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CREATING EFFECTIVE ADVERTISING:

MAJOR PRINCIPLES

BY

Nancy Joanne Fortino

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Advertising

1978

ABSTRACT

CREATING EFFECTIVE ADVERTISING:
MAJOR PRINCIPLES

BY

Nancy Joanne Fortino

An effective advertising message is that which is
interesting and valuable to the person it was designed
for. Advertising should be interesting to the best pros-
pects for the product being advertised rather than to
people who make advertising.

Productive advertising, or creative advertising,
in the best sense of the word, talks to the consumer
about the things that interest him. The message designer
uses words and pictures that the consumer can appreciate
and understand.

Creativity is the impetus behind the entire message
design process. Different aspects of creative abilities
are involved in the selection, organization and coordina-
tion of a variety of message related elements ranging from
consumer information to visualization and execution via
visual and verbal elements.

The message design process involves defining

message objectives and selecting and ordering product

Nancy Joanne Fortino

benefits, those product advantages which influence con-
sumer purchase. The benefit 'prOposition' as it becomes
in message form, is the backbone of the message, dictating
final message execution.

In final form, the message is made up of visual
and verbal communication tools; headline, copy and illus-
tration, the selection and arrangement of those elements
are subject to execution theories and design principles.

The purpose of this thesis is to research the
message design process, beginning with an investigation
of the aspects and functions of creativity. Further it
covers information organization via the copy platform
which entails setting message objectives, selecting
and ordering product benefits, defining and profiling
consumer characteristics and deciding upon a plan of
execution, known as creative tactics. The result of the
investigation is a defined process which, when followed,

will produce effective advertising messages.

For Charlie

ii

ACKNOWLEDGMENTS

In deepest appreciation of Dr. Charles R. Mauldin,
who patiently gave of himself, his time, and his knowledge
in guiding me through the completion of this thesis. His
leaving will create a void which will be impossible to

fill.

iii

TABLE OF CONTENTS

Page

INTRODUCTION . . . . . . . . . . . . . . . . . . . 1

CHAPTER
ONE: THE FORM AND FUNCTION OF CREATIVITY

IN ADVERTISING MESSAGE DESIGN . . . . . 5
Stimulating Creativity . . . . . . . . . 16

Reading and Observing . . . . . . . . 16

Research . . . . . . . . . . . . . . . 7

Where To Begin With an Advertising
Problem . . . . . . . . . . . . . . . 18
TWO: INFORMATION ORGANIZATION: COPY

PLATFORM O C O O I O O O O I O O O O O O 2 1

Message Objectives . . . . . . . . . . . 24

Benefit Selection . . . . . . . . . . . 25

Consumer Profile . . . . . . . . . . . . 30

Creative Tactics . . . . . . . . . . . . 32

copy 0 O O O O O O O O O O O O O O O O 3 3

Graphics or Visuals . . . . . . . . . 34

THREE: EXECUTION DECISIONS . . . . . . . . . . . 35
Execution . . . . . . . . . . . . . . . 35
Execution Theories . . . . . . . . . . . 38

Design Theory . . . . . . . . . . . . 38

Balance . . . . . . . . . . . . . . 40

Proportion . . . . . . . . . . . . . 41

Sequence . . . . . . . . . . . . . . 42

Unity . . . . . . . . . . . . . . . 43

Line Theory . . . . . . . . . . . . . 44

Mood in Line . . . . . . . . . . . . 46

The Emotional Impact of Letter

Shapes . . . . . . . . . . . . . . 48

Tone and Texture . . . . . . . . . . 50

Making Design Articulate . . . . . . 51

Symbolism in Message Design . . . . 52

iv

FOUR: ELEMENT SELECTION AND DEVELOPMENT
IN EXECUTION . . . . . . . . . . . . .

Approach . . . . . . . . . . . . . . .
Headlines . . . . . . . . . . . . . .
Copy . . . . . . . . . . . . . . . . .
Selecting Typeface: Choosing the

Right One For the Situation . . . .
The Visual Element: Illustration and

Color . . . . . . . . . . .
The Use of Color in Layout
Symbolism of Color . . . .

SUMMARY . .

BIBLIOGRAPHY

Art . . . . . . . . . . . . . . .
Which Is Best? Art or Photography
Indicating Art in Layout . . . . .
Trademark: Logo Designs . . . .
Layout . . . . . . . . . . . . . .

Layout Formats . . . . . . . . . .

Mondrian Layout . . . . . .
Picture Layout--Post Layout
Copy-Heavy Layout--Editorial

Layout . . . . . . . . . . . . .
Frame Layout . . . . . . . . . . .
Picture-Cluster Layouts or Circus

Layout . . . . . . . . . . . . .
Comic-Strip Layout or Multi Panel

Layout . . . . . .
Silhouette Layout .
Type-Specimen Layout
Rebus Layout . . . .

O O O O
O O O O O O
O O O O O O
O O O O O O
O O O O O O

57

59
66
70

81

88
97
98
100
103
104
104
106

108
110

111

113
114
115
116
118
118
120

123

125

IN TRODUCTI ON

In an attempt to understand the makings of an
effective advertising message, I have reviewed the
literature on various aspects of message development.

The purpose of this paper is to present my conclusions
concerning the art of developing effective advertising
messages, based in part on advise and evidence presented
in the literature and on personal experience.

Because the realm of message design is so vast,

I have limited my research to the areas of content selec-
tion and design within the message structure, and to
creative energies surrounding the development process.
Many advertising writers and tradesmen have written of the.
advertising process with polarized viewpoints and differ-
ing terminology. In an effort to sclarify my findings, I
have attempted to assimilate the information into a
personal vieWpoint. In reporting the synthesis, I have
divided the paper into four parts:

I. Creative energies involved in the message design

process.
II. Information Organization; The COpy Platform

III. Execution theories (which influence message design;

Design Theory, Line Theory, Symbolism)

IV. Execution Decisions; The development of copy
and visuals.

I am initially assuming that the message design
process is a creative one. Creativity is defined as
follows: "the process of combining ideas and materials
and recognizing combinations of value to someone."

The role of the effective message to be used in
advertising is to directly influence consumer thought
and behavior. The message is usually an end result of
long-term strategic planning and is within the realm of
predetermined objectives: It is the 'concept' or idea
carrier. An effective message is defined as:

Effective: producing the proper result, effi-

cient, producing a striking impres-
sion.

Message: an oral or written communication, as

of information, advice or warning.l
In order for an advertising message to be effective, it
must involve the consumer in the following ways:
1. The message must be seen and attended to by the
consumer.
2. The message must let the consumer know that the

product is offering benefits he wants.

 

1The Reader's Digest Great Encylopedia Dictionary.
(Funk and Wagnall's Standard DictionarY), Library of
Congress Card Cat. No. 66-21606, 1966.

3. The message must convince the consumer that the
product will deliver the benefits offered.

4. The message must tell, or remind, who is offering
the benefits.

In order to facilitate effective message design
and consequently, effective communication with the consumer,
it is necessary to explore theories and principles surround-
ing the message development process. Chapter One explores
creativity theories regarding definition, characteristics,
and function of creativity in the message design process.

Chapter Two discusses the information gathering
and organization task and defines the copy platform and
its use which involves setting message objectives, selecting
and ordering product benefits which will become 'proposi-
tions' in the message, profiling and examining consumer
data, and defining creative intentions to be carried out
in the final communicae.

Chapter Three details various execution theories,
including Line Theory, Symbolism, Design Theories and
principles which will influence the effectiveness of the
message. All advertising messages are made up of verbal
and visual elements, the selection of which further dic-
tates message effectiveness. Chapter Three provides
definitions for these verbal and visual elements.

Chapter Four is devoted to putting all the

theory recommendations together into final execution

decisions: the selection and development of the visual

and verbal elements in the form of headlines, c0py,
illustrations, typefaces and logos. Discussion also
includes recommendations of the use of layout formats and
design principles to solve advertising problems and the

use of color in message execution. Theories of copy and
headline writing, photograph and illustration selection and
examples are also included in this chapter.

This thesis was designed and written in second
person in the hOpe that it would serve as an instructional
tool for the advertising student or the beginning prac-
titioner who is attempting to understand the creative

aspects of advertising.

CHAPTER ONE

THE FORM AND FUNCTION OF CREATIVITY

IN ADVERTISING MESSAGE DESIGN

The process of designing effective advertising
messages involves a constant search for new ways to catch
consumer attention and interest in what is being said.
Gordon B. White states, "at the core of advertising is
the function of thinking up new ways to state benefit
propositions--that function is, inescapably, creative."l
To be 'creative' in advertising is the fine art of solving
communication problems. Leo Burnett defines creativity as,
"the art of establishing new and meaningful relationships
between previously unrelated things in a manner which is
relevant, believable and in good taste, but somehow
presents the product in a fresh new light."2

Creativity has many functions in the advertising
process and to use creativity to it's fullest potential,

it must be understood. Creativity is a human characteris-

tic which can show itself in many forms, a characteristic

 

1Gordon E. White, "Creativity, The X-Factor in Ad-

vertising Theory," Journal of Advertising, June, 1972.

2William Bernbach, Leo Burnett, George Gribben,
David Ogilvy, Rosser Reeves, eds., The Art of Writing
Advertising, Advertisers Publications Inc., Chicago, 1965.

 

 

5

which I believe, is inherent in everyone to a greater or
lesser degree. It can be pushed, pulled, and developed in
someone willing to work and is at full potential when in
the company of a strong, confident attitude. Creativity,
according to Maslow, is a matter of opinion. "All people,
for the most part, are born with a potential for creativ-
ity . . . the potential is relative and will vary among
individuals."3 The range and abilities of creativity are
great, for example, the child who builds a city in his
sandbox is showing as much creativity as the individual
who paints a picture of composes a concerto. Being creative
and applying creativity in a problem-solving situation is
dependent upon a confident attitude and knowledge of in-
gredients surrounding the problem, as well as possible
solutions to that problem.

Dr. Irving A. Taylor, a social psychologist,
identifies five levels of human creativity:

1. Expressive creativity--where skills are not
important. The mind wanders, unrestricted in
search of solutions.

2. Productive creativity--using creativity as a
means to an end, as in the production of effective

messages.

 

3Abraham H. Maslow, Towards a Psychology of Being

(New York: Van Nostrand, Reinhold Company, 1968), p. 136.

 

3. Inventive creativity--where the inventor uses old
parts in new ways, where no new basic ideas are
evident, the ingenuity lies in skillful use of
tools and materials.

4. Innovative creativity--where the creator exhibits
a skill for abstracting an idea away from realism
in the design of something totally fresh and new.

5. Emergentive creativity--where the creator is work-
ing with entirely new principles.4
In the creation of effective advertising messages,

you as designer may use any one, or all of the above types
of creativity. Expressive creativity may be used when
developing beginning strategy planning, ideation and sketch-

ings. Productive creativity may be used in polishing up

 

your ideas for show. Innovative, emergentive and inven-

 

 

tigg creativity may be used in the execution of ideas.

John Nazzaro, copy director for Chirurg and Cairno,
Inc., Boston, says, "Creative thinking depends on a wide
range of knowledge. Since creativity is basically the
perception of novel relationships, the person who reads
more will be better equipped to meet advertising chal-

lenges."5

 

4Irving A Taylor, writing in Creativity, An Exam-
ination of The Creative Process, Paul Smith, ed. (New York:
Hastings House Publishers, 1959).

sJohn Nazzaro, Printers' Ink (April 27, 1962), as
seen in Roy Paul Nelson's The Design of Advertising, third
edition, 1977.

 

 

As designer Ivan Chermayeff sees the creative
person, in the field of message design, he is, "a borrower,
a co-ordinator, assimilator, juggler and collector of
material, knowledge and thought from the past and present,
from other designers, from technology and from himself.

His style and individuality come from the consistency of
his own attitudes and approach to the expression and
communication of a problem."6 This points up another form
of creative ability necessary in advertising message
design: associative ability, recently explained by Leonard
Reid and Herbert J. Rotfeld in their article, "Toward an
Associative Model of Advertising Creativity." Associative
ability is the 'creative' ability to associate facts,
knowledge, personal experiences and other pertinent infor-
mation related to a specific problem in the search for a
solution. As applied to advertising, this ability is the
link between research fact and ideation in execution,
looking at a problem and it's related information and
finding adequate and effective (advertising) solutions.7

Formal creativity theory states that using creativ-

ity effectively involves a process whose function is to

 

6Quoted from interview in "Design 64:Directions
and Dilemmas," CA:The Magazine of The Communication Arts,
September/October, 1964, p. 81.

7Leonard Reid, Herbert J. Rotfeld, "Toward an
Associative Model of Advertising Creativity," Journal of
Advertising, June, 1975, p. 24+.

produce ideas. The literature is filled with various
descriptions of the creative process and the steps
needed to secure an end product. Alex Osborn's theory of
creativity is one often referred to and the easiest to
apply to the message design process. The process goes as
follows:

1. Orientation: Pointing up the problem

2. Preparation: Gathering pertinent information

3. Analysis: Breaking down the relevant material

4. Ideation: Piling up alternatives by way of idea

combination and synthesis

5. Incubation: Letting up, inviting illumination

6. Synthesis: Putting the pieces together
7. Evaluation: Judging the resultant ideas.8

In applying this process to advertising, you as

message designer, should go through at least four of the
above steps in the development of a message. First, study
the problem, i.e., the product, the consumer, the market,
the competition, anything surrounding the situation to
better prepare yourself to handle the job. This is the
exposure or orientation and preparation stage. Next,
turning away from the job, let the subconscious work on the

material gathered; this is the waiting period or incubation

 

8Alex Osborn, Applied Imagination (New York:
Charles M. Scribner and Sons, 1953), p. 125.

10

stage. In the illumination stage, the ideas and associa—
tions come, and the idea or concept is born. In the final
two stages you execute your ideas and evaluate them. The
process is more complex than suggested here, but this is
basic creative theory, based on the premise that each
stage of the process involves creativity as an impetus.
William Bernbach of Doyle, Dane, Bernbach believes
that the heart of creativity is discipline. The discipline
breaks down into four activities as applied to advertising.
Mr. Bernbach implys that discipline is a creative force
in the message development process.

1. Discipline to find the product's advantage.

2. Discipline to produce an ad that is sophisticated
and aesthetic,

It's true that there is a twelve year
old mentality in America, every six
year old has it.

3. Discipline to manage. It takes a creative person
to encourage and guide other creative people and
provide them with the right information.

