ABCA4203

Faculty of Applied Social Sciences
ABCA4203
Copywriting
Copyright © Open University Malaysia (OUM)

ABCA4203
COPYWRITING
Md Sidin Ahmad Ishak

Project Directors: Prof Dato' Dr Mansor Fadzil
Assoc Prof Dr Mohd Yusof Ahmad
Open University Malaysia
Module Writer: Prof Dr Md Sidin Ahmad Ishak

Universiti Malaya
Moderator: Dr Muhamad Sham Haji Shahkat Ali

Universiti Putra Malaysia
Editor: Prof Dr Md Sidin Ahmad Ishak

Universiti Malaya
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First Edition, November 2008 (CBCP4203)
Copyright © Open University Malaysia (OUM), December 2016, ABCA4203

All rights reserved. No part of this work may be reproduced in any form or by any means
without the written permission of the President, Open University Malaysia (OUM).

Table of Contents
Course Guide xi ă xvii
Topic 1 Advertising and Marketing Communication 1

1.1 Marketing Communications 2
1.1.1 Marketing Communication Concept 2
1.1.2 Marketing Mix 4
1.1.3 Marketing Communication Mix 5
1.2 Advertising 7
1.2.1 Advertising Concept 7
1.2.2 Advertising Communications 8
1.2.3 Advertising Communication Model 9
1.3 Other Elements of Marketing Communications 11
1.3.1 Public Relations Marketing 11
1.3.2 Direct Marketing Communications 17
1.3.3 Personal Selling 18
1.3.4 Trade Exhibition 20
1.4 Advertiser as Communication Source 21
1.4.1 Advertising Company 21
1.4.2 Advertisement Expenditure Trend 23
Key Terms 27
Self Assessment 1 27
References 28
Topic 2 Organisation and Creative Staff 29

2.1 Industrial Organisation 30
2.1.1 Partner 30
2.1.2 Organisation Structure 33
2.2 Service Agency 35
2.2.1 Full Service Agency 35
2.2.2 Internal Agency 38
2.2.3 Creative Boutique 39
2.2.4 Freelancer 40
2.2.5 Media Planning and Buying Agency 40
2.2.6 Other Marketing Communication Agencies 41

iv  TABLE OF CONTENTS
2.3 Staff of the Creative Department 44

2.3.1 Creative Director 44
2.3.2 Art Director 46
2.3.4 Copywriter 47
2.3.5 Graphic Designer 49
2.3.6 Other Staff 50
Key Terms 52
References 53
Topic 3 Creativity in Advertising 54

3.1 Creativity Concept 55
3.1.1 Definition of Creativity 56
3.1.2 Creative Personality 58
3.1.3 Creative Thinking 60
3.2 Creativity in Advertising 61
3.2.1 Role of Creativity in Advertising 61
3.2.2 Successful Advertisement 63
3.2.3 Copywriter and Creativity 66
3.3 Creative Process 67
3.3.1 Creative Guidelines 67
3.3.2 Creative Stages 70
3.3.3 Creative Techniques 71
3.3.4 CustomerÊs Reaction 74
3.3.5 Creative Pyramid 79
Key Terms 82
References 83
Topic 4 Advertising Strategy Planning 85

4.1 Marketing Communications Plan 86
4.1.1 Contents of Plan 87
4.1.2 Determining the Objective 89
4.1.3 Planning the Campaign Theme 93
4.1.4 Consumer Stimulus 93
4.1.5 Product Speciality 94
4.2 Data Collection 96
4.2.1 Product Information 96
4.2.2 Identifying Prospect 98

TABLE OF CONTENTS  v
4.3 Copy Development Guide 104

4.3.1 Creative Brief 104
4.3.2 Copy Guide for Various Agencies 105
Key Terms 110
References 111
Topic 5 Strategy Implementation 112

5.1 Advertising Strategy 113
5.1.1 Marketing and Advertising Strategy 113
5.1.2 Message Strategy 115
5.1.3 Categories of Strategy 116
5.1.4 Positioning Method 119
5.2 Creative Approach 122
5.2.1 Rational and Emotional Appeal 122
5.2.2 Hard Selling, Soft Selling 125
5.2.3 Basic Selling Style 126
5.3 Advertisement Credibility 127
5.3.1 Intrinsic Drama 127
5.3.2 Concrete Character 128
5.3.3 Keep a Promise 128
5.3.4 Demonstration 129
5.3.5 Create Reality 130
5.3.6 Understatement 132
5.4 Consistency of Presentation 132
5.4.1 Implementation of Consistency 133
5.4.2 Consistency Strategies 134
Key Terms 135
References 137
Topic 6 Advertising Language 138

6.1 Advertising as a Discourse 139
6.1.1 Discourse Analysis 139
6.1.2 Persuasive Discourse 141
6.2 Rhetorical Advertising Language 142
6.2.1 Emphatic Language 142
6.2.2 Figurative Language 143
6.2.3 Denotation and Connotation 145
6.2.4 Symbol and Reference 146

vi  TABLE OF CONTENTS
6.3 Forms of Language 147

6.3.1 Formal and Standard Language 147
6.3.2 Informal Language 147
6.3.3 Language Register 149
6.4 Advertisement Writing 150
6.4.1 Accurate and Clear Writing 151
6.4.2 Precise Writing 153
6.4.3 Fresh Writing 154
6.4.4 Readable Writing 154
6.4.5 Linguistic Accuracy 155
6.4.6 Linkage 155
Key Terms 156
References 158
Topic 7 Elements of Advertising Copy 159

7.1 Corporate Image 160
7.2 Advertising Slogan 161
7.2.1 Slogan Concept 161
7.2.2 Slogan Writing 162
7.3 Elements of Print Advertisement 168
7.3.1 Heading and Subheading 168
7.3.2 Important Elements of Copywriting 169
7.3.3 Body Copy 170
7.3.4 Logotype 170
7.4 Elements of Radio Advertisements 172
7.5 Elements of Television Advertisements 173
Key Terms 174
References 175
Topic 8 Advertising Copywriting 176

8.1 Print Advertisement Copy 177
8.1.1 Writing of Headlines 178
8.1.2 Headline Content 178
8.1.3 Headline Strategy 180
8.2 Writing of Body Copy 181
8.2.1 Body Copy Format 181
8.2.2 Strategy of Body Copy Presentation 183

TABLE OF CONTENTS  vii
8.3 Copywriting for Radio Advertisement 184

8.3.1 Radio Advertisement Copy 185
8.3.2 Radio Advertisement Format 187
8.4 Copywriting for Television Advertisement 192
8.4.1 Television Advertisement Copy 192
8.4.2 Television Advertisement Format 194
8.4.3 Television Advertisement Script 196
8.4.4 Storyboard and Photoboard 197
8.5 Web Advertisement Copy 198
8.5.1 Writing of Web Advertisements 199
8.5.2 Web Advertisement Format 199
Key Terms 201
References 202
Topic 9 Measurement and Evaluation 203

9.1 Evaluate the Creative Idea 203
9.1.1 Evaluation Need 203
9.1.2 Evaluation Challenge 205
9.1.3 Evaluation Aspect 206
9.2 Message Test 209
9.2.1 Pretest 209
9.2.2 Posttest 211
9.2.3 Tracking Research 212
9.3 Evaluation Issues 213
9.3.1 Defining the Problem 213
9.3.2 Test Elements 214
9.3.3 Validity and Reliability 214
Key Terms 215
References 216
Topic 10 Advertisement Rules and Regulations 217

10.1 Advertising Monitoring 218
10.2 Media Regulation 218
10.2.1 Media Law 219
10.2.2 Intellectual Property Law 222
10.3 Specific Rules 225
10.3.1 Medicines Act (Advertisement and Sale) 1956 225

viii  TABLE OF CONTENTS
10.4 Local Authority Rules 229

10.5 Advertising Ethics 232
10.5.1 Advertising Practice Code in Malaysia 232
10.5.2 Advertising Code in the Broadcast Media 235
10.5.3 The Communications and Multimedia
Content Code 239
Key Terms 243
References 245

COURSE GUIDE

COURSE GUIDE DESCRIPTION
You must read this Course Guide carefully from the beginning to the end. It tells
you briefly what the course is about and how you can work your way through
the course material. It also suggests the amount of time you are likely to spend in
order to complete the course successfully. Please keep on referring to the Course
Guide as you go through the course material as it will help you to clarify
important study components or points that you might miss or overlook.
INTRODUCTION
ABCA4203 Copywriting is one of the courses offered by Faculty of Applied
Social Sciences at Open University Malaysia (OUM).
COURSE AUDIENCE
This course is offered to students pursuing a bachelorÊs degree in
Communication and students majoring in Multimedia Communications.
As an open and distance learner, you should be acquainted with learning

independently and being able to optimise the learning modes and environment
available to you. Before you begin this course, please confirm the course material,
the course requirements and how the course is conducted.
STUDY SCHEDULE
It is a standard OUM practice that learners accumulate 40 study hours for every
credit hour. As such, for a three-credit hour course, you are expected to spend
120 study hours. Table 1 gives an estimation of how the 120 study hours could be
accumulated.

xii  COURSE GUIDE
Table 1: Estimation of Time Accumulation of Study Hours
Study Activities Study Hours
Briefly go through the course content and participate in initial

3
discussions
Study the module 60
Attend 3 to 5 tutorial sessions 10
Online Participation 12
Revision 15
Assignment(s), Test(s) and Examination(s) 20
TOTAL STUDY HOURS ACCUMULATED 120
COURSE OUTCOMES
By the end of this course, you should be able to:
1. Explain the important concepts of the copywriting field;
2. Discuss the main theories, principles and elements of copywriting;
3. Analyse the advertising text production process from planning to
production;
4. Summarise the details and expand the ideas orally and write precisely,
clearly and concisely;
5. Apply the knowledge in the copywriting tasks of the print and electronic
media; and
6. Evaluate critically print and electronic advertisements.
COURSE SYNOPSIS
This course is divided into 10 topics. The synopsis for each topic is presented
below:
Topic 1 focuses on an introduction to marketing communications and its

relationship with advertising as one of the elements within it. You will be
introduced to the field of marketing communications, and the elements of

COURSE GUIDE  xiii
marketing communication and advertising. You will be exposed to the concept of

marketing communications, its relationship with marketing mix and marketing
communications mix. Apart from advertising, the other elements of marketing
communications that will be elaborated on in this topic include public relations,
sales promotion and personal selling. In the advertising field, you will be
introduced to advertising concepts, communications and models of advertising
communications. Finally, advertisers as clients of advertising agencies and the
source of advertising messages will be explained. Advertisers will be discussed
in terms of their background and development in Malaysia as well as their trend
of media expenses.
Topic 2 focuses on the creative team and the organisation it works for. Three
main subtopics will be discussed, namely the industrial organisation, the creative
staff and the agencyÊs service. In the industrial organisation subtopic, the
students will be given exposure to the groups involved in the marketing
communications field, which are the advertiser, the media and the agency. In the
section on creative staff, their main positions will be identified and their tasks as
well as their relationships with each other will be explained. Besides the
copywriter, the other positions are the creative director, art director, graphic
designer and illustrator. In the section on the service agency, the organisations
that provide creative services will be elaborated. These are the full service agency,
creative boutique, internal agency, media planning and buying agency as well as
other agencies in the public relations and sales promotion fields.
Topic 3 elaborates on the creativity concept in advertising as well as its role and
process. Students will be introduced to the meaning of creativity, the characteristics
of creative personality and how creative thinking is done. Students will also have an
understanding of the importance of creativity, creativity application in amazing
advertisements and the relationship between the copywriter in the context of
creativity and the production of a successful advertisement. Through this topic,
students will also have an understanding of the stages and models of the creative
process. This aspect will also include the guidelines presented by experts in
advertisement production or creative works. Overall, this topic is divided into three
main subjects · creativity concept, creativity in advertising and the creative process.
Understanding all these is important for comprehending the creativity field in terms
of its theory and guidelines.
Topic 4 describes the advertising creative process is guided by aims and specific
objectives. A strategy or an action plan is needed to achieve that purpose. The
development of a creative strategy starts with the careful evaluation of the
marketing and promotional situation as well as determining the message that
needs to be conveyed to the target audience. Besides that, the creative strategy

xiv  COURSE GUIDE
also needs to be developed based on some of the factors explained in the creative
or copy platform.
Planning is very important in advertising campaigns especially in developing

and implementing advertising strategy. This topic elaborates on three important
steps in advertising strategy planning, which are determining the advertising
objective, doing research and preparing the copy guide. The areas of discussion
in this topic are the marketing communications plan, data collection and
developing the copy guide. Under the marketing communications plan, students
will be exposed to the planning process through the planning program used by
advertising and marketing communication agencies. Planning also involves data
collection process and students will be introduced to product and prospect data.
In developing the copy guide, the concept of creative brief or copy platform will
be introduced and the ways of producing it will be discussed.
Topic 5 describes strategy is important because it provides the direction for all
parties involved in a campaign. Strategy also provides a plan and scope for an
operation. It is a method or way by which an objective will be achieved. The topic
on strategy implementation focuses on the discussion of various strategies used
to convey the sales messages. There are more than ten common strategies used
and they will be elaborated in this topic. Besides that, the product positioning
method is one of the important strategies elaborated on. This topic also defines
the strategy concept in the marketing and advertising contexts to show their
differences. Another focus of discussion is the consistency of presentation
required in marketing communications campaigns. Two types of consistencies
will be discussed · implementation and strategic consistency.
Topic 6 describes advertising language is different from other prose such as news,
articles or other non-fiction writings. One of the differences is the persuasive
nature of advertising language. This means that persuasive techniques are used
to convey the sales message. This topic concentrates on three main things, which
are the discourse, advertisement credibility and rhetorical advertising language.
In the first part, advertising is analyzed from the discourse perspective. This
means the content of the advertisement is divided into text, which is the copy
that consists of the written or spoken words; and context, which refers to the
elements that become the surroundings of the text such as the material, situation,
intertext, function and participant. Another aspect is the credibility of
advertisements. Although the things elaborated on are factors that contribute to
the credibility of the texts, which are the aspects of advertising strategy, this
strategy is only looked into in terms of language usage. The third subtopic is
rhetorical language in advertising which discusses the effective language
presentation in an advertisement.

COURSE GUIDE  xv
Topic 7 this topic focuses on three important elements in advertising copy, namely,
the slogan, advertisement body and logotype. Slogan writing is discussed in this
topic in terms of the concept and the skills needed to create an effective slogan. So,
the characteristics of good slogan writing will be explained with the help of
different examples. To enhance studentsÊ skills, the characteristics that should be
avoided will also be discussed. The second aspect is the writing of advertisement
body in terms of its general characteristics. Some of the important characteristics
that will be explained are clarity, precision and readability. Finally, the subject of
logotype will be discussed. Although logotype is not the task of a copywriter, this
element is very important in creating an image together with the slogan,
advertisement body and other elements. The copywriter needs to have a good
understanding of the development of a positive image.
Topic 8 focuses on aspects of copywriting, such as the format, the writing strategy
and preparation of advertising material. The main topic, Advertising Copywriting,
is divided into subtopics covering print, radio, television and web advertisements.
The subtopics under print advertisement are the writing of the headline and the
writing of the body copy. Under the writing of the headline, the different types of
headline presentation, the different categories of headline content and the strategy
of headline presentation will be discussed. Under the subtopic of body copy, the
formats of body copy and the strategy of body copy presentation will be explained.
Under radio advertisement, copywriting for radio advertisement and its basic
format will be elaborated. Copywriting for television and web advertisements will
also be explained. The topic on radio advertisement will also discuss the ways of
script preparation, story board using related examples.
Topic 9 explains the aspect of measurement and evaluation in the context of

advertising copy. Measurement and evaluation are seen as a general concept to
understand how effective advertisement messages are. This topic focuses on
three areas namely evaluating creative ideas, the message test and evaluation
issues. In idea evaluation, students will be given an understanding of the
importance of evaluation in the task of producing the advertisement message
and the challenges faced in the evaluation process. This area also discusses the
aspects of evaluation, which are the creative approach and the creative
implementation. In the aspect of the message test, students will discuss normal
types of tests, which are the pretest or concept test, and posttest. These tests
involve different techniques and strategies as well as various test motives. Based
on the marketing communications objective, these tests may be used to measure
attention, awareness, interest and effects. Finally, general issues in research and
measurement will be explained.

xvi  COURSE GUIDE
Topic 10 describes as a piece of work that will be published or broadcast, the

advertisement is subject to various rules and regulations such as media law,
intellectual property law, communications and multimedia law and by-laws
under the local authority. Besides the rules enacted by the central and local
legislation bodies, advertising practices are also monitored through the rules and
code outlined by the local authority and the industry itself. This topic will discuss
a few rules related directly to advertising activities. It covers Media Law and
Intellectual Property Law. A few codes will also be explained, such as the
Advertising Practice Code, the Advertising Code in the Broadcast Media and the
Content Code. This topic is divided into five subtopics namely Advertising
Monitoring, Media Regulation, Specific Rules, Local Authority Rules and
Advertising Ethics.
TEXT ARRANGEMENT GUIDE

Before you go through this module, it is important that you note the text
arrangement. Understanding the text arrangement will help you to organise your
study of this course in a more objective and effective way. Generally, the text
arrangement for each topic is as follows:
Learning Outcomes: This section refers to what you should achieve after you
have completely covered a topic. As you go through each topic, you should
frequently refer to these learning outcomes. By doing this, you can continuously
gauge your understanding of the topic.
Self-Check: This component of the module is inserted at strategic locations

throughout the module. It may be inserted after one sub-section or a few sub-
sections. It usually comes in the form of a question. When you come across this
component, try to reflect on what you have already learnt thus far. By attempting
to answer the question, you should be able to gauge how well you have
understood the sub-section(s). Most of the time, the answers to the questions can
be found directly from the module itself.
Activity: Like Self-Check, the Activity component is also placed at various

locations or junctures throughout the module. This component may require you
to solve questions, explore short case studies, or conduct an observation or
research. It may even require you to evaluate a given scenario. When you come
across an Activity, you should try to reflect on what you have gathered from the
module and apply it to real situations. You should, at the same time, engage
yourself in higher order thinking where you might be required to analyse,
synthesise and evaluate instead of only having to recall and define.

COURSE GUIDE  xvii
Summary: You will find this component at the end of each topic. This component
helps you to recap the whole topic. By going through the summary, you should
be able to gauge your knowledge retention level. Should you find points in the
summary that you do not fully understand, it would be a good idea for you to
revisit the details in the module.
Key Terms: This component can be found at the end of each topic. You should go
through this component to remind yourself of important terms or jargon used
throughout the module. Should you find terms here that you are not able to
explain, you should look for the terms in the module.
References: The References section is where a list of relevant and useful

textbooks, journals, articles, electronic contents or sources can be found. The list
can appear in a few locations such as in the Course Guide (at the References
section), at the end of every topic or at the back of the module. You are
encouraged to read or refer to the suggested sources to obtain the additional
information needed and to enhance your overall understanding of the course.
PRIOR KNOWLEDGE
You do not need to have any basic knowledge prior to starting this lesson.
EVALUATION METHOD
Please refer to myINSPIRE.
TAN SRI DR ABDULLAH SANUSI (TSDAS)

DIGITAL LIBRARY
The TSDAS Digital Library has a wide range of print and online resources for the
use of its learners. This comprehensive digital library, which is accessible
through the OUM portal, provides access to more than 30 online databases
comprising e-journals, e-theses, e-books and more. Examples of databases
available are EBSCOhost, ProQuest, SpringerLink, Books24x7, InfoSci Books,
Emerald Management Plus and Ebrary Electronic Books. As an OUM learner,
you are encouraged to make full use of the resources available through this
library.

Topic 1  Advertising
and Marketing

Communication

LEARNING OUTCOMES

By the end of this topic, you will be able to:

1. Explain the marketing communication concept and the elements

within;

2. Recognise the elements in marketing communications;

3. Observe advertising concepts and their relationship in marketing

communications; and

4. Identify advertising communication models and how they differ from
other communication models.

 INTRODUCTION
This topic is an introduction to marketing communications and its relationship
with advertising as one of the elements within it. You will be introduced to the
field of marketing communications, and the elements of marketing
communication and advertising.
You will be exposed to the concept of marketing communications, its relationship

with marketing mix and marketing communications mix. Apart from
advertising, the other elements of marketing communications that will be
elaborated in this topic include public relations, sales promotion and personal
selling. In the advertising field, you will be introduced to advertising concepts,
communications and models of advertising communications.
Finally, advertisers as clients of advertising agencies and the source of

advertising messages will be explained. Advertisers will be discussed in terms of
their background and development in Malaysia as well as their trend of media
expenses.

2  TOPIC 1 ADVERTISING AND MARKETING COMMUNICATION
SELF-CHECK 1.1
The challenge in marketing communications is how to convey the
correct message in an efficient way to the audience at the right
place and time. Think about the meaning of:
 The right message
 The efficient way
 The real audience
 The right place
 The accurate time

1.1 MARKETING COMMUNICATIONS
Generally, human communication is divided into various types: individual
communication, group communication, organisation communication, inter-
cultural communication, inter-racial communication and mass communication.
Communication is an important area in the field of marketing, and as a subject of
research. For successful marketing, more people or staff should be involved in
the communication process either within or outside the organisation because
every organisation needs to handle different target audiences, or in this context,
the target market.
1.1.1 Marketing Communication Concept

Marketing communications is similar to promotion. Actually, Âmarketing
communicationÊ is regarded as a new term compared with the term ÂpromotionÊ,
and marketing experts now tend to use the term Âmarketing communicationsÊ to
avoid confusion with the word ÂpromotionÊ.
The term ÂpromotionÊ is always linked to sales promotion, which is one of the
aspects of real promotional activities represented by marketing communications.
This means marketing communications not only involve sales promotion and
advertising, but also public relations, personal selling and other elements in the
marketing communication mix. So, marketing mix is regarded as the stepping
stone to marketing whereas marketing communication mix is regarded as the key
to marketing communications.

TOPIC 1 ADVERTISING AND MARKETING COMMUNICATION  3
Another term related to marketing communications is Âcorporate

communicationsÊ. Blauw E. in Pickton & Broderick defines corporate
communications as integrated approach to all communication produced by an
organisation directed at all relevant target groups.
Van Riel, in the same book, defines it as communication with three forms ·
management communication, organisation communication and marketing
communication (see Figure 1.1).
Management communications is defined by Van Riel as the most important form

among the three and it involves communication between the manager and the
internal audience as well as the external audience. Organisation communications
involves different types of communication activities and this includes internal
communications, corporate advertising, public relations and other corporate-
level types of communication. Marketing communications involves
communication that supports the sale of products and services. This means
marketing communications also involves corporate communication, because the
image and perception of the organisation have a great impact on its products and
services.
Figure 1.1: Description of corporate communications by Van Riel

(Pickton & Broderick, 2005)

Thus, marketing communications can be summarised as all the elements of

promotion which involve communication between an organisation and the
target audience on issues related to marketing coverage.
1.1.2 Marketing Mix

Marketing mix is also known as the 4Ps. The term and classification were
introduced by E. Jerome McCarthy; however, the term Âmarketing mixÊ was
conceptualised by Neil Borden from Harvard Business School in 1948 and
became popular after he mentioned it in his speech during a function organised
by the American Marketing Association in 1953.
Marketing mix is analogised as a „recipe‰ that contains different elements to

produce a product that satisfies the customer when it is blended or mixed
correctly. These elements are described by Borden as comprising 12 subjects:
 Product planning
 Price determination
 Branding
 Advertising
 Promotion
 Packaging
 Display
 Personal selling
 Distribution channel
 Physical handling
 Service
 Facts analysis
Borden shortened the list, by summarising it into four elements, namely Product,
Price Determination, Place Determination and Promotion · are also known as
the 4Ps. One of the ÂPÊs is promotion related to marketing communications. See
Figure 1.2:

Figure 1.2: Elements of marketing mix or 4Ps introduced by Neil Borden
There are researchers who further shortened part of BordenÊs list to Promotion,
which covers Branding, Advertising, Packaging, Display and Personal Selling.
However, BordenÊs list excludes other elements of promotion, such as Public
Relations, which is regarded as important in marketing communications. This
has resulted in researchers including it in their list.
1.1.3 Marketing Communication Mix
Marketing communications refers to all the elements of promotion in the

marketing mix that involve communication between the organisation and
the target audience on all the subjects dealing with marketing performance.
Marketing communication mix is also known as Âpromotion mixÊ. According to

Crosier (1990), both terms contain the same idea in the context of the 4Ps.
Although Âmarketing communicationsÊ carries a wider meaning than
ÂpromotionÊ, their general meaning is the same.
Up till now, the easiest way to classify marketing communication mix is through
the four elements proposed by various marketing experts such as DeLozier
(1976), Kotler et.al. (1999), Crosier (1990), Shimp (1997) and Belch & Belch (1995).
They suggested four elements as below:
 Advertising;
 Public Relations;
 Personal Selling; and
 Sales Promotion.

Figure 1.3: Classification of marketing communication mix
Based on Figure 1.3, the different types of marketing communication activities

are separated from each other and are regarded as individual categories and
classified as independent activities. However, the real situation is not like this.
There is an important link between one category and another or between one
activity and another. For example, there are activities that overlap between
public relations and advertising. Branding, for instance, is not confined to public
relations. Similarly, corporate advertising or advertorials are not merely forms of
advertising.
Try to think what categories activities such as commerce fair, sales exhibition and
telemarketing fall under. What about business talks and sales gatherings with tea
breaks?
Figure 1.4: The overlapping of marketing communication mix
So, it can be said that Figure 1.4 is more suitable and realistic because activities
overlap. Branding, corporate advertising and product placement are advertising
activities that overlap with public relations.
Exhibitions, merchandising and trade sales are sales promotion activities that
overlap with personal selling.
In the same way, event management, lobbying, public-worker relationships are

categorised as public relations activities that overlap with personal selling. Sales
promotion activities that overlap with advertising are direct response advertising
and direct mail incentives.


1.2 ADVERTISING
Advertising is a main element in marketing communications. The other elements,
as elaborated earlier, are public relations, personal selling and sales promotion.
Each of the elements have different and special activities focusing on
communication.
1.2.1 Advertising Concept

Advertising started a long time ago and has become one of the important and
prevalent activities in promotion or marketing communications. However,
advertising should be distinguished from other marketing communication
activities. Below are the definitions of advertising given by a few authors.
Table 1.1: Definition of Advertising
Definition of Advertising Source
 Any paid form of non-personal presentation and Kotler et al. (1999)

promotion of ideas, goods or services by an identified
sponsor.
 Paid non-personal communication from an identified Wells et al. (1992)

sponsor using mass media to persuade or influence an
audience.
 Combines the definition given by American Marketing Bovee & Arens

Association and Gilson-Berkman as below: (1982)
„Non-personal communication or information that is
usually paid for and usually persuasive in nature about
products, services or ideas by identified sponsors through
various media.‰
From the definitions above, we can conclude that advertising has these
characteristics:
Ć Non-personal communication
Ć Paid communication
Ć Persuasive communication
Ć Product, service or idea communication
Ć Identified sponsor
Ć Usage of mass media

1.2.2 Advertising Communications
Advertising is an area of marketing communications because it is used as a

tool to convey marketing messages.
As one of the areas of communication, advertising is different from the other

types of communication because it has more specific characteristics, especially in
the source of the message, quality of message and the use of media.
The source of advertising communications consists of a few stages as explained

in the advertising communication model (Topic 1.1.3). Advertised messages are
conveyed in different forms, either verbally or audio-visually, depending on the
media used.
These media are both traditional and non-traditional. Traditional media are the
main media in print and electronic form. Most of the external media are in
printed form, but in recent times many print media are employing electronic
elements. Non-traditional media consist of other forms such as balloons,
calendars, business cards, souvenirs, clothes, matchboxes and whatever items
that can be distributed to the target market.
Advertising is regarded as very important in marketing communications because

the expenses involved are higher than other forms of advertising. Although the
other elements need to be chosen and combined effectively with it, the
advertising element is important because of a few basic considerations:
Ć Wide coverage with the ability to reach the mass audience because the mass
media used tend to cover a wide geographical area either locally or
internationally.
Ć With more accurate targeting, it can reach selective audiences. This happens
when there are more media and the content as well as the target audience are
more specific.
Ć Low unit cost because the cost borne will remain the same, especially the
fixed cost even though the audience has increased.
Ć Economical, effective and efficient in reaching the mass audience. Effective in
brand maintenance and brand development.

1.2.3 Advertising Communication Model

Advertising is one of the knowledge disciplines in the field of mass
communications or media studies. The advertising field has developed until it
has become one of the knowledge disciplines that interest many communications
and marketing scholars. Therefore, a few theories and communication models
have been proposed to simplify the research work and analyse the advertising
practice academically.
One of the models is the Advertising Communication Process Model proposed

by Barbara Stern based on basic communication models. Stern sees advertising as
a type of structured text but not an informal speech. ThatÊs why her model shows
that the sources, messages and receivers have different dimensions. Some of
these dimensions exist in the real world while the rest exist in different reality
stages.
In the oral communication model, the source consists of the individual who
conveys the message to other individuals or a group of individuals. In
advertising, the situation is rather complex because the real source is not the
person who conveys the message. If it isnÊt, then who is the source or the actual
communicator?
The real source is the sponsor, the party officially responsible for the
communication and who has a message to convey to the audience. Therefore, the
Stern model can be featured as in Figure 1.5 below.

Figure 1.5: The Stern advertising communication process model
The model shows that the advertising communications source has three stages,
which are the sponsor in stage one, the author in stage two and the persona in
stage three.
Ć The sponsor is the advertiser that usually consists of a company or an
organisation. They have certain messages to convey.
Ć The author is the source or person who produces the message as instructed
by the sponsor.
Ć The persona is the source who conveys the message. The spokesperson is
used to convey the message. They loans their voice and personality for the
purpose. For the consumer, this is the source that represents the company,
which is the sponsor. However, the discourse or message conveyed is
produced by the author for advertising purposes.

Based on Figure 1.5, the communication path from the sponsor to the audience is
long and winding, which is through the author (copywriter) to the persona
(actor, announcer and demonstrator). This means the source in advertising
communication has at least three tiers, which are the sponsor, author and
persona.
The message from the source is conveyed in different literary forms to the
different levels of consumers. These are the special strategies planned to ensure
that the aim of the communication is achieved.
There are also different categories of source receivers, which Stern has divided
into external consumers, sponsored consumers and real consumers. External
consumers are the potential group that is identified during the production
process of the advertisement.
Apart from that, there are sponsors who consist of decision makers in an
organisation or company that sponsors the advertisement. They are also
categorised into the advertisement message receiver group because as the
financial decision-makers and advertising campaign verifiers, they have to
evaluate the advertisement and make certain responses that affect the fate of the
advertisement.

1.3 OTHER ELEMENTS OF MARKETING
COMMUNICATIONS
As stated earlier, marketing communications covers various elements namely:
Ć Public relations;
Ć Personal selling;
Ć Sales promotion; and
Ć Advertising.
The subtitle below will elaborate on those elements but excludes the topic
ÂadvertisingÊ which was discussed earlier.
1.3.1 Public Relations Marketing

What is the difference between advertising campaigns and public relations
marketing?
To answer the question, we need to first look at the meaning of public relations.

Public relations is the communication activity aimed at forming an

understanding between the organisation and the audience, where the
audience consists of interested parties such as the customer, supplier,
shareholder, staff and so on.
According to the Public Relations Institute of the United Kingdom, public

relations is the planned and sustained effort to establish and maintain goodwill
and mutual understanding between the organisation and its publics.
According to Tom Duncan (2005), the list of responsibilities and functions of the
public relations department is as follows (Figure 1.6):
Figure 1.6: Responsibilities and functions of the public relations department according to
Tom Duncan (2005)

Therefore, Âpublic relationsÊ is definitely a concept, a profession, a management

function and a practice with the main aim to form an understanding and a good
relationship between the organisation and interested parties.
To foster a good relationship, the organisation needs to perform different types of

public relations activities as shown in Table 1.2. The table also shows the civilians
or public that becomes its audience.
Table 1.2: Activity and Audience of Public Relations
Activity Description
Publicity  Communication programme, product promotion and
branding to target the customer and target audience.
 Differs from advertising, and the identity of the person
organising the publicity function usually will not be
revealed, and this increases the credibility because it will
appear as though the journalist or commentator prepares it.
Media Relations  Activity to disseminate information about the organisation
to the media.
 Activity to foster a good relationship with the media such as
the journalist and the chief editor.
Corporate  Programme that focuses on corporate identity, reputation
Communication management and strategic counselling for higher
management.
Worker  Internal communication programme to provide workers and
Relationship staff with information.
Investor  Information programme for the community of investors:
Relationship investors, analysts and financial papers.
Crisis  General plan to handle the company reaction in the event of
Management a disaster.
In these cases, public relations certainly cannot be separated from marketing.

This is because public relations have an important function in carrying out the
promotion.
There are many public relations functions that overlap with marketing functions
even though they have independent functions. At the same time, some of the
functions are related. Some of them also support each other to accomplish the
objectives of public relations and marketing. The overlapping area mentioned by
the marketing and public relations experts is known as marketing public
relations. Table 1.3 below shows the definition of marketing public relations.

Table 1.3: Definition of Marketing Public Relations
Definition of Marketing Public Relations Source

The marketing oriented aspect of public relations. The Shimp T.A. in
narrow aspect of public relations involving an organisationÊs (Pickton & Broderick
interaction with consumers and other public regarding 2005)
marketing matters.
The process of planning, implementing and evaluating the Harris in
programme that encourages purchase and customer (Pickton & Broderick
satisfaction via trusted information communication to 2005)
accommodate the company and organisation according to
the need, demand, care and interests of the customers.
Based on the comprehensive scope covered by marketing public relations, it is

apparent that different types of activities can be used for marketing
communication campaigns.
Those activities include media release, media conference, media relationship and
entertainment as well as publicity functions. Table 1.4 illustrates the diversity of
these activities.
Table 1.4: Special Activities of Marketing Public Relations
Special Activity Description
Media release Information provided by the media in the form of press release,
video release, media pack and other documents.
Media A function that invites journalists and media editors so that they
conference can provide coverage on the programme or product being
launched.
Media relations Long-term good relationship fostered by publicity officers, PA

agents and media experts with journalists and editors.
Publicity Special activity to catch the publicÊs attention; it is called a stunt if

functions and it is extraordinary or spectacular such as flying with a balloon
stunt carrying the companyÊs logo to celebrate the organisationÊs
anniversary.
Lobby Activity to gain a good reputation among the authorities in a

company, an organisation or a leader.
Promotional All forms and types of items used in the marketing public relations
item campaigns.

Advertorial Paid advertisement but its presentation make it appear as an

editorial subject to increase the credibility of the information in it.
Sponsor and Fund contribution for an activity carried out by an individual or

contribution organisation. The aim may be altruistic but normally it is expected
to achieve marketing or corporate objectives.
Corporate Covers all types of company stationery or sign boards that have
identity item the logo, symbol and colour of the company. These become an
important part of marketing communications.
Company Promotional activities via the Internet that provide information on

website the organisation.
Corporate Publication produced by the organisation for its publics such as

publication workers, shareholders and customers.
Publication work done either by the organisation itself or external
publishers given the task. Some of the important types of corporate
publications are internal magazines and customer magazines
published in various forms such as pamphlets, bulletins and glossy
magazines.
The annual report is another important type of corporate
publication while corporate video is in audio-visual form.
Exclusive Marketing public relations activities cover as much media as

possible but sometimes an organisation decides to offer the
exclusive rights of a piece of news to specified media.
This increases the possibility of the news becoming the headline if
it is suitable for the target audience of the media.
Interview and One of the functions of marketing public relations is to provide a

photography spokesperson or representative for the organisation to interview or
session to provide a commentary, performance and photography session.
This enables the view of the organisation to be presentated in an
effective way.
Speech The representative or spokesperson of the organisation will give a

speech during a conference, industrial meeting, business party,
public function and so on. The speech is written by the public
relations staff and the speech transcripts will be distributed to the
media as part of the media release.

As shown above, there are many types of marketing public relations activities.
These activities are carried out either externally or internally.
If they are carried out externally, the organisation needs to use the agencyÊs
service to complement the campaigns implemented internally.
Based on the activities above, the media release is the most basic marketing
public relations. The purpose of the media release is to catch the editorÊs
attention so that they will insert it into the media.
The main media used are the press release, radio and television. A media release
may be in the form of a simple press release but it can also be a complete media
pack. It includes information, photographs, video and audio tape, CD as well as
DVD. The Internet, web page, bulletin board and e-mail are used to produce the
release besides the traditional media mentioned earlier.
A media conference is a function to which reporters, journalists and editors are

invited. Usually, the press conference is held together with another important
ceremony or function. During the press conference, the reporter will usually be
given a media kit or press kit, which is a packet of information containing many
different items such as the functionÊs programme book, background information,
speech, history, pictures and all kinds of information needed about the
programme or product.
The different types of promotional items may be used appropriately in the

marketing public relations campaign. These items are:
Ć Corporate video;
Ć Newsletter;
Ć Magazine;
Ć Brochure; and
Ć Direct mail.

ACTIVITY 1.1
An advertorial is a type of advertisement that resembles the editorial
subject. The Advertising Practice Code in certain countries demand
that there should be a notice saying it is an advertorial to avoid
deception.
1. Give your opinion on what types of deception may take place?
2. In Malaysia, is there a notice stating that it is an advertorial?
3. Find an advertorial in the newspaper and elaborate on its
characteristics.
4. Discuss: An advertorial is actually an advertisement, not a
public relations item.
1.3.2 Direct Marketing Communications

One type of sales promotion is direct marketing.
Direct marketing is a marketing communication system that stresses on

direct response from the audience.
It uses many media to offer something to the customer so that he/she is

encouraged to react directly. One of the important ways to respond is through
direct mail.
Direct marketing can also involve personal selling between individuals or via
telemarketing. It is clear that direct marketing is not only in the form of direct
mail but all kinds of potential direct media such as Internet communication,
telephone communication, and radio and television advertising.
Interactivity is important in direct marketing. This means there is a two-way

communication between an organisation and its prospect. Both can initiate their
communication. ThatÊs why direct marketing is equivalent to direct response
marketing.

