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CHAPTER THIRTEEN
CREATIVE EXECUTION: ART AND COPY
OBJECTIVES
To present the role of art and copy — the nonverbal and verbal elements of message strategy —
in print, radio, and television advertising. Artists and copywriters include a variety of specialists
who follow specific procedures for conceptualizing, designing, writing, and producing
advertising materials. To be successful, advertising people must be conversant with the
copywriting and commercial art terms and formats used in business. They must also develop an
aesthetic sensitivity to be able to recognize, create, evaluate, or recommend quality work. (p.
404)
After studying this chapter, your students will be able to:
1. Describe the roles of the various types of artists in the advertising business.
2. Explain the use of advertising layouts and the steps in creating them.
3. Outline the creative approval process.
4. Explain the role of the copywriter in relation to other members of the creative team.
5. Describe the format elements of an ad and discuss how they relate to the objectives of
advertising copywriting.
6. Identify the art director's role in radio commercials.
7. Debate the advantages and disadvantages of the major types of television commercials.
TEACHING TIPS AND STRATEGIES
In this chapter, Students are introduced to how ads are created. In television, we use
storyboard scripts to design commercials. Some DVD’s in the “extra features” will show
storyboards and then the scene concurrently. I have a couple of those movies that I show
the class the scene with the storyboard and the actual scene. That way students get a
good idea of why storyboards are so important in setting up a commercial (they give the
visual and the story effect before filming). One such DVD is a Special Edition of a
movie called, Suicide Kings by Artisan Home Entertainment (1998). There is also an
example of a storyboard for a 30 sec. Ford commercial on page 428 of the text.
With the increases in computing power and much more sophisticated software programs
graphic designers are able to create ads for print that deliver much more impact. At my
University, we have Photoshop and Picture It. I like to break students up into groups and
have them use different programs to create a self-made ad (usually for the advertising
campaign I have them create).
Students are amazed at how easy it is to add effects such as darkness, or stars to a picture.
Something they have fun with is adding text into a picture. I have had students create
animated images and they have a good time being creative, at the same time they learn
the benefits of software and its usefulness to creative departments responsible for creating
advertisements.
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LECTURE OUTLINE
Introduction (p. 405) — The story of how Mullen Advertising’s art director and
copywriter searched around the world in all kinds of weather conditions to
photograph the extraordinary landscapes that would create a unique image and carry
the Timberland Company into the future.
II. Delivering on the Big Idea: Integrating the Visual and the Verbal (p. 406). Timberland
ads succeeded because of the nonverbal message strategy, the "art," which carried fully
half the burden of communicating the message.
III. The Art of Creating Print Advertising (p. 406)
A. Designing the Print Ad (p. 406). Design refers to how the art director and graphic
artist (or graphic designer) choose and structure the artistic elements of an ad. A
designer sets a style — the manner in which a thought or image is expressed— by
choosing particular artistic elements and blending them in a unique way.
B. The Use of Layouts (p. 407). A layout is an overall orderly arrangement of all the
format elements of an ad: headline, subheads, visual(s), copy, captions, trademarks,
slogans and signature. The layout serves several purposes:
a. Helps creatives develop and evaluate, in advance, how the ad will look and
feel, and serves as something for the agency and client to approve.
b. Help the creative team develop the ad's psychological elements — the
nonverbal and symbolic components for building brand personality, equity,
and image, along with a mood.
c. Once the best design is chosen, it serves as a blueprint.
I.
Ad Lab 13-A “The Role of the Advertising Artist” (p. 408)
C. Advertising Design and Production: The Creative and Approval Process (p. 407).
The design process serves as both a creative and an approval process. In the creative
phase, the designer uses nonfinal art to establish the ad's look and feel. The approval
process takes place throughout the entire design process, at each step along the way.
1. Thumbnail Sketches (p. 407). The thumbnail sketch (or thumbnail) is a small,
very rough, rapidly produced drawing the artist uses to visualize layout
approaches without wasting time on details.
2. Rough Layout (p. 407), the artists draw to the actual size of the ad.
3. Comprehensive (p. 408). The comprehensive layout (or comp) is a highly
refined facsimile of the finished ad. At this stage, all the visuals should be final.
4. Dummy (p. 408), the hand-held look and feel of brochures, multipage materials,
or point-of-purchase displays.
5. Mechanical (paste-up) (p. 408). The type and visuals are placed into their exact
position for reproduction by a printer. Today, most designers prepare this work
on computers, bypassing the need for a mechanical. Printers refer to the
mechanical or paste-up as camera-ready art because they photograph it using a
large production camera before starting the reproduction process (creating color
keys, prints, and films of the finished ad). At any time, changes can be made, but
the cost may grow tenfold with each step.
6. Approval (p. 409). The work of the copywriter and art director is always subject
to approval. The larger the agency and the larger the client, the more formidable
this process becomes. The biggest challenge in approval is keeping approvers
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from corrupting the style of the ad.
Exhibit 13-1 Flowchart of the approval
process (p. 409)
A13-1 (p..409)
D. Effect of Computers on Graphic Design (p. 409). Before computers, designing a
variety of layouts could take days, and final art was not so detailed or complete as
designs created on computers. By using graphics or imaging programs on computers,
today's graphic artist or designer can do much of the work previously performed by
staff artists. Small IBM PC and Macintosh-based systems are ideal for computer
design, and sophisticated PC graphics software is now available for page making
(PageMaker and QuarkXpress), painting and drawing (Corel Draw!, Freehand,
Adobe Illustrator), and image manipulation (ColorStudio, PhotoStyler, Adobe
Photoshop). Today's graphic artist, illustrator, and retoucher must be computer
literate in addition to having a thorough knowledge of esthetics, rendering, and
design.
