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Chapter 09 - Creative Strategy: Implementation and Evaluation
CHAPTER 9
CREATIVE STRATEGY: IMPLEMENTATION AND
EVALUATION
Chapter Overview
In the previous chapter the importance of advertising creativity was examined along with the creative
process of advertising. Attention was also given to various approaches for determining the big idea that
will be used as the central theme of the advertising campaign. This chapter continues the discussion of
creative strategy by turning attention to how these big ideas are developed into advertising messages. We
will examine various appeals and execution styles that can be used in developing an advertisement along
with tactical issues involved in the design and production of advertising messages. The chapter concludes
with a discussion of some guidelines for evaluating the creative work of the advertising agency.
Learning Objectives
1. To analyze various types of appeals that can be used in the development and implementation of an
advertising message.
2. To analyze the various creative execution styles that advertisers can use and the advertising
situations where they are most appropriate.
3. To analyze various tactical issues involved in the creation of print advertising and TV commercials.
4. To consider how clients evaluate the creative work of their agencies and discuss guidelines for the
evaluation and approval process.
Chapter and Lecture Outline

I. APPEALS AND EXECUTION STYLES
Once the major selling idea and the advertising campaign theme has been agreed upon, the creative team
then turns its attention to determining the specific type of appeal and execution style that will be used to
carry out the creative concept. The focus in this chapter is on how the advertising message will be
executed and considers the various appeals or approaches used to as well as the creative execution styles
that can be used to turn the appeal into an actual advertisement.
A. Advertising Appeals—the advertising appeal refers to the basis or approach used in the
advertisement to elicit some consumer response or to influence their feelings toward the product,
service, or cause. At the broadest level, these approaches can be broken down into two categories
or classes which are informational/rational appeals and emotional appeals.
1. Informational/rational appeals—these types of appeals focus on the consumer's practical,

functional or utilitarian need for the product or service and/or specific reasons for owning a
particular brand. The Bridgestone tire ad shown in Exhibit 9-1 provides an example of a
rational appeal. Examples of a number of product- or service-related appeals that would fall
under the category of rational appeals are discussed including:
9-1
Copyright © 2015 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill
Education.
• Feature appeals
• Competitive advantage appeals
• Favorable price appeals
• News appeals
• Product/service popularity appeals
B. Emotional appeals—these types of appeals relate to consumers' social and/or psychological needs
for purchasing a product or service. Emotional appeals have become very popular in advertising
as marketers recognize that many purchase decisions are made on the basis of feelings and
emotions since rational, functional-based differentiation is often very difficult. Examples of
psychological states or feelings that can serve as a basis for emotional appeals are shown in
Figure 9-1 of the text and can be reviewed. The effectiveness of emotional appeals has been
documented in a number of research studies by Pringle and Field which are discussed in their new
book Brand Immortality. A key finding from their research is that advertising campaigns with
purely emotional content are nearly twice as likely to generate large profit gains versus
campaigns using only rational content. The emotional only campaigns were also more effective
than those that used a combination of emotional and rational content. One of the reasons given for
why emotional campaigns work so well is that they reduce price sensitivity and strengthen the
ability of brands to charge a price premium which contributes to profitability.
Another reason for using emotional appeals is to influence consumers' interpretations of their
product usage experience through the use of transformational advertising. This type of
advertising creates feelings, images, meanings and beliefs about the product or service that may
be activated when the consumer uses it and thus "transforms" their interpretation of the usage
experience. The “Find Your Beach” campaign for Corona Extra beer is a very good example of
transformational advertising.
1. Combining rational and emotional appeals—many purchase decisions are made on the basis
of both rational and emotional motives. Thus rational and emotional appeals may be
combined in the advertisement to attempt to influence both types of purchase motives.
Attention should be given to the concept of emotional bonding which focuses on how
consumers feel about brands and their relationships with them. Figure 9-2 shows how
consumers may think about brands with respect to product attributes and benefits, and then
assign a personality to a brand. The strongest relationship between a consumer and a brand is
based on feeling or emotional attachment to the brand.
2. Additional types of appeals—other appeal types that are discussed in the text include
reminder advertising, teaser advertising and user-generated content whereby ads are
created by consumers rather than by the company and/or its agency. The Fiesta Movement:
A Social Remix” campaign was based on user-generated content as the various print ads and
TV spots used in the campaign were created by consumers rather than an advertising agency.
The increasing use of social media such as YouTube and Facebook is likely to result in
greater use of user-generated content to by marketers as a way of getting consumer more
engaged with their brands.
9-2
Education.
Professor Notes
C. Advertising Execution—Creative execution refers to the manner in which an advertising appeal

is carried out or presented. A particular advertising appeal can be executed in a variety of ways
and a particular means of execution can be applied to a variety of advertising appeals. Some of
the more commonly used execution techniques include:
1. Straight-sell or factual message—this type of execution relies on a straightforward

presentation of information about the product or service such as specific attributes or benefits.
2. Scientific/technical evidence—a variation of the straight sell where scientific or technical

evidence or information is presented in the ad to support a claim.
3. Demonstration—this type of execution is designed to illustrate the key advantages or benefits

of a product or service by showing it in actual use or in some contrived or staged situation.
4. Comparison—this type of execution involves a direct or indirect comparison of a brand

against the competition.
5. Testimonials—many advertisers present their advertising messages in the form of a

