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428973 BM 4/22/04 10:19 AM Page 239 Index A. Goodman & Sons, 13 Aerobatic Flight Program, 74 Bartle Bogle Hegarty (BBH)/Asia, 13 Abbott Mead Vickers, 8, 10 Agencies, see Advertising agencies Bartle Bogle Hegarty (BBH) Asia ABC Canada Literacy Foundation, 235 AIGA Orlando, 129 Pacific/Tokyo, 174, 175 Action for Children’s Television (ACT), 10 Alexander, Joe, 188 Bartle Bogle Hegarty (BBH)/England, 10 Adbusters, 47 Ally, Carl, 8 Bartle Bogle Hegarty (BBH)/London and Ad Council, 5, 24, 41, 70, 92, 95, 114, 218 Ally & Gargano/New York, 8 New York, 7 Adobe Systems Incorporated, 228 Ambient media advertising, 232 BCAA, 77, 230 ADP, see Arbeitsgemeinschaft American Airlines, 37 Beaver, Allan, 22–23 Dermatologische Pravention American Civil Liberties Union, 85 Beaver Reitzfeld Inc./New York City, 22 Adventures, 101, 102 American Skandia, 131 Ben, 92 Advertisements: American Standard, 132 Benefits, 58–64, 101, 103–104 benefits presented in, 58–64 Amnesty International USA, 223 definition of, 64 brainstorming technique for, 51 Analogies, visual, 67–68 emotional, 62–63, 68 concept for, 35, 50, 65, 83, 101, 111, 149, Anchor Blue, 101 functional, 58–63, 74 207, 226, 233. See also Big idea; Idea(s) Anderson, Denise M., 163 supports for, 64 creative strategy for, 58 Anheuser Busch/Spyke, 125 Benton and Bowles/London, 7 creative team for, 51 A&P, 109 Berger, Warren, 7, 41 design of, 65 Appeal, 58 Bernbach, Bill, 6, 74, 217 elements of, 52–57 Appropriateness to audience, 142–143 Best Behavior, 80 execution of, 65 Arbeitsgemeinschaft Dermatologische Big idea, 58, 67–86 ideas for, 42, 45, 46, 50, 58, 69, 83, 84, Pravention (ADP), 118, 216 authenticity, 83 93, 100, 101, 111, 115 Arla Foods—Lurpak, 171 comparison, 78–79 media for, 40, 65 Arlow, Arnie, 83 eccentric points of view, 73–74 quality of visuals in, 66 Armando Testa/Milan, 100, 154, 155, 179 exaggeration, 80–82 self-critique of, 66 Arnika/Richmond, 35–36, 107, 116, 138, facts, 85–86 Advertising: 172 first in class, 83 ambient media, 232 Art directors, 51, 130, 187, 191 life experience, 72–73 cause, 41 Art Directors Club, Inc., 47, 50 motivation/inspiration, 84 commercial, 41 Associate creative directors, 51 problem as solution, 74–75 “creative,” 87 Association, 118–119 reasonable rationale, 75–77 definition of, 34, 230 Asymmetry, 126 visual analogy, 67–68 ethics in, 47 The Atelier Art School, 154 visual metaphor, 69–71 future of, 201 Atlanta Ballet, 108, 138 Blast Radius, 222 guerilla, 42, 230–236 Atmospheric approach, 4–5 BMP, 8 history of, 2–14 Attitude, 196–198 BMP DDB/London, 10–11, 13, 54, 82, 90, non-traditional, 42 Atypical ad appearance, 149–150 103, 170, 171 political, 201 Audience(s), 35–39 BMW, 220 public service, 2, 41 appropriateness to, 142–143 BMWfilms, 90, 219 social, 41 categories of, 39–40 BMW North America, 13, 219 unconventional, 42 COPYRIGHTEDand concept origination, 50. SeeMATERIAL also Boase Massimi Pollitt Partnership, 10 Advertising agencies, 34–35. See also specific Idea(s) Boches, Edward, 170, 208–209 agencies scope of, 39 Body copy, 56, 65, 195 beginning of, 3 target, 35 Boeri Helmets, 68 creative boutiques, 35 Austin Kelley Advertising/Atlanta, 