Book-Reader-Assist/library/Ogilvy on Advertising/Chapter-07-Wanted-a-renaissance-in-print-advertising/Chapter-07-source-text.md

Ogilvy on Advertising — Chapter-07: Wanted: a renaissance in print advertising

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7 WANTED: A RENAISSANCE IN PRINT ADVERTISING ‘God is in the details’ Agency people find making television commercials far more exciting than making advertisements for newspapers and magazines. If their own talents are modest, the film producers can make them look good. In winter, they enjoy going on location at glamorous resorts, while their print colleagues are left behind in cold solitude. The other day I read a cri de cœur from a senior executive in a food company: ‘TV is so devouring a medium that you need to comb the agencies to find the old sweat who knows how to put together half-way decent print advertisements for food. The others invent food advertising all over again, without knowing which way is up. ‘The silly thing is that there are just about infallible formulae for constructing advertisements which grab a woman’s attention and don’t let go of it until the message has been fully planted. Once these formulae are understood, even junior brand managers can assemble the makings of a hard-working food advertisement, while the bright ones will have women tearing out your ads and shoving them into kitchen drawers in a way you wouldn’t believe. ‘Try telling this to agencies. They’ve never heard of the fundamentals of food advertising. Mention formulae to them and their frail creative souls shrivel.’

The shortage of print know-how presents a serious problem to cigarette manufacturers and others who are not allowed to use television. It also presents a golden opportunity for copywriters and art directors who take the trouble to acquire the know-how. In this chapter I will uncork what I have learned about print advertising. But I cannot do so without repeating some of the things – still valid – I have written elsewhere. I never cease to be struck by the consistency of consumer reactions to different kinds of headline, illustration, layout and copy – year after year, country after country. The principal sources of my information are the factor analyses which I commission from Gallup and Robinson, the Starch Readership Service, the results of direct response tests and my own observation. HEADLINES On the average, five times as many people read the headlines as read the body copy. It follows that unless your headline sells your product, you have wasted 90 per cent of your money. The headlines which work best are those which promise the reader a benefit – like a whiter wash, more miles per gallon, freedom from pimples, fewer cavities. Riffle through a magazine and count the number of ads whose headlines promise a benefit of any kind. Headlines which contain news are sure-fire. The news can be the announcement of a new product, an improvement in an old product or a new way to use an old product – like serving Campbell’s Soup on the rocks. On the average, ads with news are recalled by 22 per cent more people than ads without news. If you are lucky enough to have some news to tell, don’t bury it in your body copy, which nine out of ten people will not read. State it loud and clear in your headline. And don’t scorn tried-and-true words like ‘amazing’, ‘introducing’, ‘now’, ‘suddenly’. Headlines that offer the reader helpful information, like ‘HOW TO WIN FRIENDS AND INFLUENCE PEOPLE’, attract above-average readership. I advise you to include the brand name in your headline. If you don’t, 80 per cent of readers (who don’t read your body copy) will never know what product you are advertising. If you are advertising a kind of product which is only bought by a small group of people, put a word in your headline which will flag them down, like ‘asthma’,

‘bedwetters’, ‘women over 35’. Starch reports that headlines with more than ten words get less readership than short headlines. On the other hand, a study of retail advertisements found that headlines of ten words sell more merchandise than short headlines. Conclusion: if you need a long headline, go ahead and write one, and if you want a short headline, that’s all right too. The famous headline ‘Lemon.’ contributed a lot to the success of Volkswagen in the United States. Specifics work better than generalities. When research reported that the average shopper thought Sears Roebuck made a profit of 37 per cent, I headlined an advertisement ‘Sears makes a profit of 5 per cent’. This specific was more persuasive than saying that Sears’ profit was ‘less than you might suppose’ or something equally vague. When you put your headline in quotes, you increase recall by an average of 28 per cent. When you advertise in local newspapers, you get better results if you include the name of each city in your headline. People are most interested in what is happening where they live. A psychologist flashed hundreds of words on a screen and used an electric gadget to measure emotional reactions. High marks went to ‘darling’. So I used it in a headline for Dove. Some copywriters write tricky headlines – double meanings, puns and other obscurities. This is counter-productive. In the average newspaper your headline has to compete with 350 others. Readers travel fast through this jungle. Your headline should telegraph what you want to say. Some headlines are ‘blind’. They don’t say what the product is, or what it will do for you. They are about 20 per cent below average in recall. Since headlines, more than anything else, decide the success or failure of an advertisement, the silliest thing of all is to run an ad without any headline at all – ‘a headless wonder’. If you would like more guidance on writing headlines, I commend you to John Caples’ book Tested Advertising Methods (Prentice-Hall). MY FAVORITE HEADLINES • For lanolin as a cure for baldness: ‘Have you ever seen a bald-headed sheep?’ • For a pile remedy: ‘Send us your dollar and we’ll cure your piles, or keep your dollar and keep your piles.’

ILLUSTRATIONS A picture, they say, can be worth a thousand words. The cowboy photographs for Marlboro, and Elliott Erwitt’s photographs in the ads for Puerto Rico and France are examples. Here are 15 ways to make your illustrations work for their living:  

1. The subject of your illustration is all important. If you don’t have a remarkable idea for it, not even a great photographer can save you.
2. The kind of photographs which work hardest are those which arouse the reader’s curiosity. He glances at the photograph and says to himself, ‘What goes on here?’ Then he reads your copy to find out. Harold Rudolph called this magic element ‘Story Appeal’, and demonstrated that the more of it you inject into your photographs, the more people look at your advertisements.
3. When you don’t have a story to tell, it is often a good thing to make your package the subject of your illustration.
4. It pays to illustrate the end result of using your product. Before-and-after photographs seem to fascinate readers. In a study of 70 campaigns whose sales results were known, Gallup did not find a single before-and-after campaign that did not increase sales.
5. When I arrived on Madison Avenue, most advertisements were illustrated with drawings. Then it was found that photographs attracted more readers, were more believable, and better remembered. When I took over the ‘Come to Britain’ advertising, I substituted photographs for the drawings which the previous agency had used. Readership tripled, and so did tourism to Britain. Direct-response advertisers find that photographs pull more coupons than drawings, and department stores find that they sell more merchandise. However, photographs reproduce so badly in some newspapers that you can get a more lifelike picture by using a line drawing. I found that scratch-board drawings sold more Thom McCan shoes than photographs.
6. The use of characters known to people who see your television commercials boosts the recall of your print advertisements.
7. Keep your illustrations as simple as possible, with the focus of interest on one person. Crowd scenes don’t pull.
8. Don’t show human faces enlarged bigger than life size. They seem to repel readers.
9. Historical subjects bore the majority of readers.

1. Do not assume that subjects which interest you will necessarily interest consumers. Being a former chef, I assumed that everyone found chefs interesting – until I used them in an advertisement. I got miserable readership among the housewives who were the target audience. A friend at Campbell’s Soup told me that he too had observed that housewives were turned off by chefs.
2. My brother Francis once asked a Cockney editor of the Daily Mirror (London) what kind of photographs most interested his readers. He answered, ‘Babies with an ’eart-throb, animals with an ’eart-throb, and what you might call sex.’ This is still true today.
3. When I worked for Dr. Gallup, I noticed that moviegoers were more interested in actors of their own sex than actors of the opposite sex. People want to see movie stars with whom they can identify. The same force is at work in advertisements. When you use a photograph of a woman, men ignore your advertisement.
4. Advertisements in four colors cost 50 per cent more than black and white, but, on the average, they are 100 per cent more memorable. A good bargain.
5. I cannot resist the temptation to quote a verse which gives valuable advice on illustration:   When the client moans and sighs, Make his logo twice the size. If he still should prove refractory Show a picture of his factory. Only in the gravest cases Should you show the clients’ faces.   When you advertise products for use in cooking, you attract more readers if you show a photograph of the finished dish than the ingredients. WARNING My former partner Douglas Haines has recently demonstrated that the illustrations in advertisements are often misunderstood. In a pilot study, he came across a woman who thought that the photograph of a luxurious hotel foyer in a cigarette advertisement was a hospital ward for cancer patients.