testimonial whereby a person speak on behalf of the product or service based on his or her
personal use of and/or experiences with it.
6. Slice of life—this type of execution is often based on a problem/solution type of format. The
ad attempts to portray a real-life situation involving a problem, conflict or situation
consumers may face in their daily lives. The ad then focuses on showing how the advertiser's
product or service can resolve the problem. Slice-of-life executions are also becoming very
common in business-to-business advertising as companies use this approach to demonstrate
how their products and services can be used to solve business problems.
7. Animation—this technique used animated characters or scenes drawn by artists or on

computer. Animation is often used as an execution technique for advertising targeted at
children. Some advertisers use ads that mix animation with real people. For example, Star-
Kist tuna often uses commercials featuring Charlie the Tuna that mixes animation with real
people. A new type of hybrid technique known as rotoscoping has emerged in recent years
which involves shooting live-action digital videos of actors and then using a special software
to paint over the screen images on a computer to make them look animated. Television
commercials for Charles Schwab & Co. used this technique and were very effective. Many
advertisers now rely on computer-generated animation such as the award winning “Back to
the Start” short film for Chipotle’s Cultivate Foundation which is shown in Exhibit 9-18.
9-3
Education.
8. Personality symbol—this type of execution involves the use of a central character or

personality symbol to deliver the advertising message and with which the product or service
can be identified. The personality symbol can take the form of a person who is used as a
spokesperson, animated characters or even animals. The chapter discusses how AFLAC has
made effective use of this execution style by developing commercials that have made a duck
a popular personality symbol for the company. Attention is also given to how Dos Equis beer
has created a popular personality symbol for the brand with “The Most Interesting Man in the
World” IMC campaign.
9. Imagery—this type of appeal is used when the goal is to encourage consumers to associate
the brand with the symbols, characters, and/or situation shown in the ad. An imagery
execution may be based on usage imagery by showing how a brand is used or performs and
the situation in which it is used. It can also be based on user imagery where the focus is on
the type of person who uses the brand. For example, ads for cosmetics and clothing often use
very attractive models in the hope of getting consumers to associate his or her physical
attractiveness with the brand.
10. Dramatization—this execution technique creates a suspenseful situation or scenario in the

form of a short story. Dramatizations often use the problem/solution approach as they show
how the advertised brand can help resolve a problem.
11. Humor—humor can be used as the basis for an advertising appeal. However, humor can also
be used as a way of executing the message and presenting other types of advertising appeals.
12. Combinations—many of these execution techniques can be combined in presenting an

advertising message. For example, slice-of-life ads are often used to demonstrate a product or
make brand comparisons.
Professor Notes
II. CREATIVE TACTICS

Once the creative approach, type of appeal, and execution style has been determined, attention turns to
creating the actual advertisement. The design and production of an advertising message involves a
number of activities such as writing copy, developing illustrations and other visual elements of the ad and
bringing all of the pieces together in a finished product.
A. Creative tactics for print advertising—there are three basic components of a print ad including the
headline, body copy, and the visual elements or illustrations. These elements are brought together
through a layout.
9-4
Education.
1. Headlines—the headline refers to the words in the leading position of the advertisement—
those that are likely to be read first or are positioned to draw the most attention. The most
important function of a headline is to attract the readers’ attention and make them interested
in the remainder of the advertising message. There are various types of headlines including:
• Direct headlines – straightforward and informative in terms of the message presented
• Indirect headlines—provoke curiosity and intrigue by using questions, challenges,
provocations, and other methods
2. Subheads—many ads also contain a main headline and one or more secondary headlines or
subheads. These subheads usually appear in a smaller type size than the main headline and
are generally larger the type size used for the body copy. They are used to break-up or section
off large amount of body copy and highlight key sales points in the ad.
3. Body copy—the main text portion of a print ad is referred to as the body copy. Body copy
content depends on the type of advertising appeal and/or execution style being used.
4. Visual elements—another major component of a print ad is the visual elements or

illustrations. Visual components often dominate print advertising and play a very important
role in determining effectiveness.
5. Layout—a layout refers to the physical arrangement of the various parts of the ad including
the headline, subheads, illustrations, body copy and any identifying marks.
B. Creative Tactics for Television—as with print ads, television commercials have several
components which must work together to create the right impact and communicate the
advertiser's message.
C.
1. Video—the video or visual elements are what is seen on the television screen. Decisions have
to be made regarding the main focus of the visual components of a television commercial
such as the product, the presenter, scenery, action sequences, lighting graphics, color and
other factors.
2. Audio—the audio portion of a commercial includes several elements such as voice, music
and sound effects. Voices may be heard in several ways such as through the direct
presentation of a spokesperson or as a dialogue or conversation among people in the
commercial. A common method for presenting the audio portion of a commercial is through a
voice-over whereby the message is delivered or action on the screen is narrated by the voice
of an announcer who is not visible. A trend among major advertisers is to hire celebrities with
distinctive voices to do the voiceovers for their commercials.
9-5
Education.
3. Music—a very important part of many television commercials is music which plays various
roles and functions such as providing a pleasant background or helping create the appropriate
mood or setting. IMC Perspective 9-2 discusses how marketers use popular songs to help
deliver their advertising messages and how in recent years marketers have been giving more
attention to associating themselves with original music and the development of artists by
acquiring independent music labels. However, some artists are concerned about the backlash
they might get when their songs are used in commercials Another important musical element
in both television and radio commercials is jingles, which are catchy songs about a product or
service that usually carry the advertising theme and a simple message.
4. Planning and production of television commercials—the various elements of a television

commercial are brought together in a document known as a script which is a written version
of a commercial that provides a detail description of its video and audio content. The script
indicates the various audio components of the commercial such as the copy to be spoken by
voices, music and sound effects. The video portion of the script provides the visual plan of
the commercial. Once the basic script has been conceived, the writer and art director get
together to produce a storyboard or a series of drawings used to present the visual plan or
layout of a proposed commercial. Once the client approves the storyboard, the commercial is
ready to move to the production phase. The production process for a commercial actually
involves three phases:
• Preproduction – all the work and activities that occur before the actual filming of a
commercial.
• Production –the period during which the commercial is filmed or videotaped and
recorded.
• Postproduction – activities and work that occur after the commercial has been filmed and
recorded.
III. CLIENT EVALUATION AND APPROVAL OF CREATIVE WORK

