be based on some
fundamental human truth of life (“Love In” 1995). Former creative director Tony Cox echoes this sentiment
by saying advertising should always refer to something beyond the product (Abbott, et al., 1995). Or, as
Mark Fenske in Advertising Today (Berger, 2004) speculates, good advertising reinterprets life. A truth
makes the message more “relevant and powerful” (p. 10). Again, this is a perspective that supports
Zuidervaart’s view of truth in art. Nick Cohen, of Mad Dogs and Englishmen, considers truth about life the
essence of all great advertising (Aitchison, 1999). Here, in this ad for Harley Davidson (figure 5), truth is
demonstrated in linking the brand essence to the rider.
Figure 5 courtesy of Harley-Davidson USA
Finally, in this ambient work for Amnesty International (figure 6 below), the drama and truth of “life” is drawn
right before the viewer’s eyes with this sidewalk message.
Figure 6 courtesy of Amnesty International
Conclusion and Implications for Future Research
Koslow, Sasser, and Riordan (2003) discuss in their research how there is a great deal of
frustration among scholars about creativity; how academics have tried to quantify it, qualify it, or even
ascribe a personality type to it. But, as with other arts, creativity in advertising is in many ways still shrouded
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in mystery. Art directors and copywriters know that when it comes to developing a creative message, it is not
like the film Field of Dreams (1989): If you build it (create a message), they (the audience) will come.
Today, it is difficult to get an audience’s attention, let alone have them remember a message. While many
clients worry about sales, many advertising creatives know that in order to build a brand, you must have
messages that stand out and break through the clutter, ideas which are novel and appropriate. But another
critical factor is finding an important truth, one that is based on a product, a consumer, or a way of life. As
the founding fathers of America might say, these truths should be self-evident.
However, in considering this area, there needs to be much more discussion and discourse in understanding
how truth and advertising work together. To that end, further research should be considered in the following
areas:
Who knows what? Do clients consider “truth” in the same ways as agency creatives?
What is right? Does truth in creativity have a direct correlation to more effective advertisements
interms of audience response?
How do culture, society, and history relate to framing truth in advertising? How do they influence
an understanding of truth in various mediums?
These questions are just a start. The idea of truth in advertising is one that will take extensive examination
and thought. And, as with philosophy, it is a pursuit that will be rich in discussion and debate for many other
scholars to consider.
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