BODY COPY ‘Nobody reads body copy.’ True or false? It depends on two things. First, on how many people are interested in the kind of product you are advertising: a lot of women will read copy about food products, but few will read copy about cigars. Second, on how many people have been enticed into your ad by your illustration and headline. The average readership of the body copy in magazine ads is about 5 per cent. That does not sound like a lot until you remember that 5 per cent of readers of the Reader’s Digest adds up to 1,500,000 men and women. Do not, however, address your readers as though they were gathered together in a stadium. When people read your copy, they are alone. Pretend you are writing each of them a letter on behalf of your client. One human being to another, second person singular. Queen Victoria complained that Gladstone talked to her as if he were addressing a public meeting. She preferred Disraeli, who talked to her like a human being. When you write copy, follow Disraeli’s example. It isn’t as easy as you may think. Aldous Huxley, who was once a copywriter, said, ‘It is easier to write ten passably effective sonnets than one effective advertisement.’ You cannot bore people into buying your product. You can only interest them in buying it. It pays to write short sentences and short paragraphs, and to avoid difficult words. I once wrote that Dove made soap ‘obsolete,’ only to discover that the majority of housewives did not know what the word meant. I had to change it to ‘old-fashioned’. When I used the word ‘ineffable’ in copy for Hathaway, a reporter telephoned to ask me what it meant. I hadn’t the faintest idea. Nowadays I keep a dictionary beside my telephone. When copywriters argue with me about some esoteric word they want to use, I say to them, ‘Get on a bus. Go to Iowa. Stay on a farm for a week and talk to the farmer. Come back to New York by train and talk to your fellow passengers in the day-coach. If you still want to use the word, go ahead.’ Copy should be written in the language people use in everyday conversation, as in this anonymous verse:   Carnation Milk is the best in the land, Here I sit with a can in my hand. No tits to pull, no hay to pitch,

Just punch a hole in the son-of-a-bitch.   Don’t write essays. Tell your reader what your product will do for him or her, and tell it with specifics. Write your copy in the form of a story, as in the advertisement which carried the headline, ‘The amazing story of a Zippo that worked after being taken from the belly of a fish’. One of the most famous advertisements ever written was by John Caples for International Correspondence School, under the headline ‘They Laughed When I Sat Down at the Piano – But When I Started to Play! – ’. I advise you to avoid analogies. Gallup has found that they are widely misunderstood. If you are writing copy for a face cream and say, ‘Just as plants require moisture, so too does your skin,’ readers don’t complete the equation. If you show a Rembrandt and say, ‘Just as this Rembrandt portrait is a masterpiece, so too is our product,’ readers think you are selling the Rembrandt. Stay away from superlatives like ‘Our product is the best in the world.’ Gallup calls this Brag and Boast. It convinces nobody. If you include a testimonial in your copy, you make it more credible. Readers find the endorsements of fellow consumers more persuasive than the puffery of anonymous copywriters. Says James Webb Young, one of the best copywriters in history, ‘Every type of advertiser has the same problem: to be believed. The mail- order man knows nothing so potent for this purpose as the testimonial, yet the general advertiser seldom uses it.’ Sometimes you can cast your entire advertisement in the form of a testimonial. My first ad for Austin cars took the form of a letter from an ‘anonymous diplomat’ who was sending his son to Groton with money he had saved driving an Austin. A combination of snobbery and economy. Unfortunately, a Time editor guessed that I was the anonymous diplomat, and asked the headmaster of Groton to comment. I had to send my son to another school. Testimonials from celebrities get high recall scores, but I have stopped using them because readers remember the celebrity and forget the product. What’s more, they assume that the celebrity has been bought, which is usually the case. On the other hand, testimonials from experts can be persuasive – like having an ex-burglar testify that he had never been able to crack a Chubb safe. Most copywriters believe that markdowns and special offers are boring, but consumers don’t think so. They are above average in recall. Always try to include the price of your products. You may see a necklace in a jeweler’s window, but you don’t consider buying it because the price is not shown and you are too shy to go in and ask. It is the same way with advertisements.

When the price of the product is left out, people have a way of turning the page. When Ellerton Jetté retired as head of Hathaway and became a picture dealer, he violated tradition in the art trade by showing the price of the pictures in his advertisements. Unfortunately, it is seldom possible for manufacturers to do this in their advertisements, because they cannot dictate prices to retailers. This reduces the selling power of their ads. I don’t think it matters with package goods, but it matters a lot with products which cost real money, like cars and refrigerators. I believe that all copy should be signed by the agency. This is never done in the United States, on the ground that manufacturers buy space to advertise their products, not their agencies. Short-sighted. My experience suggests that when agencies sign their ads, they produce better ones. When Reader’s Digest asked me to write an advertisement for their magazine (see page 57), they specified that I had to sign it. Golly, did I work hard on that ad. Everyone was going to know who wrote it. It is now the convention for agencies in Germany and France to sign their ads. The FCB-Impact agency in Paris even gives its copywriters a by-line. Jolly good. SHORT COPY OR LONG? All my experience says that for a great many products, long copy sells more than short. I have failed only twice with long copy, once for a popular-priced cigar and once for a premium-priced whiskey. Here are nine examples which were successful:  

1. The late Louis Engel wrote an advertisement of 6,450 words for Merrill Lynch. One insertion in the New York Times pulled 10,000 responses – without a coupon.
2. Claude Hopkins wrote an advertisement for Schlitz beer with five pages of solid text. In a few months, Schlitz moved from fifth in sales to first.
3. I wrote 700 words for Good Luck margarine. Sales responded.
4. My first ad for Puerto Rico contained 600 words (signed by Beardsley Ruml but written by me). Fourteen thousand readers sent in the coupon, and scores of them built factories in Puerto Rico.
5. A series of newspaper ads for Shell carried 800 words. 26 per cent of men read more than half of them, and Shell’s share of the market reversed a seven- year decline.