While the creative specialists determine the advertising appeal and execution style that will be used in the
campaign, the client must evaluate and approve the creative approach before any ads are actually
produced. A number of different people on the client side may be involved in evaluating and approving
the creative work of the agency. The amount and influence of these individuals will depend on the
company's organization and policies, the importance of the product to the company, the role of
advertising in the marketing program, and the nature of the advertising approach being recommended.
IMC Perspective 9-3 discusses the challenges Apple co-founder Steve Jobs had in convincing the
company’s board of directors to approve the famous “1984” television commercial that was used to
introduce the McIntosh personal computer.
There are two basic stages in the development of advertising—creation and production. Most of the
attention in this chapter has focused on the creation stage and creative process. Once the creative
approach has been determined and approved, the attention turns to the production process, which involves
a variety of functions needed to produce the ad or commercial and put it into a finished form suitable for
use by the media. The client will have the opportunity to review the final version of the advertisement
after the production stage. However, it is important that a careful evaluation be made before the ad
actually enters production as this stage requires a substantial investment of time and money.
9-6
Education.
A. Guidelines for Evaluating Creative Output—There are a number of guidelines that personnel on
the client side might use to evaluate the creative approaches suggested by the agency. Some of
the most important and basic criteria or guidelines that might be used in evaluating creative
approaches are discussed in the text and include the following:
• Is the creative approach consistent with the brand's marketing and advertising objectives?
• Is the creative approach consistent with the creative strategy and objectives and does it
communicate what it is supposed to?
• Is the creative approach appropriate for the target audience?
• Does the creative approach communicate a clear and convincing message to the customer?
• Does the creative execution overwhelm the message?
• Is the creative approach appropriate for the media environment in which it is likely to be
seen?
• Is the advertisement truthful and tasteful?
Teaching Suggestions
Nearly every student has an opinion about the quality and effectiveness of various ads and those they feel
are particularly good or bad. Students should enjoy reading this chapter and learning about the various
creative appeals and execution styles that can be used by advertisers. An interesting way of beginning the
lecture on creative strategy is to ask the students to name the TV commercial or print ad they would rate
as the "most outstanding" one they have seen lately. You might then ask them how they think their list of
top commercials would compare against that of ad critics. Publications such as Advertising Age and
AdWeek pick the best ads each year and feature them in special editions. For example, the Advertising
Age Best Awards are given each year in various product and service categories and for various media
including television, radio, newspapers magazines, out of home and interactive. There are two very
interesting websites that you may want to visit and direct your students to: www.adforum.com and
www.adcritic.com. Commercials currently running can be viewed on these sites and they also include
reviews of spots, industry news and many other interesting features. A number of marketers now have
their own YouTube channel where they make their commercials available as well as other videos used.
For example, Nike’s channel can be found at http://www.youtube.com/user/nike. Attention should also be
given to how a number of marketers are now using a form of advertising know as user-generated content
whereby ads are created by consumers rather than a company and/or its advertising agency. The
DEWmocracy campaign discussed in the Chapter 15 opener is an example of how brands such as
Mountain Dew are making user-generated content a major part of their IMC program. A video case on the
DEWmocracy campaign for Mountain Dew is available on the Instructor DVDs that accompany the text.
9-7
Education.
The chapter begins with a very interesting discussion of the “ LIVE MÁS” campaign being used by Taco
Bell to make the Mexican style fast food chain more appealing to young, hip and cross-cultural
consumers. The tagline represents a repositioning of Taco Bell from the idea of food as fuel to food as an
experience and lifestyle. The chapter opener also includes a discussion of the advertising used to launch
the Doritos Locos Tacos (DLTs) which have been one of the most successful new product introductions
in the history of the fast food industry. A new video case study is available on the instructor DVDs on the
LIVE MÁS campaign and IMC program developed to launch the Doritos Locos Tacos.
This chapter does not go into a great amount of detail regarding the process of creating and producing the
advertisement. If more detail is desired on areas such as art and layout, copywriting or print and broadcast
production students might be referred to a more traditional advertising principles book such as
Contemporary Advertising by William F. Arens, Michael Weigold and Christian Arens. There are also
numerous books available on the creative process such as Creative Strategy in Advertising by A. Jerome
Jeweler and Bonnie L. Drewniany and Creative Advertising: Theory and Practice by Sandra E. Moriarty.
Students interested in specific areas of the creative process such as copywriting or layout can be referred
to some of the books in these areas such as Creative Advertising by Mario Pricken, The Design of
Advertising by Roy Paul Nelson, Advertising Copywriting by Philip Ward Burton and Fundamentals of
Copy & Layout by Albert C. Book and C. Dennis Schick.
Answers To Discussion Questions
1. The chapter opener discusses the new “LIVE MÁS” campaign for Taco Bell. Analyze the creative
strategy for this campaign, giving attention to the type of creative appeals used as well as the
advertising execution. (L01,02)
The LIVE MÁS campaign for Taco Bell has used a variety of creative appeals and executions. One