4. Discipline to develop social awareness and to be

responsible to the public.9

 

9William Bernbach, "Bill Bernbach Defines The
Four Disciplines of Creativity," Advertising Age, July 5,
1971, p. 21+.

11

Using creativity, plus imagination to a productive
(advertising) end involves control and organization.
Disciplined creativity is goal-oriented.

A word about imagination . . . the word imagina-
tion means the process of creating images in the mind.
But the imaginative way of conceiving ideas and images is
not the logical way of ordinary rational thinking. Creative
imagination, which differs from simple imagination, works
somehow in the subconscious intelligence, sifting all the
available data from experience, reshuffling it in different
alignments, and adding to it. From the deepest recesses
of the mind and emotional system, images and concepts are
pulled to be presented to the conscious mind.10

Imagination is a fundamental and elementary require-
ment of the message development process. Creativeness
denotes the advance form of imagination where it is pur-
positively used, abiding it to rigid rules and by meeting
practical conditions. Creative imagination uses intuition
as a catalyst and mixes knowledge with experience and
ingenuity with innovation in searching for a better solu-

tion.

 

loHarold Rugg, Imagination, Kenneth D. Beene, ed.
(New York: Harper and Row), p. 28.

 

12

The creative advertising designer must discipline
his imagination so that every thought, every idea,
every word written, every line drawn, every visual
and tactical decision made, contributes to the
impact of the final impression.ll

A very important function of creativity in the
message design process is visualization, the ability on
your part as designer, to 'visualize' an idea. This type
of creativity is disciplined and goal-oriented, utilizing
imagination, associative ability and personal experience to
carry the idea from an intangible state to message execu-
tion state.

The chief qualification of the Visualizer is the
ability to think of a possible picture(s) or
symbol(s) which will express the whole or major
part of an idea.
Visualization calls upon creative associative ability and
imagination, using past experiences and associations to
select the correct tools for effective communication.
It is as though the mind of the Visualizer were
a switchboard into which from one side enters
wires from all possible aspects of product, while
from the Opposite side lead in a multitude of cur-
rents carrying needs and interests from the mind

of the consumer. The 'visualizer' finds and makes

. . . . . 13
idea connections, then gives them Visual expressron.

 

1]-R. C. Wilson, J. P. Guildford and P. R. Christen-
sen, "Measurements of Differences in Originality," in
Sidney J. Parnes and Harold F. Harding, eds., A Source of
Creative Thinking (New York: Scribners, 1962).

12Thomas Blaine Stanley, The Technique of Advertis-
ingAProduction (Englewood Cliffs, N.J.: Prentice Hall Inc.,
1964).

 

l3Ibid.

13

Visualization, transmitting the idea from intan-
gible to 'touchable' form, is the most important creative
phase of the message designing process because it involves
crystalization of the idea into reality. Otto Kleppner
defines visualization as, "the crystalization of an idea
and presentation of it in its physical form, or to evolve
a vivid manner of picturing a concrete statement by other

14 The thrust of the idea, in benefit form,

than words."
has to be communicated in a word, a symbol, a headline,

and at a glimpse if possible. This is how visualization
works: take the selected benefit (idea) and expand on it;
mentally go through the consuming experience as the indivi-
dual consumer selected might, identifying all feelings,
sensations and cues involved with the benefits and de-
ficits. (A product deficit is defined as a product charac-
teristic which detracts from the product's attractiveness.)
Everything has good and bad points, for every product
benefit, there is usually a deficit; be aware of these be-
cause they can often be used in communicating benefits.
Having identified benefit cues, those feelings, sensations
and emotions surrounding and indicating the benefit, you

must choose communication tools which will translate the

benefit. When visualizing always think in pictures because

 

l4Otto Kleppner, Advertising Procedure, 4th edition
(Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1950),
p. 153.

 

14

"one picture is worth a thousand words." Keith Hafer
and Gordon E. White suggest the following reasons for
thinking visually:

1. Think visually if you want to get your message
across fast. People respond faster to pictures
than to words.

2. Think visually if you want to talk to all kinds
of peOple. A strong symbol dissolves communication
differences.

3. Think visually for attention.15
As all communication involves symbols (either words,
pictures, signs or gestures), thinking visually begins with
the symbol selection process.
The following case is an example of selection of
benefits and visualization through to execution.

Product: Tulip bulbs

The benefits identified include the beauty of the

blooming flower, the smell, and the enhanced look

of the garden, yard and home. Subtle suggestions

of leisure time and wealth to maintain the garden

are inferred.

Product deficits have been identified as the ex-

pense of the bulbs, the delayed gratification from

planting time to blooming time, the amount of

labor and 'dirty work' involved in planting, and
the short blooming period.

 

15Keith Hafer and Gordon E. White, Advertising
Writing, chapter 5, "Headline and Visual: Indivisible,
West Publishing Company, St. Paul, New York, Los Angeles,
San Francisco and Boston, p. 57.

 

15

Visualization begins with identifying the principle
benefit and choosing symbols which will transmit it. With
beauty and yard/home enhancement as the benefit, you can
begin to envision beautifully manicured lawns surrounding
a well-kept home and gardens salted with groups of
brightly colored red, yellow, pink and white tulips.
Notice also that in your picture is the clear blue sky of
a sunny day and children playing in the yard. Now,
imagine the opposite: a neglected lawn surrounding a
neglected house, no garden life, and a grey sky, as though
rain was on the way. These are symbols which help to tell
the story. Now, in execution, the positioning of these
two houses, in a before-and-after sequence, would tell

the story with force. Add a full-color, in-full-bloom
close up photographic insert of the tulip to make the
benefit obvious at a glance, tie it in with a visually

and verbally convincing headline, and the result may be an
effective visual message. To create excitement, to be
effective and to cause consumer reaction, headline and
i11ustration.are indivisible. "If you pack the crux of
your message into headline and visual element, you will

almost surely be a successful communicator."l6

 

léIbid.

16

Stimulating7Creativity

Innate creativity may, in truth, be a divine gift,

or the result of heredity--depending on the point

of view. It may result, in part, from exposure to

a highly creative and stimulating environment.

The creative function previously discussed--

disciplined creativity, associative ability, imagination
and visualization--need impetus and stimulation in order

to be effective. Stimulation can come in the form of

knowledge and experience--research, reading and observing.

Reading and Observing
About reading and creative stimulation, John
Nazzaro, copy director for Chirurg & Cairns, Inc., of

Boston said:

Creative thinking depends upon a wide range of
knowledge because creativity is basically the per-
ception of novel relationships, the general

reader (the one who reads more than just the
advertising magazines) is better equipped--has more
knowledge to feed upon. Reading combined with ex-
perience is a winning combination.18

As the message designer, you should be in tune with current
fads, trends and mannerisms because every element of your
work must be relevant. Reading will provide you with the

insight you will need.

 

l7David Ogilvy, Confessions of An Advertising Man
(New York: Dell Publishing Company, Inc., l964)7’p. 8.

18Taken from an exerpt of an interview.

17

Research

Every aspect, every phase of the advertising pro-
cess should have its roots in research because research
gives direction and foundation to creative imagination,
freedom to association and visualization. It is an attempt
to uncover facts or to prove what is suspected. It is used
to investigate and supply consumer, product, environment,
market and other necessarily related data which will be
influencing factors in the message design process. Re-
search data comes in many forms, often supplied in summary
form as computer print-out, survey analysis or narratives
from interviews. Aside from this valuable information
supplied, you should conduct your own research; use the
product, talk with people who use it, question client
and manufacturer and gather any information available in
an attempt to uncover additional facts such as benefits,
quirks and sentiments surrounding the product.

The research phase of the message process may be
more time consuming than any other aspect of the process.
It will involve other peOple within the advertising
group who specialize and provide the bulk of the research.
Research provides valuable information about consumer
attitudes, opinions, needs, wants and beliefs, making
element selection (the actual selection of copy, i11ustra-
tion, headline, etc., of the execution) a more logical

and effective process.

18

Copytesting is one form of research which can pre-
test your message and discover what element within the
message doesn't work, and sometimes why it doesn't work.
Copytesting involves screening the prepared message
to a selected group of persons who may evaluate it on
different merits such as memorability, relevancy,
believability, and effectiveness, among others. A strong
point to remember about research is that it provides in-

valuable insight into the problem at hand.

Where To Begin With an Advertising Problem

 

When faced with an advertising problem, it is best
to set up a decision-making plan of action. With an under-
standing that the solution to advertising problems comes
in the form of effective advertising messages, and develop-
ment of those messages is a 'creative' activity. Listed
below is a sequence of decision-making steps to be made
in an attempt to solve an advertising problem.

1. Start with a basic understanding of the product,
the consumer and the problem. Use all research
data available, use the product personally if
possible.

2. Work toward a singular concept or idea for the
message. Each message within the campaign
structure should be in tune with the overall

theme.

19

3. Think visually from ideation to execution, in
transforming the ad message from concept/idea
stage to the physical communicae.

4. Execution should point to one approach and
theme and one meaningful benefit offering,
backed with convincing evidence. Utilize mes-
sage elements to transmit the benefit offer
. . . select the layout format, write c0py,
select the photographs/artwork, select typeface,
design the layout, logo and color selection and
vehicle selection.

When asked how he approaches an advertising prob-
lem, Gene Fredico, Director of Creative Services at Lor,
Geller and Frederico, said:

I look at things a lot, television, print, colla-

teral material. I want to get a feeling of what's

out there. The best way to advertise is to say
something a little different: otherwise you don't
advertise, you camouflage--wasting the client's
money.

To be seen, to be noted, is what I'm interested in--

and having the image retained. Simplification is

very important, if the product can stand simplifi-
cation. Presentation keeps changing, based on what
you're trying to sell. You have to be careful.

You can't separate image and message. That's the

voice you use to make the content of what you're

saying. Simplification, that's what it's all about.

Absolutely pared down. You have to be strong. You
have to have a good idea, too. Bill Bernbach is

20

great at putting ideas into words that make
it easy to extend into graphics.

In summary, creativity suggests new and better
ways of carrying out a purposeful action, in this case
the purpose is the design of effective advertising messages.
Creativity is an impetus in all phases of message
design. The following chapters will cover the message
design process; beginning with data organization, and
benefit selection and following through the process to

execution of the design in visual and verbal form.

 

19Quote from interview with Gene Fredrico, Upper

and Lower Case, The International Journal of Typographics,
published by International Typeface Corporation, Volume
five, Number one, March, 1978, p. S.

CHAPTER TWO

INFORMATION ORGANIZATION

COPY PLATFORM

This chapter deals with organization and analysis
of information about the advertising problem which is
supplied by research and your own resources. With the
assumption that the advertising campaign objectives and
strategies have been set, we will concentrate on the infor-
mation organizing techniques and the decisions involved
from that point. The organization tool suggested by most
practitioners is the 'copy platform.' The result or end-
product of a copy platform is a group of 'raw materials'
to be used in c0py and visuals.

"COpy platform" is a term which refers to the pro—
duct of a variety of information gathering and storing
activities. By following a copy platform, you are forced
to think the entire problem through. Essentially it is
a plan which categorizes information about the individual
message objectives; the description of principle product
advantages, called product benefits, descriptive informa-

tion concerning the selected targeted audience, and the

21

22

intended 'creative tactics,‘ intended to visually and
verbally solve the communication problem. Broken into
an outline form a copy platform is structured as
follows:
I. Message Objective
II. Benefit Selection
III. Consumer Profile
IV. Creative Tactics
Copy platform uses and techniques vary among
practitioners, some using a detailed outline to follow
in data organization, others writing brief descriptive
paragraphs, and others making only mental notes. Whate
ever style you develOp, the organization process is
necessary and the following outline is suggested in a
copy platform format:

I. Message Objective: The message objective

 

defines what the message will do. Its function
is to give the message designer direction and
states the message's purpose.

II. Product Benefit: A product benefit is defined-

 

as any physical, psychological and emotional
advantage or gain a consumer receives from the

use of a product. A product can offer many

23

different benefits, subject to individual con-
sumer's Opinions, attitudes and preferences.
The product benefit is communicated as a pro-
position and is the single most important
ingredient in the advertising message.

III. Consumer Profile: Consumer profiling is the

 

collection and organization of information about
the consumer, formulating a consumer/product
relationship.

IV. Creative Tactics: Creative tactics refers to

 

planned execution of the message into final
communication. It is a creative process because
it involves combining elements and making some-
thing of value to someone. Creative tactics
calls for explanation of the intended execu-
tion; the verbal and visual elements described
in short paragraph form. Included in the
creative tactics is a definition of the in-
tended benefit proposition, or USP, Unique
Selling PrOposition, as defined by Rosser

Reeves, and the creative approach.1 Also

 

1Rosser Reeves, Confessions of An Advertising Man
(New York: Dell Publishing Company, Inc., 1964).

 

24

intended selection of medium to be used in

execution, for example: radio, 30 second mes-

sage, humorous dialogue.

As you are developing the copy platform, research
should provide the bulk of data, including detailed infor-
mation about the product and consumer's individual con-
scious and unconscious needs and desires. The following
paragraphs further define the separate parts and functions

of the copy platform.

I. Message Objectives

 

This is a statement of the message's intended
impact, anticipated influence upon the audience. A use-
fully stated objective succeeds in communicating an intent.
The objective should be written in terms of the intended
behaviors of the target market. An example of a message
objective:

To persuade Mrs. J. that Dove For Dishes dish
detergent is mild and gentle on hands when used
for washing dishes.
The objective defines the goal and will communicate the
expected consumer behavior and conditions surrounding that

behavior.2 The objective is stated in terms of the overall

strategy, as each individual message may become one of a

 

2Robert Mager, Preparing Instructional Objectives
(Belmont, California: Pearson Publishers, Inc., 1975).

 

25

series within a campaign. Writing a message objective
which is realistic and effective means that you must have

an understanding of the consumer/product relationship.

II. Benefit Selection

 

Benefit selection is a creative endeavor because
it calls for you to go deep into the consuming process,
using imagination and associative abilities to draw out the
real product benefits. The selection of benefits has been
defined as:
A process which starts by identifying and selecting
for address a consumer 'want' which is reasonably
intense and hopefully is crucial in causing a pur-
chase to be made. The prospects will be relatively
easy to induce . . . if an attribute can be selec-
ted which will stimulate and cause the desired
response.