1. My partner Francis X. Houghton wrote an advertisement for US Trust which contained 4,750 words. It was a success.
2. In advertisements for Ogilvy & Mather, I used 2,500 words. They brought in a lot of new business.
3. In an advertisement for the World Wildlife Fund, I used 3,232 words.
4. In a series for Morgan Guaranty, I used 800 words. They did the bank a lot of good.   I could give you countless other examples of long copy which has made the cash register ring, notably for Mercedes cars. Not only in the United States, but all over the world. I believe, without any research to support me, that advertisements with long copy convey the impression that you have something important to say, whether people read the copy or not. After studying the results of advertising for retailers, Dr. Charles Edwards concluded that ‘the more facts you tell, the more you sell’. An advertisement’s chance for success invariably increases as the number of pertinent merchandise facts included in the advertisement increases. Direct-response advertisers know that short copy doesn’t sell. In split-run tests, long copy invariably outsells short copy. But I must warn you that if you want your long copy to be read, you had better write it well. In particular, your first paragraph should be a grabber. You won’t hold many readers if you begin with a mushy statement of the obvious like this one in an ad for a vacation resort: ‘Going on vacation is a pleasure to which everyone looks forward.’ A Harvard professor used to begin his series of lectures with a sentence that took his students by the throat: ‘Cesare Borgia murdered his brother-in-law for the love of his sister, who was the mistress of their father – the Pope.’ HOW TO BECOME A GOOD COPYWRITER It is no bad thing to learn the craft of advertising by copying your elders and betters. Helmut Krone, one of the most innovative of art directors, has said: ‘I asked one of our writers recently what was more important, doing your own thing or making the ad as good as it can be. The answer was, “Doing my own thing”. I disagree violently with that. I’d like to propose a new

idea for our age: until you’ve got a better answer, you copy. I copied Bob Gage for five years, I even copied the leading between his lines of type. And Bob originally copied Paul Rand, and Rand first copied a German typographer named Tschichold.’ I, too, started by copying. Working in a London agency, I used to copy the best American ads. Later, I began to do my own thing. LAYOUTS Advertising suffers from sporadic epidemics of Artdirectoritis. Those afflicted with this disease speak in hushed voices of ‘cool grey bands of type’, as if the copy in advertisements was a mere design element. They extol the importance of ‘movement’, ‘balance’ and other mysterious principles of design. I tell them ‘KISS’ – an acronym for ‘Keep It Simple, Stupid’. In the early days of Ogilvy & Mather I used the same, simple layout for all our advertisements in magazines. (See page 134.) Later, when a competitor accused me of foisting a house style on all our clients, I invented a second layout which allowed space for more copy. I challenge you to invent a better layout than these. Readers look first at the illustration, then at the headline, then at the copy. So put these elements in that order – illustration at the top, headline under the illustration, copy under the headline. This follows the normal order of scanning, which is from top to bottom. If you put the headline above the illustration, you are asking people to scan in an order which does not fit their habit. On the average, headlines below the illustration are read by 10 per cent more people than headlines above the illustration. You may not think the difference worth writing about, but consider the fact that 10 per cent of, say, 20,000,000 readers is two million. Not to be sneezed at. Yet in 59 per cent of magazine advertisements the headlines are above. Some dopes even put their headline at the bottom, under the copy! More people read the captions under illustrations than read the body copy, so never use an illustration without putting a caption under it. Your caption should include the brand name and the promise. Advertising people have an unconscious belief that advertisements have to look like advertisements. They have inherited graphic conventions which telegraph to the reader, ‘This is only an advertisement. Skip it.’

There is no law which says that advertisements have to look like advertisements. If you make them look like editorial pages, you will attract more readers. Roughly six times as many people read the average article as the average advertisement. Very few advertisements are read by more than one reader in 20. I conclude that editors communicate better than admen. Look at the news magazines which have been successful in attracting readers: Time and Newsweek in the United States, L’Express and Le Point in France, Der Spiegel in Germany, L’Espresso in Italy, Cambio16 in Spain. They all use the same graphics:   • Copy has priority over illustration. • The copy is set in serif type. • Three columns of type, 35 to 45 characters wide. • Every photograph has a caption. • The copy starts with drop-initials. • The type is set black on white.   Now look at the advertisements in the same magazines. You will see that:   • Illustrations are given priority over copy. • The copy is often set in sanserif, which is hard to read; we are accustomed to serifs in books, magazines and newspapers. • The copy is often set in one column of 120 characters or more – too wide to be readable. • Few of the photographs have captions, because the art directors are not aware that four times as many people read captions as read body copy. • There are very few drop-initials, because the art directors are not aware that they increase readership. • The copy is frequently set in reverse – white on black. I have even seen coupons in reverse; you cannot fill them out unless you have white ink in the house.   If you pretend you are an editor, you will get better results. When the magazine insists that you slug your ads with the word ‘advertisement’, set it in italic caps, in reverse. Then nobody can read it. The FCB-Impact agency in Paris consistently produces better magazine advertisements than any other agency, and none of them look like advertisements. Hats off to Pierre Lemonnier, the copywriter who is Impact, and Philippe

Saalburg who was his art director for many years. They pinched my techniques and improved them. If you abandon the conventional graphics of advertisements and adopt editorial graphics, your campaigns will become islands of good taste in an ocean of vulgarity. • • • Layouts are often pinned up on bulletin boards at meetings and approved at a distance of 15 feet, as if they were posters. This leads to setting headlines in 72 point, which is impossible to read at the normal distance of 20 inches. Are two-page spreads worth the cost? They cost twice as much as single pages, but seldom get twice the readership, or pull twice as many coupons. Occasionally there is a functional reason for using a double-spread, as when your product is a long one and has to be shown horizontally. But nine times out of ten, double-spreads are no more than self-indulgence by an art director who wants his advertisements to look big and juicy. If you swear off double-spreads, you will be able to run twice as many advertisements for the same money, thereby doubling your reach or your frequency.* POSTERS For better or worse, posters are still with us, so I had better tell you what little is known about designing them to maximum effect. There has been little or no research on the subject. It pays to make your poster what Savignac called a ‘visual scandal’. But don’t overdo the scandal or you will stop the traffic and cause fatal accidents. Your poster should deliver your selling promise not only in words, but also pictorially. Use the largest possible type. Make your brand name visible at a long distance. Use strong, pure colors. Never use more than three elements in your design. If you know more than that, please tell me. SUBWAY CARS

If it falls to you to produce advertisements for the subway, it may help to know that the average rider in the New York subway will be exposed to your advertisement for 21 minutes, which is long enough to read quite a long message. Only 15 per cent of passengers carry anything to read. The other 85 per cent have nothing to do but read your copy. TRADEMARKS ARE AN ANACHRONISM In olden days, before people could read, manufacturers used trademarks to identify their brands. If you saw a tiger on a bottle of beer, you knew it was Tiger beer. Many companies, unaware that consumers are no longer illiterate, still use graphic symbols to identify their brands, and insist on them being displayed in their advertisements. They add to the gadgetry which clutters up layouts, and proclaim, ‘This is only an advertisement.’ Readership of the advertisement is reduced. One of my clients was persuaded that his company’s symbol was too old- fashioned and paid a fancy firm $75,000 to design a new one. At the unveiling I whispered to one of the Vice-Presidents, ‘A tyro in our art department could have designed a better symbol for $75.’ ‘No doubt,’ he replied, ‘but we would have argued it to death.’ TYPOGRAPHY – ‘THE EYE IS A CREATURE OF HABIT’ Good typography helps people read your copy, while bad typography prevents them doing so. Advertising agencies usually set their headlines in capital letters. This is a mistake. Professor Tinker of Stanford has established that capitals retard reading. They have no ascenders or descenders to help you recognize words, and tend to be read letter by letter. The eye is a creature of habit. People are accustomed to reading books, magazines and newspapers in lowercase. Look how difficult it is to read the all- caps headline in the ABN advertisement on page 145. Another way to make headlines hard to read is to superimpose them on your illustration. Another mistake is to put a period at the end of headlines. Periods are also called full stops, because they stop the reader dead in his tracks. You will find no

full stops at the end of headlines in newspapers. Yet another common mistake is to set copy in a measure which is too wide or too narrow to be legible. People are accustomed to reading newspapers which are set about 40 characters wide. Which typefaces are easiest to read? Those which people are accustomed to reading, like the Century family, Caslon, Baskerville and Jenson. The more outlandish the typeface, the harder it is to read. The drama belongs in what you say, not in the typeface. Sanserif faces like this are particularly difficult to read. Says John Updike, ‘Serifs exist for a purpose. They help the eye pick up the shape of the letter. Piquant in little amounts, sanserif in page-size sheets repels readership as wax paper repels water; it has a sleazy, cloudy look.’ Some art directors use copy as the raw material for designing queer shapes, thus making it illegible. In a recent issue of a magazine I found 47 advertisements with the copy set in reverse – white type on a black background. It is almost impossible to read. If you have to set very long copy, there are some typographical devices which increase its readership:  