of the best known ads was the “Viva Young” commercial that debuted on the 2013 Super Bowl and
was one of the most popular spots on the big game. The commercial features a group of senior
citizen sneaking out of their retirement home late at night and embarking on a night of partying that
includes dancing, getting tattoos, sneaking into swimming pools and other escapades. They eventually
end up at a Taco Bell for a “Fourthmeal’ before returning home. The purpose of the ad is to show that
you are never too old to Live Mas. This commercial is clearly an emotional appeal that uses a
combination of executions but is best classified as an entertaining humorous execution. It should also
be noted that the spot uses music very effectively as a Spanish version of Fun’s hit song “We Are
Young” is integrated very well into the commercial. Taco Bell has used a number of other types of
advertising appeals and executions to help with the launch of the Doritos Locos Tacos. For example
several spots for the DLTs relied on user-generated content. One spot is called “Road Trip” and is
based on a video posted on YouTube showing a consumer who drove over 900 miles to find a DLT
while another featured a series of Instagram posts strung together showing a consumers taking their
first bite of a Cool Ranch DLT. Another popular TV commercial is the launch spot for the Cool
Ranch DLT called “World’s Most Obvious Idea” which capitalized on the swell of consumers
wondering when Taco Bell would make a Cool Ranch version of the new product. The humorous
spot uses a form of a slice of life execution by showing various scenes of people eating a Nacho
Cheese DLT as they go about their business and daily lives but noting that “they should make a Cool
Ranch one.” All of the advertising for Taco Bell is very upbeat and designed to promote the positive
experience consumers have at Taco Bell while building an image for the company as a lifestyle brand.
Examples of television commercials used by Taco Bell can be found on the company’s YouTube
channel.
9-8
Education.
2. Discuss some of the reasons why emotion-based advertising appeals are effective. Find an example of
a company or brand that is using an advertising campaign based on emotional appeals and analyze its
effectiveness. (L01)
Emotional appeals relate to the consumer's social and/or psychological needs for purchasing a product
or service. Emotional appeals are most appropriate for products and services where social and/or
psychological needs and feelings are important or where consumers need to be reached on an
emotional level. Many consumer products are difficult to differentiate on a functional/utilitarian basis
and advertisers often turn to appeals to emotions to create feelings, images and beliefs that can be
activated when the consumer uses the product. Moreover, marketers recognize that commercials must
be meaningful to consumers, as well as entertaining, and emotional appeals are often the best way to
touch the consumer and hold their interest. Emotional appeals are not, however, limited to consumer
products that are difficult to differentiate. Appeals to emotions are also used for major purchases such
as automobiles, financial investments, and many other purchases. Figure 9-1 lists various personal
psychological states (safety, security, fear, joy, nostalgia, pride) as well as social-based feelings or
needs (recognition, status, respect, approval) that can be used as the basis for emotional advertising
appeals. Students should have no trouble finding ads that use social and psychological needs as the
basis for their appeal. However, they should be encouraged to discuss whether the needs appealed to
in the ad are appropriate for the product or service they are analyzing.
3. Explain the concept of transformational advertising. Find an example of a company that is using
transformational ads and discuss how the ads might enhance the experience of using the product or
service. (L01)
A transformational ad is one which associates the experience of using (consuming) the advertised
brand with a unique set of psychological characteristics which would not be typically be associated
with the brand experience to the same degree without exposure to the advertisement.
Transformational ads create feelings, images meanings, and beliefs about the product or service that
may be activated when consumers use it and thus "transforms" their interpretation of the usage
experience.
There are many good examples of how companies use transformational advertising to enhance the
consumption experience of consumers. McDonald’s has used TV commercials showing parents or
grandparents enjoying the experience of taking their children or grandchildren to the fast food
restaurant and enjoying a bonding experience with them. These types of commercials can be very
effective as they can make the experience of a trip to McDonalds with a child richer, warmer and
more enjoyable. The “Find Your Beach’ campaign for Corona Extra beer that is discussed in the
chapter is also a very good example of transformational advertising as the ads are designed to
preserve Corona’s iconic beach image while extending the Corona state of mind beyond the sun, sand
and surf. Advertising for Skyy vodka is another good of transformational advertising as it associates
the brand with cinematic-based cocktail moments. The advertising campaign resonates very well
with the target market of 21 to 34 year-old, urban metro consumers and has helped establish an
emotional connection between them and the brand. The high-impact ads do not contain any copy but
rather rely on stylish, seductive visuals that set up story lines but leave the interpretation up to the
mind of the reader. Other forms of marketing communication have been used to build the cinematic
image for Skyy including sponsorship of independent film festivals, event marketing the
commissioning of short films that include a “cocktail moment” which can be shown at film festivals
and on the Skyy vodka web site. In terms of transformational advertising, the strong association
between Skyy vodka and cinema should be activated when consumers are using the brand which will
enhance the consumption experience.
9-9
Education.
4. Discuss the reasons marketers might use user-generated content (UGC) for an advertising campaign.
Do you agree with the decision by Ford to rely on UGC for the advertising done to support the “Fiesta