Basically, direct marketing is frequently used to encourage customers to make

their decisions, such as test driving, product tasting, showroom visiting and so
on, but many direct marketing activities are done to form a transaction. This
means that encouraging the customer to take action is important in direct
marketing.
Direct marketing usually uses offers and incentives to encourage reactions from
the customers. The offers promise visual or non-visual gifts by the company as a
reward for a customerÊs response.
Among the different types of offers are:

Ć Special price (for instance 20% discount),
Ć Purchasing term (for instance instalment),
Ć Guarantee (for instance five years guarantee) and others that involve
delivery, premium and image.
Incentive is also a type of offer. It can be a gift for a prompt response, loyalty
schemes that reward points for product redemption or other forms of incentives.
The important mechanism formed to enhance direct marketing is care lines such
as telephone, fax and e-mail. The audience can react directly through that
mechanism.
1.3.3 Personal Selling
Personal selling is a promotional activity that excludes advertising, public

relations and sales promotion.
However, some activities in personal selling overlap with sales exhibition

promotion, trade and merchandising sales, which include all kinds of activities to
ensure that the product is obtained easily and displayed clearly and attractively
at the place of sale. Usually, the roles of the salesperson can be split into two
which are:
Ć Service selling: Service selling obtains its sales from the existing customers.
Ć Developmental selling: Developmental selling turns prospects into
customers.

Figure 1.7: The two roles of the salesperson
Wilson K. J. in his article entitled Managing the industrial salesforce of the 1990s
in the Journal of Marketing 1993 (Pickton & Broderick 2005) stated that the daily
activity of a salesperson is no longer merely selling.
The new roles include:
Ć Partner
Ć Purchasing/selling team coordinator
Ć Customer service provider
Ć Information collector
Ć Analyst and market planner
Ć Sales forecaster
Ć Market cost analyst
Ć Technologist
Personal selling is an important component of marketing communications

specifically in external public activities and communication because it is flexible
and influential. The reason is that personal selling is not merely selling because it
is capable of maintaining customers, fostering a good relationship and projecting
a good image.

1.3.4 Trade Exhibition

Trade exhibition is a place to feature and demonstrate the product to
prospective customers.
Some of the trade exhibitions are places where the buyer and the seller meet.
There are also some exhibitions that are merely promotional tools without any
selling and purchasing activities.
No matter what the purpose, trade exhibition is only a transitory way to display,
introduce or sell the product. Normally, it is held with a special theme or in a
certain product category or for a certain audience group.
The two important areas in marketing communication covered by trade

exhibitions are activities related to:
Ć Selling and
Ć Activities related to promotion.
The type of trade exhibition held is different. There are small exhibitions carried
out in the shop itself; some are held in conjunction with a grand conference and
some are similar to international exhibitions with a lot of participation.
For the audience, some exhibitions are open to the public while some are
specifically for registered participants only or by invitation from the organiser.
In marketing communication, trade exhibition is an area that is not given much

focus but in terms of expenses, it involves large amounts of money and is carried
out by organisations mainly in their own form, from small exhibitions to grand
exhibitions held internationally.
This is because exhibition is regarded as an influential activity for the company to

convey a message to a large group face-to-face, while the cost is lower compared
with hiring a salesperson to do it directly.
In a research by Shipley et al. in year 1993 (in Pickton & Broderick 2005), it is
stated that the reasons to hold trade exhibitions are:
Ć Meeting new customers
Ć Strengthening the companyÊs image
Ć Interacting with customers
Ć Promoting existing products
Ć Launching new products

Ć Identifying competitorÊs strategy
Ć Strengthening staffÊs morale
Ć Interacting with suppliers
Ć Researching the market generally
Ć Taking purchasing order
Ć Meeting new publishers face-to-face

1.4 ADVERTISER AS COMMUNICATION
SOURCE
Besides the message and media, another important component of marketing
communication is the advertiser itself. Advertisers are companies that serve as
the basic source of marketing communication messages, specifically advertising.
From the perspective of the advertising agency, these companies are clients who
provide the source message. They consist of the marketer, producer and
advertiser of all sorts of products, services or ideas. These companies comprise
government or private agency, business organisation or non-profit body.
Small companies may not afford costly marketing communication activities.

However, there are many alternatives for them in the advertising field. They can
use cheaper channels such as the phone directory, flyer, notice or sign board.
They may also use the local media with a smaller distribution and focus on
specific local areas only.
Big companies have larger annual provisions to enable them to place

advertisements in the different media and carry out public relations, sales
promotion and personal selling programmes. On the contrary, small companies
may not be able to spend consistently, but only according to their ability at
certain times only.
1.4.1 Advertising Company

According to Table 1.5, the main advertisers in Malaysia are telecommunications
companies, specifically Maxis, Telekom Malaysia Berhad, DiGi
Telecommunications and Celcom. The telecommunications industry has
developed significantly in recent years. Many of the telecommunications
companies are new but they have shown high performances in their promotional
activities.

For instance, Maxis only started its commercial operations in 1995 but it has
become a household name in the portable communications field and is the largest
company in this field in Malaysia.
Similarly, DiGi Telecommunications started its operations since 1995 and Celcom
was initially corporatised in 1998. These four large telecommunications
companies spent RM207 millions in 2002 and that accounted for 6% of the entire
advertising expenditure.
This was followed by food and beverage companies such as Unilever, Nestle and
Procter & Gamble. Unilever, which started with the name Lever Brothers in 1947
in a factory in Bangsar, has become a well-known name, Its factory, which is
worth RM12 millions through the production of margarine and soap, was
regarded as the biggest factory at the time. It is said that its machine can pack 124
pieces of soaps a minute. With its new name, Unilever (M) Holdings, in 1994, it is
famous for its Lipton®, Planta® and WallÊs® ice cream brands as well as the
brands of body care and cleansing products such as Lux®, PondÊs®, Dove®,
Hazeline®, Sunsilk®, Breeze®, Vim® and Jif®.
Another important group of advertisers are cigarette companies consisting of

British American Tobacco and JTI Trading Sdn. Bhd. Although cigarettes are not
an important product in advertising, these cigarette companies still spend a large
amount of money on advertising activities.
British American Tobacco Malaysia was established in November 1999 via the
merging of big cigarette companies Rothmans of Pall Mall (Malaysia) Berhad and
Malaysian Tobacco Company Bhd (MTC). The company manufactures, imports
and markets cigarettes under brands such as Dunhill, Kent, Pall Mall, Peter
Stuyvesant, Benson & Hedges and PerillyÊs.
JTI Trading is a company corporatised in Malaysia which markets cigarette

products for the brands Salem, Winston, Mild Seven, Camel and More. Under the
JTI Group, companies such as Salem Power Station hold the licence of a network
of music shops, and companies such as Salem Holidays promote the tourism
service. Eagle Collection promotes clothes and menÊs fashion under the brand
Winston, and Salem Cool Planet promotes entertainment services and products.
In the 1980s, the scenario was quite different, where tobacco products superseded
other products. In 1985, the top two advertising companies were Rothmans and
Malayan Tobacco, followed by Nestle and Malaysian Airlines.

Table 1.5: Main Advertisers in 2002
No Advertiser RM Ê000
1 Maxis 73,273
2 Telekom (M) Bhd 66,567
3 Unilever Malaysia 50,259
4 British-American Tobacco 47,656
5 Nestle 44,025
6 Petronas 42,812
7 Procter & Gamble 37,844
8 DiGi Telecommunications Sdn. Bhd. 36,187
9 JT International Trading Sdn. Bhd. 31,984
10 Celcom 31,459
Source: Media Guide/AC Nielsen AdEx Report
1.4.2 Advertisement Expenditure Trend

Based on Table 1.6, advertisement expenditure in Malaysia has increased since
1990 from RM818.2 millions to RM3.4 millions in 2002. This is an increase of more
than 300% in 12 yearsÊ time.
However, the increase was not consistent but fluctuated based on certain factors.
The highest increase was during the early years of the decade and the end of the
decade, when each had increased more than 24%. However, in 1998, there was a
significant drop of 17%, but this was the only decrease for the whole decade.

Table 1.6: Advertising Expenditure 1980-2002
Expenditure
Year % Difference
(RM Million)
1980 226 33.0
1984 401 77.4
1988 451 12.5
1990 818.2 81.4
1991 1016.3 24.2
1992 1128.0 11.0
1993 1440.8 27.7
1994 1673.9 16.2
1995 2022.0 20.8
1996 2413.5 19.4
1997 2631.6 9.0
1998 2178.6 -17.3
1999 2474.0 13.6
2000 3078.3 24.4
2001 3157.0 3.1
2002 3448.5 9.2
Source: SRM AdEx, Media Guide/AC Nielsen AdEx Report
Based on the media division, it is clear that a major part of advertising went to
the newspapers, followed by television, magazines, radio and the rest.
The newspaper channel controlled more than 60% of the share in the first three
years of the decade. The expenditure of RM360,000,000 in 1990 shot up to RM2.2
billions in 2002. The newspaper channel showed an increase from 40% in 1990 to
50% in 1993 and 60% at the beginning of 2000. It increased gradually, reaching
63% of the total advertising expenditure in 2002.
Television was the second most important media, covering 27% of the share in
2002 even though it has declined from 44% in 1990. During the decade, the
revenue percentage for television decreased consistently.

Despite this, , the actual figure for television expenditure increased yearly except
for 1998, when there was a decrease from RM780,224,000 to RM699,539,000 and
in 2001, from RM936,000,000 the previous year to RM878,000,000.
Magazines were in third place, capturing about five percent in 2002 and in the
past 10 years, between four and six percent. The highest percentage was in 1992
with around 10% and the lowest was four percent in 1999 and 2000.
Radio was in the fourth place with four percent in 2002 from a mere one percent
in 1990. For film and video, their shares were in the 0.4% range recently while
post advertising was slightly higher, with about 0.8%.
Table 1.7: Advertising Expenditure According to Media, 1990-2000 (Â000)
Year/
Magazine TV Radio Newspaper Video Film Post
Media
1990 54.1 358.6 7.8 360.1 5.8 na na
1991 88.6 410.4 21.0 440.0 9.8 na na
1992 112.8 446.9 26.7 478.8 12.5 na na
1993 88.0 482.2 32.8 765.7 10.2 na na
1994 105.2 528.2 42.1 909.7 9.5 na na
1995 117.5 653.8 59.3 1,129.0 11.4 7.1 na
1996 121.5 772.4 71.5 1,407.8 10.2 7.4 na
1997 136.9 780.2 84.2 1,587.2 10.2 9.3 20.9
1998 111.3 699.5 65.5 1,261.3 9.7 10.7 20.6
1999 104.1 771.4 80.1 1,470.8 10.9 9.7 22.1
2000 131.2 935.7 102.0 1,866.2 9.4 9.7 24.2
2001 182.4 878.4 119.7 1,936.4 na 11.4 26.0
2002 158.1 921.8 144.1 2,186.5 na 9.7 28.3

Table 1.8: Expenditure Percentage According to Main Media, 1990-2002
Year/Media Magazine TV Radio Newspaper

1990 7 44 1 44
1991 9 40 2 43
1992 10 39 2 42
1993 6 33 2 53
1994 6 32 3 54
1995 6 32 3 56
1996 5 32 3 58
1997 5 30 3 60
1998 5 32 3 58
1999 4 31 3 59
2000 4 30 3 61
2001 6 28 4 61
2002 5 27 4 63
ACTIVITY 1.2
Based on Media Guide or other references, state the statistics of

advertising expenditure of the various industries or main
companies. State also the media usage in terms of advertising
expenditure provisions.
 What is the advertising expenditure and media usage.
 What is the main media and what is the main media less
focused on?
 What is the advertising expenditure trend for the past five
years?
 Why is that so?

Advertising Marketing Communications

Creative Boutique Media Kit
Direct Marketing Media Release
Full Service Agency Publicity
Internal Agency Stunt

SELF ASSESSMENT 1
1. What is marketing mix?
2. What is marketing communication mix?
3. Why is publicity more credible than advertising?
4. As an important element in marketing communication, advertising is the
choice because of some important factors. State all the factors.
5. What are the important tasks of a personal salesperson?
SELF ASSESSMENT 2
1. Think about some of the strengths of public relations or the other marketing
communication elements.
2. Draw and elaborate on the Stern model of advertising communication.
3. Apply the Stern advertising communication model to a special television
advertising campaign.
4. Identify and explain a type of special lobby that may be carried out by the
organisations below:
Workers Association, Tobacco Manufacturers Association, Parent-Teacher
Association.
5. Explain the similarities and differences between advertising and one of the
other marketing communication elements.

Arens, W. F. (2006). Contemporary advertising. (10th ed.). New York: McGraw-

Hill Irwin.
Duncan, T. (2006). Advertising and IMC. New York: McGraw-Hill Irwin.
Pickton, D. & Broderick, A. (2005). Integrated marketing communication.

London: Prentice Hall.
Varey, R. J. (2002). Marketing communication: Principles and practice. New York:

Routledge.


Topic 2 Organisation
and

Creative Staff

LEARNING OUTCOMES

1. Explain the main groups of the marketing communication field;

2. Explain the position and the organisational structure of an agency that
provides creative service;
3. Identify the creative staff through their positions and tasks;

4. Discuss the role of a copywriter as the communicator and the
challenges faced; and
5. Identify marketing communications agencies.

 INTRODUCTION
This topic focuses on the creative team and the organisation it works for. Three
main subtopics will be discussed, namely the industrial organisation, the creative
staff and the agency's service. In the industrial organisation subtopic, the
students will be given exposure to the groups involved in the marketing
communications field, which are the advertiser, the media and the agency.
In the section on creative staff, their main positions will be identified and their
tasks as well as their relationships with each other will be explained. Besides
copywriter, other positions are creative director, art director, graphic designer
and illustrator.
In the section on the service agency, the organisations that provide creative
services will be elaborated. These are the full service agency, creative boutique,
internal agency, media planning and buying agency as well as other agencies in
the public relations and sales promotion fields.

30  TOPIC 2 ORGANISATION AND CREATIVE STAFF
SELF-CHECK 2.1
 A copywriter communicates at different levels. Think about the

meaning of communicator in the context of a copywriter. What is
the message and who is the audience? Draw a diagram to
illustrate the communication process.
 Hanley Norins (1980) assumes that a copywriter has five

characteristics: avid curiosity, vivid imagination, warm empathy,
keen enthusiasm and modest flexibility. Explain the meaning of
each characteristic.

2.1 INDUSTRIAL ORGANISATION
In the marketing communications field, many parties are related to one another.
The three basic organisation groups are:
 Marketing communications agency;
 Media organisation; and
 Advertising company.
These three categories of organisations are partners in the marketing

communications industry. Each partner is elaborated below.
2.1.1 Partner
The organisation of marketing communications exists in various forms and
structures, depending on its ability and purpose. There are internal organisations
as well as external and independent ones. Internal organisations include
departments, units or divisions in the large organisations in any industry,
whether manufacturing, service, agriculture or others.
Internal organisations usually offer marketing communications services only to

their companies, whereas external organisations operate independently and offer
marketing communications services to any company that needs it. The
independent organisation exists in various forms and specialisations.

TOPIC 2 ORGANISATION AND CREATIVE STAFF  31
Figure 2.1: Partners of marketing communications
A company needs the services of the marketing communications agencies to

convey information about their products and services. Figure 2.1 shows the
partners of the marketing communications industry. Although they are partners,
each entity is independent but interdependent on each other and exist together.
The figure is known as the pyramid of marketing communications partner or the

Golden Triangle Partners of IMC (Integrated Marketing Communications). The
position of the customers and the interest holders in the middle of the pyramid
illustrates the customer-centric nature of this industry.

Table 2.1 below illustrates the partners of marketing communications in detail.
Table 2.1: Partners of Marketing Communication
Partners of Marketing
Description
Communication
Advertiser  Covers all commercial and non-commercial,
private, government, semi-government companies
and non-profit organisations.
 Has something to sell or offer.
 This organisation will continue to exist if they
have sufficient clients to buy their products,
services or ideas.
 The type of purchase is different:
- Commercial company: customers who buy
products and services.
- Non-profit organisation: purchase done
through time or financial contribution.
Media  Print and electronic media companies that have
their own audiences; these audiences are needed
by the advertisers in their marketing
communications process.
 Media organisations that offer space and time for
those purposes.
Agency  Organisation involved in offering marketing
communications services either as a full service
agency or a company that offers special services.
These three groups need each other to continue their operations:

 The advertiser needs the media as their communication tool,
 The media needs the advertiser to pay their operation costs, and;
 The agency has creative experts so it can offer services to the advertiser.
So, it is clear that each has its own interests and needs.

2.1.2 Organisation Structure

The organisation structure of external and internal advertising agencies is
different. This also applies to special service agencies such as the creative
boutique or other creative services providers. It depends on the ownership and
management. The same goes for the other companies that become the
advertisers.
For companies that have advertising departments, they may have many staff
headed by the advertising manager, who is responsible to the marketing director
or the marketing services manager.
The actual structure depends on a few factors, but basically, there are two types
of management structure · centralised and decentralised. There are companies
that combine both these structures.
(a) Centralised Structure

In the centralised structure, the party in authority is responsible for all the
marketing communication messages. This usually happens when all the
products are sold under a brand name such as IBM, Nikon and Caterpillar.
The organisation head has complete control and power. This means the
marketing, advertising and research divisions and all the functions under
marketing communications will report to the director or head of company.
Refer to Figure 2.2 below.
Figure 2.2: Centralised structure organisation

A centralised company is very concerned about cost efficiency and

continuity in its marketing communications programme. Via the centralised
structure, the highest person in authority has more power to enable
him/her to provide efficient and continuous service throughout the
divisions.
In centralised departments, the advertising manager is responsible to the

head above him/her, which is usually the vice president. Besides that, the
company may structure the departments according to certain divisions
based on the product or brand, the sub-functions of advertising, end user,
media and geography.
(b) Decentralised Structure

Each division is more independent and performs a wider range of
functions. The heads of departments assume management responsibilities
and they may be structured according to geography, product, brand,
subsidiary or other divisions. Refer to Figure 2.3 below.
Figure 2.3: Decentralised organisation structure
The companies that sell products of different brands usually use the
decentralised structure. For example, Procter & Gamble manufactures and
markets different product brands such as Crest, Tide, Cheer and Pampers.

Each brand has its own agency and individual marketing communication
messages that are not related to the other brands under the mother
company. Procter & Gamble, the name of the company, is a corporate brand
and it receives less promotion compared to the products and brands under
it. Decentralised structure also happens geographically when the company
sells the products and provides the services to the other countries or
regions.
Each region manager is responsible for the selling and marketing

communication messages of its region.
ACTIVITY 2.1
Look at the telephone directory. Get the following information

from the directory
1. How does the directory categorise the companies involved in
marketing communication activities?
2. Name some of the main companies in each category.
3. Get more information about those companies.
2.2 SERVICE AGENCY

Look at the telephone directory. Get the following information from that book. A
few types of advertising service agencies will be elaborated on below. Those
agencies are divided according to the types of services given to the advertising
companies.
The organisation of these agencies is not always the same because each has its
own uniqueness in structure, name of position and department. However, there
are similarities among one another and these agencies can be divided into:
2.2.1 Full Service Agency

A full service agency provides all or nearly all kinds of services needed in the
marketing communication field. Usually, a full service agency provides these
services: research services, creative development for brand messages, media
planning, media buying and account management.

However, full service doesnÊt mean that they will perform all tasks. For instance,
in print advertising, they may not do printing and in television advertising, they
may not do filming. On the contrary, they manage or monitor those tasks given
to the more specialised agency and in these cases, the printer and film company.
Usually, there are three units/divisions/departments in the full service agency,

which are:
 creative service,
 media division and
 management and account division.
Refer to Figure 2.4.
Figure 2.4: The structure of a full service agency

Table 2.2
Unit/Division/Department Description
Creative Service  The traffic and production divisions are under the
control of the creative service.
 The production division manages the advertisement
production while the traffic division ensures that the
production process flows smoothly.
 The creative service division has creative staff who
are responsible for the production of creative ideas.
Under this division, there are:
- copy unit,
- production unit,
- art unit,
- traffic unit or other units according to media,
which are the print advertisement unit,
television advertisement unit and radio
advertisement unit.
 The creative staff consist of:
- copywriter,
- art director,
- creative director,
- publisher and
- traffic manager.
 The copywriter produces texts, copies or verbal and
written messages.
 The collaboration with account managers is
important in this matter because the account
manager deals directly with the clients.
Account Management  Account in this context means the organisation that
becomes the advertising agencyÊs clients. For
example, airlines, banks and hotels are accounts of
advertising agencies.
 The account management division is handled by
account managers who are the communication
officers between the agency and the clients.
 This division is headed by the customer service
director who manages the staff, which consist of
account supervisor, account officer and account
officer assistant.

 The main tasks of this division are:

- To identify the customerÊs problems and needs
and help create communication strategies to
solve them.
- Another important task includes conveying creative
ideas and media plans to customers and convincing
the customers to acknowledge them.
Media Division  The media division has two main tasks, which are:
- media planning and
- media buying.
 Media planning is related to tasks that set objectives
and media strategies of advertisement to be
presented to the audience.
 Media buying involves buying and obtaining
suitable advertisement space and time in the mass
media according to the media plan.
Research Division  If there is a research division, then it will usually
collaborate with the creative service and account
management divisions.
 A big agency has its own research division.
 This division conducts studies and research
qualitatively and quantitatively to enhance their
understanding of customers and identify the most
suitable group of audiences to receive their
marketing communication messages.
 This division is also needed to test creative strategy
ideas and evaluate advertising works based on their
stages.
2.2.2 Internal Agency

Some companies think it is more profitable to have a special division to handle
the marketing communications tasks themselves. The internal agencyÊs role is to
produce all or a part of the marketing communications items.
A company that needs to advertise daily, such as the supermarket that always
publishes groceries advertisements, has an internal agency. Some large
companies have internal agencies so that they can control the creative process
and work, especially in terms of creative ideas and manufacturing costs.

Depending on its type and roles, internal agencies perform marketing

communications tasks such as advertising, publicity, sales promotion and direct
marketing. However, internal agencies also have their limitations such as
creativity, exposure and bargaining power. The best person in this field usually
chooses the full service agency. Besides that, with only one account, there is less
exposure and buying advertisement space and time for one agency only will
incur higher costs.
2.2.3 Creative Boutique

Creative boutique is an agency that has creative experts, specifically
 Copywriter
 Graphic designer
 Typesetter
 Illustrator
 Artist.
They work together to offer special services based on the combination of their
skills. This agency works on a project basis for their customers and other
agencies.
Once a project is completed, they will send it for production or to the media for
broadcast. The role of the creative boutique is the same as the creative
department in a full service agency.
Normally, the creative boutique is started by a copywriter or a person in the

creative team such as the creative director or art director who works for a full
service agency. Their success in producing good work results in their decision go
set up their own company, which is the creative boutique. Perhaps they are also
not satisfied working for other people. So, they choose to be free and set up this
creative agency.
Although the work of the creative boutique may be good and economical, they
do not provide research and marketing services, selling skills and customer
service that a full service advertising agency offers. Because of this, the services
of the creative boutique are only limited to providing creative work.

2.2.4 Freelancer
Some creative experts work individually and independently without any
bonding with employers. Usually, they have vast expertise and are trusted by the
agencies and companies to work on creative projects. So, freelancers are
independent creative experts who work on their own and take up tasks from
agencies or marketing organisations on a project basis.
2.2.5 Media Planning and Buying Agency

A media planning and buying agency is an organisation with expertise in
planning and buying media spaces for advertisers. This agency works with
various companies to obtain those spaces for advertising purposes.
Media planning is very important because the media are widely used by the
advertisers to communicate and convey their marketing messages. Besides that,
the media are developing progressively and have become complex through stiff
competition.
In addition, the media are becoming more specialised and more focused on their
individual audiences. Fragmentation exists among the audiences because there
are many media choices and the task of media planning is getting more
complicated. Besides that, the advertisers need to negotiate smartly with the
media because of tight budgets. Good judgement in management and full
attention are also needed. All these make the media planning and buying agency
very relevant.
Media time and space are perishable services. For example, the time on radio and
television for a certain period will be gone as time passes by. Similarly,
newspaper or magazine spaces will eventually be gone after the newspaper or
magazine has been published.
Unused space and time are unprofitable for the media company. So, radio and
television time will be sold as early and as much as possible. The media will
usually give a discount for bulk buying. The media buying agency will get the
best discounts by buying more time and then selling the time to advertising
agencies or companies.
The media buying agency provides a detailed analysis of the media buying to its
clients. When media packages are sold, the media buying agency will book the
time, verify the performance and ensure that the media station fulfils the buying
by publishing the advertisement or pays compensation if it is not published.

ACTIVITY 2.2
The media today is said to be getting more specialised and focused
with their own specific and focused audiences. Obtain a schedule of
programmes for an electronic media (television and radio) in
Malaysia and based on the schedule, answer the questions below.
1. How many television channels and media are there in
Malaysia?
2. How specialised are these channels?
3. What is the condition of the audience fragmentation?
4. Which channel do you think has a generalist nature?
5. Which channel do you think is the advertiserÊs favourite and
why?
2.2.6 Other Marketing Communications Agencies

There are many special agencies involved in the marketing communications
field, apart from advertising. Some of them are shown in Figure 2.4 below:
Figure 2.5: Other marketing communications agencies
(a) Direct Marketing Company

This firm uses a database and technology to help their clients foster a long-
term profitable relationship with their audiences. These companies
implement:

 Strategic planning
 Response management
 Media buying
 Customer management
(b) Event Marketing Company

Event marketing is a promotional function that is planned to interest and
involve the target audience of a product. It has become a specialisation
service carried out by the company. Besides planning and handling
marketing events, this company also monitors and manages logistics. Event
management can have a great impact because it involves the individual
completely. This makes the event memorable and motivating because it
does not involve mere passive messages.
According to Clare Rosenberg, President of Promotional Marketing

Association USA,
Recent recognition from corporate marketers that event marketing engages

consumers with a hands-on, emotionally rewarding brand experience, has
caused them to shift budget resources from „traditional‰ marketing
practices to event marketing, which is the fastest growing practice in the
industry.
Important reasons for implementing event marketing are:

 Getting audiences who are difficult to reach;
 Increasing product or brand awareness; and
 Creating the platform for publicity activities.
Tupperware is said to be the founder of event marketing because it used

event marketing as a marketing tool at the in-home Tupperware Party. This
party created peer pressure but at the same time, it resulted in experiential
marketing. The product differentiated itself through special exposure at the
party, such as demonstration and socialisation. However, such method is
now challenged by other strategies, especially online marketing.
(c) Packaging Agency

This agency manages packaging and performs tasks related to packaging
design and management. Packaging is important in creating a positive
product or brand perception. This means packaging can affect the image.

Although advertising is an important image builder for products or

organisations, packaging also plays an important role. Packaging reminds
the consumer of the brand and represents the image at the buying point,
where the decision to buy is made.
Packaging has five components, namely:

 Design
 Protection
 Function
 Cost
 Disposability
The features of a package such as the shape, logo, typography, colour and
material are planned to exhibit the identity and image.
(d) Public Relations Agency

A public relations agency handles the management aspects of work related
to the companyÊs relationship with the public to establish trust,
collaboration and a good image. Other public relations programmes focus
on corporate communications and workers as well as community and
financial relationships.
(e) Call Centre

An agency that handles telephone communications, either outgoing or
incoming calls.
(f) Research Company

It conducts studies and research on customers and products besides
evaluating marketing communication ideas and testing their effectiveness.
(g) Publishing Company

A company that publishes marketing communication items in print and
electronic forms. These publishing companies undertake tasks or projects
owned by the advertising organisation, public service organisation or even
advertising companies via their marketing department.
(h) Design Studio

An agency that provides graphic design services for the different types of
media. Design studio carries out specific tasks that are done by skilful
graphic designers.

2.3 STAFF OF THE CREATIVE DEPARTMENT

The creative staff consist of:
 Creative director
 Art director
 Copywriter
 Visualiser
 Graphic designer
 Artist
 Illustrator
 Traffic manager
The creative staff are united as a group and they need to work together to get
ideas and implement those ideas in the advertising campaign.
2.3.1 Creative Director
The Creative Director is responsible for the whole idea and the advertisement
presentation.
This means that the Creative Director:

 Supervises the production process,
 Implements
 Produces the creative ideas.
Some of the tasks of the Creative Director are to:

1. Ensure that the concepts and intentions are interpreted as well as possible.
2. Ensure that the advertisement produced fulfils its objective.
3. Report the progress of the advertising assignments directly to the General
Manager or the Managing Director of the company.

Figure 2.6: The tasks of a creative director
1. Ensures that the Concepts and Intentions are Interpreted as Well as

Possible
The Creative Director is responsible for ensuring that the concepts and
intentions of the advertiser are interpreted as well as possible so that the
advertisement produced is really strong and fulfils the needs of the product
manufacturer. In other words, a Creative Director usually racks his/her
brain to find the most suitable and effective approach to create a successful
advertisement. Usually, he/she is the person who is able to read minds and
gauge the tendency of a prospect or customer with the potential to buy the
products.
2. Ensures that the Advertisement Produced Fulfils its Objective

The Creative Director and his/her team will work hard to ensure that the
advertisement produced fulfils its objective such as attracting the
audienceÊs attention or stays in the mind for a long time.
In this case, if the customer can recall the advertisement for a long time, it
means the Creative Director and the team are very creative. It is a success
too, if the words and phrases in the advertisements are mentioned by many
people. A person becomes really creative when he/she is in the world of
advertising for a long time and has produced various types of
advertisements for different types of customers.
3. Reports the Progress of the Advertisement Assignments Directly to the

General Manager or the Managing Director of the Company
The Creative Director is responsible for reporting the progress of the
advertising tasks given directly to the General Manager or the Managing
Director of the company. Sometimes, he/she also needs to present the final
production to the customers and support the strength of the concept and

the creative approach. He/she needs to have convincing arguments on the

choice of elements in the advertisement.
2.3.2 Art Director

If the Creative Director is responsible for supervising the production process,
implementing and producing creative ideas, then the Art Director will be
responsible for supervising and handling the visual aspects of the advertisement.
This means the Art Director is responsible for photography, illustration, film,
logo and all other visual elements.
The Art Director and the other graphic artists decide on the theme and then turn
the concept into visual elements. This process is called visualisation · the early
step in conveying the ideas visually.
Working with the copywriter, the Art Director will use his/her imagination
through the stages of the creative process such as exploration, thinking,
implementation and evaluation. The Art Director handles the visual aspects of
the advertisement and is assisted by the graphic designer, artist, illustrator and
graphic artist.
One of the dimensions of visualisation is deciding on how the message element

· words, pictures and sounds · are presented and arranged to convey the ideas
most effectively.
In this context, the Art Director handles the visuals. The word ÂvisualÊ actually
refers to all the artwork. In print advertisement, the artwork covers photos,
computer-generated images and hand-drawn illustrations. In the electronic
media such as film, television and video, the art element consists of film, still
pictures or animation.
Another important element is typeface. The Art Director needs to choose and use
a suitable typeface that illustrates the advertising needs and portrays the
corporate image. The types, which are the alphabets and the characters used,
have design dimensions and can contribute to the style of the advertisement
presentation. Different typefaces bring out different images and tones, for
instance formal, informal, light, casual, etc.

In most marketing communication messages, the visual element is regarded

important because it is used to enhance attraction. At the same time, it must
convey messages about the product, brand and company. For example, the
advertisement typeface can create positive or negative impressions and that
impression may stay in the audienceÊs minds for a long time.
2.3.4 Copywriter
In this book, the copywriter refers to the advertising copywriter. Who is the
copywriter?
In Complete Copywriter, Hanley Norins (1980) described the copywriter through

the paraphrasing of DickensÊ novel, A Tale of Two Cities:
„Copywriter is the best of writers, he is the worst of writers, he is a

practical businessman, he is a temperamental artist, he is the bearer of
benefits, he is the apostle of greed, he is an inspired craftsman, and he
is a frustrated hack.‰
Who is actually the copywriter? According to Norins, the copywriter is the

communicator who faces the greatest challenge compared with other
communicators because, according to Norins, the copywriter:
 Needs to use the most intense language for the most difficult discourse.
 Needs to communicate through very restrictive space and time.
 Has no voluntary audiences just like the other communicators and he/she is
compelled to face indifferent people and sometimes, even antagonists.
According to Norins, as a communicator, the copywriter communicates at

different levels. (see Table 2.3).

Table 1.1: Definition of Advertising
Process Description
Stage 1: Planning Process  In the advertisement production process, the
copywriter communicates with the public to do
detailed research on the item, specifically:
- the product advertised,
- the competitors of the product and the
customers.
Stage 2: Advertisement  The copywriter will communicate with the colleagues
Message Production specifically:
Process - the account managers, researchers and media
experts who will work together as a team to
produce the best advertisement.
 He/She will also communicate closely with the
creative experts such as:
- the art director, publisher, film director, stylist,
composer, lighting director, film editor, etc.
 He/She will also communicate with the advertising
companies, which is the most important group
because without them, the advertising project cannot
be implemented.
Stage 3: Implementation  The product produced is used to communicate with
Process the target audience to convey the specified message.
The copywriter is the communicator who communicates with the various

audiences at the different stages during the creative process, from planning till
implementation.
The copywriterÊs role is to produce advertisement texts for the print or electronic
media. Basically, the copywriter is part of the creative team in an advertising
agency that is given the task of getting ideas and presenting them in campaigns
that market or promote the products or services effectively.
Therefore, what is written by the copywriter should have commercial motives, so

that it attracts the consumer to acknowledge and appreciate the product
introduced.
The Creative Director has his/her own ways to manage the creative team or the
department staff. He/she has full freedom to determine the style of working in
the department or the time needed to finish an assignment.

Sometimes, the Creative Director gives his/her suggestions, opinions or

guidance to the copywriter on the text approach. If this happens, it will facilitate
the work of the copywriter. For text preparation, usually the Art Director is very
concerned and sensitive about the headlines suggested by the copywriter. The
Art Director will ensure that the headlines or sub-headlines are suitable for the
illustrations being worked on.
In certain circumstances, the copywriter can also help the Art Director to produce
a good illustration or help the Art Director to generate ideas to fulfil the
customersÊ needs. It is indeed better if there are more opinions or views being
voiced out to generate more ideas for a task.
Besides that, the Art Director also helps the copywriter to get ideas and adopt a
sound approach to produce the copy or advertisement text. However, this
seldom happens because the Art Director is usually busy and he/she needs to
think about other creative assignments as well. He/she may be able to help in
producing headlines because the graphics and illustrations are usually related to
the headline.
2.3.5 Graphic Designer

The graphic designer works on the different print or electronic media. Some
designers are not „artists‰ because they do not produce most of the graphics or
illustrations but they produce the layout of the text or graphic materials done by
the other persons.
Besides that, there are also graphic designers who do not use the text directly as
their source and they are the illustrator or digital artist. However, there are also
graphic designers who perform all kinds of tasks and produce all the items such
as the print, Web, layout and illustration.
The graphic designer and illustrator usually work together as freelancers or with
the employers. Graphic designers with employers get a fixed salary and work in-
house while freelance graphic designers work externally and get commission or
payment from the projects that they have completed. Internal staff usually work
as the technical illustrator in the automotive industry, the illustrator in the
medical, botanical or archaeological services, the graphic designer in the retail
industry, and the graphic designer in the graphic industry or advertising agency.
Freelance graphic designers receive their assignments in the form of

 Single assignment,
 Multiple assignments or period assignments, and
 Advisory services.
The method of payment is either a fixed lump sum according to the market rate
or the agreed percentage of royalty based on profit. The normal method is
calculation according to hours or the duration and retainer method where the
customer wants to keep or use the service.
The graphic designer prepares his/her job by compiling his/her portfolio.
A portfolio is the collection of his/her best works. It portrays his/her skills to

the customers and employers.
A portfolio contains the works or samples of hand drawings, computer images,

photos and printed works.
In advertising, the graphic designer produces the advertisement for the various
media. One of the media is the print advertisement explained in Figure 2.7.
Figure 2.7: Print advertisement
2.3.6 Other Staff

There are other staff working in the creative department. They consist of the
layout artist, illustrator, painter, artist, visualiser, publisher, traffic officer, etc.

The ÂpainterÊ and the ÂartistÊ are the general terms given to people with the
expertise in illustration works whether it is graphic illustration, pencil drawing,
paint drawing, water colour or the other media.
Some of the staff working in the creative department are listed in Table 2.4
below:
Table 2.4: The Tasks Performed by the Creative Department Staff
Position The Task Performed

Illustrator  The person who has the expertise in the illustration field and
does the illustration works.
Layout Artist  The person who arranges the elements of layout such as the
texts and graphics that make up the whole layout of a page.
 A layout artist is not a graphic designer but a designer who
is skilful at layout works. This means the graphic designer is
in a higher category as stated by Roy Nelson,
„... use the term Âlayout artistÊ in connection with low-level
layouts and the term ÂdesignerÊ with the high-level
layouts...‰
Publisher  The person who handles logistics and advertisement
production costs.
Traffic Manager  The traffic manager controls the work flow until the
verification and production processes are carried out.
 The task of this division is important to ensure that
deadlines are met.
 The traffic manager also manages external services from the
artist, photographer and printer when needed.
The creative staff mentioned above can work for a particular media: newspaper,
magazine, television station and advertisement company. They can also work for
the advertisers: manufacturing company, retailer, wholesaler and service
company. Besides that, they can work in an art studio, a designer studio or even
at the printers.

Art Director Graphic Designer

Copywriter Illustrator
Creative Director Layout Artist
Freelancer Traffic Manager

SELF ASSESSMENT 1
1. State two types of management.
2. In marketing communications, there are three basic groups of organisation.
State those groups.
3. What is the job of a Creative Director?
4. What are the differences between a graphic designer and an illustrator?
5. What is a portfolio?
SELF ASSESSMENT 2
1. What are the meanings of internal and external organisations? What are
their differences and similarities?
2. Elaborate on the organisation structure of a full service agency.
3. Explain the differences between a full service agency and a creative
boutique.
4. State the strengths and weaknesses of the centralised and decentralised
structure.
5. How relevant is the media planning and buying agency?


Hill Irwin.
Bendinger, B. (1990). The copy workshop workbook. (3rd ed.). Chicago: The
Copy Workshop.
Lois, G. (1991). WhatÊs the big idea? How to win with outrageous ideas (that sell).
New York: Doubleday.
Marra, J. L. (1990). Advertising creativity: Techniques for generating ideas. NJ:

Prentice Hall.
Norins, H. (1980). The complete copywriter: A comprehensive guide to all

phrases of advertising communication. Malabar Florida: Robert E. Krieger
Publishing Company.


Routledge.
White R. (1993). Advertising: What it is and how to do it. New York: McGraw-
Hill.

Topic 3 Creativity in
Advertising
LEARNING OUTCOMES
1. Define the creativity concept and its role as well as importance in
marketing communications;
2. Identify the characteristics of a successful advertisement;
3. List the creative stages and the process involved in the production of a
creative item;
4. Explain how the audiences react to the marketing product or message;
and
5. Use the creative techniques in a project.
 INTRODUCTION
Creativity is an advertising agency's most valuable asset, because it is the rarest.

(Jef I. Richards)
This topic discusses the concept of creativity in advertising as well as its role and
process. Students will be introduced to the meaning of creativity, the
characteristics of a creative personality and how creative thinking is done.
Students will also have an understanding of the importance of creativity,
creativity application in advertisements and the relationship between the
copywriter in the context of creativity and the production of a successful
advertisement.