A product benefit has been defined in Funk & Wagnall's

Dictionary as: benefit--"that which is helpful; advan-

tage, profit. To profit from, to gain from."4

The strategy behind benefit selection is based on
the premise that every product has some potential good or
benefit for some consumer. The benefit selection theory

has many other names in the literature, the closest in

thought and ideal is Rosser Reeve's 'Unique Selling

 

3 , "Advertising WRiting and
Human Behavior," Advertising Writing, Publishing House,
1977, Chapter 2, p. 20.

 

4Reader's Digest Great Encyclopedia Dictionary
(Funk and Wagnall's Standard Dictionary).

26

Proposition' (USP). The USP theory, like benefit offering
says, "offer the consumer something different, unique and
individualistic." According to Reeves, every product has a
USP to offer to a consumer, and when it has been discovered
5

and decided upon, it should be repeated in ad after ad.

Burton Hotchkiss, in his book, Advertising_Cgpy,

 

states that he always asks himself before beginning the
benefit selection process, "What response di I want from
the consumer?" From there he finds the benefit, follows

it with evidence in the form of facts or demonstration, and
then proceeds to visualization and execution.6

In their book, Advertising, John S. Wright, Daniel

 

S. Warner, and Willis L. Winter, Jr. draw a distinction
between selling points and benefits. Selling points are
facts about or attributes of the product. Benefits are
satisfactions that result from using the product. In most
cases it is best to develop c0py around benefits.7 The
selection process should have its roots in research, pro-

viding insight into consumer needs, wants and fears.

 

5The Art of Writing Advertising, conversations
with William Bernbach, Leo Burnett, George Gribbin, David
Ogilvy, Rosser Reeves, Advertisers Publications, Inc.,
New YOrk, 1965.

6George Burton Hotchkiss, Advertising Copy (New
York: Harper Brothers, 1947), p. 27.

7John S. Wright, Daniel 8. Warner, Willis L. Win-
ter, Jr., Advertising (New York: McGraw Hill Book Co.,
1971), p. 379.

 

 

 

27

Mentally going through the consuming process from the
consumer's standpoint will provide additional insight.
Think of the consumer as an individual (whose personal-
ity you've come to know through research 'personality pro-
files' or similar insight-giving data), and imagine how
he would react in a given situation. You are human, think
how the product and consuming process is affecting you . . .
what are your personal emotions surrounding the product and
its benefits. While the consumer targeted for the message
may be much different than yourself, consider some of the
basic human needs, wants and emotions which are universal
and which can apply to the particular consuming experience.
Selecting benefits may be one of the most difficult
aspects of the message design process because it calls for
imagination that puts you inside the consumer's experience.
The following is an example of putting yourself inside
the consumer's head, going through the consuming experience:
The product in question is wooden yard fencing made
of tightly woven pine slats, available in heights
rnaging from 4 ft. to 12 ft. In an attempt to deter-
mine the principle consumer benefits, begin by
imagining who the consumer is and how he would feel
about the fencing.
He is a young man, in his mid-thirties, who owns his
own home, makes a good living ($25-$35,000), and is
living in a suburban area where the homes sit close
together on small lots. Identifying his position
and his life style will make talking to him and
selling him on the fence an easier task. (Think of
the situation as any conversation with a friend

might go, you know much about your friend and his
situation, making communication with him easier.)

28

Assume that the consumer has young children and

a wife and entertains often, using his back yard
as a focal point for his entertainment, expe-
cially in the summer. He is not necessarily a
garden buff, but is concerned with the upkeep

and general appearance of his home environment.
Because he uses his backyard often and because

his neighbor's house is so close, he considers
alternatives to his lack of privacy. He can choose
between landscaping the entire yard and hope the
growth rate is rapid, or he could have a fence put
up and get the privacy he's looking for. Putting
up the fence will mean more to him than just a
barrier between his neighbor's yard and his own.
It is also a symbol of wealth and security; not
only is he wealthy enough to afford the fencing
(which can be very expensive), but he has created
a personal, secure environment within which he and
his family can play and entertain their friends,
with the privacy they have longed for. The fence
may keep out neighboring dogs, cats and peOple,
but that is only a secondary benefit compared to
the feeling of privacy and the statement of wealth
and security being projected.

Consider also the deficits, those things which make
the product unattractive and may be 'problems' to
the consumer and prevent him from purchasing. In
the case of the fencing, the major deficits are

(1) cost, (2) fence may look awkward and out of
place, and (3) a fear that putting up the fence may
offend neighbors. Keep the deficits in mind because
it is often possible to dispell deficits through
benefit projection.

Now, with benefits in mind, conjure up the emotions
and feelings that the consumer will feel with the
new fence enclosing his yard . . . privacy, secrecy,
security, free to do and act as he pleases, freedom
from nosy neighbors. All these feelings should be
giving you cues which can be used in execution to
transmit the benefits. Whenever you make a benefit
offering in a message, you must show evidence to
support the benefit. Visualize the consumer in his
environment and identify the cues which can be used
as evidence of the benefit statement. Imagine

the following picture:

29

A hot, sunny summer day, three backyards set
side by side. Family in the first yard are
grilling hamburgers with the neighbor's dog
standing close by, watching intently. The
neighbors in the next yard are gardening and sun
bathing and also closely watching the action

in the first yard. Yard number three is
surrounded by a handsome new fence. Inside the
family is entertaining and the party is going
great; people are laughing, sunbathing, eating
and generally having fun, privately.

Evidence can be in the form of factual verbal information
or in pictures. Whichever way it is presented, it is
necessary to create believability.
One last word about the importance of benefit

offering and message effectiveness. Without a benefit
to offer the consumer, you will have little chance of
interesting him in what you are saying, let alone evoking
the desired response from him. People are interested in
themselves and to get them to listen to what you are
saying, you must say something that is relevant and mean-
ingful to them. Think of offering benefits and designing
advertising messages in terms of dealing with someone you
know personally. For example:

You are an exhausted parent whose child is demanding

attention. Knowing your child and his likes and dis-

likes, you offer an alternative (benefit) to

bothering you, one which you know he will accept

and which will alter his behavior. You may choose
facial expressions, gestures, and words which will

emphasize and enhance the benefit. "Leave me alone
to read now, and later I will take you to get ice
cream!

Keep in mind that benefits do not always lie on the surface;

30

they are often wants and motivations to which many people
would never openly admit. Every product has a benefit
that is of value to someone; the key to message effective-

ness is making the right promise to the right audience.

III. Consumer Profile

Consumer data is gathered through research and
organized with the help Of the exampled outline below. The
.profile gives insight into consumer location, consumer
Opinions, needs, and desires, both conscious and uncon-
scious. The organization of this kind of information makes
message design an easier; more rational decision-making
process. The outline exampled below will provide informa-
tion about the consumer that will make message design more

individualized, personal and relevant.

Consumer Profile Outline:

Geographics: Location of consumer, usually broken
down into regions, states, and cities or towns, sometimes
including zip codes.

Demographics: Statistical information about the
consumer including age, sex, marital status, education,
family size, income, race and religion. This bracket helps
to define exactly who has the buying power, and how much
buying power there is.

Psychographics: Psychographics defines the con-

sumer's lifestyle, Opinions, attitudes, beliefs,

31

motivations, conscious and subconscious drives. Psycho-
graphics details consumer personality traits, making it
easier to tailor messages to the individual consumer.

Consuming Behaviors: This details the consumer
use Of the product or product class, when, where and how
Often it is purchased and how the product is used.

Media Behaviors: defines the consumer's regular
viewing and readership habits; which magazines and news-
papers the consumer reads, how Often, television and radio
viewing and listening habits and when, where, and with
whom.

These categories should give you some essential
information which will make the follow-up execution steps
easier.

At this stage Of the copy platform, having com-
pleted personality profiling and information compilation
concerning the consumer, you should be ready to make some
drcisions concerning execution, creating the physical
advertisement. You should now be facing execution with
the benefit selection made, and with an understanding of
the consumer-product relationship. The most difficult
step for many peOple because it involves making personal,

subjective decisions based on the data accumulated.

32

IV. Creative Tactics

 

Creative tactis refers tO a variety Of execution
decisions which will carry the idea into final communica-
tion--the physical advertisement. The process is creative
because it deals with combining materials and making some-
thing Of value to someone . . . a message containing in-
formation or good news . . . something of interest . . .
or something of amusement. This decision-making process
involves visualization in a narrower sense than previously
mentioned, in the final selection, modification, and
arrangement of elements. Raw materials or units which
you will be dealing with in execution are communication
tools which you will manipulate, alter, edit, design and
coordinate to tell the product story. The units or
elements used in execution include such things as: copy,
photographs, illustrations, headlines, logo designs and
other particulars.

These units should be regarded as individual
'products' of the strategy and copy platform because each
unit must be developed according to the plan and direction
set for them. While each individual unit will be developed
singularly, their purpose is to become unified in communica-
ting the message. These units are categorized into copy
and visuals.

Copy and visuals, or communication graphics as

they are sometimes called, must work in unison,

33

complementing one another to make an effective statement,
transmit a mood, and evoke a consumer reaction. The
following definitions refer to these communication units,
their creation, selection and development as individual

elements which will become unified into one message.

Copy

The term 'COpy' has many meanings in message
design, sometimes used to refer to text or body copy, other
times referring to headlines or to the entire message.

The function of copy is to convey ideas by means of words.
COpy means words, audio or printed. John W. Crawford
divides the function Of copywriting into two parts:

(1) ,"A never-ending search for ideas," and (2) "A never-
ending search for new and meaningful ways to express those
ideas."1 'COpy' is the process Of seeking out ideas and
determining how to best express them in words, pictures,
gestures, tones, and sounds. Visualization is used in

copy development tO bridge the idea to the visual or graphic
representation of that idea.

Copy and copywriting will be dealt with more tho-
roughly in the following chapter. At this point, it is
important to think of copy as a communication tool which
will be used to carry the idea or benefit through to final

execution.

 

1John W. Crawford, Advertiging, 2nd edition,

Boston, Allyn and Bacon, Inc., 1965, p. 173.

 

34

Graphics or Visuals
Graphics and visuals are any written, drawn, en-

graved or expressed ideas that visually clarify the bene-
fit and makes it more vivid. Graphic elements used in
constructing an ad are referred to as artwork, i11ustra-
tions, designs, photographs, set designs, logo designs
and typography. Arthur Turnbull says Of graphics in
communication:

Without attempting to put a relative value on

illustration as compared to words, we can still

be aware Of the special effectiveness Of images

in accomplishing communication goals. The per-

vasiveness of images in our communication system

is without question; we start tO learn our verbal

language from picture books and move on to maturity

in a world Of television, motion picutres, illus-

trated magazines and books, and newspapers.2

The following chapter discusses the execution phase

Of the message design process and the theories that in-
fluence execution effectiveness. These theories include
design theories and principles, line theory; involving
mood, tones, shapes and emotional impact Of line meaning,
and the function Of symbolism in the message. The theories
deal with aspects Of execution which will directly affect

the way your message is perceived, consciously and un-

consciously.

 

2Arthur T. Turnbull, Russell N. Baird, The Graphics

Of Communication, third edition, Holt, Rinehart and
Winston, New York, San Francisco, Atlanta, Dallas, London,
1975.

 

CHAPTER THREE

EXECUTION DECISIONS

Chapter three deals with execution decisions. With
direction set and information provided by the copy plat-
form, you are ready tO make some basic execution decisions.
These decisions include the message approach; visual and
verbal element selection for headlines and illustrations;
cOpy; casting Of characters; set design, and other
decisions related to communication of the message. The
chapter begins by discussing execution and design princi-
ples that will affect any message design, including line
theory, symbolism and individual 'unit or element'

considerations.

Execution

 

Execution is the final stage Of message design.
It consists of taking the elements copy and visuals, and
arranging them in a pleasing, effective design. Execu-
tion begins where visualization leaves Off, it is a contin—
uation Of visualization, carrying the image into physical

form. Leo Burnett speaks Of execution:

35

36

A successful advertisement, like a successful

contract, depends on a meeting Of the minds.

It cannot be written to please ourselves. To

change advertisements is cheaper than to change

human nature. The successful advertiser knows

human nature and sets it to work for him.1

In execution, Leo Burnett suggests the following goals for
effective advertising:

1. Emotionalize--Offer the consumer something in
terms of one Of the two basic laws Of human
nature; selfpreservation and self enhancement.

\

\
"Don't tell people how good you make goods, tell
them how good your goods make them."

2. Rationalize--give the consumer an excuse to buy.

3. The appeal should be properly timed in relation
tO eceonomic and social trends and current inter-
ests O

4. Every message should be in good taste and the
benefit should be clear.

The benefits which you are Offering the consumer
must be unmistakably clear. Bold picture of

the package and product, plus visualization of
the benefit will never do any harm if the mes-
sage as a whole is engaging enough.

5. Tell as much of the story as possible in pictures.

"Tests prove that they are six times as easy to

 

1Leo Burnett, "A Check-List For A Successful Ad-

vertisement," (Personal Views), Advertising's Role in
Society, Wright.

 

37

recognize as words--half again as easy to
recall."2
Gaining and holding attention in advertising is
not merely a matter of mechanical devices. People are
highly selective in the ways in which they give their
attention to things around them. There is probably no
stronger influence on people's attention than their own
predispositions. Some execution characteristics are
identified-by William Bernbach. Bernbach doesn't talk
down to the audience, the audience is respected. The copy
is honest, the message demands attention and has something
to say. The approach is clean and direct. Bernbach
states, "You must be as simple and as swift and as pene-
trating as possible . . . what you must do, by the most
economical and creative means possible is attract peOple
and sell them."3 Robert Find, COpywriter at Bernbach,
states,
We recognize that an advertisement is an intrusion.
People don't necessarily like advertisements, and
avoid them if possible. Therefore, tO do a good
advertisement you're obligated to reward the reader
for his time and patience in allowing you to inter-

rupt. Advertising pushes its way into people's
minds, so entertainment is a sort of repayment.

 

21bid.

3Otto Kleppner, Advertising Procedure (4th edition),

(Englewood Cliffs, N.J.: Prentice Hall, Inc., 1950).

41bid.

38

Execution calls for designing capabilities, both
in a psychological and physical sense- The following
theories may have an influence on the execution decisions
you will be making. They include; physical design theory,
line theory, symbolism theory and others related to the
individual execution elements such as headline, illustra-

tion and copy.