Movement: A Social Remix” campaign? Why or why not? (L01,02)
There are a number of reasons why marketers are utilizing user-generated content (UGC) in their
advertising campaigns. One of the primary reasons is that it provides a way to take advantage of
crowd-sourcing and the creative ideas that come from it. While advertising agencies are used because
of their creative expertise, many excellent creative ideas can come from the masses. A very good
example of this is the “Crash the Super Bowl” contest run each year by Frito Lay whereby two spots
are aired during the big game that were created by amateurs on a limited budget. Some of these UGC
spots have been among the most popular appearing on the Super Bowl each year and they won the
USA TODAY ad meter polling as the most popular spot on the big game three out of four years from
2009 to 2012. UGC ads are also used as a way of getting consumers more engaged with a company or
brand, particularly through social media. A number of companies are now using contests and other
types of promotions that encourage consumers to submit ads, photos, ideas for product use, and other
materials as a way of increasing consumer engagement. It should also be noted that UGC can be a
very effective way to promote a company or brand, particularly through social media. When
consumers see that their friends and associates are talking about a product/service or brand through
social media they may perceive it as more credible and also be more likely to go see what others are
saying about it.
The decision by Ford to use UGC by making all of the TV, print and digital advertising used to
launch the2 014 Fiesta crowd-sourced was a way of taking the Fiesta Movement to another level.
First all it should be noted that the original Fiesta Movement social media campaign (which is
discussed in Chapter 5) was very successful. A major reason for its success was that through the
realm of social media, consumers got a unique look at how real people felt about the Fiesta. Not only
did they get drivers’ opinions of the car, they got to see videos that drivers made about their Fiestas,
bringing an added dimension to the insight the campaign offered other consumers. Thus, Ford
decided that it would build further on the success of UGC by having consumers develop the
advertising used for the 2014 Fiesta launch as well. It should be noted that the Social Remix
campaign included integration with traditional, digital and social platforms such as Facebook,
Twitter, Google, and YouTube as well as shows such as American Idol and events like music
festivals and the Summer X games on ESPN. It is truly an integrated campaign that has resonated
very well with the millenials Ford is targeting for the Fiesta.
5. What is meant by the mere exposure effect? Discuss how banner ads that appear on various websites
might take advantage of the mere exposure effect. (L01, 02)
The mere exposure effect refers to the tendency for novel stimuli to be like more or rated more
favorably after repeated exposure to them. Banner ads that appear on various websites can take
advantage of this phenomenon simply by being presented to consumers who may have a tolerance for
excessive exposure to them. This suggests that online advertising such as various types of banner ads
may have positive effects through the incidental exposure that takes place when consumers visit a
website. This provides support for the cost per impression contextual approach to online advertising
whereby marketers try to maximize the number of exposures to their banner ads by placing them on
various web sites that reach their target audience. The goal of this type of online advertising is to
maximize consumer exposure to the banner ad as the mere exposure effect predicts that favorable
affect will as a result of consumers simply seeing these messages repeatedly.
9-10
Education.
6. Choose three of the advertising execution techniques discuss in the chapter and find examples of
advertisements that are using them. Discuss why the marketers might be using these particular ad
execution techniques. (L02)
A number of advertising execution techniques are discussed in the chapter and students should be
encouraged to select three of them to analyze and find examples of their use. We discuss two of them
here to as an example of how this question might be answered.
The slice-of-life format relies on a problem-solution approach that is often presented with a little
drama. These spots usually begin by showing consumers facing or talking about a problem such as
bad breath, dingy laundry, dandruff, headaches, or dry skin. The short drama always ends with the
problem being resolved by the advertiser’s product. Many advertisers feel that the slice-of-life format
is a more interesting and effective way to present their message than just making performance or
efficacy claims. Consumers purchase products to solve problems and marketers feel the slice-of-life
execution format is an effective way of registering a product feature or benefits and showing how it
can resolve common problems we encounter in our daily lives. The slice-of-life execution format is
very popular among packaged-goods companies such as Procter & Gamble because it is an effective
way of connecting with consumers by showing common situations or problems they encounter in
their everyday lives.
Some business-to business marketers use a variation of the slice-of-life technique known as slice-of-
death advertising which involves showing the negative consequences that can result when companies
make the wrong decision in choosing a vendor or service provider. B-to-B marketers use this
advertising execution technique to demonstrate how their products and services can be used to solve
their customers’ business problems and how they are better than their competitors. This execution
style is often used in conjunction with a fear appeal although some companies, such as Fed Ex, also
integrate humor into their slice-of-death commercials.
Another execution technique is dramatization where the focus is on telling a short story with the
product or service as the star. The approach is similar to a slice-of-life execution in that it usually
relies on a problem/solution approach but uses more excitement and suspense in telling the story.
Products and services for which there are significant consequences or outcomes associated with their