TOPIC 3 CREATIVITY IN ADVERTISING  55
Through this topic, students will also have an understanding of the stages and
models of the creative process. This aspect will also include the guidelines
presented by the experts in advertisement production or creative works. Overall,
this topic is divided into three main subjects · the creativity concept, the
creativity in advertising and the creative process. Understanding all these is
important for comprehending the creativity field in terms of its theory and
guidelines.
SELF-CHECK 3.1
In this modern world, everyone is exposed to advertisement
messages around them: billboards in housing areas, posters at
transport station, direct mail advertisements sent to homes, radio and
television advertisements as well as marketing communication items
in the supermarkets. Think of an advertisement that you normally
encounter and answer the following questions:
1. What can you tell from the advertisement message?
2. How is the presentation?
3. What are the elements used?
4. What is the meaning of each element?
5. Which advertisement do you think is better and why?

3.1 CREATIVITY CONCEPT
There are people who say that humans are born with creative characteristics. This
means that humans are naturally creative. What is the meaning of a creative
human?
Actually, ÂcreativityÊ is a term widely used in the career world and certainly in,
the advertising world. People who produce advertising messages are called the
creative types and the advertising agency builds their reputation based on the
creative stage. The creativity concept is given strong focus because it is the
biggest challenge. But what is the meaning of creativity?

56  TOPIC 3 CREATIVITY IN ADVERTISING
3.1.1 Definition of Creativity

Creativity is the talent and skill to produce something.
In advertising, it means the skill to produce an idea and turn the idea into an
effective advertisement.
But what is creative idea? Many writers in the creativity field agree that creative
ideas do not mean that the idea is new or the idea is not related to what has been
invented by man before.
The general definition for creativity is the quality possessed by someone and this
quality enables him/her to generate new approaches to solving a problem. In
advertising, creativity may be seen in different perspectives.
There are views, in the extreme, which maintain that an advertisement is creative
when it can sell the products or services successfully. Another extreme view sees
creativity of the advertisement through its aesthetic and artistic values. ThatÊs
why advertisements need to be fresh, natural and unique. The actual answer for
advertisement creativity may be just between those two extreme views.
However, the general view of creativity in advertising is:
the ability to generate fresh, unique and appropriate ideas that can be used as
solutions to communications problems.
This perspective recommends that the creative ideas in advertising are: novelty,
originality and suitability. This means that the creative idea is new, fresh, unique,
innovative and different.
Ideas that are suitable must also be relevant to the audience or at least benefit
them. This means that the suitable and relevant ideas are useful, correct and
valuable ideas and with interests and needs.
Actually, creativity is not only needed in the creative department. In marketing

communications management, it is important to manifest it in each division.
Advertisement messages must be creative to ensure that they are successful and
have an impact. The choice of media also needs creativity because creative media
usage can strengthen the attraction of messages.

For example, there was a time where the advertiser or advertising agency or even
the media did not think of placing an advertisement on the front page of the
magazine or newspaper because it has a masthead or they didnÊt realise that it is
the most strategic space for the media to convey their messages. However, these
days, there are advertisements on the front page of the newspaper or magazine
through the creative insertion of a separate page at the area.
The choice and combination of the media also need creativity to get the
maximum exposure to the target audience. The choice of the target audience also
has to be creative so that all the potential audiences can be reached during the
advertisement campaign.
Table 3.1 shows some general definitions of creativity and Table 3.2 shows those
given by the advertising experts.
Table 3.1: Various General Definitions of Creativity
Definition of Creativity Source
Involves cognitive activity that results in a new way - Internet

of viewing some problem or situation, and which is
not necessarily restricted to practicality.
The ability to think and approach a problem in an

original or flexible way.
The ability to create. Oxford English Dictionary
Characterised by originality and expressiveness, The Heritage Illustrated

imaginative. Dictionary
Every act of creation is first of all an act of destruction. Picasso
Imagination is more important than knowledge. Einstein
Creativity is knowledge times imagination times David C. Morrison

evaluation. And I say ÂtimesÊ because if either
knowledge, imagination or evaluation is missing then
there would be no creativity.

Table 3.2: Definitions of Creativity by Advertising Experts
Definition of Creativity Source

An idea is nothing more or less than a new combination of James Webb Young
old elements.
A creative thinker evolves no new ideas. He actually Alex Osborn
evolves new combinations of ideas that are already in his
mind.
I have always felt that perhaps the real key to this nebulous Leo Burnett
thing called „creativity‰ is the art of establishing new and
meaningful relationship between previously unrelated
things in a manner that it is relevant, believable and in good
taste, but which somehow presents the product in a fresh
new light.
The forming of associative elements into new combinations Wilbert S. Ray
which either meet specified requirements or are useful in
some way.
Creativeness is a basic scientific ability to see the Ernest Ditcher
relationship between apparently unrelated things.
A large part of Creativity is the creative individualÊs ability James Marra
to think by connections, many times by analogies and
metaphors: Something is like or suggests something else.
And this connection provides the spark for creativity ideas.
3.1.2 Creative Personality

In the context of personal creativity, the general assumption is that the personal
creative process is a result of the interaction between the right and left
hemispheres of the brain. The right brain, which is related to the intuition
function and creativity, is regarded as being responsible for an insight or an idea
while the left brain manipulates the suitable tool to express the idea.
However, there are other views that reject the idea of the left and right brain.
Such an idea is regarded as oversimplification. The process in the human brain is
not that simple because both parts of the brain, which are the two hemispheres,
are needed for all the creative tasks. Excluding the comparison of which part of
the brain is more creative, the important question related to advertising is what
are the special personality characteristics that can reinforce the creative process in
an individual?

Many studies have been done to observe the creative characteristics of an

individual. What differentiates a creative person from an uncreative person?
Csikszentmihalyi (1996) listed the various special characteristics of a creative

person: smart yet naïve, combining playfulness with discipline, alternating
between fantasy and reality, being both introverted and extroverted, and being
rebellious while also conservative. In the context of playfulness, this quality can
make the individual use the various combinations of thoughts and ideas to form
a new concept.
A person is creative if he/she can adapt very easily to new environments.

Complexity interests them and they are intuitive; they can compromise on
equality or ambiguity and confidence. These ideas are presented by researchers
such as Caudron, Csikszentmihalyi and Oldham & Cummings.
Besides that, according to Gelade, a creative person tends to be neurotic and more
open to experience in terms of fantasy, aesthetics, and feelings than their
noncreative counterparts. They are also outgoing, non-rational, emotional, and
guided by feelings, and they know when they are „hot‰ or approaching a
solution (Alvesson, 1994 & Stein, 1991).
However, intelligence is regarded by the researchers as one of the main qualities

of a creative person while it actually has an unclear relationship with creativity.
This is true if intelligence is measured with the usual IQ test. A person with a
high score in an IQ test is not necessarily the most creative person and vice versa.
This shows that different measures need to be used, for instance, for the
measurement of the ability to solve a problem.
Generally, the research on creative personality concludes that there is a group of

characteristics that focuses on intelligence, intuition, and confidence.

ACTIVITY 3.1
Read the definitions of creativity in Table 3.1. Get also other
definitions from different sources such as dictionary, book, journal
and the Internet.
1. List those definitions and state their respective sources.
2. What are the significant similarities and differences between the
definitions?
3. Which definition do you think is the best and what is the source
of the definition?
4. Why do you think it is the best definition?
5. What is your own definition of creativity?
6. What is your conclusion?
3.1.3 Creative Thinking

Humans are generally creative. Without creativity, humans cannot live and
develop progressively with so many technological creations. HumansÊ lives
changed from nomadic to sedentary life with the creation of agricultural tools.
Man now can sail the seas and rocket into space and cross boundaries quickly
and safely. All these are the results of human creativity.
According to Max Weber, humans think in two ways:

 Objective way
 Subjective way
In the objective way, humans think rationally based on facts. With the qualitative
method, humans can think intuitively according to values. In examinations, we
think rationally and apply the facts that we learned but when we are buying a
house, we think intuitively about the colour, shape and ambience besides the
price, loan and physical specifications.
Roger Von Oech divides the way of thinking into two, which are:
 Soft thinking and
 Hard thinking

Hard thinking refers to the reality, accuracy, consistency, logic and specialisation
concepts. In this thinking, there is true or false; accuracy and inaccuracy. Soft
thinking is related to non-visual, abstract concepts, such as fantasy, humour,
dream, perception and assumption.
In this context, there is no concrete situation because some are accurate and some
are not really accurate with many answers and uncertainties.
Many thinking theories assume there are two ways of thinking, which are:
 Thinking based on facts
- makes conclusions based on situation analysis to be certain or get the best
conclusions.
 Thinking based on values

- makes decisions through intuitive values and ethics while thinking based
on facts.
Based on these different approaches of thinking, we will get different results. In

advertising, we usually encounter direct, informative, structured and practical
advertisements. At the same time, we also encounter subjective, intuitive, soft,
fine and metaphorical as well as analogical advertisements.
3.2 CREATIVITY IN ADVERTISING

As mentioned, creativity in advertising is regarded as an ability to generate fresh,
unique and accurate ideas to solve communication problems. This idea is
important because it acknowledges the creative ideas as new, pure and
appropriate ideas for the situation. This means besides freshness and uniqueness,
the idea of the advertisement must have values for its audiences.
3.2.1 Role of Creativity in Advertising

The advertiser usually chooses an advertising agency based on its creative style
and reputation in the concept of purity. This shows that the role of creativity is
very important. Some of the roles of creativity in advertising are to inform,
persuade, recall and attract attention as explained in Table 3.3.

Table 3.3: The Role of Creativity in Advertising
Role of Creativity Description

1. Inform  Creativity strengthens the role of the
advertisement as an informer.
 Creative ideas will make the advertisement clear
and clarity can attract attention and strengthen
understanding besides encouraging the
audiences to think about it.
2. Persuade  The persuasive character can be integrated via
the text and visual, which are the non-verbal
elements.
 Using emotional words and rational thinking of
the audience can only be done through creativity.
 This is the same for usage without texts through
the manipulation of colour, design, illustration
and other graphic elements.
3. Recall  If the same statement is repeated again and
again, it will be boring. So, the statement in the
advertisement needs innovation.
 Every campaign needs to be different even
though the message may be the same. This is to
avoid boredom.
 Innovation needs creative ideas.
4. Attract attention  Attraction is the first step that the advertisement
producer needs to think of. Now, thereÊs a lot of
competition in the advertising world. Wherever
we go, we can see advertisement images. This
makes it hard to attract customers.
 Only creativity can turn the advertisement into
an attractive item. This may be done through the
whole concept of the advertisement or through
special characteristics and elements in the
advertisement such as the colour, visuals, slogan,
logo, etc.

3.2.2 Successful Advertisement

Creativity can produce great advertisements. The questions are:
 What is a great advertisement?
 What makes an advertisement attractive, explosive and leave a lasting
impression in the minds of the audiences?
 What makes an advertisement successful?
 Some have said that great and successful advertisements are well-liked
advertisements because they are very interesting. Some have also said that
successful advertisements are effective advertisements because they can
achieve their objectives. Others have described great advertisements as those
that have an impact on the public. All those assumptions are true and can be
accepted.
George Lois in his book, WhatÊs the Big Idea said:
... all great advertising must be part of an intricate mosaic that includes
extensive research, market planning, media analysis, and all the building blocks
of marketing. But these disciplines are worthless if the advertising sucks.
Von Oech was of the opinion that big idea advertisements are presented with
maximum selling power. He suggested five components of advertisements that
have such energy: strategic precision, savvy psychology, slick presentation,
structural persuasion and solution to the problem. Figure 3.1 below elaborates on
these components.

Figure 3.1: The five components of a forceful advertisement by Von Oech
David Ogilvy suggested that the advertisers ask five questions to determine
whether an advertisement is good, great and effective or otherwise. These
questions are related to our reactions when we see the advertisement for the first
time as well as its uniqueness, appropriateness of strategy and durability.
Figure 3.2: OgilvyÊs five questions on an effective advertisement

Studies found that advertisements that are well-liked tend to be successful. This
means that the liking for an advertisement is its success factor. According to
Hugh G. Canon from Wayne State University, US, there are two dimensions in
measuring the success of an advertisement:
 Resonance Dimension and
 Relevance Dimension
(a) Resonance Dimension

Resonance means echoing, humming, vibrating and rebounding. It also
means ringing, blasting and firing. A great advertisement is an exploding,
firing and echoing advertisement. Every blast and fire or ring will attract
attention. For example, the ringing of the alarm clock will wake us up from
a nice sleep. When we are awake, the ringing will have greater effects!
In an advertisement, a blast or ringing is a shocking element. It not only

attracts attention but also fire up the imagination. It is like a picture that
mesmerises us because it is beautiful and unique. Besides that, resonance
can be achieved through an advertisement that is highly informative and
fulfills the needs of the audience. For example, the daily problems faced by
a person can be presented in an advertisement that shows the solutions to
the problems. This can touch the lives of the audiences who are seeking
solutions to particular problem.
This is in accord with the consumer motive theory which states that the
motive of a person comes from a negative or positive source.
 If the motive is from a negative source, the consumer will buy a

product to solve a problem.
 If the motive is from a positive source, a product is bought for
satisfaction or for something positive. A successful advertisement is
transformational, employing positive reinforcement by giving offers
or promises desired by the consumers.
(b) Relevance Dimension

A great advertisement has relevance, where it is relevant to the advertiserÊs
strategy. There are advertisements that have many responses but which are
irrelevant to the marketing strategy. Then, they will create opposite effects
to what is desired by the advertiser.
An example is the slimming advertisement. Besides featuring the benefits of

the product, the advertisement may have great responses because it draws
peopleÊs attention to the beauty problem but not the ways of solving the
problem. Some advertisements also have great responses because of their

entertainment value but the real message is not conveyed because it has no
relevance to the advertiserÊs strategy. This type of advertisement is great in
terms of entertainment but it fails in terms of advertising.
Relevance is also related to the target audience. For the target audience,
what is the meaning of the advertisement? What is its connection and
importance? If it has no importance and need, then it is meaningless to the
audience.
3.2.3 Copywriter and Creativity

The copywriter is not a creative human who writes or composes only for his/her
own satisfaction or nor a writer who deals with the current issues in the society to
create awareness or to report on a product.
Copywriters write to market something. The success of their writings depends on

how far the target audiences are successfully persuaded to give a positive
response to the advertising messages such as purchasing a product.
To produce effective copy, the copywriter needs to:

 Know the marketing process and the promotion carried out by the product
manufacturing company and advertising company that market the product.
 Share the information and target market so that the collaboration can be
turned into the successful texts, slogans and headlines.
According to Philip Ward Burton, even though the copywriter is a creative

human, he/she cannot be categorised as an artist because he/she is business
person. Figure 3.3 below shows some of the characteristics of uncreative practices
that should not be applied by a copywriter.

Figure 3.3: Characteristics of uncreative practices
3.3 CREATIVE PROCESS

The creative process is the procedure in stages of getting an original idea and
arranging these available concepts into a new form.
By following the stages or steps, a person can enhance his/her ability to explore
the possibilities, connect the concepts and choose the best ideas. The discussion of
the creative process will elaborate on some of the guidelines and stages as well as
the techniques to help generate creative ideas. Although many researchers have
said that there are no rules and principles in creativity, there are, however, some
guidelines and models that can be taught.
3.3.1 Creative Guidelines

White (1993) found that producing creative ideas is more difficult than defining
your own creativity concept. According to him:

How do creative people create? Nobody really knows. Nobody really knows
where ideas are born; where an unforgettable bar of music comes from; why a
felicitous phrase pops into somebodyÊs head. No one really knows how some
people can put words and pictures and sounds and ideas together in ways that
can move millions of other people to think and feel and act.
In this matter, White (1993) put forth the following guidelines to be observed:
Rule 1: There are no Rules.

Rule 2: There may be exceptions to Rule 1.
Hank Sneiden (in Pickton & Broderick, 2005) also agreed with White. He said:
Rules ... stifle creativity, inspiration, initiative, and process. The only hard and
fast rule that I know of ... is that there are no rules. No formulas. No right way.
Given the same problem, a dozen creative talents would solve it a dozen
different ways.
If there are no rules, what can be done? The best thing may be creating
guidelines. Many researchers and experts have created guidelines on creativity.
Steve Henry, the Creative Director of HHCL (Pickton & Broderick, 2005), gave
the following advice:
If you want to make a difference, make it different.
His next guidelines were the following:

 Research what is done by other people in the market and then do something
different from what you have seen.
 Forget about the logical proposition but get the personality of the product or
brand.
 Define the target market so that you understand, like and respect them.
Figure 3.4 below explains the creative guidelines by White (1993).

Figure 3.4: Creative guidelines by White (1993)

3.3.2 Creative Stages

Besides guidelines, the creative process must be understood to form creativity.
The creative process is the procedure in stages of producing original ideas
through imagination and problem solving skills.
Some models have been presented by the scholars of the creative process. Figures
3.5 and 3.6 are some of the models of the creative process.
Roger Von Oech in 1986 introduced the creative method that consists of four
steps and which has proven effective by many successful companies in the
United States. The stages are:
Figure 3.5: Model of creative method by Roger Von Oech
These stages are related to the creative process in advertising. What do you think
about it?
James Webb Young, the Vice President of J. Walter Thompson company in the
United States, produced a popular approach to facilitate the creative process. He
suggested a five-step process:

Figure 3.6: Five steps to facilitate creative process by James Webb Young
3.3.3 Creative Techniques

The steps in the creative process were suggested by Young. The process mainly
needs group work. Not only do the ideas need to be searched together, they also
need to be evaluated and accepted together.
Besides the stages presented, the researchers also think of the various techniques
that can be used to help a person in the creative process. Many of the methods are
constructed through socio-psychological knowledge. Some of these are stated in
Table 3.4:

Table 3.4: Techniques Creative Process
The Technique Used Description
1. Juxtaposition  Some people explain creativity as an ability to

combine the ideas into a new combination.
 When looking into this context, creativity is an effort
to form a relationship between the idea and the
thinking.
 Juxtaposition is an effort to place the unrelated ideas
together.
 The result of that effort is a new idea formed through
the relationship among those ideas.
2. Lateral thinking  This is related to finding alternatives.

 Edward de Bono started this concept by challenging
the normal practice of the thinking process.
 The process involves inductive or deductive thinking,
convergent or divergent thinking, left brain or right
brain thinking or through intuition, emotion,
evaluation, etc. .
 Lateral thinking encourages us to break free from our
normal practice and use new methods.
3. Brainstorming  This process is very popular and is done in groups.

 This method uses free association as its main
principle.
 The members of this group voice out their ideas and
each idea is appreciated.
 No ideas will be reviewed, evaluated or rejected.
 The quantity of ideas will be given priority at this
stage.
 A personÊs idea may trigger new ideas from the other
individuals.
4. Free association  In this method, all the thoughts in the mind will be
recorded.
 The ideas in the form of words, images or sounds are
related to each other to produce new ideas via the
elements that are not related earlier.

5. Convergent  Convergent thinking is horizontal or linear thinking.

thinking  The process of finding the answers or calculation is done
through the decreasing of ideas up till the focus point.
 This method is regarded uncreative because it is
considered as reductionist.
 Although it is discouraged, we cannot deny the
possibility that its results may be something creative too.
6. Divergent  This method opens the mind to any ideas that arise.
thinking  In the divergent condition, our thinking should be broad
and free in the effort to find different choices.
 Ideas that donÊt cross our minds may arise through this
free type of thinking.
 The mind is allowed to wander and achieve what comes
across it.
Figure 3.7 below shows the procedure of brainstorming, which is one of the
techniques used to assist the creative process.

Figure 3.7: Procedure of brainstorming
3.3.4 Customer’s Reaction

In marketing communications management, understanding the customerÊs
reaction towards the product or the marketing messages is very important. The
creative team needs to understand how the audiences think and react in order to

make sure the audiences receive the messages or product positively as desired by
the team.
One of the important models is the hierarchy of effects model. There are at least
four perspectives in this model, which are:
 AIDA model,
 Lavidge & Steiner model,
 DAGMAR model and
 ATR model.
(a) Hierarchy of Effects Models

The four models are illustrated in Table 3.6 below. This hierarchy of effects
model is actually illustrated in the form of a pyramid and is introduced to
help the creative team turn the advertising strategy and big idea into a real
advertisement. This creative pyramid is based on the cognitive theory or the
behaviouristic theory of how a person learns new information.
Table 3.6: Hierarchy of Effects Models
AIDA Lavidge & Steiner DAGMAR ATR

Attention Awareness Awareness Awareness
Interest Knowledge Understanding Trial
Desire Interest Agreement Reinforcement
Action Choice Action
Agreement
Purchase
(b) AIDA Model

The AIDA model was introduced by Elmo Lewis in the 19th century and he
said the buyer moves from one stage to another to reach the purchase stage.
These stages formed his model and later became the foundation of other
models.
The AIDA model stands for:

 Attention,
 Interest,
 Desire, and
 Action.

(c) Lavidge and Steiner

Later, Lavidge and Steiner increased these stages from four to six. At the
same time, they changed the arrangement of the stages to one that was
slightly different from the original.
These two arrangements are sequential and this has caused criticism
because the positive situation for each stage doesnÊt mean that it will be a
smooth move to the next stage as claimed by both models.
For example, if a person is aware of a product in the market, it does not

mean that he/she is interested in it. There are factors that create interest but
they are not awareness or knowledge about the product. Besides that, the
arrangement may not be linear.
In 1966, Palda K.S.Ês article in the Journal of Marketing Research found

there is no conclusive final proof that awareness will end in action. The
sequence may change according to the situation.
Another adjustment to the model is explained by William F. Arens (2006). In

this amended creative pyramid, there are five elements, one more element
is added to the AIDA model. The additional element is credibility which is
placed in the third stage after Attention and Interest (see Figure 3.9).
Guidelines
The purpose of many advertisements is to persuade the audience to take action
or to remind them to take action to fulfil a need.
For new products, awareness needs to be created. To create awareness:
 The first important thing is attention, which is to attract the audienceÊs
attention.
 After that, the copywriterÊs task is to develop an interest among the
audience in the message or the product itself.
 Then, the customer needs to be convinced of the product. The next stage is
credibility of the claims or promises of the advertisement message.
 After the credibility stage, the advertisement can now focus on the other
characteristics such as desire and action.

(d) DAGMAR Model

To enhance the linear models, Colley produced another model that did not
follow any sequence. Although the stages are quite the same, they are
actually different. The differences are that each stage can be an objective in
marketing communications and at the same time, stand by itself.
ColleyÊs model is known as DAGMAR, which stands for Defining

Advertising Goals for Measured Advertising Results. By relating the
sequence to the objective of marketing communications, this model opens a
new road for creativity and application in the marketing communications
theory.
Actually, the sequential model is based on the cognitive tradition. It needs

the buyers to think of communication to enable them to understand the
advertiserÊs messages. When there is no stiff competition in marketing
activities, this model is very suitable.
However, the situation is now very different. Within our surroundings,

there are many information sources and customers also have personal
experiences in product usage. This models are said to be suitable when
there is no marketing activity and when the product is newly introduced or
is not known to many.
(e) ATR Model

Another model is introduced by Ehrenberg. He applied the behaviouristic
view and not the cognitive perspective as in the Colley and LewisÊ models.
His model is known as the ATR model, which stands for Awareness-Trial-
Reinforcement. The focus of this theory is the sector of fast-moving
consumer goods. Unlike the other previous models, Ehrenberg claimed that
the consumer is very knowledgeable and generally very aware of the
product.
He also thinks the buyer has extensive buying knowledge and follows a
stable buying pattern. ThatÊs why the focus of communication is on the
reinforcement of benefit from previous usage. This focus handles the
learning process with the hope of strengthening brand loyalty among the
audience.
(f) Think-Feel-Do Model

Another important model, although a relatively new one, is the Think-Feel-
Do Model introduced by Ray in 1973. He identified three responses, which
were think, feel and do. The sequence of the reactions is not necessarily the
same all the time but it depends on the product category, the type of buyer

and the buying situation. It may be in this situation: Think-Feel-Do; Think-

Do-Feel; Do-Think-Feel. In this model, the steps of evaluation follow one of
these paths · cognitive, affective or behavioural. This model is shown in
Figure 3.8 below.
Figure 3.8: Think-feel-do model
However, the important factor is the involvement stage, which is how relevant a
product or message is to the customerÊs decision.
From the point of involvement or relevance of the product or message to the

customer, it can be categorised into two:
 Low involvement products
- products that are relatively cheap, frequently bought without
consideration and regarded as low risk. So, the buyer wonÊt think too
much before getting it.
 High involvement products

- more expensive products with high social consequences are regarded as
high risk. The buyer will think through before getting it.

The main subject that determines involvement is relevance. This means how
relevant the product or message is to the interested customer. For example, if you
need a pair of spectacles because you are unable to see things clearly, you will be
more receptive to advertisement messages on spectacles. You will make sure that
the optician is skilful at testing your eyesight. You will also be more concerned
with the shape, brand and style of the spectacles.
The importance or the relevance of the spectacles on you makes your

involvement higher.
The people who form or plan messages such as the creative director or
copywriter will find product relevance and involvement important. Because of
this, they would do research on customers to understand how they look at
themselves, their environment and the product or brand used. This is called
customer insight, which is understanding the customerÊs condition.
The risk factor also influences involvement. For instance, expensive consumer
products or advertisement messages on such products will be evaluated carefully
by customers before they make their decisions. There are a few types of risks that
customers or businesses will try to avoid:
 Financial risk: the customer will lose money if the product doesnÊt function
well.
 Performance risk: product failure will cause other failures such as work
interruption, failure to meet deadlines or failure to produce other products.
 Physical risk: product may harm, damage or affect the physical well-being of
the consumer.
 Psychological risk: product failure damages the companyÊs image or affects
the emotions of the customers.
 Social risk: Other people may have bad impressions of the product user.
3.3.5 Creative Pyramid

The creative pyramid is a model that helps the creative team turn the advertising
strategy and big ideas into the real advertisement.
By applying the cognitive theory to how an individual learns new information, it

uses a structure with five steps, which are attention, interest, credibility, desire
and action. To elaborate on the structure of the creative pyramid, the stages in the
structure are explained in detail below. (Figure 3.9).

Figure 3.9: Creative pyramid
(a) Attention
In many advertisements, attention is regarded as the earliest objective. This
is the most critical stage to create more responses. Print advertisements may
use the visual element to attract attention. However, in the print
advertisement, the headline is used most widely to attract attention.
From the physical and meaning points of view, the headline is written in the
best way to leave a lasting first impression or to be the main attraction.
Besides that, print advertisement uses an attractive layout, a dominant size
or bright colours. In the electronic media, special sound effects, animation
or extraordinary visual techniques are also used besides music. The biggest
problem for using these methods is the financial factor.
The financial factor determines the position of the advertisement in the

print media or the broadcast time in the electronic media. It also determines
the use of colour or visual techniques that involve cost. However, the
financial factor is beyond the control of the creative team.
The important effect that needs to be developed in attracting attention is the

focus. ThatÊs why techniques that are used must produce drama, power,
intensity, highlight, importance and priority. It must also suit the product,
the tone of the advertisement, the advertising strategy, and the interest and
needs of the target audience.
(b) Interest
When there is interest, the audience will be ready to read or go through the
content of the advertisement. To maintain interest, the advertisement must
be able to keep up the feeling of excitement of the audience or the sense of
involvement in the advertisement. How to maintain involvement?
Research shows that audiences will read whatever interests them and they
will ignore whatever bores them. One of the ways to maintain interests is to
increase information related to the headline.
Besides that, the language used in the text must be suitable to the audiencesÊ
interests and attitudes. So, the copywriter must know the audiencesÊ
interests and attitudes. This was explained in the previous section on the
copywriterÊs need to research the audiencesÊ profile carefully.
Normally, the things that interest us involve problems that we face, our
needs and how a product provides a solution to our problem. Besides that,
the copywriter will use other methods to enhance the presentation of the
content. For example, storytelling, interesting dialogues, animation or
dramatic situations.
(c) Credibility
Advertisements need to have credibility because audiences today are highly
educated and knowledgeable. Their thinking is critical and complex. They
will not believe a promise or claim easily. Every claim must be proper and
supported by facts and details. Using a spokesperson with authority can
also create credibility.
For example, the advertisement of a product that energises the body will
have higher credibility if spokespersons who are popular and successful
athletes are used, compared with an unknown personality or a personality
from other fields. Besides that, advertisements also use credible results of
research to support their claims and build credibility.
(d) Desire
Some advertisements develop interest in the audience by giving them hope
to fulfil their dreams. They create hope by requesting the audience to
imagine a situation that involves them. Example: Imagine your future when
you are old (insurance advertisement), imagine bad breath (toothpaste
advertisement), imagine the security of your family in a journey (car
advertisement). By using the imagination method, advertisements tends to
create desire to achieve something good or get rid of something bad.
There are also advertisements that create a second character to verify the
hope and the character also mentions the hope or other benefits. The
methods used in print and electronic advertisements may differ due to the
difference in medium.

(e) Action
The purpose of this stage is to encourage the audience to take action, which
is the last step in advertising. The actions normally hoped for are making
decisions, sending coupons, making a call, sending a fax, sending an e-mail,
visiting the exhibition lot, going to the shop or making a purchase.
The technique used for encouragement or appeal can be either explicit or

implicit. For example, the dotted lines in the forms is an implicit appeal to
the audience to cut the form and send it to the advertiser.
A statement such as „visit our exhibition centre now‰ uses a very explicit
style. Now, with the availability of various facilities such as the mobile
phone and Internet, we donÊt need to appeal explicitly but we can just
include the website address, telephone number, fax number, etc.
Brainstroming Free Association

Creative Process Juxtaposition
Creative Pyramid Lateral Thinking
Creativity
SELF ASSESSMENT 1
1. State the two basic guidelines in doing brainstorming.
2. What is a creative pyramid?
3. It is said that the buyer will move from one stage to another to reach the
purchase stage. What does this idea refer to?
4. State some of the procedures in producing creative ideas.
5. Give specific examples of credibility in an advertising campaign.

SELF ASSESSMENT 2
1. There are two dimensions to measure the success of an advertisement. The
first is the Resonance Dimension and the second is the Relevance
Dimension. Elaborate on both dimensions.
2. When preparing for a brainstorming session, write down the objective, the
„positioning‰ statement as well as the message strategy to launch a famous
restaurant at your place.
3. Actually, creativity is not only needed in the creative department. In

marketing communications management, it is important to manifest it in
every division. Elaborate.
4. Elaborate on the importance of the right and left brain in producing creative
ideas.
5. Get a print advertisement that you think is successful. What are the criteria
that you will use and how far are they implemented in the advertisement?

Hill Irwin.
Baldwin, H. (1982). Creating effective TV commercials. Chicago: Crain Books.
Bendinger, B. (1990). The copy workshop workbook. (3rd ed.). Chicago: The Copy
Workshop.
Lois, G. (1991). WhatÊs the big idea? How to win with outrageous ideas (that sell).
New York: Doubleday.
Marra, J. L. (1990). Advertising creativity: Techniques for generating ideas.

Englewood Cliffs, NJ: Prentice Hall.



Routledge.
White R. (1993). Advertising: What it is and how to do it. New York: McGraw-
Hill.

Topic 4 Advertising
Strategy
Planning
LEARNING OUTCOMES
1. Define the objective concepts, strategy and tactics in advertising and
2. Discuss the importance and objective characteristics of marketing
communications;
3. Identify the different approaches in setting the marketing
communications objective;
4. Elaborate on the importance of data collection, especially product and
prospect data; and
5. Explain a copy guide or creative brief and ways to produce it.
 INTRODUCTION
The advertising creative process is guided by aims and specific objectives and a
strategy or an action plan is needed to achieve that purpose. Actually, the
development of a creative strategy starts with the careful evaluation of the
marketing and promotion situation as well as determining the message that
needs to be conveyed to the target audience. Besides that, the creative strategy
also needs to be developed based on some of the factors explained in the creative
or copy platform.
Planning is very important in advertising campaigns especially in developing

and implementing advertising strategy. This topic elaborates on three important
steps in advertising strategy planning, which are determining the advertising
objective, doing research and preparing the copy guide. The areas of discussion
in this topic are the marketing communications plan, data collection and
developing the copy guide.

86  TOPIC 4 ADVERTISING STRATEGY PLANNING
Under the marketing communications plan, students will be exposed to the

planning process through the planning programme used by advertising and
marketing communication agencies. Planning also involves the data collection
process and students will be introduced to product and prospect data. In
developing the copy guide, the concept of creative brief or copy platform will be
introduced and the ways of producing it will be discussed.
SELF-CHECK 4.1
Think about an advertisement you have seen recently whether on a

billboard, bunting or any other display.
1. First, explain on the advertisement in general.
2. Then, clearly present a statement on what do you think is the
most important objective of the advertisement.
3. Think of the other objectives that you regard as the secondary
objectives.
4. Think how each objective can be achieved and whether you
think it is effective.
4.1 MARKETING COMMUNICATIONS PLAN

Marketing communications planning is a process to determine the important
decisions related to the audience, budget, objective of the strategy and tactics.
Like all management plans, the marketing communications plan comprises the
stages of objective, strategy and tactics. They are the important elements to be
identified.
There are many planning formats and we can use any format suitable for the
organisation and our aim of planning. However, these plans are seen from
perspective of the different stages of business management, for example, the
corporate stage, business unit stage, functional stage and marketing
communications stage.

TOPIC 4 ADVERTISING STRATEGY PLANNING  87
4.1.1 Contents of Plan

Although the plan is devised through the different stages and levels, the basic
essence is the same. Usually, a plan will consist of the background description,
objective, strategy and tactics. However, the source information, implementation
and evaluation can be added to the content.
The J. Walter Thompson advertising agency divided the contents of the plan into
five questions below:
 Where are we?
 Why are we here?
 Where should we be?
 How do we get there?
 Have we reached there?
Cooper (1997) introduced the stages of the planning cycle that cover the processes
below:
Table 4.1: The Stages of the Planning Cycle Introduced by Cooper (1997)
Proces Description
s
1. Familiarise  Go through the customerÊs brief and analyse the
current data.
2. Hypothesise  Commission further research to help define the
strategy.
3. Synthesise and  Brief the creative team on the work based on the
inspire customerÊs input and agreed strategy.
4. Optimise  Carry out diagnostic research on the early creative
ideas to understand the consequences of the
promotion and the problems that occurred.
5. Evaluate  Supervise a pre-test to ensure the message and
brand retention reach a satisfying stage.
6. Review  Detect the results of marketing communications in
terms of sales, awareness and message.
Smith et al. (1997) suggested six aspects, which were situation analysis, objective,
strategy, tactics, action and monitoring. Another approach is the RABOSTIC
model, which is a plan with eight steps to devise the marketing communications
campaign. The term is an acronym for:

 Research and analysis

 Audience identification
 Budget and allocation
 Objectives
 Strategy
 Tactics
 Implementation
 Control
In conclusion, the planning format of the advertising or marketing

communications message can be summed up in the table below:
Table 4.2: The Usual Planning Format
Element Description
Situation Analysis Organisation analysis, competitor analysis, consumer analysis,
market analysis, product analysis.
Target Demographic, geographic, psychographic and behaviouristic

profile.
Source Human resource, financial resource, time resource (3M ă men,

money, minutes).
Objective AIDA approach, SMARRTT characteristics.

Strategy Four main areas of strategic decision: brand value, Unique Selling
Proposition, competitive positioning, competitive activity.
Tactics Specific activities that help achieve the objective.

Implementation Daily activities that help achieve the objective.
Evaluation and Evaluation: What is expected to happen? What happened? What
Control Measure are the collective and individual effects? What is the reason for
the success or failure? What is the lesson learnt from the
campaign? What will happen next?
Measures: Retail sales, direct sales, purchasing practice, brand
attitude, brand perception/image, brand awareness, attitude
towards the advertisement, advertisement retention,
advertisement exposure.

4.1.2 Determining the Objective
Objective has a very important value in the process of finding or preparing

the direction of an advertising or marketing communications campaign.
We can determine the strategy and tactics through the objective. What is the
meaning of objective, strategy and tactics? According to Butterfield (1977):
Objective is the goal or aim or end result that one is seeking to achieve.
A strategy is the means by which it is intended to achieve that goal or
aim or end result. Thus, one should be able to state an objective in the
absolute, to preface it with the word „no‰. A strategy therefore becomes
the conditional element, prefaced by the word „by‰ ⁄ so an objective is
where you want to be, a strategy is how you intend to get there.
According to Paul Smith (1998), tactics are the details of the strategy. In
marketing communication, tactics are communication tools such as:
 advertising,
 public relations and
 sales promotion.
Tactics in the marketing communications plan list what happens, when they are
implemented, how they are made and what is the cost.
This means tactics are special activities carried out to achieve an objective
through the identified strategy.
Many activities in marketing communications can be carried out in accord with

the factors that allow it, such as the objective, financial and other resources. For
example, the cleaning of drains and ditches in a community area can be a public
relations programme in a campaign to market products that kill pests or a
campaign to promote social responsibility among the public.
Objective is important for operations planning at every stage of the business.

Because of this, there are corporate objectives, financial objectives, marketing
objectives, marketing communications objectives and advertising objectives.
The objective must be stated clearly and in accord with each other so that it can
be achieved. Usually, the marketing communications objective is related to sales
or an aim that affects the mind of the target audience.

The AIDA model shows the stages that a customer goes through before making
the purchase decision and the marketing communication objective that may be
related to these strategies. A good objective must be planned well.
As mentioned by Russell Colley in Pickton and Broderick (2005), setting an

objective has the following advantages:
 People will work better if they know what they need to achieve clearly. They
know the direction and understand the issues that need to be resolved.
 Actually, marketing communications has both obscure and subjective
processes. Any effort to introduce objectivity must be encouraged.
 Communication task involves many parties and an objective will unite them.
 Evaluation and measures can be done and resources can be better allocated
with an objective.
The characteristics of a good objective can be explained with a SMARRTT model,

which is the acronym for specific, measurable, achievable, realistic, relevant,
targeted and timed.

Figure 4.1: SMARRTT objective
How are objectives usually determined in advertising? Some methods are

presented here to determine objectives.
(a) Objective Based on Sales

This trend found that marketing communication is valueless without results
in sales. All the changes that happen to the consumer as a result of the
conveyed message are useless if no purchases are made. That is why, based
on this trend, the advertising objective needs to be determined to show that
action.
(b) Objective Based on Communication
This communication trend focuses on important communication variables
before a purchase takes place. If there are no positive views of the company,
brand or product, it is hard for purchasing to happen. That is why

communication needs to happen to create awareness, knowledge and

confidence.
Objective, based on the hierarchy of effects model, explains the

communication process. As discussed in Topic 3, the hierarchy of effects
model elaborates on the stages that a consumer goes through before making
the purchase decision. Those stages are from the awareness stage up till the
action stage.
The models such as AIDA, DAGMAR, et cetera have been explained

previously. In this case, the decision making process may also be made
based on three paths, which are the cognitive, affective and behavioural
paths in the think-feel-do model.
Figure 4.2: Advertising objective using the think-feel-do model
At this stage, we are determining the communications objective, persuasive

objective or message objective, but not the marketing objective. The marketing
objective is seen from the point of sales, market sharing, et cetera, while the
communications objective focuses on the consequences of the message conveyed.