Execution Theories

 

Design Theory
Design is basic to almost every activity per-
formed and is defined as "a purposeful plan Of action."
Any creative design, whether an advertising message or a
painting, is both functional and expressive. Design
principles applied to execution is planned structure.
Ivan Chermayeff Of Chermayeff & Geismar Associates says,
Whenever we do something for a definite reason,
we are designing. Designing comes from a combina-
tion of intelligence and artistic ability. De-
signing means creative action that fulfills it's
purpose.
Art museum director, Wallace S. Baldinger des-
cribes the process Of design:
When the artist designs, he practices no magic
hocus-pocus. He simply performs on a more
exacting and complicated level an act in which
the rest of us engage every day. We design

actually when we plan anything. We arrange and
order it. We design when we set a table for

 

lQuote: Upper and Lower Case, The International
Journal of Typographics, published by International Type-
face Corporation, V01. 5, NO. 1, March 1978, p. 5.

39

dinner. Instead of tossing the silverware about

haphazardly, we arrange the scheme every time we

change the type of meal to be served. We design

when we take notes in class, ordering every page

much as a layout artist designs every page of a

book to be published. The artist's job is simply

more difficult, less conventional, more explora-

tory, less charted and familiar.
It is much the same for you in the design of messages,
with the selection and arrangement of elements following
a set of principles subjectively selected. To ensure
message effectiveness in regard to physical design, the
advertisement must follow some basic design principles
which include balance, proportion, unity and emphasis,
among others. In the selection and ordering of message
elements, there should be a strong sense of order. Order
is the overriding consideration for the physical layout
because it simplifies the message. The designer's function,
according to Phillip C. Beam, is,

. . . to create an arrangement in any art work

which will satisfy the human need for both order

and variety in a world that is profuse and con-

fusing on the one hand, and monotonous and boring

on the other.

Not all designers agree on what principles are of

top priority in advertising message design, but the

following list can be considered widely inclusive:

 

2Wallace S. Baldinger, The Visual Arts (New York:
Holt, Rinehart and Winston, Inc., 1960), p. 28.

 

3Roy Paul Nelson, The Design of Advertising,
third edition (Dubuque: Wm. C. Brown, Co., 1978).

40

1. Every advertisement must have balance.
2. The space within the advertisement should be
broken up into pleasing proportions.

3. A directional pattern should be evident.

4. A unifying force should hold an ad together.

5. One element should dominate all others.
In summary, the design principles which apply to the phy-
sical design of the advertisement arez' balance, prOpor-
tion, unity, sequence and emphasis. These principles are

further described in the following:

Balance

Balance in layout (layout referring to the physical
design of the message) refers to the positioning and size
of elements: COpy, illustration, headline, and other
elements within the advertisement. There are two kinds
of balance: formal or symmetrical and informal or
asymmetrical. In formal balance, items are positioned on

both sides of an ad. This type of layout is used for a

 

feeling of dignity, formality.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

41

Informal balance means the distribution of weight
is unequal, which can add interest and variety. While it
is not easy to achieve an asymmetrical layout which looks
natural, once achieved, it can really attract attention.
While balance within the layout is important, it should
not restrict you as a designer. Some examples of informal

balance:

 

 

 

 

 

 

 

 

 

 

 

PrOportion

 

Proportion in ad design is the relationship of
sizes, the width of an element to the depth of that ele-
ment, and the amount of space here to the amount of space
there. Proportion also involves the color and tone within
the ad, the amount of light area as Opposed to the amount
of dark area, the amount of color in relation to noncolor
areas. Ideally these relationships vary and create a
visually interesting layout. To achieve eye pleasing pro-

portions, the total space should be arranged so that the

42

eye does not perceive obvious mathematical relationships,

but rather be drawn to an intended area of interest.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sequence

 

Sequence involves positioning the element for
easy, logical, sequencial reading. It is taking the
reader by the hand and leading him through the ad. To
control sequence, you can either place items in a pattern
normal to eye flow, right to left, or you can try an
alternative element arrangement, clearly marked for eye
flow. The eye moves naturally from big elements to small,
from black to lighter elements, from color to noncolor,

from unusual to usual shapes.4

 

4Roy Paul Nelson, The Design of Advertising, third
edition (Dubuque: Wm. C. Brown Co., 1978).

 

 

 

 

 

 

 

 

 

l

\
W

W”

 

 

 

 

 

 

 

 

U_ni_tz

Unity is the most important of design principles
because it serves to pull the elements of the ad together.
Harmony and unity are one, and elements such as borders,
element positioning, color placement and juxtapositioning
of white space will bring unity to the layout. To create
emphasis, place the emphasized element in a position which

will dominate and attract attention.

 

 

For
$25.95
you, too,
can own
yourown
busnness

 

 

 

 

 

 

 

 

 

 

 

 

 

44

George Giusti tells how he puts design principles to work:
"By eliminating details, I achieve impact. By using fewer
colors, I attain more contrast. By simplifying shapes,

I make them bolder."5

The application of the mentioned
design principles varies with each ad and each individual
situation. One principle may be more applicable than
another, depending upon the mood and purpose of the ad.
While there are many alternatives to ad layout and arrange-
ment, there is never a totally correct solution to any
design problem. To test for a good layout, once the ad

has been designed, see if one element can be removed with-
out disturbing harmony and balance. If the ad isn't hurt
by the loss of an element, the ad is in trouble, and

needs to be redesigned so that each element is of

importance and value.

Line Theory
Execution deals with the arrangement of elements,
headlines, illustrations, COpy, photographs and logo
designs, all of which have shape. Line is the basic
element you work with in message design, and when you
change the line's direction, you begin to define a shape.
Shape is line with a second dimension. When you put

shape into perspective and add thickness, you give it form

 

5Quoted in Mary Anne Guitar's, 22 Famous Illustra-
tors Tell How They Work (New York: David McKay Co., Inc.,
1964), p. 108.

 

45

and create the illusion of a third dimension. The purpose
of understanding line and design theory is to make posi-
tioning in layout and arrangement of elements within any
type of message design more rational. The arrangement
of elements in the advertisement is as important as what
you are saying. Verbal and visual elements must work
together to achieve total message effectiveness.

Line is the basic element of the advertisement.
There are five kinds of lines: curved, spiral, meandering,
zigzag, and straight. You can use lines to portray the
three classic shapes in art: the triangle, the rectangle,
(or square), and the circle. Each of these suggests
various other shapes to be made from the classic three.
By combining classic shapes, you come up with a variety
of other shapes, and by adding a third dimension, you
can create the shape of anything. Combination and associa-
tion of these shapes within a defined shape will give you

the beginning elements of designing the physical layout

of an advertisement.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

E

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ummm hue

 

 

 

 

 

 

 

 

 

  

H‘l'dll W

 

 

 

 

 

 

 

Mood in Line

 

Lines suggest mood, and even the suggestion of line
suggests mood. When placed into an advertising context,
the lines take on meaning. Straight lines suggest strength,
direction, opposition and dominance. Curved lines suggest
grace, movement, and development. Lines convey the moods
they do because they are abstractions of objects and
figures that originate the moods.6 Lines can be real as
well as imaginary, real enough to be used to delineate
shape, as in a line drawing or in figures or a letter of
the alphabet. Words and sentences in themselves form lines.

The real or imagined line shows direction and movement.

 

6Arthur T. Turnbull, Russel N. Baird, The Graphics

of Communication, third edition, Holt, Rinehart and Winston,
New York, Chicago, 1975.

 

47

The position of elements, headline, COpy, typography and
illustrations create imaginary lines which can be effec-
tively used to lead the eye through an advertisement.
Real lines can accomplish the same thing. Taking advan-
tage of the fact that the eye moves left to right and top
to bottom, the various elements could be so placed as to
be seen in a certain order.

Optical illusions can be used to your advantage in
ad design, as seen in the following eXamples:

1. A horizontal line is easier to see than a vertical
line. This is because the eye moves naturally

horizontally, recording what it sees easily.

———%Ee:—s

2. Lines or stripes running in a single direction

 

 

 

 

 

tend to lengthen that direction.

 

 

 

 

 

 

3. A filling-in of a shape in the tone or color or
with elements tend to reduce the size of the

shape.

 

 

 

 

 

48

4. What is nearby or surrounding a figure influences

its apparent size.

 

 

 

 

 

 

 

 

 

The Emotional Impact of Letter Shapes
According to researcher David W. Seaman, we often

dismiss letters as mere building blocks for words, but
each letter is a picture, a symbol that blends with sounds
letters represent and the meanings of the words letters
form to subtly affect out attitudes. Use the letter X for
example:

X means skulls and crossbones, crossed swords.

Compare the difference between the corporate name

ESSO--with its curving, friendly, almost humble

double S--and the EXXON the company became.

"That company is not humble any more," says Seaman,

referring to the message conveyed in the logo 7

change. "It's going somewhere, grabbing something."
Semiotics is the study of symbols, including letters,
which have their origin in pictures. Meanings of grouped
letters became more important than the letters themselves
and people mostly ignored the medium in pursuit of the
message. Besides letter shapes, typefaces affect our

attitudes toward messages in print. "Poetry and adver-

tising are closer together than many would like to admit;

 

7Rick Ratliff, "The Emotional Impact of Letter
Shapes," article in The Detroit Free Press, February 24,
1978, p. 1C.

49

both poets and advertisers try to foster mental impres-

sions that transcend the obvious."8

Such things as letter
shapes and typeface symbolism should not have obvious
impact, but should work in subtle ways, transmitting mood
and emotion. Below are examples of letters and their

meanings.

 

 

 

 

 

 

Abode Obs
thlkl street?

Line configurations and directions have strong symbolic

 

 

 

 

 

 

 

 

. 9
meaning, below are some examples:

 

 

 

 

 

 

 

 

 

 

 

1. rest, tranquility
2. growth, life, strength
3. continuous movement
4. contrast, bold,
striking
' 5. contrasting shapes,
showing forcefulness

 

 

 

 

 

 

 

 

81bid.

9F. H. Willis, Fundamentals of Layout (New York:

Sterling Publishing Company, 1965), p. 56.

50

Tone and Texture

While line is used to create shape and mood, if it
were not for tone, we would see nothing. Tone refers to
relative lightness or darkness. Only by this contrast can
lines, weight and textures be visualized. Any surface
structure can be sensed visually as having texture. Tex-
ture involves the reader, making him want to touch as well
as look at an interesting picture. Moisture on fruit
makes it look appetizing. Texture enhances the benefit.
Variation in line can come from the artist's pen or from
the printer's application Of screens which can create and

change tone and texture, as shown in examples below.

SPECIAL LINE SCREENS

   

   

sranHTLme a
'9-5 ’ at?!

51

Making Designs Articulate

 

Structural relationships in the layout should be
accomodated to (l) the sequence of eye movements and (2) the
order of absorbing the information the message contains.
Content transmission is the prime function of design. The
reader tends to scan the total layout for an over-all im-
pression of the advertisement. After that, assuming points
of attraction engender interest, he may devote some time to
details. It is important to consider the eye-movements of
the reader as he scans a page, a spread of pages, or an
ad. These tendencies have been revealed through lab ex-
periments using the eye camera, with the following.conclu-
sions:

l. The eye tends, after leaving the initial fixation,
to move to the left and upward.
2. The exploratory coverage of the space is from
this point in a clockwise direction.
3. The eye prefers horizontal movement.
4. The left position is preferred to the right and
the top position is preferred to the bottom.10
While these bits of information are oversimplified, the
purpose is to make you as a designer consider the nature
of the proposition and the reader's interests before begin-

ning designing.

 

loArthur‘T. Turnbull, Russel N. Baird, The
Graphics of Communication, third edition (New York: Holt,
Rinehart and Winston, 1975).

52

Associating elements and creating unity can be
done with real and imaginary lines. There are several
other techniques available to do the same thing, they
include: similar shapes and tones, similar sizes,
similar textures, and enclosure with borders and color
positioning. To achieve a different effect, to indicate
differentiation, make the elements mentioned above, unsimi-

1ar shapes, tones, sizes and textures.

Symbolism in Message Design
A symbol is an expression of an idea. As pointed
out by Langer, the symbol-making function is one of man's
primary activities. It does on all the time because it
is a fundamental mental process. Symbolism gives meaning
to experiences, understanding of surroundings, and makes
a connection in the mind with a lasting picture image.
As all human communication involves symbols, whether
words, pictures, signs or gestures, the message
creator must use the best symbolic tools available
to do the job.11
Through the use of symbols, the mind retains ideas and
images in the memory, and can recall and transmit those
ideas to others. The symbols are vehicles of thought.12

Man lives in an environment of symbols. According to

 

llJohn Caples, Making Ads Pay (New York: Dover

Publications, Inc., 1966).

12Pierre Martineau, Motivation in Advertising
(McGraw Hill Book Company, Inc.).

53

Martineau, communication is the act of conveying meaning
to others because the verbal language is inadequate to
express man's emotional nature. There are many areas
where the precise meanings and definitions have to be
conveyed by nonverbal, nonrational symbols. Martineau
defines a symbol as anything which stands for something

else.13

In all forms of symbolic expression the meaning
is taken in all at once. The meaning of a symbol comes
across in a simultaneous impression of the parts, when
viewing a movie, experiencing a play, viewing a painting,
reading a novel, some alterations below the threshold
of conscious awareness form the various nonverbal symbols
in advertising. "Advertising combines the force of both
logical thought and emotive, esthetic thought."l4

Besides expressing logical thought, words, the
strategic and tactical decisions made concerning the
message will uncontrollably indicate and reflect emotions,
attitudes, moods and intentions. One level is that sent
out by thought content. The other is the level where
intuition operates. In written language, attitudes such

as warmth and forcefulness have to be expressed different-

ly than in conversation. Metaphor, image, underlining

 

l31bid.

l4Steward Henderson Britt, "How Advertising Can Use'
Psychology's of Learning," Printer's Ind, V. 252, September
1955, p. 74, 77.

54

meaning and tone in writing are the symbols which the
reader looks for rather than gestures or tones of voice.
Since advertising also utilizes art, layout and music
and live personalities of announcers, each develops
symbolic meaning.

Facial expressions, gestures, body postures, tone
of voice, use of color and method of presentation (approach)
are all symbolic messages that can communicate with more
accuracy and force than spoken words. Because symbols
are Often far more expressive and far more believable
than language, you have to use nonverbal levels of commu-
nication to convey many informational messages and meanings.
The process of creating in this area of symbolism is
entirely different from the technical, mathematical and
analytical approach to problem solving. There are two
modes of thinking which are equally powerful but very
different--scientific thinking and creative imagination.
The habit of attaching meanings, attitudes, feelings, even
moods to inanimate objects is a mental process of symboli-
zation. Creating effective messages involves selecting
symbols which will translate benefits and ideas. As your
consumer audience becomes narrower, fewer pe0ple will
share the same meanings for given symbols. This may sug-
gest that interpersonal meanings are less relevant in any
given advertising situation where you want to create an

impression that the audience numbers one.