use or performance are good candidates for the use of dramatization executions. Dramatization is an
effective way to draw the viewer into the action and hopefully to get them to experience the feelings
and concerns of the characters. For example, Exhibit 9-22 shows some images from the TV
commercial for the Buick Enclave which uses dramatization by showing a family coming home from
trip and landing at an airport on a cold and snowy night. As the plane touches down the man uses the
MyBuick remote start feature to start the vehicle so that is nice and warm when the family gets off of
the shuttle bus and into the Enclave. This commercial fits the five steps of a dramatization
commercial noted by Moriarty and discussed on p. 317.
7. Discuss some of the reasons a marketer might choose to create a personality symbol or character to
represent the company or brand. Analyze the strategy behind Dos Equis’ use of “The Most
Interesting Man in the World’ campaign. Why has this campaign been so effective? (L02)
Marketers might choose to create a personality symbol or character for their company or brand for a
number of reasons. One of the major reasons is that a personality symbol or character can be an
effective way to draw attention to a company’s advertising and a way to break through the clutter of
competing ads. They can also be a way to build and maintain an identity for a company or brand,
particularly when the character is well liked by consumers. They can also bring some continuity to an
advertising campaign as consumers will be seeing the person or character regularly and thus can
associate him/her or the character with the company or brand. For example, Progressive Insurance has
9-11
Education.
used the Flo character for many years and when a commercial for the company airs, most viewers can
immediately identify the advertiser. Of course the key to using personality symbols is to find or
create one that is viewed favorably by consumers. While there are many examples of how personality
symbols have been used successfully, there are many cases where they have not been effective.
“The Most Interesting Man in the World” for Dos Equis has been a very successful campaign and is
an example of how great creative strategy and execution can be used to differentiate a brand in a
competitive product category and drive sales. Beer is a very heavily advertised product and it can be
very difficult to break through the competitive clutter, particularly for a smaller brand such as Dos
Equis which does not have the media budget to have a large share-of-voice. As noted in the chapter,
the agency EuroRSCG recognized that they had to develop an advertising campaign that would create
an identity for Dos Equis as a distinctive and desirable premium brand that was different from other
imports. One of the major reasons for the success of the campaign is that it did not rely on
sophomoric humor, images of sexy women or clichés. The big idea behind this campaign was the
creation of a brand personality symbol who they portrayed as “The Most Interesting Man in the
World” and appeals to the desires of import beer drinkers to be perceived as interesting. The ads
deliver the key message that Dos Equis is the beer of choice for interesting people. It is important to
note that the success of this campaign is based on more than creative advertising as EuroRSCG has
used a variety of other IMC tools such as experiential promotions (The Most Interesting Man in the
World Show) and an engaging web site where they have areas such as The Most Interesting Academy
which delivers online advice on how to live a more interesting life. This campaign is a very good
example of how a big idea can be leveraged into creative advertising as well as a multifaceted IMC
program that helps develop a distinctive image for a brand and drive sales.
8. Discuss the role of headlines and in a print advertisement. What is the difference between a direct
headline and an indirect headline and when might each be used? (L03)
The most important function or role of the headline is to attract the readers' attention and make them
interested in the remainder of the message. Headlines can also perform a segmentation function by
engaging the attention and interest of consumers who may be most likely to buy a particular product
or service. Some ads use little or no body copy so the headline must work with the illustration or
visual portion of the ad to communicate the entire advertising message. Subheads are secondary
headlines that are usually smaller than the main headline but larger than the body copy. Subheads are
often used to enhance the readability of the message by breaking up large amounts of body copy and
highlighting key sales points. Their content often reinforces the headline and advertising slogan or
theme.
A direct headline is very straightforward and informative in terms of the message presented and the
target audience the ad is directed toward. Examples are headlines that make an announcement or
provide news or information to the reader. Indirect headlines are not straightforward but rather may
be designed to create attention, interest or curiosity through the use of questions, provocations, or
challenges. Direct headline are used quite often when marketers have a specific product attribute or
benefit they want to communicate or are making a promise or offering something that is very likely to
be of interest to the reader. Indirect headlines are often more effective at attracting readers’ attention
and interest because they provoke curiosity which can be a way to motivate readers to become more
involved with the advertisement. Students should find an example of ads that use direct and indirect
headlines.
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Education.
9. Discuss the role of music in advertising. Find an example of a television commercial that is using a
song and discuss the role the music plays in delivering the message. (L03)
Music can play a variety of roles and functions in commercials. In many spots, the role of music is
primarily to provide a pleasant background or to help create the appropriate mood or setting for the
commercial. In some ads the role of music is much more central to the delivery of the advertising
message. It can be used to break through clutter, help establish an image or position, or add emotion
or feeling. Music can work through a classical conditioning process whereby it creates positive