E. Principles of Design: Which Design Formats Work Best (p. 410). The advertiser has
only a second or two to grab the reader's attention (studies show 85 percent of ads do
not even get looked at). Good design not only commands attention, but also holds it.
Advertisers use many types of layouts. Traditionally, the highest scoring ads employ
a standard, poster-style format (also called a picture-window layout or Ayer No. 1
in the trade) which features a single dominant visual occupying 60-70 percent of the
ad's total area Advertising research indicates:
1. Ads scoring in the top third have visuals averaging 82 percent of the space.
2. Next in ranking, ads feature one large picture and two smaller ones.
3. Visuals can stop the reader, arouse interest, and may actually contribute to longterm memory.
4. When the headline appears below the illustration, ad looks more like an editorial
and gains about 10% more readership.
5. Readership drops considerably with over 50 words.
6. Copy blocks should be kept to 20 percent of the ad.
7. Ads for high-involvement products do better with long, informative copy when
the advertiser is more interested in quality rather than quantity.
8. For best results, company signatures and logos should be placed in the lower
right-hand corner or across the bottom of the ad, but need not occupy more than 5
to 10 percent of the area.
Principles of design are to the layout artist what the rules of grammar are to the writer.
Basic rules of design include:
1. The design must be in balance.
2. The space within the ad should be broken into pleasing proportions.
3. A directional pattern should be evident so the reader knows in what sequence to
read.
4. Some force should hold the ad together and give it unity.
5. One element, or one part of the ad, should have enough emphasis to dominate all
others.
Portfolio Reviews: The Art Director’s Guide to Layout Styles (pp. 412-414)
RL 13-1 “Checklist of Design Principles" (Website)
F. The Use of Visuals in Print Advertising (p. 411).
A13-2 Post-It Ad’s use of visuals (p. 411)
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Artists who paint, sketch, and draw in advertising are called illustrators. The artists
who produce pictures with a camera are photographers.
1. Purpose of the Visual (p. 411). Because it carries so much responsibility for an
ad's success, the visuals, or pictures should be designed with several goals in
mind:
a. Capture reader attention.
b. Clarify claims made by the copy.
c. Identify subject of the ad.
d. Show the product actually being used.
e. Qualify readers by stopping legitimate prospects.
f. Help convince the reader of the truth of copy claims.
g. Arouse the reader's interest in the headline.
h. Emphasize the product's unique features.
i. Create a favorable impression of product or advertiser.
j. Provide continuity for the campaign by using a unified visual technique in
each ad.
2. Determining the Chief Focus for Visuals (pp. 411, 415). Selecting the focus for
advertising visuals is a major or step in the creative process. It often determines
how well the big idea is executed. Print advertising uses many standard subjects
for ad visuals, including:
a. The package containing the product.
b. The product alone.
c. The product in use.
d. How to use the product.
e. Product features.
f. Comparison of products.
g. User benefit.
h. Humor.
i. Testimonial.
j. Negative appeal.
A13-3 Land Rover ad is an example of the importance of visuals in ads (p. 415)
3. Selecting the Visual (p. 416). The kind of picture used is often determined
during the visualization process. Selecting an appropriate photo or visual is a
difficult creative task. Art directors deal with several basic issues:
a. Is a visual needed for effective communication?
b. Should the visual be black-and-white or color? Is this a budgetary decision?
c. What should the subject of the picture be? Is that subject relevant to the
advertiser's creative strategy?
d. Should the ad use an illustrator or a photographer?
e. What technical and budgetary issues must be considered?
RL 13-2 “Techniques for Creating Advertising Visuals (Website)
Ethical Issues: “Imitation, Plagiarism, or Flattery?” (pp. 416, 417)
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IV. Copywriting and Formats for Print Advertising (p. 416). In print advertising, the copy
and art are linked; the key format elements are:
Exhibit 13-2 Creative pyramid (p.417)
A13-4 Ad demonstrating the format
elements of the creative pyramid (p. 417)
A. Headlines (p.418). The headline contains the words in the leading position of the
advertisement — the words that will be read first and are situated to draw the most
attention. That is why headlines usually appear in larger type than other parts of the
ad.
1. Role of headlines: (p. 418)
a. Attract attention to the ad.
b. Engage the audience.
c. Explain the visual.
d. Lead the audience into the body of the ad.
e. Present the selling message.
The headline is the most important thing an advertiser says to a prospect, adding to
the visual's meaning and establishing the advertiser's position. Headlines:
a. Present the complete selling idea. Three to five times the people read the
headline as read the body copy. Most headlines average eight words; ten
words or more are considered unable to gain readers.
b. Should offer a benefit apparent to the reader.
c. Should present product news.
2. Types of headlines (p. 419). Copywriters use many variations of headlines
depending on the advertising strategy. Typically, they use the headline that
presents the big idea most successfully. Headlines may be classified by the type
of information they carry:
a. Benefit headlines promise the audience that experiencing the utility of the
product or service will be rewarding.
b. News/information headlines announce news or promise information.
c. Provocative headlines provoke reader's curiosity.
d. Question headlines ask a question, encouraging readers to search for the
answer in the body of the ad.
d. Command headlines order readers to do something, sometimes it might
seem negative.