162 Bootlegger, 150 and creative brief writing, 44 Authenticity, 83 Borders, 57 creative teams in, 51 AWNY (Advertising Women of New York), 47 Boy Scouts of America, Central Florida full-service, 34–35 Ayer, Francis Wayland, 3 Council, 114 global, 35 Ayotte, 72 Brainstorming, 51 independent, 34 Brands: in-house, 35 Babe Ruth Museum and Birthplace, 138 benefits of, 58–64 interactive, 35 Background, 162 “conversations” by, 167 as international conglomerates, 10 Backwoods, 97 designing to image of, 184, 185 Advertising Council, see Ad Council Badner, Murray, 152 evolution of, 120 Advertising Standards Authority, 47 Balance, 126–127 personality of, 5 Advertising Today, 7 Barn Fly, 162 using guerilla advertising, 236 Advertising Women of New York (AWNY), 47 Barthel, Diane, 92, 95 and Web advertising, 224 Index 239 428973 BM 4/22/04 10:19 AM Page 240 Branded entertainment, 236 who don’t understand idea, 202 Creative directors, 51 Brand image, 184, 185 Cliff Freeman & Partners/New York, 99, 111, Creative strategy, 58 Brand names, 3 206, 211, 213 Creative team, 51, 187 Brand teams, 51 Clinton, Bill, 201 Creative thinking, 50 Britart.com, 76 Cloverleaf, 56 Creativity, 124, 174–185 Broadcast media, 40 Clow, Lee, 10 approaches to, 174–178 Brokaw Motion, 157, 158 Club 18-30, 89 definition of, 167 Brower, Steven, 135, 164 Club RTL, 178 and designing to brand image, 184, 185 B.U.C. standard, 222 Colle + McVoy/Minneapolis, 38, 39, 72–73, drivers of, 203 The Buick Classic, 55 199, 200 expressive visuals approach to, 180–183 Burnett, Leo, 7, 194 Collett Dickenson Pearce (CDP), 8, 10 individualism approach to, 182, 184 Business audience, 38 Colorado Wildlands, 65 problem solving approach to, 174 Butler, John, 47, 120–122, 218 Color choices, 66 standing out from crowd approach to, 182 Butler, Shine & Stern/Sausalito, 47, 57, 65, Color lithography, 3 in style of ad, 185 83, 98, 101, 113, 117, 121, 122, 125, Comedy Central, 121 in TV commercials, 217–218 130, 134, 139, 218 Commercial advertising, 41 visual surprises approach to, 178–179 Buzz Grey (Grey Worldwide/NY), 55 Commercial Alert, 47, 236 in writing copy, 194 Communications technology, 10 Crestar Bank, 195 Caboodles, 150 Comps, 125 Crispin Porter Bogusky and Partners/Miami, Campaigns, 168. See also Print campaigns Comparison, 69, 78–79 13, 149, 230 Canadian Cancer Society, 75 Compassion, 115–117 Crispin Porter + Bogusky/Miami, 109, 144, Canadian Paraplegic Association, 113 Composition, 125, 136–139, 169 145, 148, 207, 209, 210, 221, 231 Canon USA, 64 Concept, 6, 50, 58, 88–89, 125, 147, 153, Critical thinking, 50, 199 Careers, preparation for, 201 167, 185, 195, 201, 207, 219, 222. See Critiques, 66 Carl Ally, 8 also Idea(s) self-critique, 66 Carmichael Lynch/Minneapolis, 132, 151, The Concept Farm/New York, 195, 200 Cub Scouts, 156 156, 194, 198 Conglomerates, 34 Cultivator Advertising & Design/Boulder, 65, Carvel, 105 Conlon, Peggy, 92 158 The Casbah, 182 Connotation, 152 Culture, popular, 97–98 Case History: Mustoes/London, 45–46 Content, 168 Curtis, Hillman, 222, 224, 228. See also Cassandre, A. M., 3 Copy, 186–200 Interactive media Categories of ads, 90–105 amount of, 193 adventures/escapes, 101, 102 audience’s ignoring