55

Fundamentally, advertising uses the laws of atten-
tion and association. The dramatization of benefits is a
process in which the consumer associates suggested
imagery with product use. Psychologists state that the
main appeal which advertising uses, and the one which holds
main reliance, is the emotional, in the sense that adver-
tising creates suggested association with strong motive
power. Benefits originate in the mind of the consumer.
Benefits are what the consumer makes them. It is only
through suggestion and symbolic imagery that advertising
works to create a connection between the product and the
benefits. The point is that humans unconsciously but
instinctively look for these nonverbal symbols as clues
to the real meaning of what's going ont, to the real iden-
tification of the product, its benefits, the motive behind
the communication, intentional symbolic transactions that
occur among peOple. Visual symbols are highly significant
carriers of meaning in any advertising message. In
solving the problem of how to get through to the consumer,
the visual symbols communicate faster and much more
accurately than an involved use of words. When symbols
and pictures are used, as opposed to straight verbage or
copy, the result is less effort on the part of the consumer.
There is no work, no effort exerted on the part of the
consumer. Martineau states that a picture is a free gift;

there is no challenge and no threat to the viewer. Words

56

can't communicate anything unless they can create images
in the mind. In many messages, it is the extra gesture,
tone of voice, picture, or other symbol that will transmit
the benefit.

Symbolism can be thought of as a vehicle for the
benefit. Symbolism is in the form of copy, illustration,
headline, typefaces and other message elements. The key
to making the correct selection, one that will be identi-
fiable to the individual consumer is an understanding of
his language of 'symbolic references' and subconscious

needs and using them in communication.

CHAPTER FOUR

ELEMENT SELECTION AND

DEVELOPMENT IN EXECUTION

This chapter deals with final execution, the
selection and development of individual message elements
or units such as headlines, COpy, illustrations and type
styles, use of color, logo designs and layout techniques.
Final execution begins with selection and design of an
approach and decisions that follow will be influenced by
the approach. The approach should be single-minded and
created with the long-range advertising strategy in mind.
The final arrangement of the elements should result in an
effective, visually pleasing design, meaning all design
principles should be employed in the physical arrangement.
The arrangement of these elements is called 'layout,' with
varying formats and techniques to be suggested for
effective ad design. The chapter will cover the aspects
of approach selection and it's influence on element
selection and develOpment. Also, element development pro-
cesses will be discussed, such as, how effective copy is
achieved, points to consider when selecting type, which is

more effective; art or photography, what makes a headline

57

58

strong and which arrangements in layout are the most
pleasing and effective. Other chapter inclusions are art
and illustration development, relevancy and logic of art
(photography included) and the physical development of the
ad from concept to final preparation for printing.

Today's advertising has to be a combination of
verbal and visual elements to be effective. The balance
of words and pictures has evolved to become picture domi-
nant because pictures can tell a story at a glance, if
chosen correctly and positioned with a combination of
effective elements. Thinking visually, as discussed,
means to mentally conceive pictures, headlines and COpy
which will convey your message. Visualizing the message
begins with seeing a picture and the headline, selecting
an approach, such as a humorous approach or a nostalgic
approach, and executing the combination you see in your
mind's eye. There must be some consideration at this point
of style and taste. The design of advertising is very
much a matter Of style and taste. Style is defined as,
"distinction, excellence, originality and character in any
form of artistic expression." Taste is defined as, "the

ability to judge what is beautiful and apprOpriate."l

 

1The Reader's Digest Great Encyglopedia Dictionary,
including Funk and Wagnall's Standard CoIlege Dictionary,
The Reader's Digest Association, Pleasantville, New York,
1967.

59

The style and taste of the advertisement is what distin-
guishes it from other layouts. Style may be formal or in-
formal and much like approach it is a decision which will
influence decisions regarding the selection and develop-
ment of other message elements. Behind style should be
the understanding of marketing and selling concepts,
writing styles and characteristics of different techniques
and the understanding of the physical, the rendering of
the idea in execution, which elements will be most appeal—
ing. A combination of all these directions will give the
decision of style and approach more positive results. It
is assumed that in an actual advertising situation, the
advertising decisions being considered will be made

and carried out by professionals within the agency ranks.
But, for the purpose of this thesis, it is assumed that
the entire message design process will be done by you, from
concept development to final art and execution. The
following deals with approach, the definition, function
and influence approach has on the entire message design

process.

Approach

The first decision in execution is approach.
Approach is defined in Webster's New World Dictionary as:
ll

. . . to bring near, a way of coming toward or reaching a

person or place; access." In advertising, "approach"

60

refers to a combinationof things . . . mood, style and
feeling projected in a message. Selecting the approach
your message will take will be determined by the type of
product, the benefit being offered, the medium through
which it is being transmitted, the cultural and environ-
mental setting, and most importantly, the consumer who
will be receiving the message. Examples of approach in-
clude: nostalgic, straight-forward, testimonial, drama-
tization, humorous, informational, and alarming. You may
select a humorous approach because it is appropriate

for your product, which may be bubble gum, a new cereal
or air freshener. Approach determines direction for the
rest of the decisions involved in execution, affecting
headline, illustration, copy formation and type selection.
It is important because it has impact on every aspect of
execution from this point on. Approach is the tie-in for
the whole message, the face or costume the message wears
to best tell the story.

The humorous approach can take many forms, as seen
in examples one and two, from the animated television
commercial for CBS NFL Football, to the real-life situation
comedy such as Alka Seltzer's unsuccessful, "I can't
believe I ate the whole thing" campaign. In both cases,
humor is used to amuse, entertain and sell. But, in

warning, humor as a message approach should not be blatant,

 

 

 

 

 

 

 

 

 

       

     

      
   
 

 

 

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62

but rather subtle and low key. It can be effectively

used to differentiate the product from others in the

market and generate product memorability when used in

an appropriate context. In the wrong context humor can
backfire, entertain too much so that the joke is remembered
and the product forgotten.

Another type of approach exampled in three and four
is nostalgic. In both cases the product and benefit are
best communicated when put in a memorable setting. Bell
Telephone's "LONG DISTANCE IS THE NEXT THING TO BEING

THERE" campaign is an example of an nostalgic approach.

 

 

l
I)

 

When long ago
is for owoy

CALL LONG DISTANCE

 

 

 

 

 

 

 

 

 

 

 

63

 

 

In 1941, yo? waited
him to gomeyhgtile to ou

   

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—

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If this seems like only yesterday,
imagine how soon
tomarrow will be here.

 

 

 

 

c) mama ure.

 

 

64

Considerations to be made when selecting approach
include, tone, style, mood, setting, characterization of
personalities chosen as Spokesman. These elements are
important ingredients in giving the message a style, a
definite direction, and a feeling which will create a
memorable image in the consumer's mind.

Setting a mood and creating a product environ-
ment is very important in making the message memorable.
The setting of a mood is a matter of type and illustration
selection which transmit a chosen feeling, writing copy
which stimulates chosen emotions in the consumer and
tying it all into an effective 'package'. Tone becomes
an ingredient transmitted through mood. It may be the
kind of voice your spokesman uses in his address, or it
may be in the style of his clothing or personality charac-
teristics he has.

When you have your message in visualized form, look
closely at your elements, to see how clearly the setting,
the character, including the facial expressions and hand
movements as he speaks. These small elements should work
together to make a single, unified statement, reflecting
the quality of the benefit, and believability of what is
being said.

No small ingredient should be left untouched in
message design--consider every angle of your message, and

what each element looks like alone. For example, if you

65

have selected a man as spokesman for your product, Bufferin,
it will make a big difference if he wears a sports coat,
a T-shirt or a white lab coat. His credibility and the
message effectiveness will be influenced by what he
wears, the way he Speaks, the tone of his voice and
selection of words. Choice of words will affect his
believability. If he is an average guy extolling the
benefits of Bufferin, his believability and credibility
will be different than if he is posing as a physician.
The decisions hinge on product/benefit type and the con-
sumer targeted. There is a wide range of approach possi-
bilities, each dictating decisions that will function to
finish painting the picture. When you have made your
approach decision and begin selecting 'clues' to complete
the total message image--look at the message as a whole
for impact value, then subtract individual elements to
test their contribution and weigh their value. If they
don't contribute, they are detracting from your message.
Throw them out. Examples of these 'elements' or 'clues'
include size of photo, content, is.it all necessary (?),
spokesman's expression, would it be better as something
else, etc. Work, rework and unwork your message until

every element works together harmoniously in approach.

66

Headlines

 

Surveys taken by Gallup-Robinson readership re-
search indicate that four out of five people do not read
beyond the headline of an ad. This is strong evidence
that it's what's up front that counts. Many consider the
headline to be the most important aspect of the message.
The function of a headline is to grab the reader and
intice him to read on. It is often the only part of the
ad that is read and the main concept must be up front in
plain English. The headline is the place to shout
benefits, point out product advantages and motivate the
consumer to read on. The headline does not summarize COpy,
but serves as a lead in to copy. If you ask a question
in the headline, the first line of COpy should answer it.
Headlines don't have to be complete sentences. Mail order
specialist, Vic Schwab says that the headline must do two
things: (1) select an interested audience, and (2) promise
them a worthwhile reward for reading.2

In most cases, headlines cannot be grouped and
categorized and are situationally determined. It makes
more sense to write what seems natural and to say what

needs to be told logically than to set out to write a

 

2Victor C. Schwab, How To Write A Good Advertise-
ment (New York: Harper and Row Publishers, Inc., 1962).

67

categoric 'emotional' headline. John Caples is quoted as
saying that by far the most effective headline is that
which appeals to the reader's self interest. Theoretical-
ly, the reader will be interested enough by what you have
teased him with in the headline to read on. John Caples
further suggests that you follow up the headline benefit
with the assurance or evidence of its truth in a way that
is believable.3 Just as the right headline can make a
difference in readership, a right word and combination of
words can make a difference in consumer reaction. Word
selection should be a logical decision-making process,
based on product benefit information and knowledge about
the consumer's position.

Categorically, there are types of headlines which
can be labeled and are known to be effective in varying and
applicable situations:

Question headline: "HOW MANY TIMES HAVE YOU

SUFFERED IN THE 90° HEAT?"

Challenge headline: "IF YOU CAN BUY A MORE FUEL

EFFICIENT CAR THAN VOLKSWAGON,
BUY IT."
How-to headline: "HOW TO GET MORE OUT OF YOUR FOOD

DOLLAR."

 

3John Caples, Making_Ads Pay (New York: Dover
Publications, Inc., 1966).

 

68

Curiosity or teaser headline: "JACK SPEK MADE
$24,000 LAST MONTH STEALING
FROM PEOPLE LIKE YOU AND I."
News headline: "SCIENTISTS PROVE BAYER IS BETTER
THAN ANACIN."
Emotional headline: "NO GOOD NIGHT KISS FOR
CHARLIE."

Direct benefit headline: a combination of news,

directive and emotional appeal, direct benefit is

the most effective because it calls out and
selects the reader and states its offer up front:

"COFFEE LOVERS: SAVE $2.00 ON THE NEXT POUND OF

MAXWELL HOUSE COFFEE YOU BUY."

These are only a sampling of the types, styles
and approaches headlines can take. Headline writing
varies a great deal with the types of markets and types
of media. The same principles do not apply in one medium
the same as they do in another. In every aspect of head-
line writing there is a need to write clearly and state
facts, whether the approach involves direct or indirect
selling. A direct-selling headline uses one or more of
the primary product benefits in no uncertain terms. The
benefit is up front . . . use this product and you will
get this benefit. Indirect-selling headlines make a more

subtle attempt to inform and sell, often playing on the

69

emotional and attention-getting aspects of the product
rather than the benefit itself. Selection of the type of
headline you will use will depend upon the product, the
benefit and the consumer situation. Indirect-selling head-
lines, emotional and soft-sell, are Often used when the
benefit is intangible, involving conscious and uncon-
scious consumer needs, fears, and desires. Headlines seen
in Dial soap advertisements never say, "BODY ODOR STINKS;
USE DIAL." Instead, there is a subtle combination of
symbols and clues used in the total ad package, including
illustration showing Dial soap surrounded in bubbles, a
happy, fresh looking person beginning her day, and a head-
line which sends out the subtly stated benefit, "YOU USE
DIAL, DON'T YOU WISH EVERYONE DID?" In this case, the
headline depends on visual impact for support.

There are many other headline categories in the
literature which suggest that headline writing is made
easier type casting. Some exmples include: directive,
"DO SOMETHING BEAUTIFUL TODAY, GIVE A GIFT OF DIAMONDS."

Gimmick and curiosity headlines: "6 MONTHS OF

MARRIAGE AND NOW THIS . . ."

"THE NAKED TRUTH ABOUT YOUR NEIGHBOR."

Hornblowing: "WE'RE NUMBER ONE IN CAR SALES."

"NOBODY CAN BEAT ARMOUR FOR QUALITY."

70

These are only examples of types of headlines, these types
should not restrict your imagination and creativity, but
should be used impetus for more effective headline writing.
Whatever type of headline you decide upon for a
given advertising problem, long or short, it must answer
to three criteria necessary in making the headline and
the entire message effective: the content has to be right,
meaning that it must contain information relevant to the
situation, the product and consumer. The approach has
to be right, the headline has to tie in with all other
elements in the message, the approach has to be unified

and clear. The execution has to achieve the stated objec-

 

tive; it must serve to communicate, to attract attention,

persuade, influence or motivate consumers.

Copy

Copy consists of type paragraphs which run in
columns or blocks, referred to as copy blocks. It is
usually set in smaller type than the headline. Effective-
ly written copy helps to convince, persuade, influence and
motivate the consumer, and it closes the sale. Copy
length has long been debated, with many practitioners say-
ing that the longer and more explicit the copy, the better,
and others claiming that shorter copy is more effective.
Whatever the argument, the logical approach seems to be
that copy should be as long as it needs to be to tell the

story adequately, regardless of length.

71

Copywriting is no easy task, but the assignment
can be made more pleasant if you follow a basic outline,
keep consumer and message objective out front, and write
with an open mind. Once you have the concept visualized,
and once the headline and subheads are written, the rest
of the COpywriting should come naturally. Body copy stems
directly from the headline, flowing from and explaining
or continuing a story started by the headline. Like the
headline, and all other elements within the advertisement,
the copy must answer to three criteria in order to be
effective. Those criteria are:

Content: the content has to be right, it must
relevant to the situation, to the product and consumer.