1. A subhead of two lines, between your headline and your body copy, heightens the reader’s appetite for the feast to come.
2. If you start your body copy with a drop-initial, you increase readership by an average of 13 per cent.
3. Limit your opening paragraph to a maximum of 11 words.
4. After two or three inches of copy, insert a cross-head, and thereafter throughout. Cross-heads keep the reader marching forward. Make some of them interrogative, to excite curiosity in the next run of copy.
5. When I was a boy, it was common practice to square up paragraphs. It is now known that widows – short lines – increase readership.
6. Set key paragraphs in bold face or italic.
7. Help the reader into your paragraphs with arrowheads, bullets, asterisks and marginal marks.
8. If you have a lot of unrelated facts to recite, don’t use cumbersome connectives. Simply number them – as I am doing here.
9. What size type should you use? This is 5-point. and too small to read This is 14-point, and too big.

This is 11-point, and about right. 10. If you use leading (line-spacing) between paragraphs, you increase readership by an average of 12 per cent.   You may think that I exaggerate the importance of good typography. You may ask if I have ever heard a housewife say that she bought a new detergent because the advertisement was set in Caslon. No. But do you think an advertisement can sell if nobody can read it? You can’t save souls in an empty church. As Mies van der Rohe said of architecture, ‘God is in the details.’

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BeefBrnth CONDENSED Soup on the rocks. CooloffwithCampbell'sBeef Broth.Take itstraightfromthecan andontotheice.TryitwithadashofWorcestershireorlemon afterahotdayonlandorsea.Asamatteroffact,don'tevenwait forarealhotday;startpouringnow.Cheers! M'm!M'm!Good!

Ads with news are recalled by 22 per cent more people than ads without news. It does not have to be the announcement of a new product. It can be a new way of using an old product, as in this advertisement.

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Darling, I'm having the most extraordinary experience... I'mhead over heels in DOVE! No, darlingDOVE. Dlike in delicious. Remember “The Great Ziegfeld,” denr? How makes me feel all velvet and silk, all soft and I told you, sweet. I'm in the tub. Taking a Anna Held bathed in milk? And Cleopatraone smooth. Just the most pampered, most spoiled, bath. A pove bath-my very first. hundred mares or something milked every day girliest girl in the world. for her bath? Darling, I'm purring. Well, darling, I'm all over cream, Just imag- And did I tell you Dove is sort of me-shaped? Dove ine, cream tip to toe. Arms. Legs. All of me! That it's eurved to fit my hand, so it doesn't And clean/ Simply smothered in suds. Oodles keep slithering away in the tub? Soap is soap, of suds! Oceans of. I don't know what I ever but a bath with DOVE is hearen! did to deserre DOVE! And just think, darlingtomorrou night, I ean And you know how soap leaves your skin so do it again. dry? That nasty stretched feeling? Well, DOVE And what a positively gorgeous time I'm having! It's just as if I'd never really bathed NOTE TO EAVESDROPPERS before! You can buy the remarkable new bath and No,dear,it isn'tasoap.Soap wasneverlik Dove toilet bar called DOVE today, DOVg is a co this! So wickedly ereamy.That man on TV said ove pletely new formula. DOvE makes rich lather that DOvE is one-quarter cleansing creamthat in hardest water., DOvg leaves so bathtub ring. it ereams my skin while I batheand now I Lever Brothers guarantee that DOVE is better for your jace,your hands,all of you, than regu really beliere him. lar toilet soap. If you don't agree, we'l return Why,DOvE even smells creamy.Such a lovely, BATKANDTOILEER every penny you paid. lush, erpeneire smell! DOVE creams your skin while you bathe

I used the word ‘darling’ in the headline for this ad because a psychologist had tested hundreds of words for their emotional impact and ‘darling’ had come out top. I was not aware that it is dangerous to use a telephone when you are taking a bath.

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When you advertise in local newspapers, you get better results if you include the name of each city in your headline. People are mostly interested in what is happening where they live.

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Lemon. This Volkswogen missed the boat. than cors.j brake stand, and scy"no"to one VW ou! The chrome strip cn theglove compartment Everyshockabsorber istested Isporcheck fifty. is blemished and must be repiaced. Chances ing won't dol, every windshield is sconned. This preoccupotion with detail means : ore you wouldn'thove noticed it; Inspector VWs hove been rejected for surface scratches V losts longer and requires less main! Kurt Kroner did. barely visible to the eye. nonce, by ond lorge, than other cars. tit al There are 3,389men ol our Woffsburg fac. Final inspection is really something! VW means o used vW deprecia! torywithoniyonejob toinspecrVolkswogens inspectors run each cor off the line onto the less thon any other cor,] ateachstageofproduction,t3000Volkswogens Funktionsprufstand fcarteststandl,tote up189 Wepluck the lemons: youg ore produced daily; there aremore inspectors check points, gun ahead to the automotic the plums.

On the average, long headlines sell more merchandise than short ones. This one- word headline is the exception that proves the rule.

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Shop at Sears and save (their profit is less than 5%) Sears, Roebuck always charges lower prices than others charge for equal quality. Read how this enlightened policy is made possible by unique know-how in buying, combined with a modest margin of profit. Fint, Sears ts content to take a modest profir. Its net yesterday.-Across the country %5 uri ssa[ st.n ea st] 3goud Thcy bought rvery imaginable kind of merchan- Second,the Sears people kbubeutehy. dise. Rabons. Tires Refrigeratons Bicyclo, Skims Thcy buy from thousands of small, efficient facto- Clocks. tits These factories are located close to Sears stores Thcse menand women are Sears(cwpurisowsboppers. and mail-order housesto cut shipping costs. Theirpurchases, withpriceattached,aresent to Sea The Sears buyers work inrimratoiy with theitr sup. main officc every day. pliers They will help a manufacturer work out the There, they are checked fo: quality and price uot ccunumical production system, They will ad- against Sears merchandise, Sears analyxes the lowest vise him on every aspect of his business The minufacturer's cost of production is reduced. categary- Seans’ cust of distribution is reduced. And the prices I Sears amme ofem agualproduicr for lms monay yu pay are reduceddrastically. orassprior produit Jur the same amoum, Srarj does mor The results of this policy have been very good for ofor you this product at al. Sears And for Sean'sapplicnAnd for yu.Slop This remarkable policy is posible for two reasons. Sear) end Jate?

Specifics are more credible and more memorable than generalities. That is why I specified that Sears’ profit is less than 5 per cent.

On average, helpful information is read by 75 per cent more people than copy which deals only with the product. This ad told how Rinso gets out stains. It was

read and remembered by more people than any detergent ad that had ever been researched, but it should never have run because it was ‘off strategy’ – it did not deliver the agreed selling promise that ‘Rinso Washes Whiter’. The photograph shows different kinds of stains. The blood was my own; I am the only copywriter who has literally bled for his client. A picture can say a thousand words. An example of this is Elliott Erwitt’s photograph in this ad for the Festival Casals in Puerto Rico. It shows the final performance of the previous year’s festival. Cellist Pablo Casals was ill so could not attend; instead they played a recorded piece, during which the crowd and orchestra gave a standing ovation.