B. Subheads (p. 420). An additional smaller headline may appear above or below
headline. A subhead above the headline, called a kicker (or overline), is often
underlined. Subheads may also appear in body copy. Subheads are usually set
smaller than the headline, but in larger type than the body copy. Subheads generally
appear in boldface (heavier) type or italic (slanted) type or a different color. Most
people only read the headline and subhead. Subheads usually support the interest
step best.
C. Body Copy (p. 420). The advertiser tells the complete story in the body copy (or
text). The body copy comprises the interest, credibility, desire, and often even the
action steps. It is a logical continuation of the headline and subheads, set in smaller
type. Typically read by only about 10 percent of readers, body copy covers the
features, benefits, and utility of the product or service.
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Checklist “Writing Effective Copy.” (p. 420)
1. Body Copy Styles (p. 420). Experienced copywriters look for the technique and
style with the greatest sales appeal for the idea being presented. Common copy
styles include:
a. Straight-sell copy — writers immediately explain or develop the headline
and visual in a straightforward factual presentation, appeals to the prospect's
reason.
b. Institutional copy — used to promote a philosophy or extol the merits of an
organization rather than product features.
c. Narrative copy — tells a story. Ideal for the creative writer to set up a
situation and then resolve it at the last minute by having the product or
service come to the rescue. Allows for emotional appeals.
d. Dialogue/monolog copy — using this style, the advertiser can add the
believability that narrative copy sometimes lacks. The characters portrayed
in a print ad do the selling in their own words. Poorly written dialogue can
be dull, hokey, or seem unreal.
e. Picture-caption copy — uses illustrations to tell the story. Particularly
useful for products that have a number of different uses or come in a variety
of styles or designs
e. Device copy — may be used to enhance attention, interest, and
memorability. Device copy uses figures of speech as well as humor and
exaggeration. However, humor should always be used carefully and never be
in questionable taste. Humor can increase memorability dispel preconceived negative images, and help differentiate a product. Some believe
humor distracts readers.
2. Formatting Body Copy (p. 421). The keys to good body copy are simplicity,
order, credibility, and clarity. Four basic format elements are used to construct
body copy:
a. Lead-in paragraph is a bridge between the headline and the sales idea
presented in the text.
b. Interior paragraphs develop credibility by providing proof for claims and
builds desire by using language that stirs the imagination.
c. Trial close can be interspersed in the interior paragraphs should be
suggestions to act now. The trial close allows them to make the buying
decision early.
d. Close is the action step. A good close asks consumers to do something and
tells them how. The close can be direct or indirect. A direct close seeks
immediate response in the form of a purchase, a store or Web site visit, or a
request for further information.
D. Slogans (p. 422). Many slogans (also called theme lines or taglines) begin as
successful headlines, and, through continuous use, become standard statements (not
just in advertising but for salespeople and company employees, e.g., "Diamonds are
forever"; "Reach out and touch someone"). Have two purposes: provide continuity to
an ad series and serve as a brief, repeatable positioning statement.
E. Seals, Logo, and Signatures (p. 423)
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1. A seal is awarded only when a product meets standards established by a
particular organization such as Good Housekeeping Institute, Parents Institute.
Since these organizations are recognized authorities, their seals provide an
independent, valued endorsement for the advertiser's product.
2. Logotypes and signature cuts (sig cuts) are special designs of the advertiser's
company name or product name. Like trademarks, they give the product or
company individuality and quick recognition.
V. Copywriting for Electronic Media (p. 423).
For electronic media, the fundamental elements — the five steps of the creative pyramid
— remain the primary guides, but the copywriting formats differ. Radio and television
writers prepare scripts and storyboards.
A. Writing Radio Copy (p. 424).
A13-5 An example of a radio script (p. 423)
A script resembles a two-column list. On the left side, speakers' names are arranged
vertically along with descriptions of any sound effects and music. The right column
contains the dialog, called the audio. Radio listeners usually decide within five to
eight seconds whether to pay attention — thus, radio copy must be intrusive (people
listen while doing something else). Scripts must fit time slots, electronic
compression helps.
Guidelines for writing: 10 secs. = 20-25 words, 20 secs. = 40-45 words, 30 secs. =
60-70 words, and 60 secs. =130-150 words. Radio writing must be clear (listener
cannot refer back to a missed antecedent or ask about homonyms).
Checklist “Creating Effective Radio Commercials” (p. 424)
B. Writing Television Copy (p. 424).
Radio's basic two-column format also works for television, but in a TV script, the left
side is titled "Video" and the right side "Audio." The video column describes the
visuals and production — camera angles, action, scenery, and stage directions. The
audio column lists spoken copy, sound effects, and music. The writer sets the tone
and the language that determines the visuals.
Checklist “Creating Effective TV Commercials” (p. 425)
VI. The Role of Art in Radio and TV Advertising (p. 425)
A. Developing the Artistic Concept for Commercials (p. 425). Creating the concept for
a radio or TV commercial is similar to creating the concepts for print ads.
1. The first step is to determine the big idea.
2. Then, the art director and copywriter must decide what commercial format to use.
3. The next step is to write a script containing the necessary copy or dialog plus a
basic description of any music, sound effect, and/or camera views.
4. In both radio and TV, the art director, assists the copywriter in script
development. Artistic development in television is much more extensive. Using
the TV script, the art director creates a series of storyboard roughs to present
the artistic approach, the action sequences, and the style of the commercial.
When the storyboard is approved, it serves as a guide for the final production
phase.
5. As the concept evolves, the creative team defines the characters' personalities in a
detailed, written casting brief, keeping in mind that casting actors for their
relevance to the product is critical.