feelings or affect that become associated with the product or service being advertised. Music can also
create a positive mood state that can make the consumer more receptive toward the advertising
message.
Companies/brands pay large sums of money for the rights to use these songs such as because they feel
the music is central to the feeling or image they want to create in the commercial. For example,
Google has used Lady Gaga’s hit song “Edge of Glory” in commercials for its Chrome web browser
while Citibank has used Alicia Keys’ song “Girl on Fire” in its commercials. General Motors used the
music from Led Zeppelin’s hit song “Rock and Roll” in its commercials for Cadillac as part of its
effort to attract baby boomers by creating a more hip image for the brand. Microsoft licensed the
rights to use the classic Rolling Stones song “Start Me Up” in ads for its Windows 95 operating
system as the music helped deliver a message regarding the integral role the operating system plays in
the functioning of a personal computer. The company also licensed the rights to Madonna’s hit song
“Ray of Light” for use in ads introducing its new XP software as the company felt that the lyrics were
very appropriate for promoting a technology product such as the XP software. The use of the
Madonna song also helped attract and hold attention to the commercials because of her popularity and
star power. Apple has also made music an important part of the advertising used to launch new
products such as various versions of its iPod, iPhone and iPad.
Students should be encouraged to find an example of a current advertising campaign that is using a
song and analyze the role the music plays in delivering the message. There are a number of
advertisers that are rely heavily on the use of music in their advertising such as Kia, Apple, Nike,
Coca Cola, PepsiCo and many others.
10. Choose a current advertising campaign and analyze it with respect to the creative guidelines discussed
in the last section of the chapter. Identify any areas where you feel the campaign does not meet the
guidelines and discuss why this is so. (L04)
The last section of the chapter discusses criteria or guidelines that can be used for evaluating the
output from the creative process of advertising. Some of these concern factors that are not directly
accessible and thus more difficult to evaluate, such as consistency with marketing and advertising
objectives. However, answers to many of these questions are judgmental in nature and can be
evaluated such as appropriateness for the target audience, communication of a clear and convincing
message, whether the creative overwhelms the message, appropriateness for the media environment,
and whether the ads are truthful and tasteful. Students should be encouraged to choose a particular
campaign, conduct some research on it in the business press or trade publications, and then evaluate
the creative approach as well as some of the individual ads against these guidelines. Excellent sources
of information that can be helpful to students in this assignment are the ad reviews that appear in
publications such as Advertising Age, Adweek, and Brandweek
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Education.
11. IMC Perspective 9-3 discusses the legendary “1984” commercial used to introduce the Apple
Macintosh personal computer. Why do you think Apple chose to never run this ad again after the
Super Bowl, given its popularity and impact? Do you think the “1984” sort would be as effective
today as it was 30 years ago? Why or why not? (L03,04)
Apple’s decision to never run the famous “1984” commercial after the Super Bowl given the
popularity of the spot was very interesting. Usually when a company has a commercial that receives
the attention this spot received, they try to capitalize on its popularity by airing it many times. Thus
Apple’s decision not to do so is very interesting and has been the subject of debate and speculation for
more the past 30 years. One reason Apple may have chosen not to air it again was that it received so
much media attention in the weeks following the Super Bowl that they did not really need to do so as
the television networks and local stations were doing it for them. It is likely that Apple recognized
that the commercial was something special and would generate more attention and discussion if it was
not shown again. By not showing the spot, Apple was able to add to the mystique surrounding it. It
should be noted that there was not an Internet in 1984 so there really was no other way for consumers
to see the famous commercial if Apple did not show it. It should also be noted that the “1984”
commercial was very controversial and Apple’s board of directors did not want to run it on the Super
Bowl. While the commercial did generate a great deal of media attention, Apple may have felt that a
better strategy was to let the media and the public talk about it rather than keep showing it. It should
be noted that the while Steve Jobs loved the “1984” spot and believed it would have a great impact, it
did not test well in market research studies. In hindsight, it is clear that Apple made the right decision
by not airing the ad again and moving on to other elements of its IMC programs such as the 20-page
insert that appeared in Time and Newsweek magazines and the series of product-focused commercials
that highlighted the features of the Macintosh. Much has been written about the “1984” commercial
to celebrate the 30th anniversary of its airing. A very interesting article about the spot can be found
online at: http://tv.yahoo.com/blogs/tv-news/5-things-you-didn-t-know-about-apple-s--1984--super-
bowl-ad--like-how-it-almost-didn-t-air-194148445.html.
It is very difficult to determine whether the “1984” spot would be as effective today as it was 20 years
ago. The commercial was definitely very novel in terms of its creative execution at the time and very
different that the typical TV spot airing at that time. Advertisers have pushed the creative envelope
much further over the past 30 years and the divergence of the spot might not be as great. However,
one could argue that even today this commercial would be perceived a very bold and daring. You
might show the spot and ask your students what they think about it and have them discuss it from a
creative perspective.
Additional Discussion Questions (not in text)