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WHENIT'SGOTTOBEREALLYWHITE-USERINSOWITHSOLIUM

As ex-chef (top), I assumed that housewives would find the Rinso photograph as interesting as I did. They didn’t. When you don’t have a story to tell in your photograph, make your product the subject of your illustration. This photograph was taken by Irving Penn, for Philippe Saalburg of FCB-Impact in Paris.

Before-and-after photographs fascinate readers, as in this advertisement from the Milan office of Ogilvy & Mather. The plant on the left has not been treated with Baysol (slug and snail killer), while the plant on the right has.

The eyepatch injects the magic element of ‘story appeal’. The model was Baron

Wrangell, who had a habit of swaying in front of the camera, so that we had to strap him to an iron pipe.

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ZIPPO...THE LIGHTER THAT WORKS THIE FISH THAT SNAPPED LP THE ZIPPO LIGHTER WAS A CREAT NORTHERN PIKE,ONE OFAMERICA'S SCRAPPIEST CAME FIS Theamazing storyofaZippothatworked afterbeingtakenfromthebellyofafish Mr.Harry Best, recently retired fish and game ThePike must have picked it off thebottom or The Zippo mana is nol surprised that the could havegrabbed it before itgot to thebot- protector for the New York State Conservation worked. He makcs every one of his lig tom.The lighter was in fine shape which showed Departmen,told thisremarkable but truestory work. Not just for wcks,montha orye to the Zippoman: forever! jit was that the Zippo lit the first time.” “A party., just west of Cleveland on Oneida Whether youbuy your Zippo lighter in Lake, was fishing for Great Northern Pike Even for a fisherman, it's quite a yam. But or find it in a fish, the Zippo man offers thentherearethousandsofother Zippolightens in Three Mile Bay,They caught Pike that same incredible guarantce: No matter! whichhave lived through adventures that would weighed about 18 pounds. When they dressed it isor what its condition,ifa Zippoe have made brare Ulysses'hair stand on end. the Pike,in thestomach was one ofyourlighters. to work,he'lu fixie free! If you doa't me Gold-lled Zippa.10 NewZippoStinLightet Louproel Zippo Nev ZippeSlim-Lighter. Regular Zippo. Made Eagine-terned Zippo. the botiom of th Ribbon desiga lram Lighter.In fve pepo kt.gold fusd tocase. Smart srv dexign is it's pot s gtnuih Zippe famouL Brutb- polishedchromaS.7S fai chromne$3.50 Bot plated. 120.00m polished chrome. $5.75 35.00 ‘ports design ing chrome finish. $6.00.

Note the editorial layout, and the story form – both plus factors. This advertisement promised, ‘If it ever fails to work, we’ll fix it free.’ Every morning hundreds of old and battered Zippos arrived in the mail. They were returned the same day in perfect working order – and no charge.

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“Cen rralz pll"rillolupred. Anloradaind rne gloyid a not in lis life.” They Laughed When I Sat Dow At the Piano But When IStarted to Play!- RTHURhad just the, .contisvd “The musicianhimsell,rere spenkiss tomepeakins played theysotcaoicr throth the medium ol munic-not in rordi bur is The room rangwith ap- Rossry.” Belorel hee it Toad plarinsal Not in seatences bot is exquisite mclodies! chorde. PiecesI liked beit Nothinr atoppedme.Icoule plause. I decided that this would be ballgdi or clauical upbeto orinn, all ith And A Complete Trlumph! dramatic moment for me to make my I serer did hayeasy opecial To the amazement of all debut. my for music!” the last Botes of the Moonlirht Sonita As friends, I strode confdently over to the died ay.the room roundedithjuddco roar. ol ppplause. Ilovndyelrsurrouaded by Play Any Instrument piano and sat down. Hoy friends carried on! tacited faces. You too,cas. “Jack isup.to hisold tricks"somebody aoutreclzosrrely tobean shoomyhandlidizconuratulated me- They their cotsunisn! laughed. me onthebacin ounded Fo wronrgith time.. Youcan't Everybody un csclnimins ith delight-phriok mt thio simpl Thich were all certain chat couldn't haa already method play Cith'tapidquestiont theifivorite ioseru shown People single note. Foreet thatold-fiohlosed idea thit you need ““Can he really play?” “Houlont have you stodied!” lears 1heard girl “taleat.” ancl,decide hich one you whisper to Arthur. L have sever evea.ma my yacherI replied. U.S.‘School il dothe reet. matter which imstrumeat rou chooe, the Andbearinm “Heavens,, no!” Arthur exclaimed. “And just short -hile ago I coulds't play a Bote,’ “He neverplayednotein allhinlife. “Ouit yoor Lidins.“lvhed Arthur, hinwell Such caveill h thewmejust le ceats No Matter chether you are aere begin But just you watch him. accomplishedpitsist. ilreadyopoodperformet,og This is going to for ilt be. int Icantell.” years in learaing sbout this sew and be rood.” ronderful “lbavebrentudyine osly,thort whil.. I decided to,make the most,of the i decided to heep.itoecret wo thes inoisted. Send for Our Free Boolklet an could ourpriu all you folki. situation.,Wich mock dignity, I drew Demonstzation Laseon Thes I told them the phole atory. outLilk bandkerechicf and lightly dusted Thouund of ruccenfel tedeati peverd “Hare Tou ever beard of the U. S. School they poosed mwsicoldbaiszusti it : MedierTked. the revolving piino atool quurter of to Chem by remarkabie Musical Ability “That's A few ol py friknde nodded. corre- Chich e uad eatirely without cout vith turo,justuf,had seen.animitator of epondence ichooi, ion'titp” they ezclaimrd. terestiag free boollet Paderewaki do in vaudeville oketch. la earseot “EuctlzLreplied,“They hare.ny? simpli- cboet wastins avorite s"What do you thinkof his executionp” fed method thot can teach you.to play snyiastru- tain happinee osd iocrean.your. or the free boollet ind ment by mail in jun a lew moetke. called voice from the rear. Demon mo obligatioi Nocout- Lreon. “We're in favor of itl” Right back came How I Learned to Play Without Special ofer for limited ou theanswet, and the crowd se studento. rocked with a Tescher Sirn aad wnd che coaveaias laughter. supplied offet. Tastrumests thio thenE erplained hou Asd for years had when Cach or credit.. to play ibe piano. Then I Started to Play loaped US.School et Muel “A montha.,“yo.” cogtisurd. York Clty. Instantly fell silence tense on U. s. Scbool ol Mwolc, Iaughter to plar hich oalycost fe ceata died od their lipsoif by pie. iosi Bruoowkck Bid'Nen Yerk Cty played throuah thelrat Te Phea wnd me.Tour, fre book, “Musike Pick Your had miotered the pisno inber YourOwHome"ieh ntroduction aad witlont ipare time,at lome Frany Crane,Damoestratice Lesseos and Pe the Instrument Baot all, of My friendesat ronderful aeerthod abe used, ol your Specidi Ofer. Tm intereetad in t -spellbousdl brsathlese- iag course: 1played and reeyired,mo laboriourKales played1forpos the People no heartless ezercises.Bo tire. vome PractisisE: Prosnd me. i forpot thehout,the Itsounded Po.coavincing that,j blled out Plece,the breathless listesers. the coupon.regyesting the Frme DemosetratiosLroson. worid1 lived Hare you abowo isrrsmentl......... wemedtofadewemed diral Oaly the pke Pa real lyond I otartedo thot rery might to otudy the Demosstratios Tiaioas broughe Piease write plaialy) me. Vialonss besutiful Boeez itTa to play thisnev Lroon.. and chasdagc blow the. Thes Ioeat for the courso. drifting cloude aad “Whe_che cour, arriyud.] Addred. that loas iaopired poster .com.pober. found i was jevt ethe dyiaid AACI Aad. the Stata... Bester

John Caples’ famous direct-mail advertisements for the US School of Music deployed story appeal at its most effective. Beautiful but dumb. This ad from Switzerland would have interested more housewives if it had shown a finished dish instead of the raw ingredients. It would have been better read if it had been given a headline. And it would have been more persuasive if the copy had contained some specifics instead of vague generalities.