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B. Formats for Radio and TV Commercials (p. 426).
Similar to print advertising, the format for a broadcast ad serves as a template for
arranging message elements into a pattern. The eight common commercial formats
that can be used for either radio or television are:
Exhibit 13-3 The execution spectrum (p. 426)
1.
2.
3.
4.
5.
6.
7.
8.
A13-3 (p.426)
Ad Lab 13-B “Creative Ways to Sell on Radio” (p. 427)
Straight Announcement (p. 426), the oldest and simplest type of radio or TV
commercial and probably the easiest to write. In radio, a straight announcement
can also be designed as an integrated commercial — that is, it can be woven
into a show or tailored to a given program. For TV, an announcer may deliver
the sales message on camera or off screen, as a voice-over, while a
demonstration, slide, or film shows on screen. Straight announcements are
commonly used on late-night TV programs, by local advertisers, and by
nonprofit or political organizations.
Presenter. Presenter commercial (p. 427) uses one person or character to
present the product and carry the sales message. Some presenters are celebrities,
like Lindsay Wagner for Ford. A radio personality (like Rush Limbaugh or
Larry King) may ad-lib an ad message live in his or her own style (and may
criticize the product).
The true testimonial (p. 427) – where a satisfied user tells how effective the
product is — can be highly credible in both TV and radio advertising. They must
be believable and not distract from the product.
Demonstration (p. 428). Television is uniquely suited to visual demonstration.
Products can be demonstrated in use, in competition, or before and after.
Musical (p. 428). The musical commercial (or jingle), if done well, have can
have an enormous impact on the success of a commercial. The message may be
sung; or jingles may be written with a donut in the middle (a hole for spoken
copy) or jingles may be interspersed throughout the spoken copy. Many
producers use a consistent musical theme for background color or to close the
commercial, which is called a musical logo. After many repetitions of the
advertiser's theme, the listener begins to associate the musical logo with the
product. To achieve this, the jingle should have a hook — that part of the song
that sticks in your memory.
Slice of life (Problem/Solution) (p. 429) is a dramatization of a real-life situation
where an issue is discussed and resolved with a successful trial use of the
product. The key to effective slice-of-life commercials is simplicity. Often a
mnemonic device can dramatize the product benefit and trigger instant recall;
e.g., users of Imperial margarine suddenly discover crowns on their heads.
Lifestyle (p. 430). To present the user rather than the product, advertisers use the
lifestyle technique, showing characters working in various occupations and
participating in many pastimes. Who drinks the product is more strongly
presented than the product's features.
Animation (p. 430), such as cartoons, puppet characters, and demonstrations
(e.g., pounding headache) with computer-generated graphics are very effective
animation techniques for communicating difficult messages or for reaching
specialized markets (e.g. children).
A13-7 an example of a presenter commercial (p. 428)
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A13-8 (p. 429)
C. Basic Mechanics of Storyboard Development (p. 430). After the creative team
selects the big idea and format, the art director and the writer develop the script. The
art director's role is important for he must work with a variety of professionals in
producing the spot (producers, directors, lighting technicians, and set designers).
1. Storyboard Design (p. 430). Once the basic script is completed, the art director
must turn the video portion of the script into real images. This is done with a
storyboard, a sheet preprinted with a series of 8 to 20 blank windows (frames) in
the shape of TV screens. Like a rough layout in print advertising, the storyboard
works like a comic strip to portray how each scene will appear and in what
sequence. It helps executives, clients, and creatives, visualize the action and
story.
VII.
VIII.
Exhibit 13-4 Common abbreviations used in TV scripts (p. 430)
2. Animatic: The Video Comp (p. 431). To supplement the storyboard or pretest a
concept, therefore, a commercial may be taped in rough form using the writers
and artists as actors. Alternatively, an animatic may be shot — a filmstrip
composed of the sketches in the storyboard accompanied by the audio portion of
the commercial synchronized on tape. $10,000 is a typical cost.
Writing for the Web (p. 431)
The Internet is a whole new medium for communication, and many people are still
learning how to use it. This is an important issue since Web users are savvy and
skeptical as well as influential
A. Burson-Marsteller, New York PR firm research indicated there are 11 million
heavy online users in the US and their opinion affect the buying decisions of 155
million consumers both online and off. These users are referred to as e-fluentials
B. In the areas of technology, retail, finance, pharmaceutical and automotive these
people use company websites (85%) more widely than either online magazines
or opinion sites as sources of information.
C. Company websites that provide straightforward, easy-to-use information are
critical to building and enhancing brand value. On the web content is king.
People do not read a website they scan it. The information must be at once,
concise and comprehensive. If people see something they like they will scan
further and seek additional information. In-depth information can be displayed
on websites but text after text is not recommended.
D. Websites need to be organized and subdivided but not too much so because this
creates frustration for web users. Use straightforward, concise, objective tones
and interactivity- a method for the user to respond, through either e-mail or Web
response forms. The web is about interactivity.
Creating Ads For International Markets (p. 432)
Foreign Audiences May Have Different Purchasing Habits. Differences vary from
country to country and product to product, and advertisers consider these issues
carefully before creating ads or buying media. One side believes it is too expensive
to create a unique campaign for each national group and that accurate translation is
the best solution. Others believe that a special campaign must be created for each
market. A third group chooses to run their ads in English worldwide. Hence,
advertisers must look at each situation individually.
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A. Translating Copy (p. 432). Regardless of strategy, translation is a basic issue in
transferring an ad campaign to an international market. A poorly chosen or badly
translated product name can undercut advertising credibility in foreign markets.