4.1.3 Planning the Campaign Theme

The campaign theme is important to ensure the success of an advertisement.
After identifying a suitable theme, the copywriter will then have a guide to think
of the facts or rational reasons why a product should be owned or used.
A theme is the basic idea of an advertisement. It is a guide for the copywriter

to effectively form the other elements in the copywriting.
In other words, the theme is like the pulse of an advertisement. It ensures that an
advertisement is energetic, of quality and attracts a lot of attention. So, the
copywriter has to be very careful when deciding on the theme of an
advertisement because the theme will determine the continuity of the
advertisement or the brand of the product constantly. For example, the theme for
Petronas advertisements during the festive seasons is „giving back what you
take‰. So, during festive seasons, the Petronas advertisements illustrate more on
social responsibility compared with promoting the contents or benefits of the
products.
A good advertiser is able to determine a long-term theme for the campaign. The
meaning of a long-term theme is a relevant theme all the time. It enables many
advertisements to be produced by just using that theme.
Finally, it can attract new prospects or customers and gradually overcome the
competitorÊs products especially if the advertiserÊs competing products failed to
give new life to the theme of its product. However, the advertisers donÊt need to
change the advertisement theme if the advertisement produced successfully
attracts many purchasers.
4.1.4 Consumer Stimulus

The copywriter needs to understand that consumers act in a certain way when
they are encouraged by certain stimuli. So, the copywriter needs to understand
the behaviour of the consumers and identify the elements that encourage them to
make a decision to get a product.
Many purchasing stimuli have been researched by psychological experts. Some of

the stimuli are:
 Immediate needs,
 Basic needs, and
 Natural instinct needs.

There are also stimuli that fulfill environmental and cultural demands. However,
the copywriter has the freedom and choice to determine the suitable stimulus to
be used to produce the text of the copy.
Table 4.3 below provides some examples of the stimuli that prompt human
actions.
Table 4.3: Examples of Stimuli that Prompt Human Actions
Stimulus Description
Unlimited Needs The desire to get money, power, prestige, efficiency and own
something.
Comfort The desire to get physical comfort, rest, free time and relaxation.
Facility The desire to get away from work or do something easy.

Curiosity The desire to enjoy a new experience.
Ego The desire to be famous, popular and attractive.
Family Welfare and The desire to do something for the family, to make the family
Happiness members happy and to see the children grow up safely.
Fear/Worry The need to feel safe from diseases, death and torture as well as
losing possessions, beauty and loved ones.
Health The desire to be healthy and fit.

Idol The desire to be someone we admire.
Love and Lust The desire to be loved and to love, the desire to have a normal
sexual relationship.
Mind Stimulus The desire to enhance the thinking ability and analytical force.
Fun The desire to be happy, go on a vacation, to have fun and enjoy
oneself.
4.1.5 Product Speciality

One of the message strategies is highlighting the unique characteristic of the
product by stressing on that characteristic or the difference of the product being
marketed and trying to make the unique characteristic an attraction.

Uniqueness in the marketing context means the positive facts or benefits of

the advertised products that are not present in the competing products.
However, the effort to identify this uniqueness is not easy. If a copywriter fails to
identify the uniqueness of the product that needs to be marketed, he/she must
get facts on how the product being marketed can help solve the problems of the
consumers or fulfil their needs.
The technique to emphasise the need of this product can be done if the technique
stresses on the uniqueness of the product that cannot be achieved after finding
out that other competing products also have the same uniqueness. Besides that,
we must know that the consumer purchases a certain product because of product
usage and the copywriter has a strong foundation to make the use and need of
this product a mascot fact.
The copywriter also needs to try telling the consumer or prospect that he/she is
concerned and sympathise with the problem faced by the consumer and wants to
help solve the problem together.
We take a pest killer advertisement, such as killing cockroaches or termites, as an

example. The copywriter should start his/her texts by mentioning the problem
and worry faced by the prospect due to the attack by cockroaches or termites. The
text or script needs to show that the advertiser shares the problem with the
prospect. Then, the copywriter should suggest the effective solutions to solve that
problem and be happy together after the problem has been successfully resolved.
In short, the copywriter should:

 Identify the human appeal,
 Determine the mascot facts so that they can be exploited and used to benefit
in the three parts of the advertisement, such as the
− headline,
− illustration, and
− opening copy.


4.2 DATA COLLECTION

Collecting and getting important data before writing is a must for the creative
team. They cannot produce really effective texts or scripts without the relevant
information and data.
However, a copywriter does not necessarily need to do research or field work to

collect the data. He/she may be able to get the data from the product
manufacturing company or agency that has done such research before. This can
save more time.
It is also better if the copywriter can do further research on research that has been
done previously. This is to increase confidence in the product being marketed
and deepen the focus of the texts being produced.
4.2.1 Product Information

The copywriter needs to know how customers see a product as well as the
qualities of the product that attract the customers.
The copywriter needs to know the information about the product thoroughly to
enable him/her to form a unique concept for the product. Product information
can also result in the effective formation of the positioning strategy.
In this matter, the advertisement can emphasize the position of the product in the
minds of the consumers. Besides its benefits, the other important information
about the product is related to its characteristics, its position in the product life
cycle, classification, branding, uses and usage, packaging, et cetera.
(a) Product Benefit

Many products have specific benefits for the consumer and the copywriter
should be able to notice these benefits in the plan to convince the consumer.
However, the copywriter needs to be careful not get carried away by the
description or explanation by the product manufacturer until the copy text
produced extols the product.
Usually, a good copywriter will take the initiative to test the product that
needs to be marketed to know its effectiveness. This action involves
expenses and financial commitment, but it enables the copywriter to get a
complete feel of the product. Then, he/she will be able to produce solid
copy that will not create an irrational or wrong impression.
When the consumers feel that they are receiving correct information about
the product and donÊt think they are being deceived, their confidence will
be increased and this will create consumer loyalty for a brand.

Product benefit is related to what a consumer gets as a result of product

purchase and usage.
(b) Product Positioning
Product positioning is done when the copywriter has the information on the
identity, strength, characteristics and stages of the product life.
Basically, the following questions are related to the effort of positioning the
product:
 What is the thing/product being marketed?
 Who is the product directed at?
 How do you want the customer to think about the product?
Usually, not all products are used by everyone. The product market is
divided into certain segments, where only certain things or products are
marketed to certain groups. This is the same for service products. Besides
trying to know the product that needs to be marketed well, the copywriter
also needs to know how satisfying is the future prospect of using the
product. Refer to Figure 4.3 below for more about product information.
Figure 4.3: Product information

4.2.2 Identifying Prospect

The prospect is the potential customer of a product that is being marketed.
Besides good knowledge of the product, the copywriter also needs to have
knowledge of the prospect in terms of:
(a) Demography
Contains the data of the audience or prospect in terms of their background,
age, education, salary, gender, marital status, family members and all the
other values.
(b) Geography
Focuses on the address of the prospect.
(c) Psychography
The psychography of the prospect can be seen from the value of life,
lifestyle, thinking, ambition, attitude and the views of life.
(d) Behaviouristic
The behaviouristic aspect identifies the behaviour of the prospect on the
product in terms of its usage, purchase, et. cetera.
The copywriter cannot make a guess or simply assume the ability of the prospect on
the product being marketed. That’s why the complete data is needed and to be
understood by the copywriter. Figure 4.4 shows the background data of the prospect.
Figure 4.4: Background data of the prospect

In short, the copywriter needs to thoroughly know the background of the target
group or the prospect who will make a purchase. Without this knowledge, the
copywriter cannot form an accurate and effective relationship between the
audience and the advertisement as well as the advertising message. Without this
relationship, the advertising campaign may not be able to achieve its objective
well.
Table 4.4: The Stages of the Family Life Cycle
Stage Financial Position and Purchase Characteristic
Single  Slight financial problems, recreation-

oriented, likes vacations, outdoor
entertainment.
Just Married  Improved financial status, two income
sources, bought a house and some
durable products.
Family With Child Category One  Bought a house with more installments
paid, higher financial stress, maybe one
source of income, bought household
goods.
Family With Child Category Two  Higher financial status, one spouse
continues working.
Family With Child Category Three  Good financial status, increased purchase
of household products.
Family Without Child Category  Near to owning a house, has interest
One again in traveling and recreational and
rest activities, bought expensive goods.
Family Without Child Category  Income dropped drastically, needs

Two medical service.
Solitary Survivor One  Good income but tends to sell the house.
Solitary Survivor Two  Special needs for medical care, needs,

love and affection.
(Adapted from Hooley & Saunders (1993))
Many researchers have done research on the consumerÊs profile based on

psychographic characteristics. These characteristics are more difficult to measure.
Psychographic data is important in collecting the information on the audience or

prospect in terms of who they are actually. Marketers in the 70s used
psychography to divide the prospect into the following groups:
 View leader
 Loyal customers of a shop
 Consumer activist
 Social class
However, many researchers have made other divisions based on certain factors,
as carried out by:
Figure 4.5: Purchase typology based on psychography
Besides that, Arnold Mitchell founded the VALS segmentation system that uses
attitude and social value to group the consumer. The psychographic
segmentation approach is based on Values and Lifestyles. Then, it is expanded by
the SRI Consulting Business Intelligence by Stanford University and University of
California Berkeley, America. In this approach, the individual is grouped based
on strong personality characteristics and purchase practice.
Psychographic data is hard to collect. However, the basic instrument for

measuring psychography is usually based on the AIO Statement (Attitude,
Interest, Opinion). This statement measures the attitude, interest and opinion of
the audience and it can be in the form of a general or specific statement of the
products. The AIO statement is presented to the audience in the AIO inventory
and the measurement tool is the Likert Scale. Plummer in 1974 identified four
fields and their relationships with their individual activities (Table 4.6).

Table 4.6: Psychography: Variables in the AIO Statement
Activity Interest Opinion Demography
 Occupation  Family  Self and  Age

personal  Education
 Hobby  Household
 Social issue  Salary
 Social function  Occupation
 Politics  Family size
 Vacation  Community
 Business  Address
 Entertainment  Recreation
 Economy  Geography
 Club member  Fashion
 Education  City size
 Community  Food
 Product  Life stage
 Shopping  Media  Future
 Sports  Achievement  Culture
Source: Plummer (1974)
Figure 4.6: Division according to VALS

Source: SRI Consulting Business Intelligence (www.sric-bi.com/VALS)

It is said that successful advertisement campaigns depend on accurate answers

from some important questions that require data to answer them.
 Who are my customers?
 How is their condition?
 What do they buy?
 Where can I find them?
 How do I contact them?
Besides primary research that usually requires cost and takes time, data from
secondary research is also very important. This data can be obtained from the
government statistics, organisation statistics and published results of research.
There are organisations that specifically carry out research and then sell the
research data. In fact, the research agency is one of the important partners in
marketing communications as discussed in a previous topic.
The copywriter should also try to understand the prospectÊs media choice. This
means knowing the newspaper that they always read, television or radio station
of their choice and the programmes they always watch. This information can be
obtained from research companies that collect information on consumer
behaviour. To get more exclusive information, the advertising company itself can
conduct research to understand consumer behaviour.

ACTIVITY 4.1
Based on the advertisement below, answer the following questions:
1. What is the product being advertised?

2. Who may be interested in the product or service advertised?
3. Who is the target audience and what is their profile?
4. What is the expected response to the advertisement?
5. What is the direct and indirect style used? Give your reasons.
6. What type of appeal is used? State your evidence.
7. What are the strategies used? Give your evidence.
8. How reliable is the print advertisement? Elaborate.

4.3 COPY DEVELOPMENT GUIDE

The advertisement copy guideline is also called the copy platform or other terms,
which are:
 Copy brief
 Work plan
 Creative strategy document
 Creative brief
 Copy strategy document or copy blueprint.
This copy platform is a short written document with the purpose of mentioning
all the important things needed by the creative team to produce the creative idea
and marketing communications campaign, prepare a plan or an important
checklist as a guide for creating an advertising message or campaign.
4.3.1 Creative Brief

However, the creative brief or the copy platform only prepares important
information needed by the creative team to expand their ideas.
The brief is not the same as the briefing even though both also give direction and
guide as well as inspiration to the creative team. When an agency is used for the
advertisement campaign, the task of writing a brief is in the hands of the person
handling the account and also the account planner.
The creative brief and the briefing process are used in marketing communications
as a mechanism to drive the creative team to produce ideas for the new
campaigns. In fact, according to Graham Bunting (1995), creativity „starts from
the brief‰.
According to Charlie Robertson (1997), the creative brief must be short and not
necessarily creative. However, the creative briefing must give inspiration. It is not
just a distribution of the creative brief but it enables the creative team to see
various different paths through the briefing.
This document is prepared by the team in an agency or a group assigned in the

accounts department and this special group is made up of the creative staff as
well as the account director and the representatives from the media and research
divisions. The involvement of the advertising manager or product manager from
the advertising company is important in this group and they are needed to
acknowledge the platform and also provide important inputs.

The advertising guideline should be short but complete and also easy to
understand. The best is to plan the guideline after discussions with the art
director and the representative from the product manufacturing company
(customer).
These questions are used as a guide for creative planning.

 What is the aim to be achieved by the marketing campaign of a product or
service?
 Who is the target audience of the campaign? In other words, who is the
advertisement directed at?
 What is the benefit of using the product? Is the product or service unique and
interesting? If not, what is the purchase rationale that can be the facts or
argument? Besides the main facts or arguments, what are the other
supporting facts or arguments that can be the material to attract the customer?
 What is the media that will be used?
 How do we position the product or service?
 What is the best creative strategy for the advertisement?
4.3.2 Copy Guide for Various Agencies

There are a few ways to present the advertising copy guide or copy platform. An
organisation or advertising agency may use a format that is different from the
guides used by other agencies.
However, this guide basically has subjects such as the target audience, the
productÊs main and side interests as well as the creative strategy statement. Look
at the information below on the different guides used by the different agencies.

Figure 4.7: Examples of guidelines used

Figure 4.8: Example one: copy platform

Figure 4.9: Example two: copy platform
It is clear that the creative brief basically has the target audience aimed at by the
advertising campaign, what is the message to be conveyed and what should
happen to the prospect.
For the prospect, it is better if the main prospect can be specifically identified
because the advertisement can use the „language‰ of the people aimed at.
Demographic data may not be sufficient and the detailed description includes
psychographic and behavioural aspects.

The copy strategy must define the message to be conveyed, which is the sales
focus or the important and main promise of the product to be turned into a big
sales idea by the copywriter. Besides that, the side promises or message also need
to be stated.
An advertisement can project any identity but it must have its own identity. This
identity exists through a total combination and this total combination can create
an impression in the minds of the audiences.
The elements that create the looks or the identity of the advertisement include
style, tone, music, speed, casting and setting. The personality of the
advertisement highlighted must be in accord with the product personality or
brand image and also the personality or self-image of the prospect. The audience
must feel that the advertisement is directed at them and is „talking‰ to them. So,
it must use the suitable tone, style or pitch for the message or audience. The tone
is the representation of the message attitude and product personality. The voice
tone refers to the style of voice expression, whether sad, happy, excited or
disappointed.
ACTIVITY 4.2
Use this creative brief form adapted from Butterfield (1977) to

produce an advertising strategy guide for one of the brands that you
find not so famous but has the potential to be marketed.
1. Customer
2. Product:
3. Brand:
4. Advertising Role:
(a) After looking at the advertisement, how do you want the
audience to react?
(b) How do you convince yourself that this advertisement can
achieve that?
5. Who do we aim at?
6. What is the most important thing that this advertisement must
convey?
7. Why must the audience believe it?
8. What is the practical consideration of the audienceÊs belief?

Creative Brief Strategy

Objective Tactics
Prospect Tone
SELF ASSESSMENT 1
1. Advertising copy guide or copy platform is mentioned by different names.
State all those names.
2. In situation analysis, what is usually being analyzed?
3. What is the meaning of tactics?
4. State some of the tactics in the Visit Malaysia Campaign.
5. What is meant by reward/support in the copy guide by DDB-Worldwide?
SELF ASSESSMENT 2
1. What is the meaning of objective, strategy and tactics? Elaborate on their
differences.
2. Usually, the plan consists of the background description, objective, strategy

and tactics. However, a more complete content includes the situation, target,
source, objective, strategy, tactics, implementation and evaluation.
3. The J. Walter Thompson advertising agency divided the content of a plan

into five questions. What are the questions? The advertising copy guide or
copy platform has different ways of being presented. Present the guide used
by the advertising agency Leo Burnett and elaborate.
4. Between the objective based on sales and objective based on communication,

which one do you think is better and why?
5. Get the definition of tone from the dictionary and then relate the meaning to
the tone in the advertisement presentation. How do you elaborate on the
meaning in this new context?

Butterfield, L. (1977). Excellence in advertising: the IPA guide to best practice.

Oxford: Butterworth-Heinemann.
Cooper, A. (1997). How to plan advertising? The Account Planning Group,

London: Cassel.
Pickton, D. & Broderick, A. (2005). Integrated marketing communication. London:

Prentice Hall-Financial Times.
Robertson, C. (1997). Creative briefs and briefing, in How to plan advertising, in

Cooper, A. ed. London Cassell.
Smith P., Berry, C. & Pulford A. (1997). Strategic marketing communications.

London: Kogan Page.

Topic 5 Strategy
Implementation
LEARNING OUTCOMES
1. Define the strategy concept in the marketing and advertising context;
2. Identify the various creative strategies that can be used in developing
3. Elaborate on the types of appeal that motivate the audiences to give
their feedback;
4. Discuss the advantages and disadvantages of hard selling and soft
selling;
5. Discuss the strategy to create advertisement credibility through
persuasive persuasion whether rational or emotional persuasion; and
6. Discuss the importance of consistency in the advertising campaign
and how it is done.
 INTRODUCTION
Strategy is important because it provides the direction for all the parties involved
in a campaign. Strategy also provides a plan and scope for an operation. It is a
method or way by which an objective will be achieved. The topic on strategy
implementation focuses on the discussion of various strategies used to convey the
sales messages. There are more than ten common strategies used and they will be
elaborated in this topic. Besides that, the product positioning method is one of the
important strategies elaborated on. This topic also defines the strategy concept in
the marketing and advertising contexts to show their differences. Another focus
of discussion is the consistency of presentation required in marketing
communications campaigns. Two types of consistencies will be discussed ·
implementation consistency and strategic consistency.

TOPIC 5 STRATEGY IMPLEMENTATION  113
5.1 ADVERTISING STRATEGY

Strategy is important because it provides the direction for all the parties involved
in a campaign. Strategy also provides a plan and scope for an operation. It is a
method or way by which an objective will be achieved. The marketing
communication strategy can identify who the campaign target is, what the
campaign wants the target audience to do and what the campaign can inform the
audience to influence them. The condition or character of a strategy is different
according to the objective determined, the financial provisions available and the
expected marketing communication characteristics.
Before understanding the advertising strategy, let us look at the marketing

strategy first because it is related in the marketing communication context. It is
the same for message or creative strategy. Just like the marketing objective, the
advertising and message objectives is related, so their strategies are related too.
5.1.1 Marketing and Advertising Strategy

Marketing strategy is how a company achieves its marketing objective. The
method is determined by considering the marketing mix, which consists of the
product, promotion, place and price elements. The marketing strategy has a big
impact on the advertising strategy. It determines the role and the total
advertisements in the marketing mix, and the creative and media focus used. The
first process in the marketing strategy is to define and choose the target market
using the market segmentation process and research - who is the target market in
terms of demography, psychography, geography and behaviour characteristics.
The second aspect is how to position the product. Positioning refers to the
position or place of the product in the minds of the customer. Each product has
its own position whether we realize it or not. According to David Ogilvy, one of
the most important marketing and advertising decisions is how to position the
product.
Positioning refers to the competitive position of a product in the minds of the

consumer. This position is based on the audienceÊs perception that may not be
accurate in reality. A strong product or brand has a clear and unique position in
the target market.
The third step is to determine the marketing mix by emphasizing the cost-
effective values for each target market. The marketing elements, which are the
4Ps, are mixed to get the best results. In this matter, the company has many
choices of marketing strategies; for instance, to increase distribution, add new
uses and give a discount. Each mix focuses on one or more elements and the
choice depends on the target market of the product as well as what the

114  TOPIC 5 STRATEGY IMPLEMENTATION
advertising stage is. The third process is to determine the tactics or the action
programs. The objective of the company is to identify the direction to be followed
and the tactics determine the direct short-term action to be implemented.
Figure 5.1: The approaches to create positioning strategy by Earnest Martin
Advertising strategy, as mentioned, is how to reach the destination. It combines

the elements in the creative mix, which are the target audience, product concept,
communication media and advertising message. The target audience is usually
larger than the target market. The advertiser needs to know who the real product

users are, who the purchasers are and who influences them to make the purchase.
For example, children pester their parents to buy toys or fast food. ThatÊs why,
even though the target market of a company are the adults, the target audience
also includes children and the advertising messages for the product are directed
at children. So, the advertising strategy is a method used to achieve the identified
advertising objective through the creative mix of advertising elements. The mix is
determined by the advertiser based on the audience, product concept,
communication media and advertisement message.
5.1.2 Message Strategy

Message strategy is how to achieve the objective of a marketing communication
message and in this case, it is advertising. It is an idea of how to convey a
message of a product in the most creative and persuasive way. Usually, the
message strategy will combine the rational thinking or appeal with the emotional
appeal. The mix is done creatively. A successful message strategy also pays
attention to product importance or relevance to the customers. Three basic
processes will be followed to determine the strategy: identify the communication
objective, determine the audience, choose the sales strategy.
Imagine how you can sell new cars in the competitive automotive market in
Malaysia? How does a cigarette company market its product in a society with an
environment and policies of local authorities that are opposed to smoking? How
do you, as an advertiser, convey the message of your product?
The answer depends on the marketing communication objective. What do you

want to achieve in the advertising message? That is why the message objective
statement is very important · because it is the determining factor of the effect of
the communication. Usually, the message objective is based on the Hierarchy of
Effects Model or specifically, the AIDA model, as discussed in the previous topic .
As mentioned, one of the most important components in the marketing
communications program is the advertising message. It is clear that there are
many ways to convey the advertising message. However, it is the creative
strategy that is involved in determining what is conveyed by the message and
also the creative tactics, which is how the message strategy is implemented. In
this case, attention is paid to the process of forming the creative strategy and the
various approaches to produce the big idea that will be used as the main
advertising campaign theme and turned into the advertising messages.

Figure 5.2: The process of message strategy
5.1.3 Categories of Strategy

Advertising and marketing communication experts divide the message strategy
or creative strategy into the following categories:
Generic Strategy: In this strategy, no difference will be made between the brands
or products. For communication effects, according to Rossiter and Percy (1997),
the focus should be given to the category need, and not brand awareness. Usually,
this strategic approach is done on behalf of industrial groups. Some of the
examples are rice promotion without mentioning the brand of the rice, fruits
promotion without mentioning the type or brand of the fruit, computer
promotion without mentioning the computer brand and so on. The market leader
also uses this approach because as the leader, they will definitely gain some
benefits when consumers give positive feedback to the overall computer industry.
This is also the same when the economy of a country is developing. All types of
business companies will also benefit from the increase of businesses. For example,
the Campbell Soup company uses the slogan „Soup is good for you‰, which is an
expression that can be used by any soup-making company. However, it is still
used because the company controls the food category and any positive feedback
from the advertisement can benefit a large number of the companyÊs products.
Generic strategy is suitable for the monopolistic market of a product or brand.
Pre-emptive Strategy: In this strategy, the generic claim is made but with a
statement that the brand advertised is better or more superior. ThatÊs why the
competitors will benefit, but at the same time, the competition is quite tough
because the competitors will be regarded as copycats when the superior image of
the brand or product is already established through the promotion and its image.

This strategy is considered important in developing the market because the

promotion due to stiff competition doesnÊt take place but is only a generic
competition.
It is clear that this strategy focuses on the basic characteristics or benefits of a

product, where the claims can be made, or focuses can be given to the other
brands. It is suitable for the product that has no difference or few differences only
in terms of its characteristics. For example, a telecommunications company uses
the phrase „Connecting Your World.‰ Those words are actually pre-emptive. All
telecommunications tools provide communications service, but by starting a
campaign that emphasizes that characteristic via a way that results in memory
retention, the company manages to position its brand as an important product in
the communications service. The slogan „This Is Celcom Territory‰ is also an
effective pre-emptive statement to position the Celcom brand as the market
leader.
USP Strategy: USP stands for Unique Selling Proposition. USP is a selling strategy
that is based on the most unique characteristics of a product compared with a
competitorÊs product. This strategy focuses on brand or product superiority
based on the unique characteristics or unique benefits. In the highly competitive
marketing world, whatever benefits can be easily imitated by other products
unless it is patented or protected by the law. Even if this is the case, the
characteristics of a successful product will soon face competition from other
products that are similar even though not exactly the same.
For example, a new type of bread product that uses the brand „Roti Boy‰ gains
publicity and a wide market because of the softness and crunchiness of the bread.
Not long after that, a similar type of bread made by other manufacturing
companies appears in most big supermarkets. Many products and services face
great challenges from new competitors unless they have a strong strategy to
secure their position in the market. The TV reality program Survivor has created
something new in the broadcast media and obtained a high rating worldwide. In
a short period of time, dozens of reality shows are aired and compete with each
other.
In practice, the USP tends to be based on perception, and a good creative strategy
can be used to provide maximum effect. This perception forms a unique feeling
that differentiates one product from another. A product or service will try to
produce something different, for example, through customer service or expert
service or delivery service. Then, this difference is used in marketing
communications to differentiate the product from other products.
Brand Image Strategy: Brand image or product image has long been related to the
marketing communications strategy. This strategy depends on the formation of
mental or psychological relationship through the use of semiotic tools, which are

marks, symbols and images. The product is differentiated through the whole
image created in the publicÊs mind, specifically, the target audience. In this case,
the physical differences are regarded as not important.
„Resonance‰ Strategy: This strategy is an effort to adapt or match the product

with the consumer through the relevant meaning, experience, thinking,
relationship or aspiration and it is related to the needs, importance and tastes of
the consumer. This strategy may be the same as the brand image strategy, but in
this case, the focus will be given to the effort of marketing communications that
illustrates the aspirational and status-finding themes, which can be related to the
consumerÊs desires.
This strategy is also known as the lifestyle strategy where the idea that is given
emphasis is a situation or lifestyle symbol that can be identified by the consumers
or desired by them. The meaning, experience and thinking in this advertisement
will be related to what is desired by the customers in their lives.
Affective Strategy: Affective strategy is an emotional strategy that tries to create

involvement and emotion. Although it is not related to the sales message, this
method is regarded as very powerful. The strategy that creates a psychological
relationship between the brand or product with the customer or prospect usually
uses a celebrity or a popular personality because their glamour can make the
product or consumer look glamourous.
Informational Strategy: This strategy is based on the assumption that the

important element in the creative theme is to convey information. Usually,
educational campaigns use the informational strategy. Private education is an
apparent example. Others include housing project advertisements. Some tourism
advertisements are also informative to convey the details needed by the audience
to make decisions.
Credibility Strategy: This strategy strengthens the confidence and reduces the
perception of risk. The usual techniques used in the credibility strategy are
acknowledgement, assurance or acknowledgement by the expert and the expert
demonstration on product usage. This strategy is usually used, for instance, for
safety and health products.
Positioning Strategy: Positioning is an effort to fill the mental spaces with certain
images of a product in its relationship with the images of competitorÊs products.
This strategy is suitable for facing the phenomena to become the market leader.
This can be done when there are enough resources for an aggressive campaign
for quite a long period of time. Positioning the product in the minds of the
consumers means placing the image of the product in its relationship with
competitors.

Incentive Strategy: This is a sales strategy to create immediacy, so that the

customer responds quickly after looking at the advertisement. Usually, the
customer who responds will be given a reward, which is actually one of the
important factors to create immediacy. This strategy is normally used in certain
situations where sales need to be increased fast and to fight strategies used by
competitors.
Retention Strategy: This method is usually used for mature brands which have
already created self identity. It is hoped that the customer will remember the
brand again and make a purchase or response. Most of the advertising campaigns
for a product such as Coca-Cola that has existed in the market for a long time
donÊt use the main characteristics of the product for positioning or appeal. The
most important thing for this brand is continuous retention by the consumer.
Interactive Strategy: In this method, the focus is a two-way communication to

ensure response from the customer. For the interactive media, this strategy looks
easy to implement because there are technological facilities for the customers.
However, it is more important for a brand that needs the customer to contact the
company or the agents of a company in the process of purchasing or using the
product.
Figure 5.3: The seven message strategies by Patti & Fraser
5.1.4 Positioning Method

Positioning was established by Al Ries and Jack Trout in the 1980s. According to
them, the customer who is aware that there are a few brands in a product
category will automatically compare brands or products according to the
differences perceived by them. So, the strategic effort to place the product in its
own position, even though by using psychological and emotional propositions, is
to create a competitive difference and benefit difference and prevent a clash
between the products.

Pickton and Broderick (2005) identified the seven types of positioning based on
David Aaker and Gary Shanby (1982) in the article entitled „Positioning Your
Product‰ in Business Horizon that has already identified six positioning
strategies. However, it can be said that there are eight of them:
 Positioning by product characteristic: A brand is perceived more superior by

using a certain way and when the marketing communication focuses on this
characteristic. Actually, this positioning strategy is the foundation of USP.
The Gillette shaver can shave smoother because it has a two-stage shaving
method. Brand XYZ is more superior because it is produced through the
combination of new technology and traditional creativity.
 Positioning by product user: The consumer can be divided into different

categories if they are seen from the point of purchase practice or its position
in the society. The category involves consumer status, usage rate, taste,
profession, et cetera. This positioning focuses on the customersÊ needs. Some
of the uses of the products will be highlighted to career women or men of
status.
 Positioning by price and quality: To convey the „value for money‰

characteristic through the special price or quality claims. The BMW car is also
known as an expensive car but it is of high quality in terms of durability and
latest technology. For „high end‰ products or brands, the promotional effort
is based on forming the image and status without stating the expensive price,
while for „low end‰ products or brands, the emphasis is the price without
mentioning its quality.
 Positioning by application: The marketing communication focus is on the

usage or application that makes it apparently different or special. Some of the
products have the same application but when the product is given emphasis
in special functions, the image will be connected with the special functions.
 Positioning according to product category: This strategy tries to prevent a

clash with competitorÊs products. The method is by positioning the product as
one of the choices among what is there. For example, margarine is positioned
as one of the choices among the brands of butter. E-mail is given the position
as one of the choices among post. Bus express transport is an alternative
method to rail or air transport.
 Positioning against the competitor: Some of the products or brands fight

against the competitor directly, and it is not stealthily or softly. The
customerÊs perception of the existence of a competitor product is important
and needs to be carried out in marketing communications. In a homogeneous
market, where there are a few companies with many different brands, the
competition is stiff and a company will try to compete with other companies
and prevent competition between the brands under its control.

 Cultural positioning: Culture is also a positioning strategy when a brand is

connected clearly with cultural heritage, country, religion, ethnic or race. For
example, in the automotive industry, the Proton brand is given the position as
a car of Japanese technology and made in Malaysia. We also know that the
Rolls Royce car is related to UK; BMW to German; Citroen to France; Toyota,
Mitsubishi and Honda to Japan; Hyundai and Kia to Korea. Halal food
positions itself as an Islamic product just like kosher food is positioned as
Jewish food.
 Repositioning: Besides all the positioning strategies mentioned above,

repositioning also needs to be discussed. Brand positioning needs evaluation
all the time because of changing situations, choices and tastes. If re-evaluation
is not done from time to time, the brand will be eliminated due to the
competitive market. The decision made may be to maintain the positioning or
change it into another position.
Figure 5.4: Eight positioning strategies
All this while, Nestum that is regarded as baby or children food has been given a
new position as food for the whole family. With the new promotion, new colours
and packaging, Nestum hopes to gain the position as an enjoyable product for the
whole family all the time and not just for breakfast only. Johnson & Johnson Baby
Shampoo has increased its position as a mild shampoo for adults besides
maintaining its image as the childrenÊs shampoo.
Products with an increased life span should be given a new position during
changing situations and different trends. One of the repositioning techniques is
brand-mapping. This process involves product evaluation in terms of similarities
with other products and exploring other positions that offer potential for product
development.

5.2 CREATIVE APPROACH

If we analyze the messages in marketing communications, we will find that
certain themes are used. These themes are presented in an attractive or appealing
way to the customer. During the implementation of the creative strategy, the
appeal is the early advertising objective in the advertising pyramid. To attract
attention, the advertisement must be presented attractively and this appeal is
done to motivate rational thinking and emotional appeal.
5.2.1 Rational and Emotional Appeal

Appeal is an idea that motivates the audience to respond. These ideas can appear
in various forms such as success, beauty, durability, security, tastiness, gentleness,
softness, luxury, love and care, pride, etc. The appeal in the message will create a
relationship between the customer and the product or the target audience with
the source.
There are various ways to attract attention and in this case, they can be divided
into rational appeal or emotional appeal or a mix of the two appeals. Besides that,
there are product-oriented and consumer-oriented appeals. Product-oriented
appeal presents the attractiveness of the product or the productÊs characteristics
that appeal to the customerÊs emotion and rational thinking. Consumer-oriented
appeal focuses on the consumers themselves or issues related to their lives and
their need for the product.
Figure 5.5 shows the matrix that states the examples of themes and
implementation in the context of appeal.

Figure 5.5: Appeal categories
Rational Appeal: Rational appeal consists of rational ideas that motivate the
audience to respond. The ideas can be factual, explanatory information, data,
statistics, demonstration, etc. These ideas use logical thinking as acceptance.
Rational thinking is directed at the practical, functional and utilitarian needs for
the products and services. Usually, the rational appeal is informational and the
information focuses on those needs.
Rational appeal can be divided into the following categories from the contents of
presentation.
 Product characteristic appeal: focuses on the dominant characteristics of the
product and service such as the material used, taste or price.
 Competitive characteristic appeal: make a comparison with other brands in
the same category.
 Price appeal: offers a price that matches the quality and product usage.
 Announcement appeal: makes the advertising message as a piece of news to
be announced or broadcast.
 Product popularity appeal: stresses on the popular characteristics.
Emotional Appeal: Emotional appeal uses the method that plays with the human
feelings such as care, fear, love, happiness, comfort, pride, etc. Emotional appeal
is targeted at psychological, social and symbolic needs.

Some of the experts regard the emotional appeal as being better and more
successful than the rational appeal. There are some reasons why emotional
appeal is used.
(a) Usually, the customer will be easily attracted to the words that contain
emotion. Some of the product campaigns contain no informational value
but they attract attention because there are emotions behind those words:
Finger licking good [so delicious until you lick your fingers], the Enchanting
Scent, the Real Taste of Adabi Product and Kodak Moments⁄ all these
phrases are filled with emotions.
(b) How many song lyrics can you remember and how many formulas can you
say without making any reference? Humans are emotional beings and it is
said that we use our emotions first, then only intellect. Besides that, humans
are more easily involved when their feelings are played with and appealed
to. There are no easy rational reasons to explain that.
(c) The things offered by the product, which cannot be seen, are more credible
if the emotional appeal is used. We always want to believe that a medicine
will provide a cure, the food will provide nutrition and so on.
Figure 5.6: Advertisement appeal by Biagi

5.2.2 Hard Selling, Soft Selling

The traditional approach in advertisement presentation focuses on the methods
of hard selling and soft selling. Hard selling is a direct method and soft selling
uses the hidden approach. Hard selling is a clear-cut selling method that asks,
urges, directs or tells the customer to make a purchase or take action. Soft selling
is done covertly, without any urge to take action.
Hard selling uses the strong and direct persuasive method until it sometimes
reaches the coercion stage whereas soft selling uses a gentle method and no clear
elements of coercion can be seen. That is why hard selling is always regarded as a
rough, annoying method and it makes some customers feel uncomfortable. Soft
selling is related to a presentation that is entertaining, pleasant and comforting.
When comparing both methods, hard selling is like a salesperson who uses an
urging and coercive way and soft selling like the salesperson who uses a soft way
to convey the sales message. Rosser Reeves who was dean previously at the
School of Hard Sell in a university in USA made the following statement that
illustrates the hard sell philosophy:
The hard sell commercial, which permits no nonsense, no semi-

sophistication, no „kidding of the sponsor,‰ is far from obsolete ... The
hard sell is an approach almost austere as its dedication to the process
of visually and aurally battering the man in front of the tube with sales
points until he caves in and buys the product being advertised.
The hard sell approach as mentioned by Reeves uses a clear-cut way by

bombarding sales messages until the customer gives in and buys the product. The
hard sell approach is also based on the conviction that an advertisement that is
remembered is better than an advertisement that is well-liked. An advertisement
that is remembered is regarded as a better communicator of the communication
objective compared with a well-liked advertisement. The liking that exists may
not be due to the sales messages but other factors such as entertainment. The
supporters of the soft sell approach believe that highlighting the sales promises is
not enough because the more important thing is making the customer feel
comfortable and getting a better picture of the product and advertiser. So, a
happy and comfortable advertisement is more important.
The issue here is whether the main role of the advertisement and marketing
communication is to entertain the customer and give a good image of the product
and customers or to sell the product, brand and service. So, the challenge of the
copywriter and the creative team is to create a balance by selling the product in a
fun way without coercion or urge that is annoying.

5.2.3 Basic Selling Style

The basic purpose of marketing communications, based on the advertising
pyramid, is to attract attention. This can be achieved through different ways,
approaches, methods and presentation styles. A good style to convey an
advertising message is the direct and simple style without simplifying anything.
A direct style is clearer and easy to understand; it is not complex, abstract and
obscure. A direct style also makes a clear-cut and not long-winded presentation
to convey the real message.
The opposite is a way that is boring and makes understanding difficult, hard to
remember and not likeable. Simple and direct messages will reach the mind faster
and stay inside it. Complex and indirect messages provide as many messages on
the brand as possible so that the audience can understand the product. However,
humans tend to get only one message at a time and in a situation where there are
many advertisements, it is very difficult to absorb all the messages presented.
However, it is said that the process to simplify all these can be boring and not
creative. This process shows low level thinking, without any interesting art and
style. Nevertheless, if the product and message are relevant, a simple
presentation can be dramatic and interesting. LetÊs take the advertisement on
food as an example. It is shown in a simple way, which is the way of preparing it.
Because it is relevant and is directly applied to the consumer, the audience will
look at the advertisement attentively.
Another basic presentation is in an entertaining and happy form. This can be

done in various styles, especially humour, singing and the other lighter styles.
Actually, many styles can be thought of via the creativity of the creative team as
long as they do not violate ethics and rules, are suitable to good taste and do not
exaggerate. Exaggerated advertisements can be shown through exaggerated
situations, intense characters, highly sophisticated graphic tools or forceful
demonstrations. However, the practice of using all these exaggerated elements is
accepted and indeed very popular because it enhances memory retention. As
long as the message can be trusted and the sales message is not exaggerated, this
exaggerated presentation through the situation, character, graphic tools and
demonstration is considered creating positive consequences.