Approach: The approach has to be right, it must
follow the format decided upon, it must tie in with all
other message elements, unified and clear.

Execution: The execution must follow up message
objective, it must sell, influence, persuade, inform or
motivate, depending on the situation.

Body COpy must be of the same approach and content
as the headline. It should flow from the headline, and not
go off in an unrelated direction. It must be unified and
clear, explaining the visual and benefit are so attractive,
Often giving supporting evidence for what is offered in the
headline. Think of it like this: the headline and visual

gets attention and offers a tempting benefit and the copy

72

fills in the details. It is better to be single-minded
in writing copy because the consumer may become confused
if too many ideas are introduced. Just as it is wise to
offer only one primary benefit per message, per headline,
it is wise to continue that single theme through the body
copy. It is almost impossible to categorize copy. There
are different terms for copy--"emotional," "narriative,"
"direct,"--but these descriptions are not directives. Copy
should follow headline in its approach, content and execu-
tion. The following checklist was developed by W. Keith
Hafer and Gordon B. White, and termed "Crude Creed for
Copywriters," it suggests a sequence for developing copy:

Start with a BASIC BENEFIT OR CONCEPT

which succeeds in

LINKING CONSUMER BENEFIT AND PRODUCT EXCLUSIVE . . .

then

THINK VISUALLY

TALK FRIENDLY

KEEP IT SIMPLE

PROVE YOUR POINT

STAY ON TRACK

STRIVE FOR THE UNEXPECTED

SEEK A RECURRING THEME

BE YOURSELF.4

These suggestions apply in general to the writing

task. The following suggestions applyto actual writing,
selecting and ordering words and meanings which will most

effectively communicate your message:

Write clearly: The most important rule for

 

writing any kind of COpy is that the consumer understand

 

4W. Keith Hafer, Gordon B. White, Advertising
Writing (New York: West Publishing Co., 1977), p. 88.

 

73

it. Use plain language and concrete terms; use un-
involved, short subject-predicate sentences rather than
long, complicated ones.

Chooseyyour words carefully: Within legal

 

boundaries, choose words which will reflect good taste
and help to sell the product. Weigh each word for it's
implications. For example: "Sugar free" is a better
word than "Sugarless," because 'free' has connotations
that are favorable, where "less" has negative ones. The
idea in writing copy is to speak to one person and im-
press that person without antagonizing others.

Write to involve the reader: Write to involve

 

the reader. Make the COpy exciting and startling. Reader
involvement can be out front, asking questions, demanding
attention and reader participation.

Be to-the-point: COpy length is dependent on the

 

job situation. As previously discussed, most writers agree
that copy should use the smallest number of words neces-
sary to sell the product effectively. Copy length is an
individual decision, depending upon the product, the type
of benefit and the consumer receiving the message. For
example: the consumer purchasing a big ticket item such

as a washer and dryer will want to know everything avail-
able about the product and it's benefit (and deficits).

In this case, long copy is necessary to sell the product.

74

It is not enough to state a benefit and not follow it
up with fact-filled COpy. Copy is necessary to differen-
tiate this ad from another. Short or brief COpy is more
applicable when the benefit is obvious and intangible,
and often more effective with subtle suggestions. Long
copy is necessary to take the place of the salesman and
can be livened up with headlines, subheads, photo inserts,
initial letters set in bold face type, effective use of
white space and strong visual elements. These items can
make long COpy look strong and inviting as shown in the
examples below. The visual arrangement also serves to
make eye flow easier, recognition and reading less work.
Grouping copy when it is long makes it less awesome to the
reader.

Make reading easy, transitions smooth and natural:
Copy should flow, with no abrupt intrusions. Easy flow
doesn't mean beginning sentences with transition words
only; transition can come in content. Ideas should move
swiftly. Words which are selected carefully should paint
visual pictures in the mind of the reader. Write visually
for effective impact.

Avoid overused cliches: Nothing turns a reader
or listener onto the fact that he is listening to adver-
tising faster than cliches. Some of the most overworked

cliches, according to Roy Nelson include: AT LAST, NOW,

75

AMAZING, FAST-ACTING, FARM-FRESH, IMPROVED, GIANT SIZE,
QUICK AND EASY, HURRY, WHILE SUPPLIES LAST, PASSING THE
SAVINGS ON TO YOU, DON'T YOU DARE MISS IT, IT'S THAT
SIMPLE, AND GETTING IT ALL TOGETHER, to name a few.5
These groups of words tend to forewarn the consumer that
an advertisement is ahead and to tune out. There is
always a better way to make a statement without using a
cliche.

Avoid the obvious: If a benefit is already well
known, stress a different benefit. Open the consumer's
eyes to unseen advantages and surprize him with the
unexpected.

Write for the individual consumer: First, know
enough about him to speak on a one-to-one basis. Write
as if speaking to one individual, tailoring the copy to
the vehicle and it's specialized audience. Write only
what is relevant and necessary for him to know and to
remember. Make the relationship with the reader an inti-
mate one. A good way to develop the feeling of a two
person conversation is by writing in the second person,
referring to him as you. Don't dwell on product benefits
too much, rather develop the relationship between the

consumer and product benefits. Remember that at the same

time you must be painting a memorable picture in the

 

sRoy Paul Nelson, The Design of Advertising

(Dubuque, Iowa: Wm. C. Brown Company Publishers, 1978).

 

76

. 6
consumer's mind.

These suggestions are not by any means all in-
clusive, but they cover basic copywriting. I found many
similar 'rules of thumb' and guidelines suggested by
academics and practitioners. The following set of seven
guidelines is offered by practitioner Irwin Warren, Execu-
tive Vice President and Creative Director of Richard K.
Manoff, Inc., New York. Of copywriting he states:

Learning to write ads is much like learning to
make love: textbooks don't count for much. We
give our new writers seven guidelines. (We
carefully avoid calling them rules because

they aren't).

Guideline 1. Advertisingiwriters are salesmen, not
writers. Theater is an essential
part of creating advertising. I must
get your attention before I can sell
you something.

Guideline 2. Make the brand interesting, not ygur
advertiSing. You have failed if
pegple remember the ads and forget
theyproduct.

Guideline 3. Provide information in ads. Facts.
Platitudes and generalities are not
effective sales tools.

Guideline 4. You can't force someone to buy a pro-
duct. Reason with him until he decides
he wants to buy. Indirect and soft-
sell are often more effective and have
much greater impact in motivating con-
sumer action.

Guideline 5. If_you advertise things to eat, you
should like food. If you're trying
to sell catfood, buy a cat.

 

Ibid.

77

Guideline 6. The client is no boob. He is your
client. Respect him and expect the
client to nitpick. Remember that
clients think of themselves as smart
people.

Guideline 7. The Middle West is everything west of
Montauk. In other words, peOple are
advertising and media wise everywhere
so speak to them in these terms.

These guidelines will be of help to you in any
writing situation, but to make your COpy effective, it
must be believable. Believability can come in the form
of guarantees and evidence, testimonials, demonstrations
and free samples. Character and narrator selection in
advertising for television and radio can enhance consumer
believability if the narrator is an authority or even an
experienced third party. What a third party says about
you is more impressive than what you say about yourself.

In the role of COpywriter you should know what's
going on, with the product, with the consumer and in the
marketplace. With all this background information, much
of it supplied through research, don't let it stop you
from writing copy which is spontaneous, alive and filled
with humanistic warmth and emotion. Those are qualities

that involve the consumer, touch him and motivate him to

buy and participate.

 

7Irwin Warren, "Seven Guidelines for Helping Train
Today's New Copywriters," Advertising Age, December 26,
1977.

78

Hal Stebbins speaks about putting power into words

in the following:

Ten

A though is an idea in transit. Language is not
the tool of thought--it is the mechanism with which
we think.

Communicate not words but ideas; think in terms of

images when you write. A good way to test COpy is

to question: Is this word a picture? Keep your

words moving, jilt adjectives, the simpler the

style, the better. Be human, be simple, be speci-

fic, be informative, be enthusiastic, be sure

you're understood. . .

COpy is lifting the reader from where he is to

where you want him. COpy is taking an idea from

the back of your head and putting it into the

back of someone else's head. Copy is making

people behave the way you want them to. Every-

thing that goes into the advertisement--including

what is left out--is copy.

point COpy strategy--Hal Stebbins

1. Let advertising show what it can do on it's
own; avoid do's and don'ts.

2. Cut out the tricks--stick to truth-~make it
exciting.

3. Listen to experience.

4. Dare to be different.

5. Remove copy crutches.

6. Rely on imagination and invention, your own

creative resources and sources.

7. Start writing copy after quitting COpying copy.

 

Company, Inc., 1968).

8Hal Stebbins, Copy Capsules (McGraw-Hill Book

79

8. Don't insult the intelligence of the public.
9. Put thunder into the message.
10. Believe in the message's content.9
Regarding talking to the public:

The reader doesn't buy because you give him reasons

why. The reader buys because he wants what you

are selling more than the money that it costs. So,

first emotionalize, talk wants, talk benefits, then

rationalize and show why to buy.

Forget that you're writing for publication. In

fact, forget that you're writing, just talk to the

reader with simplicity and sincerity. Dignity has

its place; but there are times when it is smart to

get down on the floor and play marbles with the

public. If you know what makes people tick, your

copy will tick.1

Before you begin to write, find the benefits and

facts that will stimulate the specific consumer. Careful
selection of vocabulary in message structure is important
because it must reach the audience on their level, or
the message will go unnoticed. Keep a tight check on
the procedure: the biggest problem can be to tell people
what you think they should know for their own good. "When
you begin to write, have a mental picture of the face, the
home, and the bankbook of the person you are talking to.
If you can't visualize the person you're talking to and

what he or she looks like, you're going to have trouble

 

91bid.

loIbid.

80
knowing what words to say and what tone to use."11
The following eight points refer to copywriting
in general.
1. Make it easy on your reader. Write short
sentences.
2. Don't waste words. Say what you have to--nothing
more. Don't pad or skimp.
3. Stick to the present tense, active voice.
4. Don't hesitate to use personal pronouns. Remember
you're trying to talk to one person.
5. Don't overpunctuate; it kills copy flow.
6. Use contractions whenever possible because
they're fast and personal.
7. Don't brag or boast, it's boring.
8. Write with flair.12
The following thoughts on making your message
readable were developed by Dr. Rudolf Flesch.l3
--The more words in a sentence, the more difficult
it is to read and understand the sentence.

--The more syllables a word has, the more difficult

it is to read and understand the word.

 

11David L. Malickson, John W. Nason, "Applying Psy-
chology," Advertising: How to Write TheKind ThaE_Works,
(New York:‘ Charles Scribner's Sons, 1977), p. 57.

12Adapted form, "Appendix: How to Use the Yardstick
Formula" in Rudolf Flesch's The Art of Plain Talk, copyright,
1946, by Rudolf Flesch. Permission of Harper and Row.

13

 

 

Ibid.

81

--The more personal references in a passage, the
easier it is to read and understand the message.
--App1y common sense; it takes common sense to
listen to other viewpoints and to appreciate
that different peOple have different likes and
dislikes.
This could go on forever. Consider what has been
said here and write with an open mind and be ready to
start many times over.

Selecting Typeface: Choosing the
Right One For the Situation

 

 

Type style is one element of the total message
structure. The beginning designer concerns himself most
with individual elements within his ad; the veteran de-
signer sees the overall design, the composition, and the
design's effect as more important, knowing that the whole
of an ad is greater than the sum of its parts. The
veteran designer is also concerned with how the ad looks
when it is in position as opposed to sitting, mounted by
itself.

Selection of type comes in execution and is an
extension of the creative process discussed, visualization.
Type selection is the process of selecting printed letters,
words and symbols which have been styled into various

styles and categories. “Choice of type can have almost as

82
much of an effect on communication as choice of words."14
There are an uncountable number of typefaces to choose from,
each projecting a style and mood, reflecting the message
it carries. Type can be graceful, powerful, loud, quiet,
funny, modern, simple, old-fashioned, profound, startling
and decorative, among others. "Picking a type for the mood
it conveys makes more sense than picking it because you
happen to like its looks."15
"Fitting into several categories are the many
'families' of types. The families are divided into
series, and the series are divided into fonts. Modern
Roman would be a category, Bodini would be a family in
that category, Ultra Bodini would be a series within that
family and 24-point Ultra Bodini would be a font in that
series."16 The type styles are available in a variety
of font sizes, usually from 8.to 120 point. When you are
designing your message, selection may be made from a
printer's type book, which shows the typefaces and the
variety of sizes available. Most printers have a wide

variety of standard typefaces available, but for the more

unusual typefaces, you may have to consult an artist who

 

l4Roy Nelson, The Design of Advertising (Dubuque:
Wm. C. Brown Co., 1977), pp. 147-49.

lsIbid.

 

lGIbid.

83

would lay the type for you, or purchase the type yourself
from an art supplier in the form of rub-on lettering and
do the job yourself. Type that comes from the printer,
which you select from his type book, is printed out via

a composer, not unlike the old linotype machines used in
newspapers, but with computer ease and sophistication
added; the process is called photolettering.

There are many factors to consider when selecting
type which will tell your story. Readability is the most
important because if it can't be read and understood,
you have wasted both time and money. There are some
rules of thumb to follow:

1. The reader is used to certain things: capitals
and lowercase, not all capitals.
2. Letters reading from left to right, not up and
down.
3. Lines of type running horizontally.
4. Letters and words with even spacing.
Type is used in a variety of ways within the context of
the advertisement, from headline to body copy. Body type
is sectioned into paragraphs, and beginning of paragraphs
are indicated with indentation, although this is not a
standard rule. Type is usually broken into columns or
blocks and take two forms: fully justified and flush
left. Flush left means the right edge is ragged, type does

not end in the precise point each line. Fully justified

84

type means the right and left edges are parallel, the
way most commonly seen in books and magazines.

The rules for typography, for readability are not
as applicable when you are working with display or headline
and subhead type selection, or when you have only a few
words to get an entire message across. In the case of
display type, anything goes, as long as it is effective.
Special typefaces, artist's and reproduction tricks may be
employed to change the type character, create a personality
and to attract attention to the message. Design consider-
ations such as harmony, balance, unity, sequence and
emphasis discussed earlier all apply in the selection and
placement of type in the ad. Things such as unity and
emphasis should be done with subtlety. One should avoid
use of exclamation marks, instead using legitimate design
innovations to make the headline exciting. An example

of emphasis without the Obvious tricks:

Growing up with
Devon

TALL 8‘ whey...