People in the U. S., Canada, England, Australia, and South Africa all speak English,
but with a wide variations of vocabulary, word usage, and syntax. The Japanese use
five lingual "gears," ranging from haughty to servile, depending on the speaker's and
the listener's respective stations in life. Japanese translators must know when to
change gears.
Advertisers must follow some basic rules in using translators:
1. The translator must be an effective copywriter.
2. The translator must understand the product, be a product specialist rather than a
generalist.
3. Translators should translate into their native tongue.
4. The advertiser should give the translator easily translatable English copy.
There is no greater insult to a national market than the misuse of its language.
English is rapidly becoming the universal language for corporate campaigns directed
to international business people. However, this approach can incite nationalistic
feelings against the company. Worse yet, it limits a product's use to those who
understand English.
B. Art Direction for International Markets (p. 433). Philosophers often refer to the arts
as a kind of international language whose nonverbal elements translate freely
regardless of culture. A nice idea but, in advertising, a very costly one. People
ascribe different meanings to color depending on their culture (refer back to Ad Lab
12-A, "The Psychological Impact of Color"). The art director must be familiar with
each country's artistic preferences and peculiarities. An icon — a visual image
representing some idea or thing — can have a meaning that cuts across national
boundaries and reflects the tastes and attitudes of a group of cultures. A culture's
icon can express social roles. Advertisers working in global markets must pretest art
and design concepts with natives of each country.
C. Legal Restraints on International Advertisers (p. 434).
All advertising creativity, including what the ads say, show, or do, is at the mercy of
foreign governments and cultures. Many countries strongly regulate advertising
claims and the use of particular media. (as discussed in Chapter 2)
AD LAB 13-A “The Role of the Advertising Artist”
(p. 414-416)
1. Select an ad in the Chapter 13 Portfolio Review (pp. 398-401). Explain which advertising
artists were probably involved in its creation and what the responsibility of each artist was.
The five types of artists who could be involved in the creation of an ad are:
a. Art director is responsible for the visual presentation of the ad, along with a
copywriter, in developing the initial concept of the ad. They may do the initial
sketches, or layouts, of what the ad might look like. Their primary responsibility is
to supervise the ad's progress to completion.
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b. Graphic designer is the precision specialist preoccupied with the shape and form of
things, arranging the various graphic elements (type, illustrations, photos, white
space, etc.) in the most attractive and effective way possible.
c. Illustrator the artist who paints or draws images seen in the ad.
d. Photographer the artist who uses a camera to create illustrative images.
e. Production (or paste-up) artist is responsible for assembling the various elements of
an ad and mechanically putting them together the way the art director or designer has
indicated.
Also see Reference Library exhibits RL 13-1, “Checklist: Design Principles,” and RL 13-2,
“Techniques for Creating Advertising Visuals”.
2. Which ad in the Portfolio Review do you think needed the fewest artists? How many?
Assumption: All the spots require the input of a creative director.
Most suitable answer: Joe Boxer. It is very possible that only one production artist (or
graphics oriented art director) — using computer graphics software — could produce this ad
along with the services of a photographer. Typically, as in most agencies where specialists
work on each part of an ad, an art director would design the ad, a photographer would shoot
the picture, and a production artist would produce the ad on a computer.
AD LAB 13-B “Creative Ways to Sell on Radio”
(p. 429)
1. Select three familiar radio commercials and discuss which creative techniques they use.
Example: Yellow pages advertising: “If you can’t find it in the Pacific Bell Yellow pages it
probably doesn’t exist” — Pacific Bell conducts zany, improvised-sounding interviews with
shy, tongue-tied customers (customer interview, improvisation). By using the same format
and interviewer’s voice-over in their TV commercials, Pac Bell is able to achieve “imagery
transfer,” in their radio ads.
2. Select a familiar radio commercial and discuss how a different creative technique would
increase its effectiveness.
Example: Motel 6 ad — Tom Bodette’s voice (voice power), the violin playing, and the
slogan, “we’ll leave the light on for you,” (sound picture/demographics/product song) are the
signature elements of the campaign. A new campaign could keep the same signature
elements but have Tom chat in his comfortable, country style with a down-home customer
and spouse (customer interview).
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ETHICAL ISSUE “Imitation, Plagiarism, or
Flattery?” (pp. 418, 419)
1. Some art directors claim that "independent invention" explains why many ads look the same.
Is that possible? If so, does it excuse running imitative advertising — or should the originator
of an idea be the only one allowed to use it?
Answer guidelines:
Plagiarism is hard to define. A free-lance artist created an illustration using Photoshop
software that distorted a photograph, found in a promotional brochure, of a man with a clock
face for a head. The photographer then saw the illustration published in Newsday, a Long
Island, New York, newspaper (tabloid size) and sued the publication.
In another case, a historian was sued and his credibility was damaged when a few paragraphs
of his book used some of the same “illustrative” words and short phases from a footnoted
source.
When an ad “borrows” a concept or “look” (by modifying an existing model), the advertiser
can usurp the creativity of others and pay a big price. In addition, today’s software can more
easily create distorted images that mislead — and that’s illegal.
Defenses to claims of plagiarism include:
a. It is altogether possible that two or more similar executions could be developed by
different advertisers at the same time, particularly in the same product category.
b. Intent is a key issue that must be proven in law. People often get a hot idea, not
realizing that they actually saw something like it in the media a few months earlier —
they just forgot what they had seen and lacked true “intent” to actually steal the idea.
c. Courts will ask: is the initial idea truly original enough to be plagiarized?
d. The law will seek proof that a chain of events existed for the alleged pirate to have
had access to the idea.