5.3 ADVERTISEMENT CREDIBILITY

One of the ways to create persuasive values, whether rational persuasion or
irrational persuasion, is to give the audience confidence in the advertisement
messages. The confidence of the audience is one of the important consequences to
be achieved in marketing communications. One of the ways to build confidence is
to ensure that the advertisement is credible.
Advertisement credibility is related to the effort of convincing the customer not to

look down on the advertisement message because there is something beneficial in
it. A good advertisement is a credible advertisement and not looked down upon
by the audience. How to make an advertisement credible and how do language
play a role? This means the message and language used must be convincing.
5.3.1 Intrinsic Drama

Each product has its own identity. This means that each product has an intrinsic
drama to be explored. It may be easier to find a drama in a product that has news
value, for instance, a new product, a new invention, a new usage or a new
packaging. All new values have news characteristics such as impact value,
quality value, conflict value, current value and proximity value.
Abstract nouns and adjectives are popular descriptive words in an advertisement.

Look at the following text:
 Fast, easy and effective body-contouring project.
 Superb cleaning results.
 The use of economical dust cleaning tool.
 Relieves throat and nasal cavity fast.
 Comfortable, fast and safe.
 Amazing!
How credible are the words fast, easy, effective, amazing, economical, relieved,
quick, comfortable, speedy, safe and amazing? Some advertising texts are
credible because the product itself is unique and the benefits and uses are
explained. However, for products or advertisement messages that are less unique,
how do the words build credibility?
Some of the reasons why some advertisements are not credible are because they
make a lot of promises, and not because they are not specific. Intrinsic drama
does not necessarily mean that we must be flamboyant with words. William
Strunk, in his famous book The Elements of Style, said:

Place yourself in the background. Write in a way that draws the

readerÊs attention to the sense and substance of the writing, rather than
to the mood and temper of the author.
StrunkÊs statement shows that the main thing that creates the drama is not the
illustration or the meanings beyond the product but the „sense and substance.‰
Leo Burnet also said that „the greatest thing to be achieved in advertising... is
believability and nothing is more believable than the product itself.‰
5.3.2 Concrete Character

When a person is confused, he/she is like in the middle of the sea without any
guidance. Each direction points to water. They do not have anything to hold.
Confusion means obscurity and ambiguity. There is no concrete visual image in
the mind. In the language context, this happens because there are no concrete
ideas to convince the audience. The advertisement messages are uttered generally
and no perception can be formed in the minds of the audience. Besides that, this
happens when the language used is obscure and not concrete.
5.3.3 Keep a Promise

When a purchase takes place from the advertising promises, the product must
keep the promises made. Does the copywriter have the power to ensure that the
promises are kept? Yes, because those promises are phrased through his/her
language and he/she can reject the words that cannot be kept. Dave Garroway,
when giving a speech in a seminar by the Association of Advertising Agencies in
USA entitled „How to Get People To Believe You,ÊÊ said:
When you said this car can save up to 40% of petrol, it doesnÊt mean
anything to the audience. „Up to 40%‰ has no meaning... so I try hard to
avoid using ambiguous words in my advertisement. They are actually
words that do not say what we mean but mean the other thing. The
limitation of a product is apparent. There is no single thing that can do
many things effectively... so I will research a product carefully on its
style, qualities, how it is used, where it is used and who uses it. When I
speak about it, I have an idea about who will I speak to and I know how
to communicate with them. You cannot talk about a Cadillac car like
you are talking about a pie.
The important point conveyed by Garroway is the use of ambiguous words.

Ambiguity means having various interpretations. Ambiguity also means without
clear and needed facts for understanding and confidence. However, ambiguity is
not regarded by Norins (1980) as the „worst crime of unbelievable copy.‰

The problem, as mentioned by S.I. Hayakawa, that of is „deceptive differentials.‰

In his criticism of Rosser ReevesÊ book, Hayakawa referred to the following
sentences:
 Our bottles are washed with hot steam.
 Eliminates dirty layers on teeth.
 Stops halitosis.
 Eliminates body odour.
The statements above are called „deceptive differentialsÊÊ because those promises
are made by other products too. This creates a problem because when the
consumer changes the product to the advertised brand, he/she will feel cheated
when he/she found that there is nothing different in the new brand. The
promises may be true and there are no lies or falsehoods, but the problem is, it is
not a better brand compared with other brands. Over a long period of time, if the
product doesnÊt show what it says, then the campaign is said to be ineffective.
In short, in many situations, ambiguity is a weakness. However, sometimes

ambiguity is created intentionally. If that is the purpose, we need to choose
words that can bring us to the ambiguity stage that we desire. Another weakness
is making false claims. Promises should be kept all the time.
5.3.4 Demonstration
Another key to achieve confidence is using the demonstration method. In the
language context, this method uses language clearly and directly without any
general, obscure or exaggerated words.
A general word states a class or a group of things; a specific word names the
object, action or individual quality in a class or group. In a way, this term is quite
relative because it depends on the situation or a certain context. Besides that, the
general or specific degree is different among each other. For example, there are
very general terms and very specific terms. Once again, these terms are quite
relative.
When we learn to speak, we normally learn to name the general category before
we learn to name the specific objects. For a three-year-old child, parrot, dove,
pigeon, swallow and hornbill are birds. Then, when we grow older and have a
better grasp of the language, we learn to differentiate the general words and
name a class of things with specific words that are members of that class. We also
know that the general term and specific term are relative. For example, a bird is
more specific than an animal but more general than a pigeon.

Figure 5.7: General words and specific words
Through the use of simple words, the audience will not feel cheated.
Demonstration is more credible if the consumer does not have the perception that
a swindle will occur. However, demonstration is always avoided because some of
the copywriters think that it is not artistic. Claude Hopkins in My Life in
Advertising (Norins, 1980) said: „No argument in the world can ever compare
with a dramatic demonstration.‰ He shows how he learnt to sell products from
street vendors who can sell effectively through demonstrations to passers-by.
5.3.5 Create Reality

A real person uses a language different from characters in a fiction. A real person
speaks everyday language. For example, they repeat their words, use incomplete
phrases, abbreviations et cetera. They use their daily language. This is the same
for people who act, write, sing and do different jobs. A more credible
advertisement is nearer to reality. That is why some of the advertisements use
normal characters in our daily lives and not actors or models to parade the
product. In the language context, reality can be achieved through the use of
colloquial, slang or informal language except in official functions that require us
to speak formally.
Informal language includes informal words such as popular words, words not
learnt, colloquial words and slang. This means we may need to avoid jargon,
redundant and bombastic words to create reality. The concept of the types of
words mentioned will be explained below.
Colloquial language is the language used in speech. Colloquialism covers

popular words and idiomatic expressions. However, it also includes words learnt
with popular meaning and contracted words such as do not, cannot and root
words such as do, disturb, fold, hit. Slang is very colloquial language. It is used in

every social situation by certain groups. Its use is lesser and more selective
among educated people. Slang is an effort to express an idea clearly. Younger
people are always experimenting with language, for instance, using old words in
an extraordinary way to invent new words. A lot of slang is borrowed from
specific words and used with a different meaning.
Popular words are normal words used daily, whether in written or oral form.
They are used daily by different levels of people, whether educated or
uneducated. These words are feel elements and function as a communication tool
for speakers of different backgrounds. Words learnt are used more widely in the
written context.
Their use is quite limited because only the educated will use these words. These
terms may be more difficult and used in a more formal context. They are acquired
by a person through the formal or informal learning process. Some of the terms
learnt have the same meaning as popular terms. Both can be used to carry their
concepts. However, the context and situation make them different.
Jargon refers to two types of language; the first is related to specific vocabularies
used in a career, and the second is a difficult language or term, which is
pretentious and long-winded to project a great and authoritative image, but
whose meaning may actually be completely opposite. The difference is between
technical language and gobbledygook. Gobbledygook is the term invented by an
American Congress member to express his hatred for words used by the leaders.
The technical term is important for an expert to communicate with his/her

colleagues. It is used to convey an accurate meaning and for economical
purposes. If not, a long explanation will need to be used to explain the concept
presented.
Gobbledygook is an effort in vain because it sounds technical or scientific but it is

not in accord with the great idea that needs to be presented.
Technical language can easily become gobbledygook when false experts use the
jargon as buzzwords to attract the readerÊs attention. If it is used in this context,
those terms lose their suitability and accuracy. On the contrary, they become a
strategy to hide a moderate idea in great language.
Like jargon, bombastic terms are used to sound great and authoritative. Usually,
they sound exaggerated but actually, the meaning is simple and direct.
Sometimes, the actual meaning is trivial and unimportant.

5.3.6 Understatement
The moderation principle is demanded in many situations in our lives. To be
moderate means not exaggerated, boastful, showy or long-winded. Using
moderate words not only shows courtesy but also credibility. Can we trust a
boastful person?
An understatement can cause the audience to be more easily involved in the

advertisement. They tend to fill up the empty spaces not expressed by words.
Imagine an advertisement that is filled with words whether written words in
print advertisement or words expressed on the radio or in television
advertisements. This is not wrong, especially if the informational strategy is used.
However, some advertisements are more effective if not all the words are
expressed. There are some phrases that need to be unuttered because as
mentioned before, the audience can fill them up and the result is better because
there is involvement. If there is involvement, the credibility signs will appear.
An understatement also means using moderate, normal and not exaggerated

words. However, this does not mean using clichés. A cliché is a stereotype
statement or idea and is repeated very frequently. That is why the strength,
freshness and originality will be lost. This makes reading monotonous and the
writer looks like a person who copies things. The ideas and expressions of a
cliché can exist in the form of a theme, a plot, a discourse a presentation, the use
of a phrase and a sentence. However, a cliché can frequently facilitate the writer
to convey the ideas and information that need to be conveyed. When the concepts
are very common, the readers will find them easy to follow.
For example, in news writing, a consistent sentence structure or form of writing

will facilitate the reader to get the information at a glance without needing a long
time to understand it.
In a news report, there are standard expressions and the use of extraordinary or
uncommon statements will make it sound strange and awkward. However, the
term cliché actually has a negative connotation. Those expressions with negative
effects will normally be avoided because they prevent us from producing an idea
and discourse that is fresh and mature.
5.4 CONSISTENCY OF PRESENTATION

One of the challenges in the implementation of the message strategy is creating
consistent advertisement messages strategically by brand positioning and
product image. According to Tom Duncan (2005), there are two stages of
consistency, which are One Look, One Voice Consistency and strategic
consistency. The first refers to campaigns and the other is related to brand
messages.

Figure 5.8: Two stages of consistency
5.4.1 Implementation Consistency

This consistency is mentioned by Duncan (2005) as the One Look, One Voice
Consistency. It is a type of continuity that happens when all the marketing
communication messages such as advertising, sales promotion, sponsorship,
publicity, direct response, packaging, et cetera have the same look, voice and feel.
This consistency shows that all of them collaborate at the implementation stage.
For example, when the same campaign is carried out in the form of a poster,
billboard, magazine advertisement, bus advertisement and other external
advertisements, all the messages must have the same look and personality and
convey the same message even though some are shorter or have their own
variations. This consistency is important to ensure that there is a strong link that
strengthens the message. Some of the practices done to achieve consistency of one
look, one voice are the following:
 Implementation consistency: visual link · the same format in terms of
layout and art or the colour style and the main visual elements.
 Verbal consistency: the words in the form of a slogan, tag lines, rhapsody
that can be repeated a few times.
 Character consistency: the same character or spokesperson.
 Symbol and logo consistency: the same trademarks.
 Audio consistency: the same voice or sound to represent the corporate
image.

 Emotional consistency: the same imagery or situation.

 Theme continuity: the same themes to facilitate message identification and
link.
One of the problems in creating the one look, one voice consistency is when there
are many different people or units involved in producing the marketing
communication messages of a brand. If the message or idea conveyed is not
consistent but the audience it is directed at is the same, the audience will be
confused and donÊt know what to expect from the brand. This results in an
ineffective and unprofitable overall campaign.
5.4.2 Strategic Consistency

Strategic consistency is the continuity that occurs when the marketing
communication messages are different but each message has the same main
element. This difference is made because the audience directed at is different
such as internal staff, shareholders, suppliers, law enforcers and customers as
well as the users.
However, no matter who the audience is, some of the elements such as the logo
and brand must be inserted into each of the messages to show the company or
brand identity. Besides that, the message for an adult may be different from the
message for a child; or the message for the industrial audience may be different
from the message for the consumer audience. However, this does not mean that
the messages will be totally different. Different messages must create a consistent
personality and positioning of the brand even though the selling proposition is
different.
The change in packaging, slogan or logo creates a long-term dilemma consistency.

When the company wants its brand to be known easily through consistent
presentation, they also need to change or renew their look or style so that they are
not rigid, old and boring. That is why they need to be in the middle between
maintaining freshness and establishing the identity and personality.

ACTIVITY 5.1
(a) (b) (c)
One of the challenges in the implementation of the message strategy

is to create consistent advertisement messages.
1. How far is the consistency value in the advertisement
achieved?
2. What are the reasons to support your answer?
3. Who is the target audience directed at in each advertisement?
Appeal Marketing Communication Objective

Brand Mapping Positioning
Emotional Appeal Rational Appeal
Implementation Consistency Strategic Consistency

SELF ASSESSMENT 1
1. State the three common positioning methods used.
2. What is USP ă Unique Selling Proposition?
3. What is brand mapping?
4. Give examples of products that use the Generic Strategy to convey their
messages.
5. Give examples of exaggerated advertisement presentation in terms of

character usage.
SELF ASSESSMENT 2
1. Give examples of products with a successful new positioning. How does it
make a difference in advertising?
2. What is the difference between hard selling and soft selling? Discuss the
advantages and disadvantages of each of their methods of presentation with
suitable examples from the advertisement.
3. Why is consistency important in advertising campaigns? What is the

meaning of consistency and how is it achieved?
4. A good advertisement is credible. Discuss the statement and list the ways to
make an advertisement credible.
5. What is meant by the term „deceptive differentials‰? State the reasons that
support and oppose the usage of „deceptive differentials‰.

Aaker, David & Shanby, Gary (1982). Positioning your product. Business Horizon.
25 (May/Jun), 56-62
Beierley (1995). The advertising handbook. London: Routledge.
Duncan, Tom (2005). Principles of advertising and IMC. New York: McGraw-Hill.
Pickton, D. & Broderick, A. (2005). Integrated marketing communication. London:

Prentice Hall.


Language

LEARNING OUTCOMES


1. Describe the concept of advertising text as a discourse;

2. Explain the persuasive nature of advertising;

3. Identify the types of words in the rhetorical context and the effects
of their usage;

4. List the effective strategy of language usage;
5. Explain how words function through connotation, denotation,
symbol and reference; and
6. Give examples of effective languange usage in advertisment.
 INTRODUCTION
Advertising language is different from other prose such as news, articles or other
non-fiction writings. One of the differences is the persuasive nature of advertising
language. This means that persuasive techniques are used to convey the sales
message. This topic concentrates on three main things, which are the discourse,
advertisement credibility and rhetorical advertising language. In the first part,
advertising is analysed from the discourse perspective. This means the content of
the advertisement is divided into text, which is the copy that consists of the
written or uttered words; and context, which refers to the elements that become
the surroundings of the text such as the material, situation, intertext, function and
participant. Another aspect is the credibility of advertisements. Although the
things elaborated on are factors that contribute to the credibility of the texts,
which are the aspects of advertising strategy, this strategy is only looked into in
terms of language usage. That is why the types of words according to their

TOPIC 6 ADVERTISING LANGUAGE  139
rhetorical divisions will be explained. The third subtopic is on the rhetorical

language of advertising that discusses the effective language presentation in an
advertisement.
SELF-CHECK 6.1
Get a colour print advertisement from a newspaper or magazine.
Based on the advertisement, think what these elements signify:
(a) Colour
(b) Visual
(c) Slogan
(d) Headline
(e) Logo
6.1 ADVERTISING AS A DISCOURSE

The writing of copy or advertisement text is known as copywriting. The text in
advertising is known as advertising copy. As advertising copy, it is also a
discourse. A discourse is the text and context interacting together in meaning and
collectively. The main focus of the discourse is on the language but in discourse
analysis, another important element is the communication context. It means who
is communicating with whom and why; in what situation; through what
medium; how communication happens and what is the relationship between
each other (Cook, 1992).
6.1.1 Discourse Analysis

Based on the definition of discourse, it is clear that a discourse has the following
elements:
Text: a linguistic or copy form that consists of written or uttered words.
Context: elements that become the surroundings of the text. Those elements are
the following:
 Material: physical material that carries the text.
 Music: audio material that accompanies the text.
 Pictures: visual elements that accompany the text.

140  TOPIC 6 ADVERTISING LANGUAGE
 Paralanguage: behaviour that has a meaning which accompanies the

language such as voice quality, body movement, facial expression, choice of
typeface, et cetera.
 Situation: the characteristic and relationship between the object and the
person that appears around the text.
 Co-text: the copy before or after the existing copy.
 Intertext: the copy owned by the other discourse but related to the existing
copy that affects the interpretation of the existing copy .
 Participant: the person who becomes the source material and its receiver in
terms of intention, interpretation, knowledge, belief, personal attitude and
feeling.
 Function: the aim of the text from the view of the source and the receiver of
the material or the aim that is perceived by the two parties.
Based on the explanation above on the concept of discourse, advertisements can

be divided into the following as shown in Table 6.1:
Table 6.1: Advertising as a Discourse
Discourse Element Advertisement 1 Advertisement 2

Context Billboard 60-second advertisement spot
Sender (source) Ministry of Health Telecommunications company
Receiver Teenager Teenager and adult
Function To warn of the dangers of To inform about the new brand
smoking
Intertext Other billboard and Other telecommunications
advertisements in other media advertisements in the same
media or other media
Co-text None Advertisement in previous
campaigns
Situation Road House
Paralanguage Big and colourful letters The behaviour of characters
Material Wood and board Television screen
Picture A defective human heart Animated and static
Music None Jingle

Advertising is a type of very dominant discourse in the modern world. In terms

of function, advertisements these days offer something to all the people · fun for
the audience, professional creative work for the creative team and certain
desirable positive effects for the advertiser. At the same time, advertising and
product are filled with symbolic meanings. People will read symbolic meanings
in communication whether or not they desire it or are aware of it.
In terms of material, advertisements use the different types of media: traditional, ,

non-traditional or new forms. The various forms fulfil different aims. Firstly, the
medium used can attract attention, and secondly, the choice of medium or
medium mix helps the advertiser retain the message in the memory of the
audience. The innovative medium approach can create intrinsic interest and
prestige.
The other important elements cover language, music and visual. The other
different forms are presented as discourse. The music may be instrumental,
orchestra, solo, acoustics or amplification. The pictures may be static, mobile,
cartoon, illustration or photography. The language may be uttered, sung, written
or declaimed. The choice and combination of elements have certain desirable
effects for the source and are perceived or accepted by the audience.
6.1.2 Persuasive Discourse

Copywriting is persuasive writing or discourse. It is very suitable with the
popular advertising definition by Bovee and Arens (1982) that combines the
definition of The American Marketing Association and the definition by Gilson-
Berkman, which is: „non-personal communication or information usually paid
for and usually persuasive in nature about products, services or ideas by
identified sponsors through various media.‰ (Refer Topic 1)
The definition states that advertising is „usually persuasive in nature.‰ That is

why it is clear that advertising can be categorised as a persuasive discourse,
whether it is rational persuasion or emotive persuasion or a combination of both.
Generally, however, copywriting is a form of writing in marketing
communications that aims to convey the messages of the product, service and
idea or to convey the organizational messages for certain purposes such as
selling, display of an image and identity, change of attitude, et cetera. Actually,
this is closely related to the advertising concept itself, which is the non-personal
communication of the product, service or idea.

In product and service advertisements, the advertising copy tries to describe or

explain of a product or service advertised and persuade or convince the audience
to buy and use the product or service, or change the opinion or perception of the
audience towards the product. Copywriting is closely related to the whole
marketing and branding process of a product or service. A good advertising copy
will facilitate the marketing strategy in the effort to convince the consumer.
6.2 RHETORICAL ADVERTISING LANGUAGE

Rhetoric means using language effectively. An advertisement places great
emphasis on rhetoric because of time and space constraints. An advertisement
cannot afford to waste words because of those constraints. Imagine what you can
convey, in less than a minute, to the audiences who are not paying full attention
and there is competition from many other advertising messages. So, there is no
other way but to use as few words as possible with the greatest impact.
In rhetorical studies, there are many ways to use language effectively.
6.2.1 Emphatic Language

Emphatic means firm, strong and with self-determination. In speech, we stress an
idea through various ways such as speaking loudly, softly or slowly, separating
words with care, changing the tone of words, et cetera. We also stress our words
by using body language · pointing with fingers, moving hands, wrinkling the
face, et cetera.
As the ways mentioned above cannot be used by the writer, what needs to be
done is to translate them into the form of writing. One of the usual ways is by
utilising certain symbols, such as the punctuation mark. The emphatic sentence is
used for emphasis rhetorically.
Characteristics of the emphatic sentence:

 Emphatic sentence is the most apparent type of sentence. This does not mean
that the emphatic sentence is superior. It emphasises more compared with
other sentences, is more apparent and attracts more attention.
 The emphasis in a sentence does not cover the whole sentence, only a part of
it.

Types of emphatic sentence: Some of the methods of emphasis with examples are
presented below:
 Announcement
Example: Good news for busy housewives.
 Balance
Example: Roses are red; violets are blue.
 Fragment
Example: Pureen Baby Bath with vitamin E. Soft. Refreshing.
 Order
Example: Prevent dirt with Biowash.
 Negative-positive statement
Example: DonÊt miss it; get it fast.
 Periodic sentence
Example: If you want calmness, peacefulness; and if you want a comfortable
and happy holiday, this is the most suitable place for you and your family.
 Rhetorical Question
Example: Did you know that every baby has rashes?
 Rhythm and Rhyme
Example: More functions, more perfection.
 Short sentence
Example: The Ditto Stereo is easy to install. You just need to straighten the
lever. Then, press the button. The Ditto Stereo will continue to work.
6.2.2 Figurative
Figurative language communicates via analogy. A thing is compared to another
and the comparison invites the reader to appreciate the similarity. When the
language is easy, direct and clear-cut, and when it uses words to convey
conventional meanings, the language is called literal language.
The word ÂliteralÊ originates from the Latin term litera that means letter. A literal
thing is according to letter, which follows the literal meaning. Literal meaning is
the meaning recorded in the dictionary. It is the same as the basic letters of words
that we use.

On the other hand, figurative language shows the meaning of a word or

expression that has been expanded to fill a wider or different space from the
original. The writer or speaker is able to expand it because there is a similarity or
relationship between the two things that make the context apparent. Examples of
figurative language are the following:
(a) Metaphor: Metaphor is a form of comparison. It expresses the comparison
literally and implicitly. It does not mean that the things compared possess
the same characteristics, or that they are the same things. Actually they are
not. The meaning is that one thing is used to represent the other.
(b) Simile: Like the metaphor, the simile also makes a comparison. However, in
the comparison process, it uses the words likeand as. Simile is used for
some purposes just like the metaphor. Effective use of metaphor and simile
must meet some of the following conditions:
(i) It must be fresh and original. Simile and metaphor that are clichés
cannot have strong effects.
(ii) The thing used for comparison must be suitable with the subject
presented.
(iii) It must be in accord with the background context.
(iv) It should not be used frequently, anytime or anywhere.
(c) Allusion: Allusion is a brief reference of famous people, places or events.
Sometimes, the reference is made very clear. Allusion is a form of
comparison to describe something more clearly and graphically. The use of
allusion must come with awareness so that the audience knows and is
familiar with the reference used. If the reference is uncommon, the reader
will not be able to imagine the comparison. In fact, they may feel frustrated
or angry.
The reference in an allusion can be turned into the following: Human
character, Place, Event, Speech, Expression or Passage. No matter what
reference is made and what the source is, the allusion must be suitable and
appropriate with the thing written and explains the thing as well as appears
in the range of the readerÊs knowledge.
Besides the reference of human character, there are also time, place, event
and words references.
(d) Personification: Personification means giving human characteristics to
things or animals. Basically, this is a form of specific metaphor.
Personification that uses the third person pronoun to refer to non-human
things is the easiest and commonest situation. If the opposite happens,
where humans are given non-human characteristics, then the concept is
called depersonification.

(e) Hyperbole: Using words in an exaggerated way to explain something. It is

not used for literal persuasion purposes but to increase the effect or to
produce certain effects. The opposite of hyperbole is understatement, which
expresses something great by using simple or moderate language.
However, as mentioned previously, an exaggerated statement must not be
execessive to the point of breaking the promises made.
(f) Imagery: Image is created by words or expressions that are visualised by
the senses. It is classified according to the appeal of the senses. The visual
image is usually used to describe something graphically. Image is also
related to the sense of smell, taste or the sensation of movement and
balance. The sensation of movement or balance is also called kinesthetic
image. Usually, the use of this method will make the presentation more
exciting, effective and not boring because the reader is asked to imagine the
images presented either concretely or impressionistically.
6.2.3 Denotation and Connotation

The meaning of words may be divided generally into two categories. The first is
denotation or explicit meaning. The second is connotation or implicit meaning.
Those meanings can be divided into two only, which are the connotative meaning
and the denotative meaning semantically.
Reference and denotation (explicit meaning) are not difficult to handle. The
difficult ones are connotation (implicit meaning) and evaluation. They are the
meanings in the second stage that require sensitivity on the part of the writer.
Connotation is an effective way to convey emotional evaluation, for instance, in

persuasive writing such as advertising, eulogy, speech, et cetera. A good writer
will be able to master connotations to widen the dimension of arrangement and
link it to the writing. A bad writer allows unneeded connotations to weaken and
confuse the flow of language and ideas.
Example:
 Your baby needs a clean diaper all the time to prevent rashes.
 Your pampered one is clean and fresh all day with Pampers.
The words ÂbabyÊ and Âthe pampered oneÊ have only one reference: a newborn
child. However, the pampered one contains the meaning of love and cuteness. It
not only refers to a newborn child but also the attitude of the writer. The word
ÂbabyÊ is a physical reference and denotation and the meaning of Âthe pampered
oneÊ is a connotation, which is a combination of the physical reference and the
attitude of the writer towards it.

The denotative and connotative use of words are sometimes called the scientific
use and poetic use. Scientific writing uses the literal and denotative meaning and
it does not hide the meaning in the second layer.
6.2.4 Symbol and Reference

A word is the symbol of experience. It represents whatever we see, taste, listen
and smell. It also represents the attitude and thinking as a result of the
experience. The word itself is not an experience. We donÊt drink the word ÂwaterÊ,
ride the word ÂbicycleÊ, or rest with the word ÂsleepÊ, but we use them to
represent those experiences. That is why we say that a word is the symbol of
experience. The words referred to, which are ÂwaterÊ, ÂbicycleÊ, ÂsleepÊ, are
references. The relationship between the word and the reference is a mental
relationship. The word makes us think about the reference and it is the thinking
that gives the word meaning.
However, those symbols are not in the form of words only, but like
advertisements, there are graphic elements that become the symbols of the
meanings. The colours used, the lines made and the pictures displayed have
meanings behind them. The research of these symbols is called semiotics or
semiology. Semiotics uses the sign terminology to explain how these symbols are
produced socially and the meanings that can be related to it.
ACTIVITY 6.1
What is the connotation of the following product names? Can

these names be categorised according to groups such as male and
female groups, children and adult groups or other groups?
 Cintan Instant Noodles
 Avena Cooking Oil
 Wee Wee Baby Diaper
 Farm Best Chicken Sausage
 Mamil Milk Powder
 Beutex Facial Tissue
 Bom Bom Ice Cream
 Trojan Washing Powder
 Nuodi Wall Fan

6.3 FORMS OF LANGUAGE

The various types of languages can be seen through their usage in the social level.
These includes formal and informal languages, which are the types of languages
used in a situation, whether officially or unofficially.
6.3.1 Formal and Standard Language

Formal language is a form of language accepted and used officially. It is usually
used in writing but also frequently used orally, such as in speeches, debates, at
official functions, forums or education classes. According to some people, the
standard language is the perfect Malay language in terms of language usage,
such as the correct spelling, grammar, terminology, word usage, language
register and pronunciation.
However, if we look into the ÂstandardÊ concept, the standard language means
the language with standard usage. In this context, the standard language is used
in the standard colloquial language, standard formal language and standard
informal language. They are individually used by certain groups or as a standard
in certain situations.
6.3.2 Informal Language

Informal language is placed between the formal and colloquial stages. It is not
that formal and also not that colloquial. This form of language exists frequently in
speech or writing. When we speak in formal or not so formal situations, we tend
to use this form. The sentence pattern is informal but not too colloquial either
The speaker may use the words learnt but he or she will prefer idiomatic
statements more.
Colloquial: The language used in everyday conversations. In the Malay language,

ZaÊba referred to the spoken language as „the speaking style‰ and the written
language as the „letter style.‰ Sentences in colloquial language do not strictly
observe grammar rules. Colloquial language also includes popular words and
idiomatic phrases. Colloquial language has short sentences, incomplete grammar,
more rhetorical tools and slang, and ignores words learnt, has short grammar
structure, sounds personal, et cetera.
Slang: In spoken language, there is another style of language called slang. Slang
is used by unofficial social groups. Normally, the groups will invent words that
express certain meanings in their social circle. The word may have another
meaning if looked into literally. For example, ÂfireÊ, ÂrollÊ and ÂpissÊ have other

meanings and the understanding is limited to particular social groups or circles.

If the words are used in other places or situations, the meaning will be different.
These groups are usually young people or teenagers. They invent slang to
differentiate their group from a bigger social group. Normally, the invention of
these words is contemporary and last as long as those small groups exist. Those
words will disappear gradually. Their use at the standard level will not occur and
are regarded as a type of language pollution.
This variation of spoken language is used by Malays as colloquial language. That

is why each place or district will have its own style. The dialect in one area differs
from that of another area. Besides that, idiolect is one of the characteristics of
spoken language. Idiolect is an individual personÊs particular and unique way of
using language. Some people speak with a nasal tone even though the words are
not nasal words and some t people stutter.
Demotic language: Another variation of the spoken language is demotic

language. This form of language is uttered by the Malays and other races such as
the Chinese or Indians or among the different races in this country. In this
language, there is a mix with other languages such that ZaÊba called the demotic
language a hybrid language. In a conversation between the Malays and other
races who cannot speak Malay well, a style of language that combines Malay,
Chinese, Malay-Tamil and Malay-Baba languages appear. The Malays will
usually try to simplify the arrangement of sentences for the comprehension of
other races.
Dialectal language: The language used in a certain district or region by a group

of people in the society. Dialectal language is related to regionalism and it is
called dialect. So, the dialectal language or dialect is the language used in a
district or an area in a country with its own form of speech and is different from
the general pronunciation in the country.
Among the different characteristics are pronunciation, style of uttering and

different words or phrases.
Dialectal language exists in different places. Because of the differences, the

speakers will form a relationship based on the language shared without any
intention of changing it. The language originates from a particular place only.
Some of the dialects in this country include the Penang, Kedah, Perlis, Pahang,
Perak, Selangor, Negeri Sembilan, Malacca, Johore, Pahang, Terengganu,
Kelantan, Sarawak and Sabah dialects. In each of the states, there are individual
divisions. For example, Perak has the Parit Buntar dialect (that resembles the
Penang dialect), Kuala Kangsar dialect, et cetera.

6.3.3 Language Register

The variety of languages is seen from the aspect of register. Register regards the
language as a discourse, and in fact, it is an alternative for it. In accord with the
development of Malaysian society, the Malay language has expanded until it
touches some of new fields. Many of these fields are specific fields and Malay
language users have to invent special styles that are suitable for these fields.
ThatÊs why we can see many language registers such as literary, non-literary, law,
science and technology, economy, journalism, et cetera.
The Malay language has gone through the modernization process to fulfil the
various needs of the tasks. Although the standard Malay has been fixed by an
established system, its use in certain academic fields and genres is still different.
The language used to talk about law affairs is different from the language used in
literature, science, history, et cetera. Besides that, the language used in magazines
and newspapers is different from the language used in academic, children and
popular books. The fixed language style in a certain field and genre is called the
register.
Register is the style or way of using a language. Nik Safiah said the language
register is a language variation that can be chosen from a group of language
variations that exists in every speaker. The things that determine the register are
the vocabulary, grammar, arrangement of phrases and arrangement of a
sentences. For example, different language registers can be seen between normal
academic writing and journalism language. The language in academic writing
uses many passive sentences, while in the news reporting language, many active
sentences are used.

ACTIVITY 6.2
Based on Figure 6.1, answer the following questions.
Figure 6.1: Sunkist advertisement
1. The advertisement above uses a form of informal language.

What is the stage of usage? Give your reason by classifying
the types of words or phrases.
2. Try to change the usage to a more formal form. Rewrite the
text in the formal form.
6.4 ADVERTISEMENT WRITING

The body of an advertisement is the text written or uttered. Depending on the
objective of the advertisement, the text is written either long or short. An
advertisement that adopts the informational strategy usually uses many words
and has a long body. Besides that, a product in the introductory stage needs to
convey more information to the audience who do not know about the product in
terms of its characteristic, usage and speciality. Some types of advertising only
use text without visuals. Recruitment advertisements usually need more space for
the text to include information on the conditions of application, job description
and background.

No matter what the form or length, advertisement text must have certain general
characteristics to ensure that it is effective. The characteristics are explained
below:
6.4.1 Accurate and Clear Writing

Accuracy is seen in our ability to choose suitable words to convey an idea. If the
language is fixed and stable, it is not difficult for us to create accuracy. However,
this is not so. As long as language is used continuously, it will change in accord
with the change of times. This means some words will become obsolete, out-of-
date and eventually no longer used. New words will appear and be used. During
their life span, some words will go through a change even though the change is
subtle. In the long term, the subtle change will become significant. Take, for
example, the word ÂbookÊ. The traditional concept of a book is printed material
but through technology advancement, we should broaden our thinking to give
the book wider space, so that it includes the electronic book. Can you think of
other terms?
To produce accurate writing, we must be sensitive to the meaning of the words

used. There are two types of meaning, which are connotative meaning and
denotative meaning, as explained earlier. Not all words have strong connotations.
Some are quite neutral. For example, some words have negative or positive
connotations when they are used in a sentence. However, the same word used in
a different context does not necessarily have a negative or positive connotation.
In addition, a different word may have a positive, negative or neutral connotation
if used in the same context.
Three Important Choices: The three basic elements to achieve accuracy in

sentence usage:
(i) Diction
There are no rules in word usage, whether in formal or informal writing.
The easiest guide is that in a formal situation, use formal writing. Usually,
advertising writing uses the informal approach but that also depends on the
audience, advertising objective and product identity.
(ii) The Degree of Clarity

Clear language is needed to express our thoughts effectively. We ourselves
must first be clear about what our idea is and the selling message. When
the idea is written, can the target reader understand our message? This
question demands us to think and state the idea evidently, clearly and
apparently so that the reader will understand it. So, how do we know the
writing is evident, clear and apparent?

To look at the factors of clarity in writing, try to answer this question first:
What makes a writing unclear, obscure, ambiguous and the meaning
confusing? Imagine a clear passage and one that is confusing.
Every writing has a message to be conveyed to the reader. Every writing

has a purpose. The purpose cannot be achieved if the message is unclear.
Effective communication focuses on a clear message.
(iii) The Degree of Concreteness and Specialisation

Concrete and specialised terms usually have more accurate and clearer
images compared with abstract and general terms. Abstract terms touch on
general matter or concepts that are hard to imagine. Adjectival terms offer a
wider choice. There are many adjectival terms that can illustrate various
concrete pictures. The same applies to verbal terms that go through an
adjectival transformation. Although originally verbs, they play the role of
adjectives. That is why the degree of strength or concreteness may be
different.
The choice of words depends on the writing context. We cannot choose

based on the attractiveness of the term only. It must suit the type of essay,
the purpose and style of the essay. What is clear is that language can be
divided into concrete and abstract words.
Generally, a concrete word is a type of word that gives a clear image in the
mind of the reader. The concrete word explains something that can be felt
and detected by our senses. In other words, the concrete word can be
detected by the eye, ear, tongue, nose and hand. Whereas the abstract word,
refers to a quality or value. The abstract word cannot be detected by the
five senses. This makes the image of the abstract word unclear compared
with concrete words.
Table 6.2: Concrete and Abstract Words
Concrete Word Abstract Word

Wall Beautiful
Cloud Beauty
Aeroplane Relieved
Shoe Relief
Elbow Fragrant
Button Scent
House Tastiness
Radio Relief

It is clear that abstract and concrete terms are used to differentiate words that
refer to values, characteristics and concepts that we know intellectually and
objects that we perceive through our senses. If we claim that a product has a
trigger, button, air opening or the product is white and with edges, we are
actually using concrete words to explain what we see. Whereas if we say that a
product is fragrant or has a scent, is tasty and delicious, we are actually using
abstract words that refer to mental concepts.
Although the characteristics of a product make us think that it is fragrant, tasty

and delicious, actually it does not have a sense reference · it cannot be seen,
tasted, heard, smelled or touched.
Abstract and concrete words cannot be separated from human communications.

The word summarises an action and object that would become complicated and
long if its characteristics are listed in detail without a summary. Besides that, we
can apply the meaning and pattern to our lives. Imagine what would happen if
we do not have the word „relief or relieve‰ to describe or summarise the
characteristic of a product. You may say that the product:
(a) unclogs your nostrils,
(b) makes you feel energetic, and
(c) makes you work again like usual.
Without the word „relief‰, you will not be able to imagine that the concept has
another similar meaning. You can only list the meaning but cannot make a
conclusion from it. It is clear that the concrete and abstract words have different
effects and functions. You only need to decide what effects you want to achieve
and what functions need to be taken to determine the type of words to be used.
This helps you to use a suitable word effectively.
6.4.2 Precise Writing

Precision is the economical aspect of writing. Advertising copy is the most
economical type of text compared with other types of texts. Slogan, which is an
important component in the advertisement, is an economical expression. The
headline and text are also presented precisely. Economy and the qualities related
to it, which are easy, simple and solid, are usually regarded as a form of good
and effective writing. Economy is illustrated through the precision of a language,
which means using accurate and solid language to convey meaning, without
long-winded sentences that weaken the meaning.