You can cast an entire advertisement in the form of a testimonial, as in this one for Austin cars. When the headmaster of Groton discovered that the ‘anonymous diplomat’ was the author of this book, I found it expedient to send my son to another school.

Testimonials from experts can be extremely effective. This advertisement by Ogilvy & Mather appeared in Singapore.

This two-page advertisement for the World Wildlife Fund appeared in the New York Times. It contains 3,232 words.

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What everybody ought to know ... Le or uchn.Fou va3 About This Stock And Bond Business a largly. Someplaintalk about a simple business pey hgreamed (ca thal ofien sounds complicaled. WHY WE ARE PUBLISHING THIS INFORMATION Ho Or loot at h firoete wodid say hebot and iupoerlle citisn. For Pobahy A Trodadi How to Buy and Sell Securities Siocka? THIST THAT!” MERRILLLYNCE,PIERCE,FENNER&BEA Brdwo le Saridn d Cannodiln 10 Pont Office Square alAreCon BOSTON9 rad Siorka?

This advertisement contains 6,540 words – the most anybody has ever used in a single page. When it appeared in the New York Times, it pulled 10,000 responses to an offer of a booklet buried near the end. It was written by the late Louis Engel of Merrill Lynch.

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SeeThe Conquering Hero Comes--in a Viyella,Robe! Sound the trumpets, leat the drum, see custoemtr whabeughta Viy-llshintelesen turtan, tattenall, checo, stripes and yanagotluththemhadawpled plain colurs Tay weigh enly zi ersces sheaines in Viyella fele,nid armed and ein br pociked in yourhriel ciie nest wich Sunday hrealfast fer this desening cslans are jut as bright and ditinct as timeyou trazl,Sa8.go at finetorcs hride.The superb thing shout a Viyrlls tverywhere.Furthemimeofyvornearest bathrobe in that yow can ath iL Ef it ace.Lamby-eftVigll two buttuna” Viyella robes (like theooe (chymes srith hi-fela) wtansfor yoeri.A er hers is vearing) oute in outhentic Yoek 17.NewSartMU4-73y0. Schwep Schwek

For some years I used this layout in all my magazine advertisements. It gives a large photograph, headline up to nine words, and 240 words of copy. Recommend when your illustration is to carry the main load of selling.

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GASCOGNE CADET DE Sueet keng in Paro You con Py thertom ALMende Sreher cntaatnoctreu fare What you should know about KLM and the careful, reliable Dutch before your next flight to Paris. Rome, Amsterdam or 34 other cities in Europe KLM Royal DutahAirlines harehadmoreycarsof eajrtienethan lumci and 150 brands ot liquor ata any other aitline, Founded in 1919, Kt.M is litetally the worll's hrst Itaton of the US prke Eoen tat. airline. Read 15 other reasons hy o many eaerienerd uaveleis be- freeTurosanfui-alwvingsup liesethal the dejendable.punctual Dutch hase made KLM the mou entite lrap reliablc of all ainlines 13. Not all aarline offer you 1thance ofetandpropeierRightsALMdn 1, KI M flhes an average of 1)000 Dutsh, Englnh. French anJ German Someatwatlyspesk 7ors languages Thead-antage round-trap csonomy miles rvery day.The rquivalent of five clawfarocoSJ6leuon[XC.7. Lumes afounJ the world. Or alut half- S.AKLMucuardewwalis&mulrton w ay lo the moon Paris-$53down atnpto EutopeAdelaghieJenper fromNcYork tecentlywfotetoKIM .2.KLMshotalroutepetaprk n16k000 14.You can nv to Pann for only S5y -The ftsndlycourtroun andsdicitous mules Kt M san ty you to37 citurt in Joan (roun-trip pet cconomy class attentron ofyour hnlesueswas allthst Earo akme. tarel. ond take tao yrars to Pay the anyone soulu haoye for” bulance with kl M's puy-latct plan 3. KLM was the first Luropran artfnc 9.Atypcal firstcawmenuonaKi.M to he authorued by the U's Foderal 15,Akyourtiavelatnttoct,anthe Ktteads ethaCaviur Fra sur AvatanAgetsylooserhaul plangnfor fullpnuhlticofsopovctvcntour Sxke.Coxatad de HmardPampe- U S atlnes wthoutfurthetinsprstan neut kiM trip Fiample Your ticlet moune au Sherry. Crsme Je Violalle. to Patn -ill alo take yuu to Brussghs, s,EvetyKtMRoyal s Jet has noless Tournebn Maitre JHotel Cotckettes Amuerdam,lonon. Manhestetand thanranagataonalsyucms J'Agneau, Bscut Glace.Fromages Glai-al no citra Jare Three pllots Dver,rutsJe Saron S.All KEM jsts flyng acrony the 10.The caben of a KI.M Royal s Atlanta catrythreepkts,one fighten et petsfresh supply of ar cvery thrce minules pncerand radar hich lete the capain Itnaif FIsra 9.J00 Ke the wrather 150 minoheaJ conditioned on the ground as o. Lome groups uhs hsve chartered etl as in the air. Il, KLM loer babies Every KMplancsintecentyears are the Ncw York City Ballet Vennu Stale KLMplaneCarfiesa"ubyhut” Opeta.Boston Symphony Orcheura. wsthountments,ouh.powdetand Cay buby wp NcwYork Phaiharmons Orchotra.and the entire cad of"My lar Lady 12.AtAmuerdamAurpurtyou 7.Every KLS Mewareu muu eak Can buy Sametas,“atchespet-

This is my second perfect layout. It gives a wide, shallow photograph, a headline of up to 20 words, a subhead up to 28 words, four or five cross-heads and 600 words of body copy. Recommended when your copy is more important than your illustration. One in a series of posters that appeared in England during the thirties. They made Guinness part of the warp and woof of English life, and have never been excelled – anywhere.

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Un foie gras qui a valu a Predault le Prix de la gastronomie au Salon international de I'alimentation, Paris 1976. Le foie gras frais entier au naturel dePaul Predault EFOIE GRAS estun dieu dont, apres bien d'autres merveilles, a voulu perfection n'ajouterienalaperfection biensouvent,onneconnaitque nous offrir le Vrai gout du vrai foie Cela dit,goutez le foie gras de Pau gras, Cette ronde saveur aux reso. lessaints.Car,memesilesblocs,les Predault, cuisine entier au naturel.E lingots ou les terrines de foie gras nances de magnificat joue sur les goutez-le sur du simple pain tran. urgues de Notre-Dame. peuvent preter a confusion, seul le che pas trop epais, cuit pas trof foie gras au naturel est seulement du C'est simplement cuit au four, en- grille et encore un peu chaud... vou: foie gras. tier dans sa terrine. C'est servi sou- decouvrirez, s'il vous en manquait Mais quand on n'a jamais mange ple et ferme. Et rose et blond, marbre des raisons d'étre heureux dans la vie de foie gras frais, on est tout aussi de nuances indefinissables.Avec cette bien reste dans I'antichambre du subtile et discrete amerture qui est Paul Predault s.a.-Le Clos Chau Paradis. le propre des foies d'oies. vard-RueChauvard,95500Gonesse Et c'est pourquoi Paul Predault, Etsanstruffe,biensur.Car meme la tel. 985.96.96.