Additional comments: There is no denying that success breeds imitation, and not just in ad
agencies. Many scholars contend that the history of western philosophy is one long footnote
to Plato, and, indeed, his basic ideas do form the foundation of much of contemporary
philosophy. “Imitation is the sincerest form of flattery?” It is almost impossible to get an
imitator to admit copycat advertising, let alone pull it from the marketplace. Once an
advertising campaign is out there, millions of dollars probably have been committed to
executing it, but a successful lawsuit can stop it from running.
2. Should clients be more concerned about the ethics of copycat advertising? What would you
do if a client asked you to copy an ad that was already running?
Yes. Their appreciation can be raised by reminding them of the consequences of legal action
and consumer backlash that may occur from plagiarizing.
Sometimes clients even request that a competitor's advertising be copied. That is also, why
there are so many voice-over announcers who mimic famous voices and announcing styles.
The creative person who goes along with the client's request to imitate a successful campaign
jeopardizes his or her financial future and career. The only way to avoid compromising
personal ethics is to come up with something better and, then, convince the client to run it
instead. However, that can be a very dicey proposition.
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REVIEW QUESTIONS
1. What is a layout? What is its purpose? (p. 407-409) (See RL 13-1, “Design Principles”)
A layout is an overall orderly arrangement of all the format elements of an ad: headline,
subheads, visual(s), copy, captions, trademarks, slogans, and signature. The layout helps both
the agency and the client develop and evaluate the ad's final look and feel. The layout helps
the creative team develop the ad's psychological elements — the nonverbal and symbolic
components. Once the best design is chosen, the layout services as a blueprint. It shows the
size and placement of each element in the ad.
2. What are the steps in the design process for a print ad? (p. 407-409)
The design process serves as both a creative and an approval process. In the creative phase,
the designer uses thumbnails, roughs, dummies, and comprehensives — in other words,
nonfinal art — to establish the ad's look and feel. Then in the prepress (or production art)
phase, the artist prepares a mechanical — the final artwork with the actual type in place,
along with all the visuals the printer will need to reproduce the ad. The approval process
takes place throughout the entire design process.
3. What color is white space? (p. 410)
White space is that part of an advertisement not occupied by other elements — no matter
what color. It usually is used to focus attention on isolated elements, like a spotlight.
4. From any chapter in the book, select an ad that contains a visual. What is the visual’s
purpose? How would you improve the visual if you were the art director? (p. 411, 415)
Student answers will vary. Guidelines for discussion: See 10 items in list under
“Determining the Chief Focus for Visualize”, which begins on page 411.
5. What kind of headline does the ad from question 4 have? How well has the creative team
followed the steps up the creative pyramid? (pp. 418-419)
Student answers will vary.
Discussion guidelines:
a. Types of headlines:
• benefit
• news/information
• provocative
• question
• command
b. Creative Pyramid: see exhibit 13-2 on page 417
6. Choose an ad you do not like. Rewrite the headline using three different styles. (pp. 419421)
Some examples are found in the text.
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7. What is a storyboard and what is its role? (pp. 425-426)
A storyboard is a sheet preprinted with a series of 8 to 20 blank windows in the shape of TV
screens. Below each window is room to place the text of the commercial, including the
sound effects and camera views. This turns the video portion of the script into real images.
The storyboard’s role helps the creatives visualize the commercial’s tone and sequence of
action, discover any conceptual weaknesses, and be presented for management approval.
Also, see page 428 for a storyboard example.
8. Give examples of television spots that typify the eight major types of television commercials?
(pp. 426-430)
The eight major types of television commercials are:
a. Straight announcement e. Musical
b. Presenter
f. Slice-of-life
c. Testimonials
g. Lifestyle
d. Demonstration
h. Animation
9. Find an international ad or commercial that you like. What is its message strategy? Can you
discern the copy style? Do you think the copy and headline reflects the strategy? What do
you like about the ad? Why?
Student answers will vary.
Great question for discussion. Refer to message strategy (See Chapter 12, p. 376), and
strategy in headline and copy (pp. 418-422).
10. What guidelines can you cite for preparing an ad in a foreign language? (pp. 432-434)
Advertisers must base their appeals on the foreign consumer's cultural background including
their purchasing abilities, habits and motivations. The most important consideration for
copywriters and creative directors is language. It is imperative to hire a translator who is an
effective copywriter and translates into his/her native tongue. The translator should be living
in the country where the ad will run so he/she has a current understanding of the country’s
social and political attitudes, culture, and idioms. In addition, the advertiser typically needs
to know the legal restrains and approval process when presenting an ad campaign.
EXPLORING THE INTERNET
The Internet exercises for Chapter 13 address the following areas related to the chapter: creative
boutiques (Exercise 1) and copywriting and art direction (Exercise 2).
1. Creative Boutiques
One of the growing trends in advertising is the increased use of creative boutiques. Many of
these smaller shops have stolen business from larger, full-service advertising agencies.
Peruse the small sampling of creative boutiques below and answer the questions that follow.
 AdWorks (www.adworks.com)
 Bertha Communications (www.bertha.com)
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





a.
B Creative (www.bcreative.com)
JDG Designs (www.jdgdesign.com)
Jan Collier Represents Online (www.collierreps.com)
Lightstream, Inc. (www.lightpage.com)
Rough Guys (www.roughguys.com)
Virtual Access (www.virtualaccesscorp.com)
What is the focus of the company’s work (consumer, business-to-business, ethnic,
general market)?
b. What is the scope and size of the company’s business?
c. What services does the company offer?
d. What is your overall impression of the company and its work? Why?