Economy in a sentence is a relationship between the number of words used and

the meaning that needs to be conveyed. Economical sentences are not necessarily
short. Long sentences may not be long-winded. A good reader will be able to
determine whether a sentence is economical.
Sometimes the explanation of a sentence is not only wasted but annoys the reader
or the reader does not want to continue reading. It causes many interruptions and
does not convey the appropriate meaning.
The principles of forming a precise sentence are:

 Choose an accurate word to convey a concept.
 Do not use long phrases or sentences if there is a short word or phrase.
 Do not use jargon, uncommon and scientific terms if there is are better or
more suitable terms.
 Do not repeat a word or concept that has the same, or almost the same,
meaning. For the reader, words are frequently wasted because they do not
expand the idea.
6.4.3 Fresh Writing

Many sentences look as if they are produced by a machine. They do not look
fresh; they are rigid, lifeless and mechanical, and the flow is neither smooth nor
exciting. Such writing is void of life, feeling and animation in .
Some writers think that if they are attracted to something, the reader will feel the
same. That seldom happens. The more the writer tells, the more bored the reader
becomes. The writer needs to write what he/she sees, feels, hears and thinks, but
not tell all that to the reader.
6.4.4 Readable Writing

All the characteristics mentioned above contribute to readability. A readable
sentence is a sentence that has the following characteristics from the view of the
target reader:
 easy to read
 fluent to read, and
 interesting to read

An accurate, economical, fresh and clear sentence is easy to read or readable. The
reader will enjoy reading it because he/she will understand and feel exciting
reading it.
6.4.5 Linguistic Accuracy

Language is a medium of writing. Mastering a language is the prerequisite of
effective writing. Language accuracy refers to the correct usage in terms of its
rules.
 Spelling: name of a person, organization, place and words that have spelling
variations.
 Grammar: covers the aspect of forming a grammatical sentence.
 Punctuation: the use of punctuation effectively and accurately.
 Consistency: mechanical consistency that covers capitalisation, spelling, word
usage, symbols and signs.
6.4.6 Linkage
Something that is linked portrays beauty, affection and connection. A linked
essay is an arranged and orderly essay with the ideas connected and linked to
each other.
 The fixing of a main idea.
 The focus of the idea is maintained through the control of the subject and its
focus.
 A smooth flow of the sentence without idea gaps among the sentences.
 Transaction markers in the form of conjunctions: though, after, although,
until, since, because, as, while.
 References in the form of repetition of important words and pronouns.
 Transaction markers according to points (one, two, three and so on to stress
the important points).
 Sequence markers such as first, after that, finally.
ACTIVITY 6.3
Read the advertisement copy below and answer the following
questions.
STM COMMUTER
ASSURANCE OF COMFORT
QUICK TO DESTINATION
The STM Commuter is clearly the most accurate choice to fulfil your travel
needs to reach your destination. It brings you to the destination quickly,
comfortably and safely. Now, with the strategic network of stations, the STM
Commuter makes your journey safer and more efficient.
SAVE TIME SAVE ENERGY AND SAVE MONEY

ONLY WITH US IN STM COMMUTER.
Free!
Single Journey
Please cut this coupon to enable you
to go to any destinations connected by the STM COMMUTER.
Show this coupon to the nearest STM COMMUTER ticket counter.
Question:
1. How clear is the text? Give your reasons.
2. How precise is it? Give your reasons.
3. Do you think the text is fresh? Explain by giving some
reasons.
Abstract Word General Word

Bombastic Word Jargon
Cliche Popular Word
Colloquialism Specific Word
Concrete Word

SELF ASSESSMENT 1
1. List both the concrete and abstract words used in an advertisement that you
recognise.
2. List both the general and specific words that are used in an advertisement
that you recognise.
3. What is ambiguous meaning? Give some examples.
4. List five concrete words and five abstract words.
5. List the types of emphatic sentences.
SELF ASSESSMENT2
1. Do a discourse or discourse analysis division on the advertising campaign
„Tak Nak‰. Present your division in a table.
2. Give examples of sentences that use the following strategy. Your example
can be based on advertising copy or non-advertising copy.
 Announcement Sentence
 Balance
 Fragment
3. What is literal language and figurative language? Give examples.
4. Explain what is explicit meaning and implicit meaning. What is the explicit
meaning and implicit meaning of these sentences?
 The letter from my father that I couldnÊt find for 20 years.
 Nivea appreciates the facial skin of a young man.
5. In your opinion, what is fresh writing? How do you create freshness in

writing?

Baldwin, Huntley (1982). Creating Eeffective TV Ccommercials. Chicago: Crain

Books.
Cook, Guy. (1992). The Ddiscourse of Aadvertising. London and New York:
Routledge.
Duncan, Tom (2005). Principles of Aadvertising and IMC. New York: McGraw-Hill.
Norins, Hanley (1980). The Ccomplete cCopywriter. Malabar Florida: Robert E.

Krieger Publishing Company.
Olins, W. (1990). The Ccorporate Ppersonality. London: The Design Council.
Pickton, D. & Broderick, A. (2005). Integrated Mmarketing Ccommunication.


Topic 7  Elements of
Advertising
Copy
LEARNING OUTCOMES
1. Define the concept of slogan and the characteristics that develop it;
2. Discuss the concept of corporate identity and the ideas related to it;
3. Identify the elements of print media advertisements; and
4. Explain the elements of electronic media.
 INTRODUCTION
This topic focuses on three important elements in advertising copy, namely
slogan, advertisement body and logotype. Slogan writing is discussed in this
topic focusing on the slogan concept and the skills needed to create an effective
slogan. So, the characteristics of good slogan writing will be explained with the
help of different examples. The things that should be avoided will also be
discussed. The second aspect is the writing of advertisement body in terms of its
general characteristics. Some of the important characteristics that will be
explained are clarity, precision and readability. Finally, the subject of logotype
will be discussed. Although logotype is not the task of a copywriter, this element
is very important in creating advertisement image together with the slogan,
advertisement body and other elements. The copywriter needs to have a good
understanding of developing a positive image.

160  TOPIC 7 ELEMENTS OF ADVERTISING COPY
7.1 CORPORATE IMAGE

All organizations want to be perceived in a positive light in the minds of the
audiences. The publicÊs perceptions, views and opinions of an organization are
important in determining the life and death of the company. An organization can
get positive responses via a positive image. Any elements that taint the image
will be avoided. Marketing communications campaigns are needed to create a
positive image.
Corporate identity: Corporate identity is the external image that an organization

wants to project. A companyÊs identity is made known through the way it is
projected and how it conducts its activities. It is clear that corporate identity is
the basic introduction for an organization. The personality of an organization is
also expressed through its corporate identity. The corporate identity creates the
corporate image, which is the audienceÊs perception of the organization based on
that identity.
So, the corporate identity is the means by which the corporate personality is
projected, disseminated and conveyed. This identity is displayed through
external signs. Berstein said the corporate identity is the „clothes and
mannerisms of the organization. Everything the organization does transmits a
message.‰ The external signs or „clothes‰ must be consistent so that they will not
cause ambiguity and confusion.
Corporate identity focuses on four areas, which are product, environment,

communication and behaviour. Corporate identity is also closely related to
marketing, advertising, public relations and human resource development. One
of the important aspects of corporate identity is graphic communications done
through the use of branding elements, trademark, company logo, company
stamp, product packaging, product label, et cetera.
Corporate Personality: Corporate personality is the mix of attitudes,

characteristics and enthusiasm displayed by an organization. The meaning is the
same as for individual personality which can be seen intellectually and
behaviourally. Corporate personality is something that lasts and is formed over a
long process. However, the personality transformation can take place easily
through collaboration, absorption, acquisition or changing processes at the
higher management level. According to Olins (1990), the corporate personality is
„the soul, the persona, the spirit, the culture or the organization manifested in
some way.‰ According to Pickton & Broderick (2005), the corporate personality is
the „raw material‰ of corporate identity.

TOPIC 7 ELEMENTS OF ADVERTISING COPY  161
Branding and brand: Branding explains the values generated in the minds of the
consumer as a result of its campaigns or marketing communications activities. As
a marketing tool, branding not only places the name or symbol of a product so
that the company can be recognised, it also covers all kinds of displays and
activities to differentiate a product and company and to create economical value
for the customer and the organization.
The brand is the name, term, symbol, logo, design or any characteristics that can
differentiate the product produced by a company from that of another company.
The brand consists of a word or term that names a product, service or a range of
products. The logo, which is different from the brand, is an element of the brand
and is usually not a word or something like the brand but is created in the form
of a symbol and picture.
A positive corporate image is clearly important for an organization. Every

company will work hard to create such an image in the eyes of the audience. This
is done through the activities of corporate communications as well as actions and
organizational behaviour. In reality, an organization has different images because
each targeted group has different objectives and interests. For example, the target
groups that consist of the local community, investors, employees, suppliers and
customers may have different perceptions because of different transactions.
However, the essence of the image must be consistent and the difference that
appears is just for image emphasis, and is not an important characteristic of the
image.

7.2 ADVERTISING SLOGAN
One of the functions of a slogan is to build the image of an organization and
convey the sales messages effectively. Slogan is an important creative idea in
marketing communications.
7.2.1 Slogan Concept

Slogan is a recognition tool that consists of smart phrases and expressions that
function as a form of recognition for the brand, organisational image, campaign
theme or marketing communication image. The word ÂsloganÊ is known
differently in various countries.
In the United Kingdom, slogan is also called ÂendlinesÊ or Âstraplines.Ê In USA, it

is also known as ÂtagsÊ, Âtag linesÊ, ÂtaglinesÊ or Âtheme lines.Ê Besides that, slogan
is related to the term ÂslogosÊ, which is the slogan that exists through the logo. It
usually becomes the trade mark that is known variously as TM Trade Marks (UK),
TM Trademarks (USA), SM Service Marks (USA), ® Registered Trade Marks (UK)

and ® Registered Trademarks (USA).
In his book, Creative Advertising, Charles L. Whittier said slogan:
⁄should be a statement of such merit about a product or service that is worthy

of continuous repetition in advertising, is worthwhile for the public to remember,
and is phrased in such a way that the public is likely to remember it.
Based on this description, the slogan has the following characteristics:

 It is a statement on the specialty of the product or service.
 It is worth repeating.
 It is important for the audience to remember it.
 It is easy to remember.
As a statement that highlights the speciality of the product, it needs to be

repeated so that it is stuck in the mind and brings back memory and
reminiscence. A slogan placed at the end of an advertisement is a farewell
statement that follows the company logo and should leave a lasting impression.
7.2.2 Slogan Writing

If we look at interesting slogans, they demonstrate many characteristics. Some of
them are brief, easily expressed, easy to understand, neat, compact, et cetera. Try
to think of titles of books, songs or films that illustrate those characteristics. As in
slogans, the titles of those creative masterpieces are also marketing
communication expressions that intend to sell ideas, attract attention and create
interest.
According to Timothy R. V. Foster in ADSlogans Unlimited

(www.adslogans.co.uk), a slogan must have the following characteristics (Figure
7.1):
Figure 7.1: Characteristics of slogan
Figure 7.2: Characteristics to be avoided

Based on FosterÊs list, the following is an explanation of the important

characteristics of slogan.
Easy to remember: Memorability is related to the ability to remember phrases

easily. This mainly depends on the brand legacy and how many times it is used
over a long period of time. However, if it is a new slogan, what are the ways to
make it easy to remember? One way is to turn it into a great idea, which is the
most important message in the advertisement. The more phrases that illustrate or
highlight the main idea, the easier it will be remembered. Besides that, ideally, it
must be easy and interesting to be expressed just like the following:
 Finger licking good
 Singer at home worldwide
 Beanz meanz Heinz
 WhereÊs the beef?
 DonÊt dream it. Drive it.
Besides that, the usual way used to make a slogan easy to remember is through
the use of provocative and relevant expressions with illustrations or stories,
newly coined words, puns, jingles and rhythmical words.
Figure 7.3: Examples of slogans that use puns

Reminds us of the brand: Ideally, slogan needs to include the name of the
product or brand. The absence of identity causes the slogan to be used and
related to any product. However, this is from the point of idealness. ÂOnce
driven, forever smittenÊ is an interesting slogan but it leaves out the name
Vauxhall. This may cause other products or brands to be remembered. The way a
slogan connects the expression with the product can be done through the
rhyming method, which is the rhythmical slogan with the brand.
Examples:
 City Link: City Linking, smart thinking
 Granada: Ads work harder in the new Granada
 Quavers: The flavour of a Quaver is never known to waver
 Thomas Cook: DonÊt just book it, Thomas cook it
 Mars: A Mars a day helps you work, rest and play
Includes the main benefit: The opportunity to include the main benefit should
not be in the slogan. As a farewell expression, the audience needs to be provided
with words that leave an impression in their minds and those words should
focus on the main benefits besides the brand.
Examples of usage:
 Polaroid: The fun develops instantly
 Weight Watchers: Taste. Not waist
 Holiday Inn: Pleasing people the world over
 Philips: The best way to get music out of your system
 The Economist: Free enterprise with every issue
Some of the slogans that do not include the main benefit clearly:
 AT&T: ItÊs all part of the I Plan from AT&T (there is criticism that says this
slogan can be changed to „ItÊs all part of the @h%jycck from AT&T‰ because
„I Plan‰ has no meaning)
 Exxon: WeÊre Exxon
 Showerlux: No wonder weÊre ahead
Differentiates the brand: Product differentiation creates the differences that

attract the target audiences. In the advertising campaign, nothing is more
important than telling the consumer that the product is different from other
products. This should not be done in a slogan statement.
 British Rail: Let the train take the strain
 Timex watch: Takes a Linking and keeps on ticking

 Metropolitan Home: Mode for your abode

 Tesco: The price is dropping on your weekly shopping
 Ariel Ultra: Not just nearly clean, but really clean
Instils a positive feeling about the brand: Some expressions are neutral and do
not show any values. For example, the slogans „Star Brand Lamp‰ and „Moon
Brand Cough Syrup‰ are neutral.
However, the expressions that leave lasting impressions are words that have
some positive values.
Example:
 Cooking oil: The oil used for generations
 Furniture: The original Malay culture furniture carving
 Carpet: The Biggest Carpet Store in Malaysia
 Dispenser: Automatic softener dispenser ă simple and easy to use
 Washing liquid: Washes more clothes
Illustrates the brand personality: Every product has its own personality and
identity. Personality is illustrated in many ways, including the slogan. According to
the definition in the dictionary, personality means „habitual patterns and qualities of
behaviour of any individual as expressed by physical and mental activities and
attitudes; distinctive individual qualities of a person considered collectively.‰
Try comparing the pairs of slogans below and think which one really illustrates
the brand personality.
 Car A: Think small
 Car B: As good as it looks
 Fast Food A: Did somebody say McDonaldÊs?
 Fast Food B: A sandwich served with an east coast style and a midwest smile!
 Credit Card A: DonÊt leave home without it. YES!
 Credit Card B: Money talks. NO!
Slogans that need to be avoided: A few things should be avoided in slogan

writing as these make the expression weak and ineffective. One, slogans that
cannot be connected to the brand. Those are open statements that may be specific
but do not refer to any specific product or brand. So, they can be used or
included in any campaign. This, of course, will not achieve the aim of the
campaign. Some slogans are the same or nearly the same and used by many
companies to market their products. This is because the expressions chosen do
not have any references.
Example:
 Our customers are given priority.
 Your satisfaction is guaranteed.
 Glorious and well-known.
 Satisfaction guaranteed.
 Only the best.
ACTIVITY 7.1
Look at the examples of A and B below. In your opinion, what are
the positive and negative characteristics of the slogans. Discuss.

7.3 ELEMENTS OF PRINT ADVERTISEMENT

In print media advertisements, the elements of presentation consist of the
heading, sub-heading, body copy, logo, et cetera. This section discusses some of
the important elements.
7.3.1 Heading and Sub-heading

The heading or headline has words, phrases or clauses in the most significant
and glaring position. This is the text that is read first. So, its position is strategic
and the size used is usually bigger than other types. The aim of the heading is to
attract attention before the reader continues to read the body text. That is why
the writing of the heading headline is regarded as critical.
The heading needs to be written effectively because an interesting headline tends

to attract the attention of the reader. What is an effective heading? Usually the
copywriter will try to choose interesting words, expressions that explain the
visual, unique orrhythmical expressions or other different methods. Besides that,
the position of the headline is usually at eye level, which is a little higher than the
actual centreof the advertisement. The headline is used by the reader to scan
through advertisement content. This is done quickly and if the headline does not
attract the reader, he or she will turn to the other pages. As with news or article
headings, the headline contains the essence of the advertisement content if it has
to be informative and descriptive. If the headline is in the form of a teaser, it may
not give information related to the content. On the contrary, it will focus on
attracting attention.
Normally the the reader just scans the headline. Ideally, it should present the
sales message completely. If not, the message will probably be a piece of writing
only. The headline should also be brief. David Ogilvy said the longest headline
he had ever written contained 18 words. Studies show that many headlines have
only about eight words.
The sub-heading is an additional heading that is in smaller point size than the
headline. The subheading placed above the headline is called the ÂkickerÊ and the
subheading placed directly below is called the Âdeck.Ê Just like the headline, the
sub-heading also conveys the main sales message quickly so that the reader can
scan the sub-heading to see whether they are interested in the content of the
copy.

7.3.2 Important Elements of Copywriting

There are a few important elements in the production of the text or copy script.
However, not all elements must be present in every copy that is produced. The
copywriter has the freedom to include all the elements or just concentrate on a
few elements. What is important is the meaning of the copy must be conveyed as
well as possible. All the designs and illustrations in the advertisement must first
be confirmed and agreed by the customer before they are inserted in any of the
media.
The illustration also plays an important role in determining the effectiveness of

the copy text. Illustration and text should complement each other to convey the
advertising message.
Headline: There are a few terms that illustrate the headline: title, head, main
heading and subheading. What is meant here is how the separate words or
phrases are presented. The purpose is to shorten the text or to express the essence
of the text under it. Besides that, the purpose of the headline is to attract
attention, persuade and inform the reader so that he/she will continue reading.
The terms used may be different and need to be explained.
The term ÂheadlineÊ actually refers to the text. Its main function is to become the
name or title of the text. There are a few concepts for the headline, which are the
title, head, sub-headline, the subheading and the accompanying heading such as
the deck and the kicker.
 Title: A name for the whole text, for instance, book title, magazine title, film
title, documentary title and novel title.
 Headline: A name given to an article, a commentary, chapter, book section, a
part of a book or a discourse that is released in any of the media. However,
the term ÂheadlineÊ is generally quite neutral and can also refer to a title or
other titles.
 Sub-headline: In a newspaper or magazine, it is called the ÂdeckÊ if it is
directly below the headline. Its function is to further explain the headline.
Besides that, the is The purpose of a subheading directly above the headline,
called ÂkickerÊ or ÂeyebrowÊ, is to provide a scope for the headline.
 Subheading: The subheading becomes the essence of the text fragments to
facilitate the reader to scan the text without reading it in detail. The sub-
heding roughly illustrates the content of an article.

7.3.3 Body Copy

The body copy or the text of the advertisement is the logical continuation of the
main heading and subheading. The content consists of exciting, credible and
desirable elements as well as the action plan. The body copy also includes
information on the characteristics, benefits and usefulness of a product or service.
7.3.4 Logotype
An organization wants to be known easily and quickly by customers. To know an
organization, the details of its profile need to be given but the explanation in
words will be long and the audience will not be willing to read or listen to the
details unless it benefits them or they are compelled to do so. One of the ways to
introduce oneself easily and quickly is through the use of logotype. This is a
visual presentation that can illustrate the image and identity of an organization.
The word ÂlogoÊ is an abbreviation for logotype, which is the work of a designer
to represent the brand, company name or product. It is also known as
ÂwordmarkÊ or Âbrand markÊ that can be differentiated from ÂtrademarkÊ or Âtrade
name.Ê Trade name is the full name used officially by an organization while
trademark is the symbol related to a product or an organization.
The logotype is the name of an organization in the form of art. However, some
organizations use the trademark as their company logo. They only use certain
object symbols that can be easily related to the company name, without inserting
any letters or words in it.
Logotype design: There are different ways to design a good and effective logo.
Each approach focuses on the creation of a unique image to illustrate the
customerÊs objectives. Usually the creation of the image is done by using word
elements such as brand name, brand symbol, initial letter or a combination of all
the ways mentioned.
 Word: This symbol has the company name, brand or product name presented
in its own style. This means the logotype approach uses the letters presented
in its own style and usually represents personal activity or character. For
example, a restaurant uses the name of the company in a design that has
symbols illustrating the category of service performed, which is food service.
This is the same for a transport company. For instance, Keratapi Tanah
Melayu Berhad uses the company abbreviation, which is KTM KOMUTER in
unique letters designed to highlight the image of a stable, fast and safe
transport company.

Figure 7.4: The different styles of logo presentation
 Symbol: The logotype that uses a graphic symbol, which looks simple but has
the strength to represent the company or product. This type uses certain
symbols in the form of an object or idea that can show a picture of the
company. This means the symbol can be created without the name of the
company but just pictorially or abstractly. Pictorial symbols have images that
represent the object while abstract symbols have non-representational images
of the company or product.
 Initial letter: The use of certain letters is another creative approach to create a
logotype. Usually the initials are chosen based on the first letter of the
company or product or one of the letters related to it. To make the logo easy
to remember and effective, the graphic designer will use many ways such as
combining it with the symbols, using the visual analogy or manipulating it in
a meaningful way.
 Combination of methods: This method combines a few strategies which have
been mentioned previously. It is said this method is more meaningful and
easier to remember. Look at the example that shows a picture of a knife and
fork that have been changed to resemble the letter „X‰ to illustrate an eating
place and also the name of a restaurant.


7.4 ELEMENTS OF RADIO ADVERSTISEMENTS

The radio only depends on words and sounds. The radio does not have any
visual or word element. So, the sound must play a role in creating the visual
picture for radio listeners.
The radio copywriter has to handle a few important elements, which are the
words (human voice), music (including advertisement song or jingle) and sound
effects. All these elements have their own potential and weaknesses from the
marketing communications point.
Words: Every word in the radio advertisement must be considered in terms of its
contribution to the selling power or marketing communication power of the
message conveyed and also in terms of its speciality or volume. Are the chosen
words clear, concrete, direct and easy to understand? Or are they ambiguous,
abstract and complex? It is important to choose words that convey an accurate
meaning of the advertising message.
Voice: The voice behind the words also plays an important role. Sometimes,
different voices can create certain effects. The criterion of the choice is whether it
is suitable for the advertising objective.
The human voice provides realism to radio advertisements and this is not found
in print advertisements. That is why affectionate and realism values need to be
explored by the radio copywriters. The radio copy needs to be read out loud to
ensure that the words are lively. They should not be words that are suitable only
in written form and which, when read out, do not have the any desired effect.
Talent: Talent are the characters or people who convey the advertising message.
They consist of radio hosts or actors who play a role in the advertisement.
Music: Music in radio advertisements originates from a few compositions and

music from instrumental collections. Melodies from the public domain are also
used frequently.
The important criterion in choosing the music is the same as for voice, which is to
see whether it is suitable for the advertising objective. Contemporary, soft,
nostalgic, emotional, romantic, slow and fast music are all suitable for certain
conditions. Music can be a tool to replace a word. For example, it can take a
person from one generation to another through the segue, which is a quick
transition from one type of music to another. Music can also be used as a
transition from one situation to another. This technique is called ÂcrossfadeÊ,
where a sad situation is changed to a happy one or the situation at a market is
changed to a formal function. Crossfade is the mix of one source of music with
another in a slow manner.
Jingle: Jingle is the advertisement song sung with the purpose of conveying the
advertising messages or to strengthen those messages. A jingle can be created
originally just like how a song is created or it can be adapted from existing songs,
specifically a popular rhythm that people are familiar with. However,
advertisement songs adapted from popular songs can create a problem when the
audience remembers the song more than the advertisement message.
Advertisement songs composed originally must also play their actual role, which
is conveying the advertising messages or strengthening them.
Sound Effects: Some people say the radio advertisement is the most visual type
of advertisement. This is weird because the radio does not have any visual
elements. The meaning of that perception is that when sound effects are used
effectively, they have a greater power to produce visual images. For example,
some sound effects can create a character, situation or a condition that cannot be
duplicated by other media. After listening to the sound effects, the audience can
visualise something completely in the visual form, for instance, the breaking of
glass, a dangerous situation on the road, a tense situation where the husband and
wife had an argument, or a happy situation with children playing. All that can be
visualised through certain sound effects that create the imagination for the
listener. Sound effects can also depict a season, the entrance or exit situation for a
function or a location. Like the jingle, sound effects cannot disregard the
advertising message, and in fact, should strengthen it. That is why the functions
of the sound effects must be maintained as sounds that appear in the
advertisement to strengthen the condition of conveying the advertising message.

7.5 ELEMENTS OF TELEVISION
ADVERTISEMENTS
The copywriter has to handle visual and sound elements in the television
advertisement. The communication potential of this medium is unlimited. The
important elements of the television advertisement that are used to convey the
sales messages are explained here.
Visual element: Animated and static pictures can be used in television

advertisements. Animated pictures are those that can move and talk while static
pictures do not move.
Talent: Like radio, the talent are the people who conveys the advertising
message. They may be commentators or hosts of certain programme or even
actors recruited specially to play roles in television advertisements.

Props: The product and all other objects used in the advertisement presentation.
Set: Consists of external and internal sets with the function of supporting the
advertising message. However, some sets attract the attention of the audience
and distort the sales message.
Graphic: This is the card or visual materials that have the pictures of the product
or the components such as the letters, store name and address, price, copy or
other visuals that are used in the advertisement presentation. These materials
have to be prepared for shooting. Computer technology enables these materials
to be done on the computer, stored in it and retrieved when needed for the
production process.
Other elements: Like the radio medium, TV also uses elements such as speech,
music, jingle and sound effects.
Accuracy Logo
Brand Preciasion
Branding Segue
Corporate Identity Slogan
Crossfade Sound Effects
Jingle
SELF ASSESSMENT 1
1. The design of the logotype is usually based on a few approaches. State all
the approaches.
2. How is the corporate identity projected? What do you think is the most
effective way?
3. How do you write a headline that can attract the attention of readers?
4. State the elements used in the radio advertisement.
5. What are the elements used in the presentation of television

advertisements?

SELF ASSESSMENT 2
1. Based on the logotype in the figure, what is the corporate image projected?
Explain and give your reasons.
2. Based on the list of characteristics that need to be avoided in slogan

writing, explain two of them.
3. In reality, an organization has different images in the eyes of the audience.

Is this statement correct and why?
4. Explain the meanings and characteristics of these slogans. Are they good
slogans?
(a) Asialife: Trusted tradition
(b) MBSM: Your first property financier
(c) Afi Break: Excellent break performance
5. What is the element in the electronic media that you think is the most
significant and important in conveying advertising messages? Why do you
think so?
Routledge.
Norins, Hanley (1980). The Ccompleatlete Ccopywriter. Malabar Florida: Robert

E. Krieger Publishing Company.
Olins, W. (1990). The Ccorporate Ppersonality. London: The Design Council

Copywriting
LEARNING OUTCOMES
1. Identify the elements in print advertisment copy and their function;
2. Explain physical presentation and content of the advertisement
headline;
3. Describe the effective strategy of advertisement writing;
4. State the formats of both print and electronic advertisements; and
5. Prepare the advertisement script and story board.
 INTRODUCTION
This topic focuses on aspects of copywriting such as the format, writing strategy
and preparation of advertising material. The main topic, Advertising
Copywriting, is divided into subtopics covering print, radio, television and web
advertisements. The subtopics under print advertisement are the writing of the
headline and the writing of the body copy. Under the writing of the headline, the
different types of headline presentation, the different categories of headline
content and the strategy of headline presentation will be discussed. Under the
subtopic of body copy, the formats of body copy and the strategy of body copy
presentation will be explained. Under radio advertisement, copywriting for radio
advertisement and its basic format will be elaborated. Copywriting for television
and web advertisements will also be explained. The topic on radio advertisement
will also discuss the ways of script preparation, story board and related
examples.

TOPIC 8 ADVERTISING COPYWRITING  177
SELF-CHECK 8.1
Who do you think is the most effective spokesperson on television:

a famous film star, a popular singer, a great writer, a national
athlete, an unknown common person? Why do you think so?
8.1 PRINT ADVERTISEMENT COPY

The text for print advertisement has two elements, which are the body copy and
the display copy. The body copy consists of text or words that explain the
product message. The font size of the body copy is smaller than the display copy.
The display copy has phrases or expressions that attract the attention of the
readers so that they are interested to continue reading. The font size is bigger
than the body copy. The headline is one example of display copy. The other
examples are slogan, subheading or sub-headline, caption, deck and kicker. The
main functions of the display copy are to attract attention, create curiosity and
develop interest, which is the first stage in the hierarchy of effects model. The
figure below shows the advertisement elements and their relationship with the
hierarchy of effects model.
Figure 8.1: The creative elements in the hierarchy of effects model

178  TOPIC 8 ADVERTISING COPYWRITING
8.1.1 Writing of Headlines

The headline is a type of display copy and is expressed to attract attention to the
advertisement. Some headlines are the slogans of the campaign. The content of
the headline can include the various characteristics of the product, offer,
advertisement promise or the company. The headline is more prominent than the
other text so that it will be read first. The physical presentation of the headline
can be divided into various categories. The usual ones are:
 Banner: The banner is arranged horizontally from left to right in a row, covers
the whole area horizontally and goes across every column.
 Sideways headline: The sideways headline is a little shorter than the banner
and crosses one or two columns in a row.
 Centre headline: The centre headline is arranged in the centralised form and
has a few rows.
 Ladder headline: Each row is arranged in the indented form with each
susequent row indented more than the previous one.
 Hanging headline: A portion of words in the headline that are hanging out of
its column.
 Boxed headline: The boxed headline is framed inside a box to make it stand
out.
 Margin or side headline: Its position is in the empty margin area whether it is
on the right or left.
 Sub-headline: The heading that accompanies the headline, placed either on
top or below the headline, depending on the role it plays. It is the deck if it is
below the headline. If it is the kicker, its location is above the headline.
 Subheading: Subheadings can be arranged in different forms. Basically, there
are a few forms, which are middle heading, free side heading, side inset
heading and continuous side heading.
8.1.2 Headline Content

As mentioned, the content of the headline can include many things. However, in
terms of the form of content, it can be divided into the news headline, emotional
headline, main benefit headline, command headline, et cetera.
(a) News Headline: provides new information or new updates of a product.

Novelty is one of the characteristics of news besides other characteristics
such as reflecting the current situation, proximity, relevance, consequences,
quality, conflict, individual interests, entertainment, specific interest and
humour. Besides that, the news is usually informative and has specific
facts. According to research carried out by the Gallup & Robinson agency
in America, the headlines of advertisements that use figures, numbers and
statistics are more successful in attracting the readerÊs attention, for
example:
 The first refrigerator in the world with a single compressor.
 The newest video recording technology in Japan.
 The only automatic piano with electronic mix.
 The greaseless hair cream most in demand in Malaysia
(b) Emotional Headline: manipulates the emotions that include fondness,

sadness, hatred, happiness, frustration, anger, longing, et cetera. The
statement consists of words that reflect those feelings. Emotive words are
different from informative words in explanation or notification. The
emotional headline is usually effective for products that are related to the
solving of personal problems. Some of the products are related to oneself
and the normal human self that is filled with feelings and emotions.
The feelings of love, care, pride, et cetera are the normal things that are
closest to humans. If expressed well, the emotional headline can touch the
feelings of the target audience. Besides that, the emotional headline is also
used frequently in advertisements related to health, which is the concern of
most individuals, or public service advertisements whose purpose is to
create awareness about the environment or appeal to the audience for
donations to help kidney patients. Some examples of the emotional
headline are:
 A small contribution leaves a great meaning to all.
 Your happiness is our happiness.
 Embarrassed with bad breath?
 For the protection of your pampered one.
(c) Main benefit headline: Generally, the benefit headline may not be much
different from the news headline. The approach is direct and simple, stating
the benefits or advantages of the products explicitly. In other words, this
headline is a brief statement of the main benefits offered by a product. This
means the main benefit headline uses the unique selling proposition as its
main message. Examples are:
 Soft, softness always
 More invigorating, more peaceful and even more
 White. Clean and the smell is good

 More invigorating air with less power
 Stylish everywhere you go
(d) Command Headline: Usually the people who market products want their
products to be purchased quickly. ThatÊs why they use the command
headline. This type of headline usually gives a command to the prospect so
that they do as instructed. The advertiser likes to use this approach because
it is effective in encouraging the prospect to make a decision. Examples are:
 Drink the natural full cream milk
 Buy the labour brand oil
 Save money with ANZ
 Enjoy the 30-inch digital TV
What are the types of headlines given below based on their contents?
 The ÂkemilauÊ collection from Xantia
 We care about you
 The finer, the better
 The moment your child needs you the most
 Enjoy the relief
 Quality furniture from Italy
 Cleaning without rinsing
 Introducing the new Digital Stereo Set
8.1.3 Headline Strategy

David Ogilvy in his book Confessions of an Advertising Man has given
guidelines on effective headline writing. Some of the guidelines are:
 The headline is the ticket on the meat. So, use the headline to stop the reader.
The way to stop them is to go directly to them. For example, if mothers are
the prospects, use the word ÂmotherÊ in the headline. Besides that, do not say
anything that belittles or ignores the prospect. For example, if the product is
suitable for males and females, do not write too much on man or too much on
woman only.
 The headline must stress on the readerÊs interest; it must promise an
advantage or benefit.

 Always try to insert the news in the headline because users always try to find
new products or new ways of usage.
 Some words are very powerful such as ÂnewÊ and ÂfreeÊ. Other words that are
also powerful are: recent, now, discount, introducing, special, effective, et cetera.
The problem is that frequent use of such words can create cliches. However,
they are still regarded important and will still be used in direct mail
advertisements, print, radio and television advertisements. One of the word
categories that is regarded inappropriate for the headline is negative words.
Normally, the negative word will stay in the mind of the audience for a long
time.
 Research has found that there are five times more people who read the headline
than the body copy. So the headline should have the brand name. Besides that,
insert the selling idea. However, the selling ideas are quite long in a sentence
and this requires skill in precision writing. A headline with six to 12 words is
more effective than a short headline that has only three to four words.
8.2 WRITING OF BODY COPY

The advertisement text is called the body copy. Generally, there are six types of
body copy and each has its own advantages and disadvantages. The copywriter
will choose the most suitable body copy for the product being marketed.
8.2.1 Body Copy Format

A few body copy formats will be explained below, which are straight-line copy,
caption and picture copy, narative copy, monologue and dialogue copy, and
comic copy.
(a) Straight-line Copy

The straight-line copy is also known as factual copy. The copy is written in
the form of a direct, logical and orderly information presentation. This type
of copy is not long-winded and the prospect does not need to think hard.
The writing will focus on the benefits of the product in an orderly way to
be more convincing after the headline. This type of copy facilitates the
writer to produce text that fulfils the important aim of the advertisement. In
other words, the straight-line copy is suitable for all the types of products
even though the effectiveness is relatively different. The direct fact
statement is more effective if different characteristics of the products are
projected clearly compared with competing products.