THIN SOLID ROCK

85

For every advertising practitioner, there is a

theory he follows in type selection. The following quotes

are

from people in the art field and advertising business.17

Lawrence Bender, art director, Lawrence, Bender

and Associates speaks about selecting typefaces for a

given job:

I don't have a set rule. Sometimes it's an atti-
tude I'm seeking; besides being a verbal message,
type often functions graphically to reinforce the
viewpoint of the piece. And in some instances

it's conceivable that I may want to use a type-
face very much in contrast with the attitude that's
communicated. For example, if I'm talking about
big, fat, bold tires I might want to use a very
skinny, light typeface instead of the obvious since
setting the type in bold black might be overkill
and the message could come through stronger by

very sharp visual contrast. Often, I look for
simple readability, which is always a prime factor.
There are instances where I've sacrificed a little
readability in favor of using modern faces.

Barbara Schubeck, art director with Scale, McCabe, Sloves

answers the same question about type selection:

Joh

A big clue to the solution of choosing type is

found right in the word, 'typeface.‘ And since

faces express emotions, type therefore has emo-
tions. Once you're aware of the emotions, you'll
know the particular essence of a particular typeface.
A well-designed page of typography is usually a
successful blend of type emotions, which in turn
visualize the emotions of the copy or artwork.

(For instance, I'd probably set this COpy in Balloon
Bold, tight not touching, 1/2" on the cap.)

Fischer, art director, Benton and Bowles:

Typefaces are unimportant unless they're used
to help make your concept live.

 

17Quotes from article, "Question-of-the-issue:

How Do You Select A Typeface or Typefaces For a Given
Job?" Graphics Today, March, 1977, pp. 42-43.

86

If you don't have a concept you've got nothing.
And no typeface in the world will help.

One concept I did this year was "The Greatest
Star Show Under The Sun, The Jerry Lewis Labor
Day Telethon." The typeface had to communicate
the special event. It sounds easy but it took

me about two weeks to get the graphic direction

I wanted. I could'nt find a face I wanted in any
type book. I dug up an old circus book and found
the typeface which wasn't a typeface at all. The
poster had to be hand-lettered because it was the
only way to make my concept live.

Ken Parkhurst, art director, Ken Parkhurst & Associates,
Inc., states:

I modify type choices depending on what kind of
piece and public it is for. The first order of
business is to understand the nature of the
communication and define the character of the
message. The type face should be felicitous to
the content and purpose of the piece. Style
(typeface, size, arrangement) affects the reader
below the conscious level. It can either rein-
force or deny the literal message. To use type
effectively, it is necessary for the designer to
both feel the effects of style and objectively
evaluate which of these is apprOpriate to the
piece. In this way he can avoid meaningless
fads and standard cliches.

Amateurish handling of type tends to produce
cliche type style choices and chaotic displays
which defeat the reader. In general, and despite
some of the prevailing modes, selection of type
should aim at simplicity of choice, arrangement
and size range. The result should invite the
eye.

Essentially it's a matter of matching the person-
ality of the typeface with the personality of the
graphic idea. I usually have a type '1ook' in
mind at the concept stage of a job.
Type should be selected with the following con-
siderations: it should fit with the tone and approach

you have selected for the message. It should reflect

the message content and personality and tell a large part

87

of the story at a glance whenever possible. Typefaces
should number no more than two or three different faces

for one ad. Too many different faces detracts from

readability.

88

The Visual Element: Illustration and Art

As a message designer, one of the first decisions
you will make regarding execution is determining the visual
aspect of the message. What art you decide on will
determine the content of the headline, the style of the
type, positioning of the elements, COpy style and technique
and the general appearance of the advertisement. The
visual may come from a pre-selected picture or from the
visualization process, which must then be transformed
into the physical element. "Whether the art provides
the ad's pivot or simply emphasizes a point made by the
copy, its nature is crucial to the ad's effectiveness.
Few ads attempt to do their job with type alone."18

Most designers agree that illustration is the most
important element in the advertisement because it can make
or break the message's effectiveness. Illustration is
powerful, having the ability to tell a story in a picture,
capture a mood in a glance, and demonstrate a benefit
easily. The illustration must work as one with the head-
line and the benefit offering, together making a strong,
unified statement. The illustration should have an obvious

tie to the headline and the headline should have an obvious

tie to the copy. In other words, everything should fit

 

18Arthur T. Turnbull, Russel N. Baird, The Graphics

of Communication (New York: Holt, Rinehart and Winston,
1976).

 

89

together like a puzzle.

Much of the effectiveness of illustrations comes
from the variety of communication functions they can per-
form and the many forms they can take. The main function
of illustration is to attract attention. The main func-
tion of photographs is to duplicate an image, and their
main advantage is to inform and arouse emotions accurate-
ly. The true-to-life accuracy of the camera lens cannot
be duplicated in art. The advantage of art over photogra-
phy is the ability to instruct through drawings, such as
directions which accompany a model airplane. Illustra-
tions are also effective when the objective is to explain.
Entertainment is another area where art and illustration
can be used to amuse the consumer and inform, persuade
and motivate him. Combinations of illustrations and
techniques may be used to achieve maximum effectiveness.
The most effective combination of all is that of illus-
trations and words, the visual and verbal combination.

Whether you choose a photograph or illustration,
the picture is subject to the same design principles, line
and symbolism theories discussed in previous chapters.

The effective visual element is a well-designed picture,
incorporating balance, unity, proportion and emphasis
into a total composition. Size, scale and type of medium
are considerations to make when you are selecting or

composing an illustration.

90

There are a variety of techniques and forms to be
used in illustration which when used effectively can
produce a variety of art forms. First you must consider
the medium. Magazine or newspaper is different from
direct mail and outdoor, with each medium having it's own
restrictions on the kind of art that can be used. The
kinds of renderings that are available for halftone repro-
duction (such as for any print medium like newspaper and
magazine, with color) include: photographs, acrylic
paintings, tempra, designer's colors in marker and paint
form, water-color paintings, wash drawings, pastel or
pencil drawings. Among the kinds of line reproductions:
simple black and white line drawings, cross-hatch drawings
and any continuous tone drawings. These kinds of drawings
produce a variety of styles, each different from the
others.

The selection of an illustration is a difficult
process when you realize the variety of artistic rendering
and photographic techniques available. Photography aside,
’ consider the numerous artistic styles available to illus-
trate the benefit, create a mood and motivate the consumer.
Selecting illustration style and technique is not to be
confused with illustration content decisions, visualizae
tion and 'writing the art.‘ Assuming illustration content
and approach has been selected, visualized and conceptual-

ized in writing through the afore described 'writing the

91

art,‘ the selection of illustration style becomes a
priority decision.

Illustrations are produced in a variety of tech—
niques and by artists with individual styles. The style
and technique you choose to carry out your message will
greatly affect the appearance and effectiveness of the
message. Like the message content the artistic style and
technique you choose to carry out the message must also
be relevant and logical. Form must follow function, so
consider what function the illustration has in the message
and let it's form follow a natural course. For example:

The product is a new super bubble-blowing bubble-
gum aimed at children 7-12 years old. The selected
benefit is the super size bubbles that can be blown
with the gum. The function of the illustration is
to introduce, demonstrate and explain the benefit.
The approach has been selected as humorous with
cartoon characters interacting with children acting
as spokesman. The technique and style of illustra—
tion must follow illustration functions, so it will
be animated cartoon in simple line form and colorful
because considering the age of the consumer it would
be illogical to use a detailed, SOphisticated car-
toon sytle.

A style has to do with the general mood or feeling
the art projects and art styles vary greatly from one
artist to another. When you are selecting style and tech-
nique, be careful to review all possibilities. Don't
settle for less than the best, most effective style avail-
able. While the following examples are not comprehensive

and some areas will overlap, they exemplify a variety of

artistic styles to consider.

92

Example 1. Close or Finished Art, is art which
is smooth, polished and precise. There are no imperfec-
tions in the drawing technique itself. The art has a
precise and exactness about it, sometimes a lifelike
quality. As shown here, it demonstrates a procedure where

precision is necessary.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

93

Example 2. Loose Art. This style is relaxed,

 

moves with ease and gives a feeling of being crude and
imperfect, giving the impression it was done hastily.
The line strokes are bold and expressive. This style

lends itself well to a message with a similar relaxed

approach in COpy and headline.

 

 
       

 

 

    

            

  

 

94

Example 3. Realistic or Representation Art.
This style is highly detailed, ranging from stylized repre-
sentation to surrealistic. This style can be used to
attract attention, such as in sentimental-realistic Norman

Rockwell words, or attract attention and shock, such as in

supersurrealistic styles which employ distortion.

 

95

Example 4. Simplified or Abstract Art. This
style in art is simplified to fundamental form, often with
subtle meanings and symbolism. Consumer reaction is more
likely to be emotional than intellectual. Abstract art

is commonly seen in retail advertising.

 

 

96

Example 5. Cartoon Art. This style can be enter-
taining and amusing while informing, persuading and moti-
vating. Cartoons can exaggerate and distort, or they can
be used to put things into their proper perspective. Car-
toon art can be seen in many forms, ranging from the pro-
duct spokesman such as the Nestle's Quick rabbit to such
editorial cartoon strips as Doonesberry and Peanuts. Car-

toon styles vary from one artist to another, and most well

known characters are copyrighted.

 

97

Which Is Best? Art or Photography

 

The following viewpoints represent practitioners
in the fields of advertising and graphic design. The
point of discussion is which is most effective, art or
photography, and at what point does the decision have to
be made? Joseph O'Brien, creative group supervisor,
Horton, Church & Goof, Inc., Providence, Rhode Island:
"The decision comes at the concept stage. I feel the prime
criterion for a communicator is not to let the client
dictate this very important decision." Bill Bonnell
III, Manager of Design, IBM Corporation, Chicago, Ill.:

The decision is made as soon as the communication
objective of the project is established. Rarely are
the two interchangeable. Photographs can make very
subtle indications. Illustration can show things
which aren't read or sometimes can be more telling
and realistic than a photograph. Each form has its
own great merits which either relate to a problem,
due to its content, or they don't.

Victor J. Closi, Art Director, Field and Stream, New
York, New York:

The usage of illustration or photography in a maga-
zine must relate to its story content. It should

not have a forced, stilted, contrived composition

and appearance. It should make a direct and impres-
sionable visual statement, like the famous photo of
the Marines raising the U.S. flag. When I choose

a story to be illustrated in art, I expect the illus-
trator to be imaginative in his approach and handling
than what could be done with a camera. When directing
an assignment, one should make sure the illustrator
or photographer fully understands what the story is
about. Both should never be overdirected because it
could inhibit their creative freedom and design.

 

98

Photograph or illustration, the picture you choose
is subject to the same principle of form following function.
Often when the benefit is intangible, symbolism achieved
through photography or abstract illustration can be used
to communicate effectively. Illustration and photography
are subject to the same principles of design mentioned in
Chapter Two. The effective advertising visual is a well-
designed picture, with composition and arrangement as im-
portant as medium. The following describes the arrangement
of the visual elements into a total message package, known

as layout or execution.

Indicating Art in Layout

Art in layout only calls for the £331 of the
planned art. You may not be an artist, but may find your-
self in the situation of designing layouts. Indicating
art means just that . . . an indication. The indica-
tion can be sketchy, but should indicate the size, shape,
direction of the art, and the jist of the mood. If a
drawing will be a line drawing, use a sharp pencil to
indicate shape, use a piece of charcoal to indicate tones,
shadows. Tone is important. Indicate shapes and sizes.
If you have a photograph to work from, simplify it in the
rough up.' Do not trace any glossy photograph which will
be used in publication; tracing ruins the photograph for

reproduction. Indicate copy blocks with light lines or

99

COpy cut-out. If you are producing the layout and someon-
else will carry out your ideas, be sure all information is
clear for the printer. Make sure type sizes are correct,
i.e., bold for headline, and the correct font or typeface
is used, i.e., helvetic medium.

Indicating the art is actually the mental image
you have in your head down on paper, sometimes called
"writing the art." It means describing the art or photo-
graphy that will tell your story. The following is an
example of "writing the art," a description of a visual
that will be duly supported by copy and headline. The
product is Tropical Tan Suntan Lotion. The visual is
described as:

A beautiful 24-year old voluptuous blond female
lying horizontally on her side facing you. She is
wearing a tight and revealing sun-yellow bikini, a
deep bronze tan and a laughing pearl-white smile.
The setting is tropical; white sand, palms in the back-
ground, brilliant blue ocean and a cloudless blue
sky. The camera shoot shows the woman full length.
Close-up and sitting full-size just in back of her
is a ferocious but tame looking tiger. TOgether
these two project a feeling of power and authority.
Included in the visual is a larger-than-life bottle
of Tropical Tan Suntan Lotion. The woman's gaze

is direct and the body language subtle and sexual.
The headline ties the visual elements together and
crystalizes the benefit: "GET A DEEP SAVAGE TAN
WITH TROPICAL TAN SUNTAN LOTION."

"Writing the art" should give an accurate account
of the visual picture, including minute details which give

subtle message clues.

in. “an“: mane-a. ‘

 

100

Trademark: ngo Designs

 

The logo type is an identification symbol,
usually seen in company or product advertisements. Also
known as a trademark, or sig, the logo is any name,
symbol or visual device, or a combination of these, used
by a manufacturer to identify his product or products and
distinguish them from all others on the market. ‘

Logo or trademark are not to be confused with
tradename, which refers to the name of the company, or

product.

 

Logo/trademark functions include the following:

1. Indicate origin of the product.

2. Guarantee quality consistency. The trademark
tells the consumer the product is the same each
time it is purchased.

3. Acts as an advertisement, attracting attention,
reminding, persuading, influencing and motivating
the consumer. Whether used in an advertisement,
on a package cover, company stationary or invoices,
it serves the same purpose, it furthers the iden-
tification purpose.

Trademark designs can range from literal to ab-
stract and symbolic. The more symbolic, the more success-
ful because they say and imply more than written literal

words.

me like

get stuck. Then the symbol gets to be a real symbol."

similar
impetus
ization

signing

101

George Nelson defines a symbol: fSymbols look to
a kind of fly paper, to which various associations
l9
Designing a product or corporate logo is a process
to message design. Creativity functions as an
throughout the process which draws on conceptual-
of corporate image into symbolic execution. De-

Of the logo must involve thought of product bene-

fit, corporate and product image, consumer opinion and

attitude and must incorporate the afore mentioned theories

and principles of design.