Sample Answer:
Lightstream, Inc.
a. The focus of the company’s work is improving the hybrid between traditional advertising
and graphic design to better build clients’ brands. The shop focuses on this synergy, the
idea being that with design and advertising strategy all under one roof, the creative is that
much better. The agency’s work does not stay within one category or type of business so
that they can remain “objective” in the creative.
b. The company is a small, regional boutique in Nashville, Tennessee with clients nationally
(California, Tennessee, Mississippi, Alabama, Florida, New York, and Ohio).
c. The company is truly an integrated shop, with the following services provided to clients:
 Brand planning, analysis, and consultation
 Creative development for broadcast, print, and collateral
 Photography studio (on site)
 Corporate identity development and management
 Web site development and production
 Packaging design/development
 Exhibit and display design (P.O.S. & P.O.P)
 Media planning/buying*
 Public Relations*
 Research*
*through partnership agreements
d. The company is a very strong player for such a small boutique. However, perhaps the
most important thing about Lightstream (and what big advertising agencies should take
note of) is the integrated thinking behind the company’s philosophy, mission, and work.
It is not the largest firm around, but a clear focus on campaign synergy and brand equity
can get even the largest advertiser’s ear.
2. Creative Resources
As you saw in this chapter with Timberland (www.timberland.com), a lot goes into writing
good copy and developing effective visuals. With the Internet, many new resources are
available to the creative team when developing their concept.
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PART I - Copywriting
Copywriters often rely on different sources to aid them in developing their copy. Visit the
following websites and explain how each relates to copywriters and their task of developing
effective copy.
 Copy Chef (www.copychef.com)
 Copywriting.com (www.copywriting.com)
 The Slot (www.theslot.com)
 Writers Guild of America (www.wga.org)
Sample Answer:
Writer’s Guild of America
Writer’s block. It happens to every copywriter at some point in time. Often, an idea is generated
(breaking the block) from the most obscure source. That is why a resource such as the WGA and
its website is so invaluable to the copywriter. The organization provides research and training, as
well as many tips and devices for beating writer’s block and writing better copy. It is an
indispensable tool for the copywriter.
PART II - Art Direction
Like copywriters, art directors require many resources while developing their art. Familiarize
yourself further with art direction by browsing the following websites. Be sure to discuss the
importance of each to art directors.
 American Institute of Graphic Arts (www.aiga.org)
 Art Directors Club (www.adcny.org)
 Creative Cafe (www.creativity.net)
 Design & Publishing Center (www.graphic-design.com)
 designOnline (www.dol.com)
 DesktopPublishing.com (www.desktoppublishing.com)
 Digital Directory (www.digitaldirectory.com)
 Iconomics (www.iconomics.com)
 PhotoDisc (www.photodisc.com)
 Photographer Listing (www.photoscape.com/photoscape)
 Portfolios Online (www.portfolios.com)
 Right Brain Works (www.gocreate.com)
Sample Answer:
Art Director’s Club, New York
One of the most important things for an art director to have is fresh ideas. It is this proliferation
of ideas—often stemming from brainstorming—that helps spark terrific creative. The purpose of
the Art Director’s Club is two-fold: 1) to network and share ideas among peers; and 2) to reward
outstanding creative. This type of organization not only allows the creatives to share ideas and
acknowledge great creative among their peers, it also provides an invaluable resource for
developing their own talents and creative.
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IMPORTANT TERMS
animatic (p. 431)
animation technique (p. 430)
audio (p. 424)
Ayer No. 1 (p. 410)
benefit headline (p. 419)
body copy (p. 420)
boldface (p. 420)
camera-ready art (p. 408)
casting brief (p. 426)
close (p. 422)
command headline (p. 418)
comprehensive layout (comp) (p. 408)
demonstration (p. 428)
design (p. 406)
device copy (p. 421)
dialog/monolog copy (p. 421)
donut (p. 429)
headline (p. 418)
hook (p. 429)
icon (p. 434)
illustrator (p. 411)
institutional copy (p. 420)
integrated commercial (p. 427)
interior paragraph (p. 422)
italic (p. 420)
jingle (p. 428)
kicker (p. 420)
layout (p. 407)
lead-in paragraph (p. 422)
lifestyle techniques (p. 430)
logotype (p. 423)
mnemonic device (p. 429)
musical commercials (p. 428)
musical logo (p. 429)
narrative copy (p. 421)
news/information headlines (p. 419)
on camera (p. 427)
pasteup (p. 408)
photographer (p. 411)
picture-caption copy (p. 421)
picture-window layout (p. 410)
poster-style format (p. 410)
presenter commercial (p. 427)
provocative headline (p. 419)
question headline (p. 419)
radio personality (p. 427)
script (p. 424)
seal (p. 423)
signature cut (p. 423)
slice-of-life (p. 429)
slogan (p. 422)
storyboard (p. 430)
storyboard rough (p. 426)
straight announcement (p. 426)
straight-sell copy (p. 420)
subhead (p. 420)
tagline (p. 422)
testimonial (p. 427)
text (p. 420)
themeline (p. 422)
thumbnail (p. 407)
trial close (p. 422)
visuals (p. 411)
voiceover (p. 427)
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ANCILLARY
ACTIVITIES & EXERCISES
1. From a newspaper or magazine, select two advertisements: one that you feel is effective, and
one that you feel is ineffective. Write a brief statement on each advertisement, explaining the
reasons for your judgment. Base your evaluation on the five steps of the creative pyramid.