Pierre Lemonnier and Philippe Saalburg at the FCB-Impact agency in Paris pinched my ‘editorial’ layouts and improved them. Their ads don’t look like ads.

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Comedy's King Leer PC ELECTIONS Marchais CGT-PC: La planete Lenine sous surveillance mdmecombat CHEVRILER

All news magazines use the same format. Copy has priority over illustration. Three columns of type, set in serif faces. Captions under photographs. But the advertisements in these magazines do not follow any of these conventions, so very few people read them. Next time you construct an ad, pretend you are an editor; you will get more readership. Only use two-page spreads when you have a long product and need to show it horizontally, as with this hammer. If you swear off the self-indulgence of spreads, you will be able to buy twice as many ads, thereby doubling your reach or your frequency.

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AMERICAN-BREWED GUINNESS STOU NOW ONSALE ATHALFIMPORTEDPRIC ORIGINAL YEAST FLOWN FROM DUBLI A HEARTY DRINK GUINNESS.BREWMASTERSNOWINU FINDTHEMAN GOTGUINNESS FOR 190 YEARS GUARANTEE HEARTY OLD IRISHFLA FavorefSlde MADEINULSSAME “Say When” StatesmenWnite GREATAS GUENN SLOW-ACEDWAYASIN and just plain MEN Ifyonisdosbiabo IRELANDSINCE 1759 LOWPRICES CH EHSWEE REYEALS Lookforthe Smiling Glass Symbolofa MAN'SDrink PEDIGREED YE Harp on Label Played THERE'S FLOWNFROM LADIES LIKE GUINNESS. When Guinness Was Born IRELAND TO ed on the OrNell Blarp Nove in Trinity Colleg ON HOT DAYS! Probabiy Oldest Harp in Eristencr HoteMany NIRISHMAN RICH FLAVOR DRINK GUINNESS OF GUINNESS GRowSONYoU"MyGoodness,MyGuinness

Editorial graphics also work well in newspapers. I made this launch ad for Guinness look like the front page of a newspaper.

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Menaces sur la production ovine francais Un peu debon sens 150000BERGERSENCOLERE ne veulent pas devenir desassistes>europeen L'agneau francais mise sur la tradition gastronomique Progres techniques et elevages competitifs pourla a nouvelle vague des moutons francais 00

This looks like an editorial page in the French newspaper Le Monde. Actually it is an advertisement on behalf of French sheep farmers who opposed the importation of duty-free mutton from England.

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ADVERTISENENT ADVERTIEE REVOLUTIONARYNEWKINDO DRAINOPENER INVENTED: UNCLOGSDRAINSIN1SECONI NO LYE OR ACD COSTS NOMORE METHODCALLEDMIRACULO TO USETHAN LEADING Woryof Handing UnclogsWith LOUID LYE Pressure Instead Lye orAcid New Product Is Aptly CalledDrainPow M.Th Gs SafetoPipes WomenWith Problem Draina INVENTIONWORKSATSPEEDOFSOUND: MAYMAKEOTHERDRAINOPENERSOBSOLETE Laadi SPECIAL SAVE 3O'ONAMAZING NOTICE: NEWDRAINPOWER Massive Clog OfHuman Hai, Grease, SoapAnd Coffee Grounds Dislodged In One Second AsDrain Power BeatsLiquid AndCryitalDrainCleanerInTV"Rac 30 30g 30-OFF when you try new Drain Power 30°

This front-page format is particularly appropriate for the announcement of a new product. A superb example of FCB-Impact’s editorial style, this time for Mumm champagne.

It pays to make your poster a ‘visual scandal’, as in this British example for FCO Univas. Don’t make the mistake of designing subway cards to look like billboards – all display and only for five or six words. In New York subways, the average rider is

exposed to your card for 21 minutes and 85 per cent carry nothing else to read. That is why I wrote 76 words for this card.

Capital letters are extremely difficult to read. I tried to read this advertisement but gave up.

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LCONEXPO75 Showtimeagainfor constructron equipment IHEMOVE RELIABI SERVICE omato ME QUGHISFO SUMMERC OSTAUFFER ocibohan CHLORINE pppns.htogpens,appon FYOUDEPEND HOIDAS STAUFFER The search for asweetercantaloupe How 10 years of crossbreeding at Burpee produced Ambrosia, the sweetest, juiciest cantaloupe this side of heaven A foid for thr eodk Burpee's 1975 Catalog Availabie only in d in aally berirg ikveloped Our 1 yeas ags Tel Torny le 1y7s, Berpet Gardon Catalig, Thut P pr 4(u99r(3 0 >) Se cder Burpct serdr nw fee

Three examples of typography which make it impossible to read the copy, and one which makes it easy to read.

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Porsche928 Nomatterhowmuch-theworld becomesthesame, the individual will still prevail

The headlines and copy in these advertisements would be easier to read if they had been set under the illustration instead of on it.

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ANZEIGE Vivre comme Dieu en France. Oder Leben wie Gott in Frankreich, Ein deutscher Ausspruch,in dem immer wieder die SehnsuchtnachderLebensart un- seres franzosischen Nachbam schwingt Zeit und MuBe. ein herrliches Essen,ein gutes Glus Wein zu genieBen Zeit und MuBe. auch mal Gber die unwichtigen Dinge des Tiges zu reden Kommen Sie. Essen und trinken Sie ein paar Tage oder Wochen wie Gott in Frankreich. ImHerbstwennimnordlichstenWeingebiet.derChampagne.sichdiesanflenHigclrotgelb firben. UnddieWeinbaucrn diereifen Rebenfuirden KonigedierGetrainkeemten,Champagnet. Odet kommen Sie hin,wo die Weinbauern fruchtig.trockene Weine mch franzosischer Art machen und lie- benWodiesehrrlichenWeinenachderRbsotebenanntwerdenunddie WeinhauptstadtColmarheiot:insElsa Dic trockenen,kraftigen Weine haben alle einen reinen,klaren Geschmack. Zum Beispiel der Riesling.der Sylvaner und der Gewirztraminer.Aber nun verraten wir cigentlich schon fast zuviel.Denn diese.nenncn wirsieruhigWerbeanzeigefurWeineausFrankreich.istdieerstevon vielen.Indennochkommenden Anzeigen, dieSieimLaufedesJahresindieserZeitschritsehenkonnen,schreiben wiruberdieunterschiedlichsten Weingebiete,Uber das Land,das Essen,aber vorallcm uberdie Weine,Wie siebeschaffen sind Z.B.dieausdemLoire-TilObtrockenodersiBer.Rot,weiboderrose.Obleichtoderschwr. ObelgantodrrustikalWannmansietrinkt,wiemansetrinktundvorallem zu welchem Essen man sie trinkt Obrigens, bei uns in Deutschland,in den Wein geschaften und den Weinabteilungen der Kaufhiuser finden Sie sehr viele fran- zosische Weine. Vondenpreiswerten Landweinen(Vinsde Pays)biszudenedei. sten Tropfen, Und damit Sic sich bald noch besser auskennen,werden wir Ihnen auch einigesbrdieQualitatsstundrWinezBdrWeinausBnundagenUnd ehwas iberdie ausdrucksvolleundvielseitige SprachederWeinetiketten,Uberdie Menschen,dieLandschafen,warumzB.WeincdesGebietesMicon zuden wir. zig undjungen Rot-und WeiBweinen zihlen,die Sieprobieren solltcn.Und warumes nichtigseinkanneinenjungenRotwein,einenBeanjolais,malkuhlerzutrinken.Das schoneBordelaiser Hinterlandum Bergeras.anderDordogne.soliten Sieunbedingt kennenlemen.Esgibt hierverschiedene ausgezeichnete Tischweine,Am besten wennSicBordeauybesuchen,daswohl groBteWeinbaugebietFrankreichs.Hierwurde Vollkommen anders wicder sind die Weine fus dem Rhine-Tal, Sandige,kiesel. steinhaltige Boden unddassonnigeKlimagebenden WeinenihrespezielleKraft.Denfeu. rigen,wirzigen Chateauneuf-du-Pape sollte sichkein Weinkenner entgehen lassen, Ubri- gens,verwahrenSiediesesBlatt,Siewissendannspater,woinFrankreichobimNorden,Suden WesnodrOnundieinzlnenWeingbietelien.Einkleinabrnichunwichtig GebietzBliegthier:Gallac EinereizvolleLandschaftmitschonen.kleinenStidten Die unerbittiche Sonne sibtden Weinen des Languedoc-Rousillenund der Provence ihren Duft,ihreKraftundihrbesonderesFeuer.Kommen Sie in das Licb- Sonneund lingsland der Rebe. Lassen Sie sich verwohnen, Von Hier. Natur. Von der guten Koche und den Weinen, auf der von denen Sie sicherjetztschon trilumen. Sonnen-Insel Weine lus Frankreich.Ers kennen Korsika gibt dannlleben.Avotre es herrliche, volle,run- de Rose- und Rot- Weine. Nord LB'74 In einem In a year Jahr.dasdurch which was marked by auBergewohnlichegesamt- exceptionaldevelopments und kreditwirtschaftliche Ent- increditmanagementand inthe wicklungenbelastetwar,nahmdie economyas awhole,thebalance BilanzsummederNordLBum16.7% sheet totalofNordLBincreasedby16.7 auf28,8MrdDMzu.DasVolumen percent toDM28,835million. aller Aktivitaiten der Bank or- Thevolumeofbusinesshandled reichte mehr als 36 Mrd DM. bythebankrosetomorethan Pa ane ne a L