According to Roy Nelson, from a design standpoint,

a trademark must be:

 

 

 

1. original

2. legible

3. stimulating

4. appropriate to the product

5. easy to remember.
It can take the following forms:

1. symbol

2. lettering,initials, or numbers

3. combination of all these.20

19Elwood Whitney (editor), Symbology: The Use of

Symbolplin Visual Communications (New York: Hastings
House, Publishers, 1960), p. 116.

20Roy Paul Nelson, The Design of Advertising

 

(Dubuque: Wm. C. Brown Co., Publishers, 1978). p. 283.

102

Designing or selecting a logo is a difficult task,
and depending on the image you wish to project, the follow-
ing list suggests precautions to avoid:

1. Avoid background prOps which tend to date the
logo. Simplicity will make the date less
identifiable.

2. Avoid pictures of people in modern dress.

3. Avoid unusual typefaces which are faddish and
difficult to read.

The following are examples of success logo and

trademark designs.

 

 

 

 

 

 

103

Layout

"Layout" is the execution of an advertising idea
into physical message form. It is the organization of all
the message elements discussed; headline, copy, illustra-
tion, copy and logo into a predetermined space. As
message designer you are responsible for the total look or
total impression of the advertisement, created through
the organization of the elements into a pleasing, unified
whole. Layout is a problem-solving process, using differ-
ent design related formats to solve advertising problems.

Recall the design principles discussed in Chapter
Two, things like balance, proportion, sequence, unity and
emphasis. A designer uses these principles in solving
all kinds of communication problems, problems that are very
different as exampled:

1. A grocery store ad with many items that must be
emphasized.

2. An expensive appliance that needs long COpy for
explanation.

3. A product benefit which needs instant recognition.

4. A product has more than one important benefit to
offer.

5. A department store that hOpes to reposition itself
in the market as a sophisticated trend setter.

6. The position of the message in the vehicle, such

104

as magazine or newspaper makes it Obscure within
the masses.
7. Sequencial demonstration of product and benefit

is needed to achieve full impact.

Layout Formats
There are a variety of layout "formats," general
structures or positioning of elements: copy, illustration,
headline, subheads, logo, etc. Most formats listed below,
(suggested by Gordon E. White and Keith S. Hafner in
Advertising Writing and Roy P. Nelson in The Design of

Advertising), follow basic layout design and principles.

Mondrian Layout

 

Named after Dutch painter Piet Mondrian who worked
only in vertical and horizontal rectangular arrangements,
this style is often used in advertising design.

A Mondrian arrangement is an easy, logical, workable,
effective way to display type and art. The Mondrian

style is concerned with prOportion as a design principle.
Newspaper layouts are most closely attuned to Mondrian
format, broken into column and cut-off boxes. The Mondrian
format deals with the arrangements of rectangular and
square shapes, accents placed with varying thick-thin

lines filling some rectangles with copy, others with half

tones and still others with white spaces.

105

The Mondrian layout can be effectively used to
solve such problems suggested in example 2 where the
COpy is lengthy, the approach direct and the content
informational. This format lends itself to the function
of orderly information giving, easing the burden of
lengthy copy by breaking the space into horizontal and
vertical blocks. The Mondrian format also lends itself
nicely to the formality of the product and message content
through it's balance and proportion, as seen in the example

below.

 

 

 

 

 

 

 

 

 

 

 

  

Runwmfii'himl

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Lf

 

 

 

 

 

 

 

 

 

 

 

 

 

106

Picture Layout--Post Layout

This format was pioneered by Doyle, Dave and
Bernbach. It fills 80% of layout space with picture and
the remaining space with tightly edited copy. It isn't
"art-for-art's sake," but an almost overpowering display
of picture followed by a one line headline below the pic-
ture and copy broken into two or three short columns.
Positioning of headline and scant COpy in different
location and addition of smaller pictures or line art add
variation.

The nature of the picture will affect the placement
and style of typeface in the headline. It is through
careful element arrangement that the design avoids having
the COpy look like filler.

This format is an excellent solution to the
communication problem described in example 3 in which a
product and benefit needs instant recognition. It can be
effectively used to solve example 5 with an important
design principle, emphasis. Here, a retailer is looking
for an image change, an attention-getter in the form of a.
striking illustration which will stay in the consumer's

mind. The following is an example of picture layout:

108

Copy-Heavy Layout--Editorial Layout

There are two reasons why this mostly COpy format
may be chosen over other styles:

1. What has to be said is too involved, too impor-
tant,too unique, too dignified to put in pictures.

2. Most other ads in the medium will be picture-
oriented, so that a quiet copy format provides
contrast. This form usually employs formal
balance principles. Lines and headlines are
centered, typefaces more conservative, and every-
thing is in balance and there is a feeling of
dignity.

When COpy is long, it must be broken into easy—to-
take groupings. White space between copy blocks must be
used effectively to create a visually pleasing design.
Type is usually justified, and subheads should be lush
right, left or centered.

Copy-heavy or editorial layout uses the design
principles of balance and proportion to solve communica-
tion problems exampled in 4-where a product has more than
one benefit to offer and needs lengthy copy to explain
and persuade. This format lends itself well to very formal

styles and approaches.

 

109

 

 

 

 

 

 

 

 

MAM (LUCIA WWW

W

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

110

Frame Layout

 

Employs arrangement of elements with photograph,
illustration or layout itself for the 'framing' of an
important point. The format keeps things within
boundaries, using borders, placing copy within artwork.
A variation of this uses photo or art covering the whole
layout and surprinted or reversed out copy placed over
lighted areas.

An excellent solution to example 6, the obscure
advertisement amid hundreds, the frame layout uses the
principle of unity to tie the message together. A
second design principle, emphasis, in the form of a frame

or border, attracts consumer attention.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

111

Picture-Cluster Layouts or Circus Layout

 

This is an attention-getting format, filled with
many photographs, large and reversed type areas, arrange-
ment of lines and designs set to arouse interest. ,Curves
are set next to angles, tilts next to verticles. The
arrangement looks haphazard but is actually well planned
and fOllows many design principles. It is an excellent
way to deal with many components or topics in one message.
Circus encompasses many layout approaches.

The elements are separated into units which are
than organized into a unified pattern. Proposition and
balance are two important principles to employ. Variety,
however, should be the main concern, achieved through
assortments of size, shape and tone changes.

Circus layout can be used in a variety of ways,
but most importantly uses the principles of sequence
unity plus emphasis to tell a story with many different
parts. It easily solves the problem exampled in #1 in
which a grocery store has many items to advertise, each

must be emphasized.

112

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

113

Comic-Strip Layout or Multi Panel Layout

 

Like a comic strip sequence, with SOphistication
added, the multipanel allows the product or benefit to
be shown 'in action'; showing sequencial change or
before and after, telling a story.

Multi panel layout design solves the problem
exampled in number 7 where sequencial demonstration of a

benefit adds needed impact to the advertising message.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

114

Silhouette Layout

 

Layout is designed to form a silhouette, using
reverse type on a dark background, and irregular shapes
always showing a side or 3/4 view for interest. To main-
tain unity throughout the layout, the elements should be
in close proximdty or even touching one another, at spots
unrelated to each other. This accomplishes two things:

(1) prevents the white frame from turning into an even
halo that could diminish the ad's apparent size and (2) it

prevents the medium's encroaching on white space.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

115

Type-Specimen Layout

 

This format involves the use of type to carry the
message. Type specimen themselves are works of art and
may be used to attract attention and lead the eye when
placed according to some design principles. Headlines and
copy blocks are usually larger than the normal 10 or 12
point usually seen. The type often takes the place of the
art itself.

Type-specimen layout is an excellent solution to
the problem exampled in number 2 in which the product

and benefit calls for detailed and lengthy explanations.

FL]
so 3
“Oil. V‘

For less than

 

 

    

 

 

 

 

 

 

 

 

116

Rebus Layout

 

It is a format which uses illustrations to exempli-
fy a benefit or a story. Like a picture puzzle, words are
sometimes omitted and pictures inserted to ad variety and
uniqueness. The idea is to maintain clarity of story
but to add pictures for interest. Copy can consist of
captions under pictures. ;

The point of giving these examples, is to provide :
some ground for thought about options before beginning a

thumbnails. Which format would best exemplify the benefit

 

Ira-w

offered? Beginnin with one can lead to experimentation.
This type of layout solves the problem exampled

in numbers 3, 4 and 5 in which the visual carrys substan-

tial weight in informing, demonstrating and motivating.

WHY YOU NEED NOW
A TOYOTA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

117

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L
Mam Imam

 

 

 

 

 

 

 

 

 

118

Color

 

The Use of Color in Layout

In 1976, about 70% of all advertisements in busi-
ness publications run in two or more colors, reported
Charles 8. Mill, president of the American Business Press,
in what he said was "a conservative estimate."

Color calls for attention, it creates atmosphere,
stimulates consumers and emphasizes what is important.
The product, the consumer and the advertiser benefit from
the use of color. The product's benefits are more apparent:
the consumer sees a more accurate and visually pleasing
picture, and the advertiser gains increased sales with the
use of color in advertising. Studies done by the American
Newspaper Publishers Association Bureau of Advertising in
1971 show that with one color added, ads in newspapers
"influence" 50% more sales than black-and-white ads. Full
color (three-color) ads in newspapers "generate" 70%
greater sales than black and white ads.21

When color is added, peOple are more likely to
become actively involved in the ad. When the ad impetus
is placed on shape, the consumer is forced to participate
in the ad. Color calls out to the consumer, offering

realism. It enhances product, denotes quality and crafs-

manship and subtle tone changes that black and white misses.

 

21Print Advertising Association News, March, 1971,

119

For example, because we judge how good food is likely to
taste by its color, using color in an ad for a cake mix
helps us evoke appetite appeal, an effect crucial to the
success of food advertisements. Color selections and
combinations will depend upon a variety of factors, in-
cluding audience, product, benefit, message approach and
tone and other variables influencing message style.
As we grow up, we learn to associate certain
colors with certain effects or feelings. Blue
skies and white snows teach us to associate
blueness, especially lighter blues, with coon-
ness, for example. Because we bring such asso—
ciations to the color, advertisers can use the
color to evoke the feeling. For example,
imagine a photograph in color of a white snow
covered mountain. In the background, a brilliant
blue sky frames the mountain. The headline pro-
mises how cool and refreshing the taste of the
product is. . ." 2
The following terminologies are used in reference
to color characteristics, terminologies that may help
make color selection a more logical process.
Color has three 'dimensions' that affect the way it
looks. These dimensions or characteristics are:
Hue--refers to the color itself, for example,
red, blue, or yellow.

Value--refers to the depth of color . . . the

amount of or lack of light affects value. By adding

 

22Dr. Charles Mauldin, Department of Advertising,

Michigan State University, East Lansing.

 

120

white, the value becomes greater. Adding dark creates
less value, shading.

Intensity--is the brilliancy and brightness of

 

color. Chroma is another word used in reference to

intensity.

Symbolism of Color

Certain colors communicate things that words
cannot. This is the symbolism of color. Color is
another tool for transmitting concept into layout when
selected and used effectively. Most color selection has
it's origin in research because it's necessary to know
consumer preferences and subconscious implications color
can have for him. Colors stimulate emotion and mood.

The following list suggested by Roy Nelson in The Design

 

of Advertising, as color combinations that are emotion

 

and mood stimulators:
Cool colors are greens, blues and purples.
Warm colors are reds, browns and yellows.
The following colors have symbolic meanings:
Red--passion, appropriate to religion,
Orange--color of warmth, energy, force,

Violet--combination of red and blue denotes
royalty, loneliness, ‘

Blue--cool, passive, aloofness, feeling of
transparency,,

121

Green--restfu1, fresh, fruitful, guilt, disease,
terror,

White--purity, truth,

Black--depression, sorrow, gloom, death.

To make objects within a layout look bigger, or
to show emphasis, color them bright, with colors of high
intensity. Bright color radiates, draws the eye out,
expands the object's apparent size. There must be some
thought to these three elements of color when selecting
and combining colors in an advertisement, if the message
effectiveness is to be maximized. Color combinations
such as red and brown or green and black work well in an
ad only when hue, intensity and value are consistent
and harmonious. Study of the color wheel, primary, secon-
dary and tertiary colors characteristics and some basic
rules of color will make color selection easier and more
effective.

When running color in an advertising message, the
more unconventional and imaginative its use, the more
effective the message will be. Some unusual applications
of color include:

--select emphasis area in off-beat areas within
the layout.

--Run color tints behind copy blocks (careful with
intensity as to avoid reduction in readability).

-—Change color value as it covers an area,

122

creating a light to dark tonal change.

--Run headline and logo in color and spot color
elsewhere for balance and eye flow.

--Combine odd paper color and texture (in print)
with unusual (yet complimentary) colors, for example:
high gloss paper and magenta ink, or ivory, lightly
textured paper with a soft brown ink . . . the combinations
will give off totally different feeling and will have very
different appeal. Experiment with combinations and
color positioning before making any final decisions. Base
any decision on research, personal experience or advice of
old pros.

Color has characteristics which can enhance the
message's effectiveness such as in the situation of a
2-page spread in which the halves of an ad are separated
by a gutter. Color can be used to unify the pages by
running a color screen or bar across the pages, thus
making it obvious to the reader that the two pages belong
together, that they are one ad.

While color may be expensive, such characteristics
which enhance the message's effectiveness make the cost
worth the price. Don't overlook the possibility of color

at any level, in any medium because of its unique value.

SUMMARY

This thesis has been concerned with the major
principles, theories and processes surrounding the
creation of effective advertisements.

With creativity as an impetus, the process begins
with a copy platform which is used to gather, sort and
analyze information concerning the product, the market
and the consumer. The copy platform provides the organi-
zation needed to make crucial message design decisions
concerning the message objective, and product benefit
selection. It also provides an in-depth look at the con-
sumer and thus dictates further execution decisions known
as 'creative tactics.‘

Execution theories, such as line, symbolism and
design principles, influence selecting and develOping
visual and verbal elements.

The final execution decisions involve the defining
of message approach, the writing of COpy and headlines and
the selection of illustration in a manner which most
effectively tells the product/benefit story. Using design
principles, layout formats are provided as solutions to
various advertising problems. The addition of color serves
to enhance message effectiveness.

123

124

The ideas presented in this paper are intended
to be used for a better understanding of the creative
aspect of advertising; the design of effective adver-
tisements. Although many of the ideas are general, it
is hoped that they will provide a basis for further

inquiry.

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