13-2 Creative Pyramid (p. 417)
2. Obtain two copies of an advertisement measuring approximately 8" X 10" from a newspaper
or magazine. Be sure the advertisement has several structural parts including at least a fiveword headline, one or two photographs or illustrations, two or more paragraphs of copy, and
a logo.
Clip apart and rearrange the elements of one copy of the advertisement. Confine yourself to
an area no larger than the size of the original ad. Try as many different layouts as possible
before determining the layout you like best. Feel free to change the size of any or all of the
elements. Then, on a sheet of white paper (or tracing paper), do a thumbnail diagram of the
layout you prefer most.
Have you used one of the layouts commonly used by art directors discussed in this chapter?
If so, which one? Compare the layout of the original advertisement with your layout. Which
do you feel is better? Why?
DEBATABLE ISSUE
Do Advertising Graphics Use Sexual Themes Excessively?
Some people believe that advertising today contains excessive graphic depiction of sexual
themes. They maintain it is in poor taste and urge that it be changed. Others argue against the
de-emphasis of sex in advertising. They say that to do so is repressive and borders on censorship.
PRO
Advertising contains too much graphic depiction of sexual themes because...
Sexually oriented advertisements are dishonest.
Consumers are more interested in a product's cost, convenience, and dependability than in its
ability to heighten their sex appeal.
Advertisements that emphasize sex harm young people by distracting, distorting, and creating
false stereotypes. They undermine values that young people should be establishing for use later
in life.
Sex in advertising is so overused that is has become boring. It is a lazy, unimaginative way to
attract attention and to stimulate consumers to buy.
The excessive focus on sex in advertising today is contributing to the decline of morality in our
society.
CON
Advertising does not contain too much graphic depiction of sexual themes because...
Consumers are smart enough to know that sex in advertising is used to capture attention. They
will not be misled into thinking the product will do the impossible.
Sexual themes sell products! The record of success for sexual themes is unquestionable. So why
de-emphasize or discard an approach that really works?
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Society today is much more liberal than in the past. Young people's values are not apt to be
adversely affected by sexual appeals in advertisements today. They have become conditioned to
it.
Sexual attractiveness is a basic human need. Appealing to this need is no different from
appealing to other human needs such as for food, shelter, work, or recreation.
Open, unrestricted acknowledgment of human sexual desires reduces social tensions and
produces healthier sexual attitudes throughout society.
Questions
1. Name an instance in which sexually oriented advertising motivated you to buy a specific
product.
2. In future years, do you think the emphasis on sex in advertising will increase, decrease, or
remain about the same? Why?
Should Advertising Copy be Restricted to the Facts?
Some critics urge that advertising copy be restricted to rational statements of fact about the goods
or services advertised, without appealing to the emotions. Others maintain that emotional appeals
add interest, color, and consumer motivation to advertising. Questions about copy approaches
have sparked considerable debate, especially among consumer protection groups.
PRO
Advertising copy should be restricted to statements of fact because...
The rational copy approach enables the copywriter to state clearly and candidly the salient selling
points, features, and uses of an advertised product or service. This heightens the credibility of the
advertisement and operates to the ultimate benefit of the consumer.
Because the rational copy approach is more direct and straightforward, it helps the less educated
and less sophisticated members of our society make sounder buying decisions.
Rational copy emphasizes specific facts and features, such as cost, performance, and services.
These are important to know in making a sensible purchasing decision.
If emotional appeals were eliminated, advertisers would have to rely on the merits of their
products or services. This would place the emphasis solely on quality, where the consumer's
attention belongs.
CON
Advertising copy should not be restricted to statements of fact because...
More than simple statements of fact are needed, in most cases, to draw attention to a sales
message. Before a page is turned or a dial changed to a new station, advertising must work fast to
hold our interest, by appealing to our emotions and our feelings.
An emotional approach may describe feelings the consumer can experience by using a product or
service. Many such items are bought because of the emotional or sensual gratification they offer
rather than for their practical utility. (e.g., what is practical about candy?)
Some products, such as cosmetics, require more than rational copy. So long as the copy is
truthful and does not mislead, it is appropriate to appeal to the emotions.
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Consumers enjoy being entertained and having their spirits lifted. There is no better way to do
this in advertising than through the use of emotional appeals, which make the advertising
palatable and enjoyable.
Questions
1. What other arguments, pro and con, can you offer?
2. What products have you bought recently for which the advertiser exclusively used rational
copy, emotional copy, and/or a combination of both?
3. What products do you feel are better suited to the rational approach? To the emotional
approach?
IMAGES FROM THE TEXT
Images are available as color acetates through your local McGraw-Hill/Irwin sales
representative.
A13-1 Exhibit 13-1
A13-2
A13-3
A13-4 Exhibit 13-2
A13-5
A13-6 Exhibit 13-3
A13-7
A13-8
Flowchart of the approval process (p. 409)
Post-it ad (p. 411)
Land Rover ad (p. 416)
Creative pyramid (p.417)
Radio script example (p.423)
The execution spectrum (p. 426)
Example of a presenter commercial (p.428)
Powerade ad (p.429)
REFERENCE LIBRARY
Located on the McGraw-Hill
Contemporary Advertising website:
www.mhhe.com/arens04
RL 13-1
RL 13-2
Checklist: Design principles
Techniques for creating advertising visuals
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