Some art directors use copy as the raw material for designing shapes. Don’t you think that the copy would have been easier to read if set in columns?

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The Winstons aren't trying to save the world. Justa littlepieceof it. There are Apaches on the reser- vation in Clear Fork, Arizona,who can remember the last, hopeless Apiche uprising in 1900.But for Della Alakay, a seven-year-old Apache, the.enemy is not the U.S. Cavalry. She and het people are fghting another kind of war, This time the enemies are poverty,disease and despair. And for the first time in gen- erations, there's a chance that the Apaches might win: thanks to the courageous efforts of her own people and other Amerieans like the Winstons Anne and Stan Winston and their two daughters live in a New York suburb 2,000 miles from the reservation. But it's another worid. The Winstons live in a big old house and complain about a big,new mort- gage Their girls have a closetful of Clothes and"nothing to wear"They habiskas.gamsbooks ords and'nothing to do.” Della and het seven brothers and sisters have none of these prob. lems,Her father spetids as much time looking for and water system. work as he does tosave the world.If there are enough Alrendy there is a now feeling working-Sanitary people who care. How about you? facilities are al. ef hope among the villagers and most non-existent. confidence in their ability to help themselves Even litte Deila han Save The Children Federation Electricity has founded in1932,isregisfered with the yet to reach them. volumteeted to give sotne time each U.S, State.Department Advisory Cam- Water is hauled week to keep her schocl playground mtferon Volunfory Forergn Aid.and is byhand.Even the clean. amemberaf the InternafionalUnicnof That feally is what Save The barestnecessitsesarehard twcotme by Chil Welfare,Financial statements Through Save The Children Fed Chitdren is all sbout, Although con. and annual reportt avalab/e on request. tributionsaredeductible as acharity. eration,the Winstons are helping Natrona/Sponsors(partial list) the aim is not merely to buy one Della.The cost is S15.00 a month Cliaude Arpels.Fairh Bafdwin It'snotalotomoney.buteertainly child a few hot menls or i watm coat Hon.JamesAFarley.AndyCriffith, Instead. your contribution is used to the Winstons could have thought of Gene Kelly.MrEn Lifly. give peopie a litsle boost to start a lot of other things to do with it. PautNewman,Mrs.J.C,Penney. NormanRociovell, Frank Sinata Fortunately they thought of Della helping themselves: first. Sponsors are despetately Save The Children Federation To her, these funds make a te needed for other Ametican Indian children as well as chit- NCRARLR.CONMECT.CVTCEBS2 markable difference, She no longer LWTENTOCCATRISUTESNOAONUALITTOUELFACWELD dren in Appalachia..Korea. needfeel embarrassed about not hav. VietnamLatin America. ing shons, a decent school dress. BD,OAPPA(ACHIA C KDMEA C GREECE school supplies,or pocket money Africa and Greece. CNELOSEDITUVPRSTPAYUENT As a sponsor you will re Someofthepessuretoo,sf SOS0SEMIANNUAI1T SHESOOCUASTEREY ceive a photo and history od her parents, who can now begin SAN-PONSCRACHLOENGLOSIDIS.ACONTR/BUTDN the child. progress reports and thinking about making their homea a chance to correspond. littlemorelivable.Also,andperhaps The Winstons know they most important, part of the money can't savethe world for $15.00 is put into a fund from which the a month Only a small corner STATE village can borrow to start self-help of it. But maybethat is the way projects, including beter housing The Winstons aren't trying to save the world. Justalittlepieceofit There are Apaches on the reser. vation in ClearFork, Arizona,who can remember the last,hopeless Apacheuprising in 1900.Butfor Cavalry. She and her people ate fighting another kind of war. This time the enemies are poverty, disease and despait. And for the first tine in gen. Apaches might win: thanks to the courugeous efforts of her own people and other Americans like the Winstons. Anne and Stan Winston and

This charity raised money for starving children by running advertisements set in reverse – white type on a black background. When I suggested that they test black type on a white background, they raised twice as much money.

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This iswhathappens when a fly lands on your food Flies can't eat solid food. soto soften it upthey vomit on it Then they stamp the vomit in until it'sa liquid,usuallystampingin a few germs for good measure. Then when it's good and runny they suck it all back again,probably dropping some excrement at the same time. Andthen,whentheyvefinished eating, it's your turn. This iswhat happens whena fly lands on your food. Flies can't eatsolidfood. so to soften it up they vomit on it. Then theystampthe vomit in until it's a liquid,usually stamping in a few germs for good measure. Then when it's good andrunny they suck it all back again,probably dropping some excrement at the

The prodigious Charles Saatchi wrote this advertisement and had it set in reverse – white type on black background (top). It would have been easier to read in black type on a white background (bottom). Anyway, bon appétit. Testimonials by celebrities are below average in their ability to change brand preference, but American Express has been running commercials like this one

since 1975 – with outstanding success. They have a special element of mystery: ‘Do you know me?’ Notes * This is one of my over-simplifications. Starch finds that on the average, two-page spreads achieve only 28 per cent higher rating than single pages, but Edwin Bird Wilson has drawn attention to the fact that two-page spreads for financial advertisers achieve an average of 150 per cent more readership than single pages. The readership of ads for low-interest products benefits more from big spaces than ads for high-interest products.