of, 195 D&AD, 47 benefits/differentiation, 101, 103–104 claim in, 195 D’Adda, Lorenzini, Vigorelli, BBDO/Milan declarations, 93–96 conventions for, 193 and Rome, 140, 170, 171, 177 demonstrations, 90–91 creative, 194 Daffy’s, 79 endorsements/testimonials, 91–92 dominance of visuals vs., 191–192 Dansk, 21 fantasy, 98–99 humor in, 109 D’Arcy MacManus Benton & Bowles/St. image/lifestyle, 100–101 ideas for, 186–187 Louis, 4 meta-advertising, 97 improving writing ability, 200 Davidson Pearce Berry and misdirection, 99 line/headline in, 52 Spottiswoode/London, 9 popular culture, 97–98 in print ads, 56, 65 DDB, see Doyle Dane Bernbach recognition, 105 for print campaigns, 168 Dead space, 129 slice of life, 96–97 process of writing, 199 De Bono, Edward, 87 Cause advertising, 41 realistic, 196 Declarations, 93–96 CBS, 18–21 relationship of visuals and, 187–190 DeGeneres, Ellen, 72 CDP, see Collett Dickenson Pearce as sales pitch, 151, 195 Delaney, Tim, 10, 199 CD ROMs, 224 style of, 200 DeLeagus Delaney, 10 Celebrity endorsements, 91–92 synergy of visuals and, 52 Deletion strategy, 51 Central thought (campaigns), 168 tone/attitude of, 196–198 Demonstrations, 90–91 Changing of expectations, 117–118 upgrading language for, 196 Denotation, 152 Characters (in ads), 7 voice in, 198–200 Dentsu, 34 Chiat, Jay, 10 Copy-driven ads, 159, 160, 191–193 Dentsu Young & Rubicam/Tokyo, 13 Chiat/Day, 98 Copywriters, 51, 191 Denver Water, 183 Chiat/Day/Los Angeles, 10 Corcoran Real Estate, 38 Design, 88–89 Chick-fil-A, 44 Correspondence, 133 criteria for, see Design criteria Childhood Asthma, 70 Cosby, Bill, 72, 106–107 defined, 65 Claim, 56, 195 Cousins, 170, 178 intent in, 165 Client(s), 34 Cox, Tony, 9 personal style of, 185 convincing, 87, 167 Creative boutiques, 35 principles of, see Design principles and creative brief writing, 44 Creative brief, 42–46 process of, 124–125 understanding brand/cause of, 142 sample creative briefs, 44–46 Designation/New York, 133 240 Index 428973 BM 4/22/04 10:19 AM Page 241 Design criteria, 142–164 Elliott City Infiniti, 64 Garageband.com, 65 appropriateness to audience, 142–143 Emotional benefits, 62–63 Gargano, Amil, 8 background, 162 Emotional connection, 106–119, 165 General household consumers, 38 copy as sales pitch, 151 association for, 118–119 Genres (TV commercials), 215 images, 156 changing of expectations for, 117–118 Genuineness, 83 layout, 148–150 fear for, 117 Gettysburg National Battlefield Museum and looking like advertising, 143–146 humor for, 106–110 Foundation, 114 media, 152 passion/lust/desire for, 112–113 Gianettino & Meredith Advertising/Short seamlessness of type and image, 153–164 pathos and compassion for, 115–117 Hills, 42–43 size of ad, 152 respect and value for, 114–115 Gibson Campaigns, 151 size of logo/no logo, 147–148 satire/parody/irony for, 111–112 Giovanni, FCB/Rio de Janeiro, 117 text and subtext, 152 shock for, 117–118 Giro, 145 typography, 157–159, 162–164 triumph for, 113 Glaser, Milton, 28 verbal—visual relationship, 158, 160 End line, 56, 195 Global agencies, 35 visually driven vs. copy-driven, 159, 160 Endorsements, 8, 91–92 GM Credit Card, 60 Designers, 130–131 Entertainment, branded, 236 Goldin, William,