(b) Caption and Picture Copy

This copy contains brief information that is presented together with
pictures and illustrations. Before the copywriter decides to use the caption
and picture technique, he/she has to make sure that a) the sales attraction
will fulfil the individual interest of the prospect who uses the product, and
b) the caption produced strengthens the message of the illustration and
picture. The production of the caption copy is regarded easier than the
straight-line copy because the caption copy refers directly to the productÊs
attraction illustrated in the picture or illustration. For the caption copy, the
copywriter does not need to write the facts in an orderly and convincing
manner in the form of text or body copy. This is different from the straight-
line copy that relates the fact and the established logic between the words
and the passage. However, this does not mean that the caption copy has no
direct relation to the illustrations presented.
(c) Narrative Copy

This type of copy is usually directed at a certain group of prospects who are
interested in a type of product and are ready to listen or read the product
description narratively or in the form of a story. The narrative copy is quite
long compared with the straight-line copy. It is suitable for its narrative
nature and story. Usually this type of copy is used for extraordinary
products and needs an emotional touch, such as an expensive watch, a
branded perfume, a dream house, a valuable gift for your mother, high
quality jewellery for your lovely wife, a wedding gift for a wedding
anniversary, et cetera. Sometimes, a prospect buys a product not because of
its benefits but he/she is motivated by other sentiments or emotions. Many
elements of emotions can be taken into consideration, such as excitement,
pride, happiness, sadness, pain, nostalgia, satisfaction and humour.
For some copywriters, producing narrative text is very exciting because it

gives them the freedom to experiment with creativity. However, the
copywriter must remember that the purpose of the writing is to sell the
product. He/she has to ensure that the relation of words can attract the
prospectsÊ attention and it is not just an experiment .
(d) Monologue and Dialogue Copy

This type of copy uses a statement or speech by one person or more on the
product advertised. Usually, the content of this copy uses the consumerÊs
testimonial, which is the userÊs statement on the benefits of the products
based on his/her experience. The copywriter will normally try to get a
famous individual or celebrity to do the testimonial or an expert in the field
relevant to the product being advertised. A testimonial can be presented

via two ways, which are personal acknowledgement and quasi-

acknowledgement.
In the personal testimonial, the writer prepares the dialogue or monologue

that will be spoken by the personality or a normal individual. A good
testimonial is a brief but solid statement. It highlights the speciality of the
product generally. What is meant by quasi-testimonial is the dialogue or
monologue spoken by an individual with his/her identity not introduced
specifically and he/she is not from a famous personality. The individual
usually represents the prospect who may in the same age, occupation,
locality group or face similar health problems. The self-introduction is not
as important as the group that he/she represents. If we look at
advertisements in the media, advertisements of lubricating oil, insurance,
vehicle spare part components and the banking service usually use this
approach. The choice to use the quasi-copy is probably to save cost. A high
payment is usually charged by the celebrity or the individual acting in the
advertisement. Besides that, there are times when the advertiser has
difficulty finding the right celebrity and personality. For some products,
the quasi-testimonial approach is more suitable because not all products
require a popular celebrity or personality.
(e) Comic Copy

This copy is a continuity panel where there is a dialogue presentation or a
group of comic characters interacting to solve a problem and the problem
can be resolved through the purchase of the advertised product.
In this type of copy, priority has to be given to an interesting arrangement

of illustrations because the arrangement of panel boxes will determine the
effectiveness and attraction of the advertisement. The dialogue or passage
used should have the strength to persuade and explain the product
effectively to the prospect. If the copywriter finds that the dialogue or blurb
is not strong enough to attract the attention of the prospect, the copywriter
will need to use extra copy, either in the form of straight-line copy or
caption copy. Normally, the comic copy is used more widely in the print
media, especially in newspapers than on television. This type of
advertisement text also uses panel boxes of the same size and these boxes
are arranged vertically or horizontally, just like comic books.
8.2.2 Strategy of Body Copy Presentation

The body copy is read when the audience is attracted to the visual and the
headline. This opportunity is very important for the copywriter and it should not
be wasted. So, treat the audiences well as if you are talking to them and answer
specific questions directed at you. The copywriter must write carefully as if the
message is directed to a specific individual. This means conveying the message
directly, frankly and straight to the specific, concrete and factual message and in
a friendly way. The copywriter also has to avoid redundant, superlative,
bombastic words, jargon and very common generalisations.
David Ogilvy (1982) gave a few hints on producing effective body copy.
According to him, some effective body copies have the following characteristics:
 Use testimonials especially from celebrities;
 Give good advice on the product; and
 Written enthusiastically, warmly and brings back memories.
Ogilvy also gave some guidelines on the things that need to be avoided, such as:
 Using over exaggerated words,
 Belles lettres that achieves pomposity and does not provide any facts, and
 The award winning style of an advertisement even though an award offers
satisfaction.
Arens (2005) gave the following guidelines on the production of an effective

radio advertisement:
 Make sure the big idea is as clear as possible,
 Mention the advertiserÊs name early and frequently,
 Take time to create a scene and highlight the premise,
 Use normal sound effects,
 Use descriptive language to make the advertisement easy to remember,
 Do something surprising,
 Instruct the listener to take action,
 Use the local language because the radio is a local medium, and
 The presentation is very important in terms of the sound effects, voice, acting
and jingle.
8.3 COPYWRITING FOR RADIO

ADVERTISEMENT
Radio is the medium that uses sound and listening. The usual practice for radio
listeners is to listen to the radio while doing their work such as cooking, driving,
writing, reading or watering the plants. The locations for listening vary, such as
the office, car, on the bed, the garden or kitchen. It is definitely hard to convey

sales messages because the attention of the listener is not focussed on a place.
However, the radio listener usually decides in a short while whether or not to
pay attention. To ensure that they make a decision that supports the copywriter,
the radio copy must be planned to solve the problem of unfocussed situation.
The radio copy must be clear. It should be clearer than print or web
advertisement copy because the listener cannot go back to the time that has
passed. For print advertisements, you can turn to that page and look at it again.
However, radio advertisers repeat their advertisements in a certain frequency
throughout their campaigns.
Although the radio advertisement only uses the audio medium, Alan Cundal (in
Orlik 1978) said that the „copywriterÊs heaven is radio advertising.‰ One of the
main reasons for this great compliment to the radio advertisement is its
versatility. Cundal said that:
There are no stage or scenery costs. The actors can be ugly as sin and there
are no costume or make-up costs...with a 10-second sound effect of a crowd
roaring, you can picture 80,000 people at the Super Bowl game. You can
conjure up visual images ă colours, shapes, places, people, events, emotions
ă everything from Adam to Eve to the end of the world...By the same token,
you can invoke sensations of smell, taste and touch. You can show colours
more vividly because no other colour competes for the listenerÊs attention.
Radio is not an audio medium ă itÊs visual. The audience „sees‰ whatever
you want them to. The better you know your craft, the more theyÊll see.
8.3.1 Radio Advertisement Copy

As mentioned previously, the strength of the advertisement lies in the sales
message. The sales message usually consists of the productÊs promises to the
customers whether they are the productÊs benefits, offer or prizes, purchase benefit
or the solution to a problem. The task of the copywriter is to convey the promises
convincingly. In this case, the radio is a conversational medium. Therefore, it uses
the spoken language. This means that formality in the radio language is not high.
In fact, it is colloquial in nature and in the form of daily conversation even though it
is near the formal level in the more serious discourse.
As informal copy, the radio advertisement uses abbreviations, verbs and visual
nouns. These words can create a visual picture faster than adjectives. Besides
that, the radio copy uses active sentences, simple and specific sentences,
repitition as well as other types of approaches that can increase memorability.

Memory and remembrance can be created by linking the product with the sales
message creatively such as the usage, expressions, rhythmical language, jingle, et
cetera.
To make sure that the potential of the radio is realised, the advertising copy must
observe radio dynamics. Orlic (1978) presented the SSA formula, which stands
for Succint Sound Appeal, to make sure that radio copy is effective.
 Depicts the background
 Gives different duration
 Avoids print style
 Concludes it with a strong force
 Reads it loudly
The radio advertisement needs to have a setting and to be seen as appearing from
a specific location. In television, an Âestablishing shotÊ gives a picture of the
location and the audience knows the context of the television programme
immediately. The radio cannot do that and if the problem is disregarded by the
copywriter, then the radio advertisement will have no material. The listener
seems to be receiving the advertisement message blankly and without any
references.
The 20, 30 or 60 seconds duration of the advertisement is very fast and it is

difficult to develop creativity. However, the radio advertisement must have a
flow and the feeling of this flow can be strengthened through the expansion of
the different length of thinking units. These thinking units can be highlighted
through a sentence, a jingle, a dialogue, et cetera.
The radio advertisement can be listened to but cannot be read or seen. This
makes the conversation more effective because the aural meaning is easier and
simpler to understand. The meaning of a sentence in printed form is understood
if the sentence is perfectly written and seen. The meanings of the words are
understood as they are spoken. This means that print language is different from
radio language and print copy may not be suitable for radio copy. Some of the
print copies are too crammed for the radio while radio copy may not convey
enough information for the print copy.
The sentences in radio copy need to be concluded with a forceful ending just like
the print copy that needs to be ended with a strong message. In radio, the content
of the message needs to be strong and the voice must be acceptable by the
listener.

The copywriter needs to make sure that the words chosen are suitable because
radio copy is listened to by the audience and this is given the main priority. This
is done by reading the copy loudly. Words and sentences that look good in the
print format may not sound well or may even sound awkward when we listen to
it. A great piece of writing may not necessarily be a good radio copy.
8.3.2 Radio Advertisement Format

The radio advertisement can be presented in different formats creatively. Like the
print advertisement, the format of the radio advertisement functions as a template
to arrange the message elements in a pattern. Some of the radio formats are:
 Direct announcement;
 Personality;
 Testimonial;
 Dialogue;
 Interview; and
 Drama.
Direct announcement: This advertisement focuses on product renewal and

competitive benefits. There is no drama, music, jingle, sound effects or dialogue
in this format. There are no other approaches such as storytelling or dialogue to
convey the message either. The figure below shows an example of the direct
announcement advertisement script. Look at the script that only shows the
statement by the presenter or spokesperson.
Look at the sales message mentioned through the sales key words and which is
repeated no less than four times.

Figure 8.2: Direct announcement
Personality: A personality is used to talk about the product. For example, singer
Siti Norhaliza talks about facial products or actor Rosyam Nor talks about health
drink products. These celebrities loan their personalities to persuade the
audience to use a product.
Testimonial: The use of personalities or common people to acknowledge the

product in terms of its speciality and benefits so that they can persuade the
audience to use the product too. The use of a beautiful personality, for instance,
in beauty products can enhance the credibility of the product. The personality
looks beautiful and this can prove the effectiveness of the product. The use of
common people is preferred because common people are more realistic and it is
easier to connect them with the audiences, who are common people too.

Figure 8.3: Dialogue advertisement
Dialogue: A dialogue takes place between real persons or imaginary characters. It

can be participated by the anchor or spokesperson too. The conversation usually
focuses on the acknowledgement of a product and a statement on its speciality
and main benefits. It can be presented in the form of a story or just a statement on
the product benefits by the characters who act in it. The problem that may arise is
credibility. The feeling and situation that exist may not look real. Another
problem is that there may be a possibility that the blank dialogue makes the
advertisement ineffective.
Interview: The interview is also a form of dialogue. However, the interview is in

the form of the question and answer between the salesperson and purchaser or
between the marketer and customer. The content of the interview can also be
related to the question from the salesperson about the view and perception of the
consumer of the product being advertised. The content may also be the
customerÊs questions on product benefits.
Drama: The structure of this copy is more of the narrative approach. A dramatic
situation is usually a playlet that presents how to solve a problem in daily life
such as a safety problem (helmet advertisement), dandruff problem (shampoo
advertisement), teeth problem (toothpaste advertisement), et cetera. The figure
below uses the complete drama format with sound effects (SFX), music, anchor
and characters.

Figure 8.4: Drama advertisement
Arens (2005) showed that the different strategies of presentation of the radio
advertisement copy are as follows:
 Product Demo: Shows how a product is used or the function of the product.
 Voice Power: A unique voice gives the advertisement power.
 Electronic Sound: Musical tools to produce sounds that can relate to the
product and trigger the audience to remember it.
 Customer Interview: The spokesperson and the customer spontaneously
discuss the productÊs benefits.
 Extra Statement: Exaggerated statement attracts interest towards the valid
claim of the product. If the claim is conveyed normally, it may not be able to
attract attention.
 The fourth dimension: The time and event compressed into a short
advertisement that involves the listener of the future.
 Sensation: Uses the most recent sensation such as a popular song, a popular
singer or a popular programme
 Comedian: A famous comedian presents the sales message in his/her own

way to show his/her acknowledgement of the product.
 History Fantasy: A situation that uses historical figures to convey the
message of the product.
 Pictorial Sounds: Sounds that are easy to identify are used to trigger the
imagination.
 Demography: Music or any other references that interest a group of
customers based on their age, hobby or interests.
 Imagery Transfer: The music, logo or sound that enhances the memory of a
television campaign.
 Celebrity Interview: A famous personality acknowledges the product in an
informal interview.
 Product Song: Music and words are combined to produce the music logo and
to sell the product in a popular style of music.
 Smart Editing: The different situations, voices, music and sounds are edited
smartly in a series of fast transition.
 Improvisation: The characters read the dialogue without practice for a
situation and then post-editing may be done.

ACTIVITY 8.1
Listen to a programme on the radio for an hour or for a certain
period of time. Do a log on the information in the advertisement that
you heard. What are your important findings? What is your
conclusion?
The product advertised

The repeat of the product name
Direct announcement
Dialogue
Music
Sound effects
Jingle
Celebrity presenter
Male adult character
Female adult character
Male child character
Female child character

8.4 COPYWRITING FOR TELEVISION

ADVERTISEMENT
The television medium is very popular. In Malaysia, almost every household has a
television set. That is why the television has become a very influential information
dissemination and entertainment media. The time allocated for watching television
daily for a person is around four to six hours and this duration has surpassed other
media such as the radio, newspaper or magazine. This gives the advertiser a
stronger reason to choose the television to convey the sales messages.
8.4.1 Television Advertisement Copy

In the presentation of television advertisement copy, the copywriter faces these
questions: How can the sales message be conveyed through the visual
effectively? How can the product benefits and sales be dramatised so that the

audience can see a relationship between the two and between brands? How does
the sales message relate directly to the audienceÊs lifestyle and how can it be done
through minimum „commercialism‰. A part of it is the question of the
advertisement copy itself.
Look at the following table that shows the HOW-E-ZE Formula from Ziegler and
Howard (1978) to give you a guide on writing effective television advertisement
copy.
Figure 8.5: HOW-E-ZE formula
Some people think the television is „the nearest thing to meeting physically face
to face.‰ (Arnold Toynbee in Norins, 1980). That is why product demonstration is
the most favourite creative strategy. The question is how is the best
demonstration done? Demonstration means „to make a thing clearer‰. To make
the product „clearer,‰ the copywriter needs to establish the truth with argument,
reason, proof and example.
The next question for the copywriter is what are the arguments, reasons, proofs
and examples that can make the product clearer? They may be expressed through
clear words. Slogans, expressions, jingles and emphasis can be used to express a
statement. They may also be proved through clear visual demonstration of the
characteristics or benefits proposed.
However, the products that cannot be seen, such as the insurance, service and
certain ideas, cannot be demonstrated physically. This problem can be solved
with the use of analogy, testimonial and acting to prove a claim. For example, the
freshness of a drink cannot be described physically through the drink in a bottle
or a glass. It is the same for other drinks. So, the analogy is through the use of
fresh music, a happy situation or cheerful and energetic behaviour. The tastiness
of the food cannot be described physically either, but the pictures of customers
licking their fingers can be related to tastiness.

8.4.2 Television Advertisement Format

One of the most basic formats in television advertisement is the announcement.
Like radio, the direct announcement advertisement uses an anchor to convey the
sales message. Music too, plays an important role in the direct announcement
advertisement. However, some advertisements do not use it. This format is easy
because it does not involve many elements and it is flexible because it can be
used in all situations. The presentation can be done on the screen where the
anchor is seen making the announcement. It can also be done outside the screen
where the voice of the anchor is heard as the voice-over and the television screen
shows the product announced. This format can be effective if the anchor makes
the announcement convincingly.
A slice of life is a popular format in television advertisements. This format

dramatises a real-life situation. It starts with the characters discussing an
everyday problem. One of the characters will introduce a product to solve the
problem. The product is tried and it brings happy results. Another commonly
used format is the lifestyle format. The lifestyle advertisement presents the life of
a person either in the house, working place, gymnasium, nightclub, restaurant or
in the outdoors such as the sports field, forest, ocean, farm. et cetera. For
example, a beverage advertisement wants to direct its message at the young
group. So, the lifestyle presented is that of youngsters, that is, free to mix happily
at the beach, shopping complex, cinema or field.
The animation field is now a big industry after the development of creativity in
television broadcasting. It is related to childrenÊs cartoon programmes or other
programmes that require animation techniques. Animation is also widely used in
advertisements. Animation is a presentation that uses cartoon characters,
puppets or non-human characters. These characters are used to convey the sales
message in a light and happy way. The use of animation is not only preferred by
children but by adults as well.
The other different formats for television are almost the same as radio
advertisement formats, such as the testimonial, musical, et cetera. The following
table shows the radio and television advertisement format arranged in order
from light to serious.

Table 8.6: The Advertisement Implementation Spectrum by Hank Seiden
Light Comedy
Famous spokesperson
Musical
Jingle
Animation
Dramatisation
Exaggerated performance
Symbolic character
Light situation
Current situation
Anchor spokesperson
News
Documentary
Direct demo
Dramatisation
CustomerÊs acknowledgement
FriendÊs acknowledgement
ExpertÊs acknowledgement
A slice of life
Famous spokesperson
Company spokesperson
Monadic demo
Side-by-side demo
Serious Clinical demo
Source: Arens (2005), Contemporary Advertising
Baldwin (1982) divided television advertisement formats into 14 types, excluding

its sub-divisions. The categories are as follow:
 Product only: shows the product and explains its benefit and function.
 Demonstration: explanatory, side-by-side, before and after, test.
 A slice of life or Problem solution: the structure is easy where a character has
a problem, someone advises the character, the character tries the product and
the problem is solved.

 Anchor or Spokesperson: a salesperson, an authority, a product user, a

celebrity, a personality, a leader.
 Life character: real characters as the product spokespersons.
 Fantasy character: the use of cartoon characters or puppets to convey the
sales message.
 Testimonial: acknowledgement and acclamation of the product.
 Documentary: reports a real person with real experience of the product. The
commentator is the anchor who does the commentary on what is seen on the
screen.
 Vignette: behind the use of a character, the vignette presents a few characters
who have the same experiences. The different types of people with the same
experience is the way of presentation.
 Narrative: an episode with a beginning, a middle part and an ending.
 Satire: a form of complete or pure satire that mimics a person, an event, a
genre or a normal situation for the audience.
 Musical: the use of music or jingles.
 Personification: the use of non-human characters that are given human
nature.
 Analogy: the use of symbolism through a more explicit comparison. Because
an analogy conveys a message analogically, the examples used for
comparison must be relevant and easy to understand.
8.4.3 Television Advertisement Script

The television advertisement has two main elements, which are the visual and
audio elements. The visual refers to the images or pictures displayed on the
screen while the audio is the voice and sounds uttered by the character or sound
effects in the background. The television advertisement script is presented by
including the two elements in a clear division. This results in a script with two
columns. The right column is for the video and the left column is for the audio.
The explanation of what appears on the screen is written in the video column.
This usually covers the elaboration of important props and main actions. Some
scripts use capital letters for all the things not mentioned in the advertisement.
This means the props and action are written in capital letters. In the audio
column, small letters are used because most of it are words that can be uttered.
The props are tools or objects that become a part of the advertisement

presentation setting. For example, the setting in a kitchen will have props such as
crockery, pans, stove, et cetera.
The movement in the television advertisement cannot be drawn, so the

copywriter must prepare the visual instruction and the explanation of the sounds
so that the actor, producer and the management understand the act clearly. These
terms represent both the camera and optical movements.
 Long shot, LS: shows a person from the legs to the head, a room from the
floor to the ceiling, the outside view from a far perspective.
 Medium shot, MS: shows a person from the waist to the head or the view a
bit closer than the long shot.
 Close-up, CU: shows the face or head.
 Extreme close-up, ECU: shows the eyes or ears or the nose. This is the closest
shot.
 Cut: a sudden transition from an act to another act.
 Dissolve, DISS, DIS or DS: a transition from one act to another in the form of
absorption where one act dissolves into the next act.
 Fade: there are two types of fades, which are fade-in and fade-out. Fade-in
involves the appearance of an act from zero or darkness. Fade-out involves
the disappearance to zero or darkness.
 Montage: a series of fast transitions one after another or a few images
appearing simultaneously in an act to produce optical effects like a montage
in a poster.
8.4.4 Storyboard and Photoboard

The storyboard refers to a piece of paper that describes every frame of the
television advertisement with both audio and video instructions. The storyboard
looks like a comic strip because it contains a series of boxes or frames with
pictures in them and descriptions below the boxes. These pictures show the
subject that will appear in the advertisement, with each frame presenting a new
act, and the acts continuing from frame to frame. The purposes of a storyboard
are:
 Gives a picture of how the advertisement message is presented.
 Describes the flow of ideas clearly from start to end before the actual
advertisement is produced.

 Expresses a statement or dialogue mentioned by the characters in an

advertisement, such as an actor and anchor.
 Becomes a presentation material for the client, which is the advertising
company.
The storyboard is produced in different forms in terms of artistic perfection. The

location, the props and the set may be sketched roughly or finely, depending on
the need, but the important thing is it can give a picture of the content of the
advertisement and how it is presented. The more detailed and finer the drawing
in a storyboard, the better it is because it can depict the message and sequence of
presentation clearly and be close to the real advertisement. The advertisement
producer, client, which is the advertiser and the decision makers, need to look at
the storyboard carefully to see what is proposed for the actor, props, location, set,
sound effects, et cetera.
In contrast to the storyboard, the photoboard is a storyboard that uses pictures
from actual advertisement films. It is usually produced onin thicker paper. The
explanation in the photoboard is different because it includes the audio
explanation only. The video explanation is not needed anymore because the
photoboard is produced from the advertisement that has already done the
shooting. Besides that, the photoboard has the same function as the storyboard.

8.5 WEB ADVERTISEMENT COPY
A recent medium that is becoming more important in the area of information
communications is the Internet. In research by Burson-Marstellar, every views
leader who is termed Âe-fluentialÊ will convey a message to an average of 14
people. This caused Chet Burchett, the president and chief managing director, to
say that „an e-fluential is the rock that starts the ripple.‰ Generally, this is the
power of the Internet media in terms of its dissemination.
8.5.1 Writing of Web Advertisements

As a medium that still uses the text element besides graphics, audio and visual,
for the purpose of communication, the most important characteristics are
readability and effectiveness. So, the use of frame, table, applets, animation and
other graphics should not affect the readability of the text. Some of the pages are
designed attractively and look interesting but when they are completely surfed, it
is difficult to read and understand them.

A website needs to focus on the content and the content should attract readers.
This means the information presented must be easy to follow and interesting to
read even though generally, it frequently disturbs webpage surfers. Jakob
Nielsen has identified four ways to make the writing of web text more useful.
 Use an objective language. Information usability on the website can be
increased as much as 27% by using neutral language, which means stating the
facts, reasons, claims, characteristics, et cetera as well as summarising the
conclusions. This neutral language is different from non-neutral language but
it is filled with values such as exaggerated or degrading values.
 Make the text easy to go through with bullet points. This is different from the
list of points in a sentence. It is said that the use of bullet points can increase
information usability as much as 47%. Besides that, giving key words
emphasis such as the colouring of text, colour contrast or hypertext links can
help make the text easy to go through.
 Make the text precise by using accurate and economical words to increase
usability as much as 58%.
 Combine the three strategies mentioned above by using objective language,
bullet points and precise sentences.
8.5.2 Web Advertisement Format

On-line writing is different from writing for printed pages because the design is
different. The virtual world is very visual and the eyes cannot look at the
computer screen for a long time.
According to research, on-line readers seldom read word by word. In fact, they
scan the page and pick certain interesting words or sentences or whatever is
retrieved by them. According to research carried out by the Jacob Nielson
company, 79% of consumers will scan a page and only 16% will read it word by
word.
If the material is just scanned, the information needs to be presented accordingly,

which is through bullet points, the heading and the summary paragraph. This
way, the maximum number of readers can access the information. A few forms of
web advertisements are used such as the banner, button, pop-up, pop-down, et
cetera. The forms are explained below:

 Banner: The graphic image is usually placed on top or below the screen or
page. It is stretched across horizontally from left to right. The standard size
for the banner advertisement is 468x60 pixels. The banner is connected to the
advertiserÊs webpage and by clicking the banner, a person will be taken to the
advertiserÊs webpage.
 Button: The button is the same as the banner, but normally smaller. The
standard sizes for the button are 125x125, 120x90, 120x60 and 88x31 pixels.
The position of the button is below or beside the page.
 Text: The text uses hyperlinks based on the text. Usually, there are short
explanations positions are all around the page.
 Pop-up: The new browser window that displays an advertisement. Some
people find this window annoying because it blocks all the other new
windows. That is why it is also called ÂPop-up BlockerÊ. The pop-up is a type
of interstice that actually refers to a narrow space. The interstitial
advertisement is a format that goes into the narrow space between the page
that is requested with the page that is being downloaded. There are two main
types of interstitial advertisements, which are the ÂPop-up InterstitialÊ and the
ÂInline Interstitial.Ê The pop-up interstitial is activated when a person first
accesses the webpage. A small window will pop out and advertise the
product while the main page is being downloaded in the background. The
pop-up can close by itself or can be closed by a person. The second interstitial
is the ÂInline Interstitial.Ê This format usually appears in the environment,
such as the Java, Shockwave or VRML. It is not only used as the
advertisement but also to prepare games information.
 Pop-under: Like the pop-up, the pop-under advertisement also appears
suddenly but opens in a window behind the main window. It will remain at
the back until you notice it.
 Vertical banner: This is the same as the normal banner and the standard size
is 120x240 pixels. Its position is on the left or right of the page.

Banner Props
Demonstration Storyboard
Photoboard Testimonial
SELF ASSESSMENT 1
1. State the three strategies of the advertising copy presentation that you think
are most commonly used.
2. State the three ways how the advertisement headline is presented.
3. List the use of a storyboard.
4. What are the differences and similarities between the storyboard and the
photoboard?
5. State the three formats of the web advertisement.
SELF ASSESSMENT 2
1. Give your opinion of David OgilvyÊs guide that mentioned that an
advertisement must create a good memory of the product and it must be
written enthusiastically and leaves a memory.
2. There are people who say that the „copywriterÊs heaven is radio
advertising‰. Explain this statement by giving the reasons of opportunity
and the problems faced by the copywriter in the production of a radio
advertisement.
3. WhatÊs is meant by „an e-fluential is the rock that starts the ripple‰?
Elaborate. Also explain who is meant by „e-fluential‰.
4. Based on the figure by Hank Seiden, explain one advertisement format that
you think is very effective. Why do you think so?
5. What is the difference between the advertisement format listed by Baldwin

and Seiden. Explain.

Routledge.
Duncan, Tom (2005). Principles of aAdvertising and IMC. New York: McGraw-
Hill.
Norins, Hanley (1980). The Ccompleteeat Ccopywriter. Malabar Florida: Robert

E. Krieger Publishing Company.
Pickton, D and Broderick, A. (2005). Integrated Mmarketing Ccommunication.

Zeigler S.K. and Howard H. H. (1978). Broadcast Aadvertising: A

Ccomprehensive Wworking Ttextbook. Ohio: Grid Inc.

Topic 9  Measurement
and
Evaluation
LEARNING OUTCOMES
1. Discuss advertisement message evaluation in terms of its needs and
challenges;
2. Describe the field, objective and evaluation method;
3. Explain the types of sales message tests;
4. Identify a few general questions in the evaluation and measurement
of copy test; and
5. Measurement the advertisement messages.
 INTRODUCTION
This topic explains the aspect of measurement and evaluation in the context of
advertising copy. Measurement and evaluation are seen as a general concept to
understand how effective advertisement messages are. This topic focuses on three
things, which are evaluating the creative idea, the message test and evaluation
issues. In the area of evaluating the creative idea, the students will be given an
understanding of the importance of evaluation in the task of producing the
advertisement message and the challenges faced in the evaluation process. This
area also discusses the aspects of evaluation, which are the creative approach and
the creative implementation. In the aspect of the message test, students will
discuss normal types of tests, which are the pretest or concept test, and posttest.
These tests involve different techniques and strategies as well as various test
motives. Based on the marketing communications objective, these tests may be
used to measure attraction, awareness, interest and consequences. Finally, a few
general issues in research and measurement, such as defining the problem, test
elements, and validity and credibility will be explained .

204  TOPIC 9 MEASUREMENT AND EVALUATION
SELF-CHECK 9.1
What is an excellent advertisement? List the characteristics that you
think can contribute to an excellent advertisement. Why do you say
so? Give a reason for each of the characteristics that you list.
9.1 EVALUATE THE CREATIVE IDEA

What is a good advertisement? How do you evaluate it? The evaluation of an
advertisement, whether good or not, differs according to who is evaluating it. For
the audience, a good advertisement is one that attracts attention and is
interesting. For the marketing manager, a good advertisement is one that sells the
goods. The advertisement will move the product from the warehouse to the
stores and finally into the hands of customers. For the copywriter and the creative
director, a good advertisement is one that has an excellent concept, has copy
written with skill and produced artistically and commercially.
However, advertisement experts agree that a good advertisement is an effective
advertisement and an effective advertisement is one that can carry out its
function, that is, to achieve its fixed objective. Usually, the objective of an
advertisement is fixed based on the AIDA model. So, a good and effective
advertisement must attract the attention of the audience, convey the sales
message, and build or strengthen the positive character of the product and
company. Finally, the purchase reaction can be developed.
No matter what the evaluation, it is very easy for us to say what we like about an
advertisement, but it is difficult to prove it. That is why empirical measurement
and evaluation are needed.
9.1.1 Evaluation Need

In whatever marketing communications campaigns, evaluation plays an
important role in gauging how far a campaign achieves its objective. In an
advertising campaign, an evaluation is done to gauge its efficiency, effectiveness
and problems. This evaluation is important in increasing the productivity of
advertising messages. It is seen from the point of the advantage of evaluation,
which is its ability to:
 Lessen the campaign risk by making careful predictions
 Enrich the management and planning
 Prepare control

TOPIC 9 MEASUREMENT AND EVALUATION  205
 Document the advertising contributions

 Create countability.
One of the important things in advertising campaigns is creativity, which is to do

something in a different way and this requires courage to take risks. If the
creative messages can be evaluated before they are implemented, the risks will be
lessened, the success rate may be higher and failure can be avoided. Such
evaluation can produce careful predictions about the possibility of change of
attitude and behaviour as a result of the campaign and advertising message.
To enrich management, the tests carried out can provide input to the
management to improve its strategy. Without the inputs of brand performance, it
is difficult for us to make smart decisions. Control is needed because many
parties are involved in preparing the campaign.
The more people are involved, the more control is needed for consistency and the
smooth going of the process. One of the aspects is documentation. Through
documentation, a part of the evaluation results and data can be used by the
advertising department as a justification to determine the budget for following
campaigns or to make other management decisions. Justifying the increase of a
budget is difficult unless there is strong data from research to support it.
Measurement and evaluation are needed to see whether the objective fixed can be
achieved. An achieved objective shows that the money and human resources are
spent accordingly. This is related to accountability that has become a must in
business these days. The shareholders and management always want to know
how the money is spent and the customers will demand answers if the campaigns
do not provide the desired results.
One of the reasons for evaluation is to identify the gap between the advertising
estimation and reality. This is the gap analysis where there is a difference between
what is desired by the customer and the actual experience involving a product.
9.1.2 Evaluation Challenge

However, there are a few limitations to evaluative measuring systems. In the case
of advertising, the challenge covers the following aspects:
 Cost
 Time
 Validity

 Projectability
 Decrease of creativity
 Over reliance on research and figure.
Evaluation involves cost and time of both internal and external staff. Some
agencies or companies do not have a large budget, so a satisfactory
evaluation cannot be implemented. All the evaluations and research are
usually done based on samples. An important question is how representative
the samples are. Some of the tests done in the laboratory may not produce
the same results when the advertisement is implemented.
In terms of creativity, some of the marketers believe that if the advertisement

messages are measured based on an aspect, for example, the memory, the focus will
be on achieving the objective, and the other aspects, such as product awareness and
knowledge, will be ignored. Some agencies overstress on evaluation and everything
must be evaluated first to ensure efficiency. Besides that, some managers are afraid
to make decisions that are not supported by evaluation data.
Generally, the evaluation is carried out by a company that has a media budget
and there is a high tendency that a great loss will be incurred if the campaign and
advertising message fail to achieve its objective. This means that in practice,
many of the sales messages do not involve formal evaluation and the company
depend a lot on the marketing division to prepare the information needed about
consumers. However, if the sales concept or creative strategy is proven effective,
the company will be satisfied and the risk of its campaigns will be reduced.
9.1.3 Evaluation Aspect

What is actually the field or aspect being evaluated? What can be evaluated from
an advertisement? Generally, an advertisement evaluation gauges:
 How likeable is the published advertisement to the audience. For example,
the audience is given advertisements and asked to rank their attitudes and
perceptions of the advertisements. It is presumed that the advertisements that
are well-liked by the audiences will attract attention more easily.
 How selling communication is done. For example, do the audiences
understand the advertisement? Are the sales messages in the advertisement
clear? It is presumed that the audienceÊs ability to understand the essence of
the advertisement proves the efficiency of the advertisement.
 How far the audience can remember the advertisement. Does the audience
remember having seen the advertised advertisement before?

 How far does the advertisement change the audienceÊs attitude and
behaviour. Measuring the audienceÊs attitude towards the product before and
after the advertisment shows the ability of the advertisement to influence the
thinking and feelings of the audience.
The evaluation is usually done to make a critical decision on the selling messages
with the idea to determine earlier the possibility of success. This shows emphasis
on areas that have risks. The higher the risk of a decision on the sales message,
the more evaluation needs to be done.
For example, if a company wants to change its advertising slogan to a more

contemporary expression, it needs to do a test and evaluation to see whether the
new slogan is more efficient and effective. In short, the efficiency and
effectiveness can be seen from two aspects, which are:
 Creative approach
 Creative implementation
The evaluation of the Creative approach:

 Is the creative approach consistent with the marketing communications
objective?
 Is the creative approach consistent with previous campaigns ?
 Is the creative approach consistent with the message strategy and objective?
 Is the creative approach suitable for the target audience?
 Does the creative approach convey the message clearly and convincingly?
The evaluation of the Creative implementation:

 Does the creative implementation confuse the message?
 Does the creative implementation attract attention?
 Is the creative implementation persuasive?
 Does the creative implementation bring back memory?
 Does the creative implementation face the problem or limitation of rules and
regulations?
The questions above show that a few areas require attention for the evaluation of
efficiency and effectiveness in determining the strategy and implementation of
creative ideas. However, Wells et al. (1992) divided the field of evaluation into
five subjects:

1. Relevance: how suitable, related and important is the advertisement

presentation to botjh the audience and advertising objective?
2. Empathy: how clear, understandable and successful is the advertisement in
getting the audienceÊs involvement?
3. Originality: how natural, unique, extraordinary and interesting is the
presentation?
4. Avoid cliches: are problems such as not fresh, common and weak being
avoided?
5. Visibility: how far is the objective achievable?
The focus of the message strategy is the way the message, concept and creative
strategy is conveyed. One of the usual tests conducted is copytesting. This is a
test carried out on advertising copy in terms of its message, creative concept and
internal elements to gauge the creative effects that stem from it. Copytesting can
be used when the advertising message is in the development stage or after it is
published. Copytesting is used to evaluate a few aspects of communication such
as attention, brand awareness, brand knowledge, emotional reaction and
psychological reaction.
One of the tests of emotional reaction is to gauge how likeable an advertisement
is to the audience. This is because likeability is regarded as a strong indicator of
success and effectiveness of an advertisement. The likeability of an advertisement
can be measured along a continuum from „I like the message‰ to „I hate the
message.‰ The respondent chooses from the scale of 1 to 5 or from 1 to 7 to
describe their feelings towards the advertisement. The likeability test weighs the
related factors.
However, the evaluation can be done at all the stages in the creative process. The
first stage is the evaluation of the consumerÊs perception towards the product to
determine whether the product positioning needs changes, enforcement and
repositioning. The test that can be done at this stage is the product positioning
test. After that, it is the concept test that measures the effectiveness of the rough
ideas that become the campaign theme. The following stage is copytesting, as
explained above. This is a test that evaluates the implementation of the
advertisement message before it is produced. After that, there is a parallel test,
where an evaluation is done to identify the performance of the message when it is
published. Finally, the evaluative test measures the presentation and performance
of the message based on the objectives fixed. As a conclusion, the evaluation of
advertisement messages is done through different tests at every development
stage.

Figure 9.1: The measurement and evaluation methods
9.2 MESSAGE TEST

The evaluation of the advertising message is done at certain times, which are
during the forming of the selling message or during implementation, when the
real advertisement is carried out. There are a few tests to be done, which are the
pretest, posttest and tracking research.
9.2.1 Pretest
The pretest is also called the concept test. The pretest is done on the advertising
copy when it is in the early stage or rough idea stage. ThisIt is the early stage of
formation of the advertisement ideas before the real advertisement is used. This is
because at the concept stage, there are many possible concepts that can be chosen.
It will be more economical if the concept is tested before the real material is
produced. The purposes of the pretest are to:
 Evaluate whether the sales message is acceptable and perceived by the
audience as per the objective.
 Collect important information for the creative team to improve the
advertisement message presentation.

 Reduce the failure rate of the advertisement campaign and increase its
effectiveness.
The pretest is usually related to new products. However, existing products also
need a pretest if there is a change in the product marketing strategy, such as
repositioning, product differentiation, et cetera. So, the content of the test will
focus on the product name, the characteristics of the product, the price and
packaging. A form of stimulus to depict the sales idea is needed for the test. For
print media advertisements, the stimulus can be the artwork and the evaluation
can be done at the different stages.
There are at least three stages in the production process of the artwork, which are
the thumbnail, the rough sketch and the comprehensive stage. The thumbnail is a
small and free-sized sketch of the replica of actual size. It is an early task to collect
all the possible ideas for selection so that the best print advertisement can be
chosen. Although small in size, the sketch should use the same proportion to
facilitate matching. The thumbnail is not detailed because the important thing is
the structure, position, pattern and style of the design.
The thumbnail will be evaluated or tested before the decision to choose one or
two of the best sketches. Based on the selection, the creative team will move to
the next step, which is the rough sketch stage. In the rough sketch, the actual size
will be used and the layout will be done in detail. The details are clear and the
best sketch will be selected for the third stage, which is the comprehensive stage.
At the comprehensive stage, only one artwork will be given focus and the layout
artist will produce an artwork of the same quality as the final one.
The pretest criteria are different and depend on their objectives. However, the
usual criteria are the audienceÊs reaction during the first view, negative or
positive effects of the presentation, visual impression, headline, sub-headline,
copy, the desired message, the audienceÊs choices and the input in the way of
improvement.
In television advertisements, the stimulus can consist of the storyboard that

depicts the rough concept of the advertisement in the form of shot sequence from
beginning till end by giving the description of the sound effects and the words
uttered.

In conclusion, the pretest generally covers the measurement of:

 The basic theme · the main message, the main promise, slogan.
 The creative and production elements · words, music, camera angle and
talent.
 The overall advertisement · interest, credibility, memorability.
9.2.2 The Posttest

The posttest is conducted at the end of the campaign, which is during or after the
advertisement is published. For some people, the posttest is unimportant
compared with the pretest. The posttest measures the content and design as well
as the effects of the advertisement message on awareness, attitude, buying
intention, claimed buying practice, et cetera.

Figure 9.2: The Pretest and Posttest Questions
9.2.3 Tracking Research

This research is done to measure the awareness of the product, the knowing of
the product, the memory and also the consequences. The concept of the tracking
research is not one-off but continuous. This enables the creative team to evaluate
the communication of the advertisement message in a few usage stages. In this
way, the effects can be monitored along the campaign and modifications can be
made if needed at a particular stage.

ACTIVITY 9.1
An advertising expert, John C. Mahoney, once expressed these words:
We can evaluate the effects of sales or the public opinion and the
change of attitude towards the whole campaign. We can evaluate the
effectiveness of an advertisement in a campaign. We can evaluate the
graphic, text and the other subsections in the advertisement. We can
evaluate the fast effects, the short-term effects and also the general
long-term effects. However, we can never fully understand the
meaning of the measurement of effectiveness in this partial form until
we understand the relationship between the parts and the entire
advertisement.
 Explain MahoneyÊs statement in your own words.
 What is meant by the last statement in the passage?
 How far do you agree with the statement?

9.3 EVALUATION ISSUES
In a world that pays great emphasis on R&D, the scientific inputs become very
important. It is the same for the marketing communications field. These inputs
can strengthen communication and convey the sales messages in different ways.
It can help the creative team to choose the most credible message theme, to see
what combination of elements is easy to remember, to know what character,
setting and shots can attract the most attention and to differentiate the brand as
well as motivate a change of behaviour.
Copytesting is done mainly for diagnostic purposes. It determines how effective a

message is or identifies the reasons for the effectiveness. In the copytesting
process, there are a few things that require attention.
9.3.1 Defining the Problem

One of the most important and difficult things related to the task of determining
the effectiveness of an advertisement is defining effectiveness in terms of its
measurable communication. This means efficiency needs to be defined
operationally. In the copy platform or the creative brief, the objective is related to
the communications objective. If it is achieved, it will encourage the customer to
make a response. This objective us used as a basis by the creative team to evaluate

the advertisement. At the same time, the advertising copy also performs the
public relations functions of the company. It is not only for the consumers but for
non-consumers and the public, whether internal or external, as well. No matter
what the purpose, the end results are the reactions and the reaction list is actually
long. The usual measurement is based on the brand image, the information or
knowledge acquired from the advertisement, the perception of the product in
terms of its credibility and the buying intention. So, the step to define the
problem is not that difficult compared with the evaluation task itself, for example,
how advertisement credibility is measured, how to evaluate effective memory,
what type of memory is regarded good, et cetera.
9.3.2 Test Elements

Generally, only one message factor or message result may be measured at a time.
This enables the results of the findings to be related to the element measured. For
example, the results of the research may find that the 60-second advertisement is
a complete slice of life with a jingle. The sound effects and housewife characters
are more informative than the 30-second demonstration filled with animation. It
is difficult to prove which message variation or which combination of messages
will have an effect.
However, when we are learning about the elements of the advertisement, we can
evaluate the exposure of the advertisement message, the perception of the
product, the message communication, the entire reaction and the change of
attitude.
9.3.3 Validity and Reliability

All research faces a standard in terms of validity and reliability. The test is
regarded valid if it measures the elements that are supposed to be measured. For
example, if we want to measure the height of a person, we measure the length
from top to toe when the person is standing straight on the soles, and not
tiptoeing or slouching. The tools such as tape, string or thread can be used to
obtain the quantitative measurement. However, how do we measure the
memory, likeability or awareness of a product? An accurate qualitative scale
needs to be formed to measure the identified character to obtain the desired
results of the findings.
A test is regarded reliable if the measurement results obtained are the same in
different situations and at different times as long as the stimulus and the type of
respondent is the same.

ACTIVITY 9.2
A research is done to measure how retentive an advertisement is a
day after it is published. The research method is the telephone
questionnaire. The sample of 200 people is taken in a systematic
procedure from the telephone directory. Questions are asked to:
 Determine the television ownership,
 Know whether the respondent watched the television
programme broadcast,
 Know whether the respondent watched the advertisement from
start to end,
 Know what products are remembered by the respondents from
the advertisements broadcasted in the programme.
 Identify what is remembered from the broadcasted
advertisement.
 Know the respondentÊs opinion of the advertisement.
Plan a research instrument based on the explanation above.
Appeal Gap Analysis

Concept Test Marketing Communication Objective
Copytesting Positioning
Emotional Appeal Rational Appeal
Evaluative Test Thumbnail

SELF ASSESSMENT 1
1. What are the challenges faced in the evaluation of an advertisement?
2. What are the general questions that need to be answered to know about the
creative approach?
3. What is the importance of a pretest?
4. What is a tracking research and why does it need to be done?
5. If a research or measurement has no validity, what does it mean?
SELF ASSESSMENT 2
1. Give an example of a product that has been successfully repositioned. How
does it make the change through advertising?
2. For some people, the posttest is less important thanthe pretest. Why?
3. State the reasons why an evaluation needs to be done on the advertising

copy produced.
4. Explain how reliability and validity are determined.
5. Give three questions that can be asked in a pretest questionnaire and three
questions in a posttest questionnaire.
Aaker, David and Shanby, Gary. (1982). Positioning your product, Business
Horizon 25. (May/June), 56-62.
Baldwin, H. (1982). Creating effective TV commercials. Chicago: Crain Books.
Beierley (1995). The advertising handbook, New York & London: Routledge.
Zeigler, S. and Howard, H. (1978). Broadcast advertising. Ohio: Grid Inc.

Topic 10  Advertisement
Rules and
Regulations
LEARNING OUTCOMES
1. Explain the different rules and regulations in advertising;
2. Discuss provisions in the important acts related to the media;
3. Clarify the concept of ethics and professional responsibilities; and
4. Evaluate the issues related to the ethical profession in the field of
advertising.
 INTRODUCTION
As a piece of work that will be published or broadcast, the advertisement is
subject to various rules and regulations such as media law, intellectual property
law, communications and multimedia law and by-laws under the local authority.
Besides the rules enacted by the central and local legislation bodies, advertising
practices are also monitored through the rules and code outlined by the local
authority and the industry itself. This topic will discuss a few rules related
directly to advertising activities. It covers Media Law and Intellectual Property
Law. A few codes will also be explained, such as the Advertising Practice Code,
the Advertising Code in the Broadcast Media and the Content Code. This chapter
is divided into five subtopics, which are Advertising Monitoring, Media
Regulation, Specific Rules, Local Authority Rules and Advertising Ethics.

218  TOPIC 10 ADVERTISEMENT RULES AND REGULATIONS
SELF-CHECK 10.1
List the general criticisms frequently directed at advertisements
published in the print or electronic media. For each criticism, think
of a way to defend it.
10.1 ADVERTISING MONITORING

The monitoring of advertising activities is carried out only by the government
but by the industry, the public and organisations as well. At the government
level, there are certain rules and regulations enacted. At the industry level, there
are guides and advertising practice codes created by advertising practitioners
themselves to ensure standards of professionalism are adhered to. At the public
level, the monitoring is done by consumer associations as well as individuals
who have the right to complain about any violation of rules.
At the organisation level, the advertising and media agencies will conduct self-
censorship of the advertisements that they think are inappropriate for broadcast
or publication. Advertisement producers need to be sensitive about their
advertisement work. All the rules are important not only to protect the public
from unhealthy practiced but also to take care of professional advertising
practices.
10.2 MEDIA REGULATION

Media regulation covers all the acts and laws enacted to monitor mass media
activities and their practitioners. The advertising activities or professions in the
media and communications field are subject to the various mass media
regulations, for instance, the Copyright Act, et cetera. For discussion purposes,
we will group the main media regulations into Media Law and Intellectual
Property Law.

TOPIC 10 ADVERTISEMENT RULES AND REGULATIONS  219
Figure 10.1: The monitoring levels
10.2.1 Media Law

Media Law refers to all the regulations that are related to the media. The clauses
in this law has implications for the media field, whether it is the practitioner,
organization, content or its process. Some of the main media laws are:
 Internal Security Act 1960 (Act 82)
 Official Secrets Act 1972 (Act 88)
 Sedition Act 1948 (Act 15)
 Defamation Act 1957 (Act 286)
 Printing Presses and Publications Act 1984 (Act 301)
 Communications and Multimedia Act 1998 (Act 588)
The Internal Security Act 1960 (Act 82): This Act provides security in the country,
preventive detention, prevention of subversive acts and the eradication of
planned violence against the people and property. Provisions under Chapter III,
Section 22, of this Act prohibit the printing, the selling of documents and the
publication of elements that incite violence, encourage the violation of the law,
develop the feeling of hatred among the races and endanger the national interest.
Anyone involved in the offences stated in Section 22 will be regarded as having
committed the offence and if found guilty, will be fined not more than
RM2,000.00 or imprisoned for not more than three years or both.

In Section 29, it is stated that whoever disseminates a circular, a sticker or a

document that contains the elements that incite violence has committed an
offence. The same applies to an action that disseminates a false report that causes
public anxiety.
(a) Official Secrets Act 1972 (Act 88)

The main purpose of this Act is to protect the secrets of the government so
that they do not fall into the wrong hands. Under this Act, a person is not
allowed to receive, keep, take out, transfer, publish, copy, collect, record or
use fully or partially documents labelled as official secrets without
permission. The official secrets in this Act are defined as whatever letters or
information that are classified as „Top Secret‰, „Secret‰, „Confidential‰ or
„Limited‰ by the Ministers or Chief Ministers.
(b) Sedition Act 1948 (Act 15)

The offences listed under this Act include the action or attempt to to do any
act or utter any seditious words, print, publish, sell, offer for sale, distribute
or reproduce any seditious publication; or import any seditious publication.
Under this Act, a seditious tendency is a tendency to:

 Create hatred or contempt or arouse feelings of dislike or dissatisfaction
against the king, the government or the administration of justice.
 Promote feelings of ill-will and hostility between different races or
classes of the population.
Question any matter, right, status, position, privilege, sovereignty or

prerogative established or protected by the provisions of Part III of the
Federal Constitution or Article 152, 153 or 181 of the Federal Constitution.
(c) Defamation Act 1957 (Act 286)

Defamation Act is related to libel and slander lawsThe words referred to in
this Act include a reference to pictures, visual images, gestures and other
methods of signifying meaning.
Defamation occurs when a person publishes words or matter containing

untrue imputation against the reputation of another. Generally speaking, if
the offensive material is published in a permanent form, it is libel and if it is
published in a non-permanent form, it is slander.

(d) Printing Presses and Publications Act 1984 (Act 301)

This Act is created to supervise the use of printers and printing, the
importing, reproduction, publishing and distribution of published works.
The term ÂpublishingÊ in this Act refers to documents, papers, books and
periodicals, printed or written material, or any forms that portray words or
ideas and voice recordings.
(e) Communications and Multimedia Act 1998 (Act 588)

This Act has provisions to supervise the communications and multimedia
industry. Some of the purposes of this Act are to:
 Make Malaysia a centre and main focus of the world in the
communications service and information service.
 Encourage the society that uses services based on information to
enhance work quality and the quality of life continuously.
 Increase the high level of confidence of consumers in service providers.
 Build and encourage local information sources and the representation of
local culture that can illustrate national identity and global diversity.
 Encourage ability and efficiency in the combination of industry in
Malaysia.
In this Act, communications is defined as „whatever types of communications,

whether between one person and another, between one thing and another or
between a person with a thing in the form of sound, data, text, visual image,
signal or whatever forms or the combination of those forms.‰ Content is defined
as „whatever sounds, texts, pictures, static pictures, animated pictures or other
audiovisual presentation, touch presentation or whatever combinations that can
be created, manipulated, kept, taken or conveyed electronically.‰
Through this Act, the Malaysian Communications and Multimedia Commission

was established. Among the tasks of this ommission is to manage the application
of individual licences and class licences to carry out activities in the
communications and multimedia industry. The Commission also monitors
licence holders to see whether they are law-abiding. A person who disobeys the
instructions of the ommission is regarded as committing an offence and if found
guilty, the offender can be fined not more than RM300,000 or imprisoned not
more than three years or both.
Another important task of the Commission is to establish an industrial body to

become the Industrial Forum. One of the tasks of this forum is to prepare a
voluntary industrial code or Content Code that becomes the outline of the
professional practice. According to Section 99 (the instruction to obey the

voluntary industrial code), it is not mandatory to obey the voluntary industrial

code. However, obeying it can be a defence against any accusations, actions and
court proceedings against a person. A person who disobeys the voluntary
industrial code can be fined not more than RM200,000.
10.2.2 Intellectual Property Law

In Malaysia, Intellectual Property Law consists of a few categories, which are:
 Trademarks Act 1976
 Patents Act 1983
 Copyright Act 1987
 Industrial Designs Act 1996
 Geographical Indications Act 2000
 Layout Design of Integrated Circuits Act
The implementation of the copyright protection system is under the operations of

the Intellectual Property Corporation of Malaysia. The patron is the Ministry of
Domestic Trade and Consumer Affairs. Malaysia is a member of WIPO besides
being a member of two international copyright conventions, which are the Paris
Convention 1883 and the Berne Convention 1986. The Paris Convention provides
the standard protection for the patents, trade charges and industrial designs
while the Bern Convention is related to the standards of copyright protection.
Besides that, Malaysia is also a participany of the Trade Related Aspects of

Intellectual Property Rights (TRIPs) agreement administered under the World
Trade Organization that was enforced at the beginning of year 1995. The purpose
of TRIPs is to reduce the gap between the standard of protection and the
enforcement of intellectual property rights in the world. Under this agreement,
the country members are responsible for preparing the procedure that enables
the enforcement of intellectual property protection and effective management. To
carry out such responsibility, Malaysia has enacted a few new Acts, which are the
Layout Design of Integrated Circuits Act and the Geographical Indications Act.
The government has amended other related Acts so that they are in accord with
the provisions of the agreement.
Intellectual Property Law protects the rights holder or owner of the property by
giving him/her the exclusive rights to use the work for a stipulated period of
time. Besides that, they are given the rights to prevent any forms of violation. The
period of rights will continue up till the period of time stipulated by the law or
until the owner grants permission to another party. The protection given by this

law can encourage human creativity and production as well as healthy

competition in the field of works.
(a) Copyright Act 1987

The copyright is the legal right of an intellectual property that becomes the
exclusive rights of its owner for a stipulated period of time. The works will
get copyright protection automatically when a person fulfils the following
conditions:
 Enough effort is done to make the work original.
 The work is written, recorded or made into a material.
 The creator is an eligible person, where the person is a citizen or
resident and the work is first published in Malaysia.
Under Section 36(1) of the Copyright Act 1987, the violation of copyright is
said to happen when someone does or causes someone else to commit an
offence under the Act without the permission of the copyright owner.
According to Section 41, the offences under the copyright act are listed
below. The punishments for some of the offences are a fine of not more
than RM10,000 for every violated copy or an imprisonment of not more
than five years or both.
For some other offences, the fine is not more than RM20,000 for every
violation copy or an imprisonment of not more than 10 years or both.
Another punishment for the offence is a fine of not more than RM10,000 for
every design that is related to it or an imprisonment of not more than 10
years or both. The punishments for the offence of violating the
management rights are a fine of not more than RM250,000 or an
imprisonment of not more than three years or both.
(b) Trademarks Act 1976

The protection for trademarks in Malaysia is in the Trademarks Act 1976
and the Trademarks Regulations 1997 (Amendment 2001). The 1976 Act
was enforced in 1983 to protect the exclusive rights of the trademark
owner. It was subsequently amended in 1994, 2000 and 2002.
Stamp under this Act means a mark, brand, head, label, ticket, name, signature,
word, letter, number or any of the combinations mentioned. Trademark means a
mark used for a product or service to show a trade relationship between the
product and the owner who has the right to use the trademark. Under the 1994
amendments, services related to advertising, insurance, telecommunications,
transport, education, travel, entertainment, lodging and computer software are
categorised under the meaning of trademark.
(c) Patents Act 1983

This Act does not defone a patent but mentions inventions that can be
patented. Section 12(1) defines the invention as an inspiration of an
inventor to solve a problem in a certain field.
This section divides an invention or intellectual property that can be

patented into two categories, which are product inventions and process
inventions. A product invention is related to the tool or machine that can be
divided into four categories. The first category is the entire machine or tool,
such as the coconut skin remover, room heater, car or hair shaver. The
second category is one or two of the components of the tool. The third
category is a new element and the combination of those elements in which
some parts are old. The fourth category is all the old elements but the
invention involves a new combination of old elements into the creation of
something new or useful in a better way compared with previously.
(d) Geographical Indications Act 2000

The geographical indication identifies the place of origin of a product if the
quality, reputation or the other characteristics are regarded as originating
from that geographical place. This is stated in the Geographical Indications
Act 2000. To understand this, we take the Sayong pottery or the Losong
keropok lekor as examples. Although the two are not registered under this
law, it is known that Sayong in Perak is famous for its pottery and Losong
in Kuala Terengganu is famous for its high quality keropok lekor. ThatÊs
why protection needs to be given to Sayong for the pottery and to Losong
for the keropok lekor there.
(e) Industrial Designs Law

Industrial designs are related to the decoration aspects or aesthetic value of
an industrial product and handicraft. It covers the technical equipment
such as accessories, textile, packaging, medication, vehicle, handicraft, et
cetera. The aesthetic characteristics are the form, style, structure and
product format that attracts attention. So, the design means the concept,
suggestion or idea of the form, picture, figure or combination that can be
used for a thing manually, mechanically or chemically. The concept,
suggestion or idea can be registered but not the product itself.

10.3 SPECIFIC RULES

The specific rules on the content of advertisements cover medicine
advertisements, pest poison advertisements, food and beverage advertisements
that have claims and overseas institution of higher learning advertisements.
Medicine advertisements, medical treatments and medical facilities are under the
jurisdiction of the Medicine Advertisement Board, Ministry of Health Malaysia.
Pest poison advertisements are under the jurisdiction of the Pest Poison Board,
Ministry of Agriculture. The advertisement of food and beverages that have
claims are under the jurisdiction of the Food Quality Control Unit, Ministry of
Health. The Overseas Institutions of Higher Learning are under the jurisdiction
of the Private Studies Unit, Ministry of Higher Education, Malaysia.
10.3.1 Medicines Act (Advertisement and Sale) 1956

The Medicine Advertisement Board comprises the Chief Director of the
MalaysiaÊs Ministry, the Director of Pharmaceutical Services, the Director of
Medical Services and representatives of the Malaysian Medical Association, the
Private Hospitals Association, the Medical Experts Association, et cetera. The
functions and responsibilities of this board are to:
 Manage the application of advertisements for services, medicines,
equipmentand healers that have medical claims in the mass media and other
media.
 Revoke or cancel any of advertisements that have been approved when
necessary.
The Medicines Advertisements Board No. 2/2006 dated 24th February 2006 lists
the latest guidelines to complete the provisions of the Medicines Act
(Advertisement and Sale) 1956 (Revised 1983) and the Medicines Advertisement
Board Regulations 1976. Advertisements in the guidelines include any notices,
circulars, reports, commentaries, leaflets, labels, wrappers or any other
documents and announcements made orally or by sight and sound.
The objective of this guideline is to ensure that advertising practices responsibly

promote medicines, equipment or healers that can be purchased by people
without prescription. All products defined as poison or contain poison under the
Poisons Act 1952 cannot be advertised.
(a) Advertisement Content

An advertisement should contain credible, accurate, true, informative,
balanced, recent, proven and suitable information. It should not have any
confusing, unclear or negligent statements that influence the use of

medication inappropriately or increase unwanted risks. The advertisement

should not include the presentation of views of doctors, dentists,
pharmacists, scientists, nurses, paramedics, et cetera who give professional
scientific advice, recommendations or verifications. The advertisement
should not have statements or visual presentations that oppose or violate
the moral standards or decency of Malaysian society or insult any segment
of the population.
Figure 10.2: Advertisement content not allowed under the medicines act

(b) General Claims

Exaggerated speeches or hyperbole cannot be used in medicine
advertisements unless the speech is used to attract attention to the
advertisement and not used as a claim or conclusion for an advantageous
status or the highest status of the advertised product.
Figure 10.3: Claims not allowed under the medicines act
(c) Specific Claims

The advertisements should not recommend or portray the product offered
as being able to:
(i) increase sexual prowess or effective in treating sexual impotence;
(ii) reduce, control or treat ageing;
(iii) reduce, control or reverse the ageing process; and
(iv) prevent balding problems, stop hair loss or increase hair growth.
However, treatment that uses mechanical techniques such as hair
thickening, et cetera is allowed.
(d) Warning Statements

The Medicine Advertisements Board makes it compulsory that warning
statements are to be inserted in the advertisement. For example:
 Advertisements of products that contain herbs or herbal ingredients
must have the following sentence: „This is a herbal preparation.‰

 Products that contain alcohol for pharmacology effects or as a solution

must state the percentage of alcohol content such as: „This preparation
contains X% of alcohol.‰
 Products that contain the ingredients of animals must state the source of
those ingredients by mentioning the part or organ and the species of the
animal.
 Products containing a special formula of fat soluble vitamin to be used
as an additional food must insert the following warning statement:
„Excessive consumption of this vitamin can endanger your health.‰
 Products to relieve the fever, cough and pain must insert the following
statement: „If the symptoms continue, please inform a doctor.‰
 Medical equipment for diagnosis such as the blood pressure gauge, et
cetera must include the following statement: „Consumers are advised to
inform the doctor when interpreting the reading.‰
(e) Methods Not Allowed

The advertising of a medical product through the post is not allowed. Any
advertisements that encourage the direct sale of a product from the
manufacturer, wholesaler or sales representative are not allowed. Visits to
houses or offices to advertise a medical product, whether on demand or
otherwise are not allowed. The exemption to this prohibition is for
information disseminated in journals and news published by medical
bodies. The Malaysian Medical Association and Malaysian Dental
Association have the approval of the Health Minister to publish
advertisements. The Medicine Advertisements Board at a meeting on 30
June 2005 decided to allow hospitals and private clinics to advertise their
services in the print media. Prior to this, they were only allowed to
advertise their services in such media as leaflets, the yellow pages and the
Internet. However, all advertisements must obtain the approval of the
Medicine Advertisements Board.
(f) Health Service Advertisements

Under the law, only three groups are allowed to advertise services offered.
These are private hospitals/clinic, radiology clinics and private medical
laboratories. Other services are not allowed to be advertised in any of the
media.

10.4 LOCAL AUTHORITY RULES

Eachlocal authority has its own laws. It functions as the law and rule-maker in its
own region. Generally, the laws have the following functions:
 Enforce the laws for the ocal Authority.
 Provide legal advice and carry out prosecution in the courts.
 Prepare and check agreement letters.
 Enact and amend the By-laws, Rules, Commands and Methods.
 Prepare and check summons, accusations and complaints.
 Hold legal education for the Local Authority staff.
(a) By-laws
By-laws are the the subordinate laws of principal laws. These subordinate
laws are also known as the Command, Method, Rule, et cetera. In the
context of advertising, many municipal or district councils have enacted at
least two laws:
 Advertisement By-laws: For example, the Advertisement By-laws
(MPKB) 1990, Advertisement By-laws (MPK) 1983, Advertisement By-
laws (MPSJ) 1998
 Election Advertisement By-laws: For example, the Election
Advertisement By-laws (MPKB) 1989 and the Election Advertisement
By-laws (MPK) 1990.
(b) Compound Rate

Based on the Compound By-laws of a Local Authority, the violation of any
of the by-laws can be fined a compound of up to a maximum of RM500.00.
The maximum compound rate for an offence under the Local Government
Act 1976 (Act 171) is RM1,000.00.

Figure 10.4: Guidelines for advertisement language usage under the

advertisement by-laws MPSJ 1998
Figure 10.5: Advertisement guidelines

of the Municipal Council of Subang Jaya

Figure 10.6: Guidelines for billboards for the

local authority of Selangor

ACTIVITY 10.1
Get documents of advertising laws from the Municipal Council or

the District Council in your area. Elaborate on the guideline. What
is your opinion on the rules and the control?
10.5 ADVERTISING ETHICS

What is the relationship between advertising practitioners and social
responsibility issues? Do advertising practitioners carry out the responsibilities of
humanity problems? It is hoped that advertising practitioners, like professionals
in other fields, play a certain role.
Advertising practitioners are actually one of the important contributors in the

areas of safety, health and society welfare. However, some parties think the
ethical decisions are a personal matter However, if each and every person thinks
honestly and seriously about morality, responsibility, society, social justice,
prosperity of the family and society, we will do something with a great impact
that we cannot imagine.
10.5.1 Advertising Practice Code in Malaysia

The Association of Accredited Advertising Agents of Malaysia (4AÊs) was
established in 1960 to promote good advertising practices and to provide the
public with information of products and services. By doing this, it can develop
the interests of advertising agencies towards its clients, which are the advertisers.
The association handles industrial issues by making certain suggestions to its

members in facing those issues. It negotiates with other industries that have a
direct indirect relationship in matters related to advertising. It negotiates with the
government and other bodies on issues related to the various advertising tasks
by becoming a representative for its members who protect their interests as
professional advertising practitioners. The association is an educator for its
members through training activities to enhance the skills and knowledge of the
staff in this industry.
Figure 10.7: The 4As charter
(a) Behavioural Standards

The behavioural standards of this association reflect a belief in ethical
business practices. So, the success of a business in the advertising field is
based on honest and decent transactions, as well as an appreciation of the
principle of high integrity.
(b) The Members of the 4As are Concerned about the Following Efforts:
 Show true professionalism.
 Establish trust and important values for long-term success.
 Observe high ethical standards in every stage of business transactions.
 Act fairly towards customers, partners and suppliers in the business
community.

 Treat all transactions with customers and business partners with

confidentiality.
 Obey the Advertising Practice Code and follow self-regulation as the
basis of good practice in advertising ethics.
 Compete fairly and ethically and in accordance with accepted standards
in the professional practice and do not carry out any practice that
tarnishes the reputation of the advertising field.
(c) The Members Promise to Adhere to the Following Standards in the Public
Interest
 Show responsibility towards the consumer and society.
 Concerned about the publicÊs sensitivity in the use of offensive matters
and ensure that negative effects are avoided.
 Do not exploit unknowledgeable and inexperienced consumers.
 Do not approve of advertisements that provoke violence and anti-social
behaviour.
 Able to prove that claims made, whether explicitly or implicitly, are
honest by not giving inaccurate, obscure, exaggerated or deleted
information.
 Responsible in displaying race, age, sexual orientation, disability,
traditional and religious values.
ACTIVITY 10.2
Examine the Charter of the Association of Accredited Advertising

Agents of Malaysia in Figure 10.7. Give your review of the charter
and its relationship with the aims and purposes of the association.

10.5.2 Advertising Code in the Broadcast Media

Basically, the Malaysian advertising code is designed to protect the interests of
the public, the country and the government from elements that can threaten the
unity and growth of the country through the broadcast media. This code is also
created based on the responsibility and sensitivity of the government towards the
needs of the society, values and social culture of the country. The intention of the
government is to create a civilised, advanced race with good morals. However,
the advertising code is only used in commercials broadcast by the radio and TV
stations. The code was enforced on 1 October 1998.
(a) Code Content

The code content covers rules on decency, permission, sensitivity,
advertisement comparison, testimonial, privacy protection and safety.
Besides that, the aspects that are given guides also cover guarantee,
violence, moral, women, children and cigarette brand products.
(b) Code Provision

The broadcasting licence holder has the responsibility to determine that
advertisements broadcast by it follow the rules of the code and instructions
given by the minister from time to time on the code. The minister can, at his
discretion, revoke or add any new rules in the code from time to time.

Figure 10.8: Important guides in the advertising code

of the broadcast media

Figure 10.9: Products and scenes that cannot be advertised

ACTIVITY 10.3
Look at Figure 10.10 below and answer the following questions.
Figure 10.10: Crony advertisement
1. What is product being advertised?

2. Who is the target audience?
3. Does the advertisement violate any of the ethical codes, rules
or laws? Discuss.

10.5.3 The Communications and Multimedia Content

Code
The Communications and Multimedia Act states that the Content Forum must
prepare the Content Code and enforce it in the communications and multimedia
industry. This Code outlines the guides and procedures for the practice and
standard in content to be distributed to the audience by the service content
provider in the communications and multimedia industry in Malaysia.
The Content Code shows the commitment of the industry towards self-regulation
to follow the Communications and Multimedia Act 1998. The Code strives to
identify things regarded as offensive and objectionable. It also outlines the
responsibility and the role of the content provider in the context of the social
values of the Malaysian society. This Code is important as a guide to a
responsible approach in preparing content and devising procedures on self-
regulation to prepare the platform of creavitity, innovation and a healthy
development in the fast-moving industry.
Conforming with this Code is voluntary and it is subject to Section 99 of the

Communications and Multimedia Act. Conformity is important also as a defence
against any punishment, actions or proceedings against a content provider.
(a) Code Objective

The important aim of this Code is to suggest a guide on content
preparation through self-regulation by the industry and it should be
feasible commercially. Specifically, this Code is outlined to prevent the
following things: improper, obscene, destructive and offensive content that
intends to hurt, anger, threaten, abuse or disturb people.
It is hoped this Code provides a guide on the preparation of news or

reports to form a knowledgeable society for a harmonious and developing
country. This guide is important in preparing information and
entertainment to fulfil the various needs of Malaysians in various fields
such as business, politics, recreation, culture and education. Finally, it is
hoped this Code will guide content providers to give the consumers
freedom to obtain the content material of their choice.
(b) Content Guide

Section 211 of the Communications and Multimedia Act bans improper,
obscene, false, destructive or offensive content with the intention to destroy
and threaten other people. This means the Code ensures that the content of
the materials does not include the elements mentioned. Some of the specific
guides outlined in this Code are the following:

(c) Obscene Content

Obscene content is material that is offensive, morally inappropriate and
beyond generally accepted behaviour. It involves sex and nudity. Those
scenes are not allowed unless they have the approval of the Film Censor
Board. The obscenity test is to test whether the content of the material has
the tendency to corrupt and affect the minds of the audience.
(d) Violence
Psychological or physical violence or incitement towards violence should
be presented in a responsible and not exploitative manner. Presentation of
violence must avoid excessive, exaggerated, improper, instructive or
insulting characteristics. Besides that, the use of violent elements to show
aggression and physical suffering including by sight and sound must be
avoided. Programme involving violence must be suitable for the context
and the audienceÊs expectations. Besides that, there must be efforts to show
the consequences of violence to victims and perpetrators.
The portaryal of violence is permitted in news reporting, discussion or

analysis and in the context of sports. Viewers must be cautioned in advance
of scenes of violence. Careful attention should be given when presentations
are viewed by children or when children are involved.
(e) Destructive Content

This type of content creates anger, encourages crime, is likely to cause
incitement, is bad in nature or threatens to cause destruction. Hate
propaganda such as encouraging killing or racial loathing is not permitted
to be broadcast. The same applies to information that threatens the security
of the country or the safety and health of the public. Disseminating false
information that creates racial havoc is also not allowed.
(f) Improper Language

Improper language includes offensive cursing of the other people. The use
of vulgar language, obscenities, insults, et cetera create dissatisfaction
especially if they are contrary to audience expectations. Some elements of
improper language are offensive words, obscenities and a breach of
etiquette that includes words referring to sexual relationships and sex
organs. In addition, harsh words, speeches and loathing images as well as
insulting phrases on the basis of racial, ethnic, religious, nationality,
gender, sexual orientation differences or deformity are not permitted.
(g) False Content

False content contains material that is likely to mislead. Such material
includes inaccurate and incomplete information. The content provider must
be concerned with the materials that tend to disseminate false information
or untruths. However, such content is allowed if it is used for satirical and
parody purposes, and where it is clear that the audience knows the
material is fiction.
(h) ChildrenÊs Content

Content directed at children or those aged 14 and below must be given
attention. The important aspects are child safety and charity. Scenes of
violence portrayed by real-life characters must be essential to the
development of character and plot. Animated content can include non-
realistic violence but should not depict violence as its main theme. Scenes
that may invite children to imitate what they see, such as the use of plastic
bags, matches, weapons and dangerous products or dangerous physical
acts, must be handled carefully.
(i) Family Values

The principles of intellectual and emotional equality of both sexes and and
the dignity of all individuals are to be respected. Despite social
discrimination, content must portray awareness of the need to avoid and
overcome biased portrayals on the basis of gender. Men and women should
be portrayed as equals both economically and emotionally, and in public
and individual contexts. The content must also illustrate all persons as
supportive participants in the family unit, home management and
household tasks.
(j) Disabled Citizens

There is a risk of causing anger and dissatisfaction in the use of jokes based
on physical, mental or other disabilities even though the content producer
does not have any such intention. The reference to any kinds of disabilities
is allowed when it is really needed and relevant to the context. In this case,
patronising words should be replaced with neutral phrases.
CONTENT CODE
This section is a guide for advertisements conveyed electronically and includes
media such as television, radio, on-line services and audiotext hosting services.
The word ÂadvertisementÊ in this code refers to the „announcement of a public

nature whether for the sale or purchase or provision of goods or services or
constituting an invitation to participate in an activity and conveyed by or
through any signage, image or sound disseminated through electronic medium
for advertising purposes.‰ The ÂadvertiserÊ is „any person who utilises the
electronic medium to advertise their products or services.‰ The advertising
content provider in this section refers to the advertiser, advertising agency and
the person who controls the dissemination of the advertisement.

(a) Objectives
This section is to ensure that high and continuing advertising standards
through self-regulation are in accord with consumersÊ expectations and
good practices acknowledged internationally. The advertising practitioner
admits that creative freedom comes with the responsibility of ensuring that
the audienceÊs rights are protected. That is why this section is a guide to
achieve an expected high standard by the advertising industry for the
healthy progress and development of the field.
(b) Principles
All advertisements must be valid, decent, honest and true. They must be
prepared responsibly for consumers and the society. They must also
respect the principles of healthy competition genererally accepted in the
business.
(c) Some of the Specific Guides to Advertisements:

 Valid: The advertisers are responsible for ensuring that their
advertisements obey the law.
 Decent: Advertisements must not anger the public, or contain offensive
statements, audio and visual presentations.
 Honest and true: Advertisements must not abuse the trust of the
consumers or lie by giving inaccurate and obscure information as well
as exaggerated statements.
 Fear and depression: Advertisements must not instil fear without
reasons. However, the advertiser can express a statement of the need to
be fearful to encourage decent behaviour and avoid destructive actions.
 Safety: Advertisements must not encourage practice that endangers an
individualÊs or the publicÊs safety.
 Violence/Anti-social behaviour: Advertisements must not encourage or
acknowledge violence or anti-social behaviour.
 Personal privacy protection
 Claim: Any promises, accusations or claims, whether explicit or implicit,
must be proved objectively.
 Price: The price stated must be clear and related to the advertised
product. If the price depends on the purchase, it must be explained.
Any free offers can be stated ÂfreeÊ based on certain conditions.
 Free offer: In any free offers, the liability cost must be clear.

 Guarantee: The word ÂfreeÊ cannot be used at all to reduce the legal
rights of the consumer.
 Comparison: Advertisement comparison is allowed if it fulfils the
conditions of respect for fair competition, no deception, and real benefit
is available.
 Insult: The advertiser cannot attack or belittle other businesses or
products.
 Unacceptable products: Tobacco, cigarette and its accessories, products
banned by the Postal Services Act 1991, fortune-telling and occult
practices, wedding agency and friendship clubs, recruitment agency
without a licence, any forms of gambling, clothes that have words or
symbols with inappropriate messages.
 Indecent and improper scenes: For example, pornography, pig
products, gambling and betting, firecrackers, financial speculation, et
cetera.
Content Code Intellectual Property

Copyright The Local Authority
Ethics
Intellectul Property

SELF ASSESSMENT 1
Answer all the questions in 15 minutes. The full marks for this test are 20 marks.
1. State the three acts categorised as intellectual property law.
2. Give examples of (a) vulgar language, (b) obscene language, (c) insulting
language in the advertising context.
3. State three advertising guides as outlined in the Content Code.
4. State one of the purposes of Act 588.
5. What is TRIPs and what is its purpose?
SELF ASSESSMENT 2
Answer all the questions in 30 minutes. The full marks for this test are 30 marks.
1. What is the meaning of self-censorship? How is the self-censorhip carried

out in advertisements?
2. The guidelines in the advertising code are important to protect the public
from unhealthy practices. Give examples of those unhealthy practices.
3. The rules in the ethical code encourages professional advertising practices.

Elaborate.
4. What is Article 152, 153 and 181 of the Federal Constitution?
5. What is stated in the advertising code for the broadcast media on cigarette
products? What is your perception of the advertisersÊ practice and the
media organizations in Malaysia at present in this context?
6. How can these companies carry out advertising campaigns?
 Lasik Laser Vision Correction
 C.J. Wong Cancer Specialist
 Carolyyn Hair Loss Treatment Sdn Bhd
 DÊResdung Maharani Centre
 Peng Sun Hair Care and Treatment

Cooper, Thomas W. (1989). Communication Eethics and Gglobal Cchange. New

York: Longman.
Hamid Mawlana. „Communication, ethics, and the Islamic tradition‰ in Thomas

Cooper, Communication Eethics and Gglobal Cchange. New York:
Longman.
International Law Book Services. (2006). Undang-undang Kkewartawanan.

Petaling Jaya: ILBS.
Kamali, Mohammad Hashim. (1994). Freedom of Eexpression in Islam. Kuala

Lumpur: Berita Publishing Sdn. Bhd.
Khadijah Mohamed & Ahmad Shamsul Abd. Aziz. (2005). Undang-undang

Hharta Iintelek di Malaysia. Sintok: Penerbit Universiti Utara Malaysia.

MODULE FEEDBACK
MAKLUM BALAS MODUL
If you have any comment or feedback, you are welcome to:
1. E-mail your comment or feedback to modulefeedback@oum.edu.my
OR
2. Fill in the Print Module online evaluation form available on myINSPIRE.
Thank you.
Centre for Instructional Design and Technology

(Pusat Reka Bentuk Pengajaran dan Teknologi )
Tel No.: 03-27732578
Fax No.: 03-26978702


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Faculty of Applied Social Sciences

Copyright © Open University Malaysia (OUM)

Copyright © Open University Malaysia (OUM)

Module Writer: Prof Dr Md Sidin Ahmad Ishak

Moderator: Dr Muhamad Sham Haji Shahkat Ali

Editor: Prof Dr Md Sidin Ahmad Ishak

First Edition, November 2008 (CBCP4203)

Copyright © Open University Malaysia (OUM), December 2016, ABCA4203

Copyright © Open University Malaysia (OUM)

Topic 1 Advertising and Marketing Communication 1

Topic 2 Organisation and Creative Staff 29

Copyright © Open University Malaysia (OUM)

2.3 Staff of the Creative Department 44

Topic 3 Creativity in Advertising 54

Topic 4 Advertising Strategy Planning 85

Copyright © Open University Malaysia (OUM)

4.3 Copy Development Guide 104

Topic 5 Strategy Implementation 112

Topic 6 Advertising Language 138

Copyright © Open University Malaysia (OUM)

6.3 Forms of Language 147

Topic 7 Elements of Advertising Copy 159

Topic 8 Advertising Copywriting 176

Copyright © Open University Malaysia (OUM)

8.3 Copywriting for Radio Advertisement 184

Topic 9 Measurement and Evaluation 203

Topic 10 Advertisement Rules and Regulations 217

Copyright © Open University Malaysia (OUM)

10.4 Local Authority Rules 229

Copyright © Open University Malaysia (OUM)

Copyright © Open University Malaysia (OUM)

As an open and distance learner, you should be acquainted with learning

Copyright © Open University Malaysia (OUM)

Table 1: Estimation of Time Accumulation of Study Hours

Study Activities Study Hours

Briefly go through the course content and participate in initial

Study the module 60

Attend 3 to 5 tutorial sessions 10

Assignment(s), Test(s) and Examination(s) 20

TOTAL STUDY HOURS ACCUMULATED 120

Topic 1 focuses on an introduction to marketing communications and its

Copyright © Open University Malaysia (OUM)

marketing communication and advertising. You will be exposed to the concept of

Copyright © Open University Malaysia (OUM)

Planning is very important in advertising campaigns especially in developing

Copyright © Open University Malaysia (OUM)

Topic 9 explains the aspect of measurement and evaluation in the context of

Copyright © Open University Malaysia (OUM)

Topic 10 describes as a piece of work that will be published or broadcast, the

TEXT ARRANGEMENT GUIDE

Self-Check: This component of the module is inserted at strategic locations

Activity: Like Self-Check, the Activity component is also placed at various

Copyright © Open University Malaysia (OUM)

References: The References section is where a list of relevant and useful

TAN SRI DR ABDULLAH SANUSI (TSDAS)

Copyright © Open University Malaysia (OUM)

You will be exposed to the concept of marketing communications, its relationship

Finally, advertisers as clients of advertising agencies and the source of

Copyright © Open University Malaysia (OUM)