12. Discuss the difference between an advertising appeal and a creative execution style. Find several ads
and analyze the particular appeal and execution style used in each.
An advertising appeal refers to the basis or approach used in the advertisement to elicit some
consumer response or influence feelings toward the product, service, or cause. The creative execution
style refers to the way in which a particular appeal is turned into an advertising message and
presented to the consumer. A particular appeal can be executed in a variety of ways and a particular
means of execution can be applied to a variety of advertising appeals. For example, an informational
appeal that focuses on a product's features or advantages can be executed through a straight-sell or
factual message, a demonstration or a comparison. A particular execution technique such as animation
could be used for an informational/rational appeal or for an emotional appeal. Students should be
encouraged to analyze the particular appeals and execution styles used in selected ads.
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Education.
13. IMC Perspective 9-1 discusses the need for a creative revolution in online advertising. Discuss how
online advertising differs from the type of advertising done in traditional media such as print or
television and the challenges marketers face when advertising on Internet web sites. (L01)
Online advertising can take various forms including various types of banner ads such as skyscrapers
and leaderboards, text-only ads that are used for paid search, webisodes and video. Many online
video ads are similar to or the same as the commercials that are aired on television. One of the
challenges facing marketers using online advertising is that getting consumer to attend to and engage
with an online ad can be very difficult as doing so takes them away from the content on the website.
Television and radio ads air during commercial breaks and do not compete for viewers’ attention
during a program while print ads often appear on separate pages of a magazine or newspaper and can
be easily attended to or ignored. The clutter problem that traditional media advertising faces is also
an issue for online advertisers. IMC Perspective 9-1 discusses some of the ways marketers can
address some of these issues and design more effective online ads.
14. Discuss how teaser advertising might be used to introduce a new product or brand or to reposition an
existing brand. What factors should marketers take into consideration when using a teaser campaign?
Teaser advertising is designed to build curiosity, interest, and/or excitement about a product/service
or brand by talking about it but not actually showing it. Teasers can also be used to draw attention to
upcoming advertising campaigns and generate interest and publicity for them. Teaser ads are often
used to introduce a new product or brand such as automobiles, movies or television shows. They can
also be used to reposition an existing brand as the curiosity and interest they generate can create some
excitement and intrigue that can help increase consumer involvement and make them more receptive
to subsequent advertising. When using a teaser campaign marketers will have to consider several
factors. They must make sure the teaser generates enough interest and/or curiosity among the target
audience to be effective. If the message is too subtle, consumers may not even attend to it. Marketers
must also be careful not to extend their teaser campaigns too long as this can create confusion among
consumers or even generate negative reactions. As noted in the text, you have to give consumers
enough information to hold their attention and interest yet maintain some level of mystery, intrigue
and or curiosity.
15. Why do many advertisers pay large sums of money to celebrities to do the voiceovers for their
commercials? Do you think consumers recognize the voices of the celebrities doing the commercials?
Is it necessary that they recognize them for the commercials to be effective?
Advertisers will often pay as much as $500,000 to celebrities just to have them do the voiceovers for
their commercials. Some celebrities prefer this more subtle form of product endorsement as they do
not have to appear in the ads and thus can avoid the potential negative image of being perceived as
“selling out” and pitching products. Advertisers and agencies that pay these large sums of money for
celebrity voiceovers argue that a voice consumers have heard before is reassuring and makes the
message more effective. They also argue that some celebrities have very distinctive and engaging
voices that communicate very effectively.
It is difficult to say whether consumers recognize the celebrities doing the voiceovers in many
commercials. Actors who have very distinctive voices may be recognized such as Donald Sutherland
(Volvo), Morgan Freeman (VISA), Demi Moore (Verizon Wireless), and Jeff Goldblum (Apple
Computer). However, most consumers probably do not recognize the celebrities doing the voiceover
in many commercials. It is not necessary that consumers recognize the celebrity’s voice for the
commercial to be effective. Distinctive voices are often part of the talent offered by actors and
actresses as they may be help them be perceived a certain way (honest, humble, sincere, funny and
the like). The voice characteristics that help make them popular entertainers may also be effective for
television commercial voiceovers.
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Education.
16. The chapter discuses how the campaign featuring the Aflac duck has been very successful in
increasing awareness as well as sales for the supplemental insurance company. Why do you think
this campaign has been so successful? What challenges does Aflac face by continuing to use the duck
as the focal point of the campaign?
The AFLAC campaign is a very good example of how a company can take a cute character such as a
duck and turn it into a personality symbol that can effectively deliver an advertising message with
which the company can become identified. Aflac, which is an acronym for American Family Life
Assurance Company, sells insurance policies which supplement primary health plans. The company’s
various insurance plans are sold through independent agents who work with customers in putting
together a program that best meets their needs. However, advertising plays an important role in
making consumers aware of the company and interested in learning more about its insurance plans.
Since this campaign was first introduced in 2000, awareness of AFLAC has increased tremendously
and the ads have helped make potential customers more interested in the company. The campaign has
been very popular and has been recognized by a number of major media which has generated a great
deal of publicity for the company and helped increase awareness.
The primary reason the campaign has been so successful is because the humorous commercials have
clearly struck a responsive chord with consumers. The spots featuring the quirky duck in all sorts of
odd places are very entertaining and have been a very effective way to break through the clutter, get
consumer to attend to the ads, and register the Aflac company name. Supplemental insurance is a
product/service category that is not very easy to advertise as consumers are not interested in it or do
not want to address the need for insurance. However, once the agents have the sales lead, it is up to
them to explain Aflac’s insurance programs and close the sale. The campaign has helped increase
Aflac sales as it paves the way for agents who are trying to the company’s supplemental insurance
program and also helps Aflac recruit more agents to handle its products. The iconic duck has become
an important part of Aflac and has recently been integrated into the company’s redesigned corporate
logo. However, the company is reaching the saturation point with regard to awareness as nearly
everyone is now aware of Aflac after being exposed to the ads over the past six years. As discussed
on p. 333, Aflac has had to modify the commercials using the duck after research has showed that
consumers are aware of the company but do not understand its insurance programs. Commercials
using the duck now focus more attention on explaining supplemental insurance and its importance to
consumers.
IMC Exercise
Find an example of a print advertisement or television commercial that uses one of the specific
creative execution techniques discussed in the chapter. Discuss how this ad uses the creative
execution technique and why the advertising agency may have chosen to do use it. Do you feel the
creative execution technique is appropriate for the product or service and communicates effectively
with the target audience? Could one of the other execution techniques discussed in the chapter been
more appropriate for creating the print or television commercial? Explain why.
9-16
Education.
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cohesion and, as a fighting machine, is liable upon these grounds to
be thrown quickly out of gear. Under these circumstances the
observation may perhaps be hazarded that it would be as well before
equipping it with first-class material to make sure that the men were
sufficiently organised to understand its use. At present modern
weapons are unknown to the great bulk of the forces of Afghanistan;
and it cannot be denied that the absence of this quality makes it
more of a menace to itself than to an enemy. Hitherto, there has
been greater variety than method in the Afghan military equipment,
irregularity of pattern distinguishing alike rifle, field-piece and
ammunition, while the education of the officers and the training of the
men has been neglected.
The continuation of these imperfections is due primarily to the
inability of the Amir of Afghanistan to rely upon the loyalty of his
troops. At the same time, their existence appertains to every Oriental
army which is placed solely in native custody. They have always
been a feature of the Afghan service. The condition of the garrison in
the capital perhaps reveals some little superiority over those which
are placed further afield, but it can be affirmed quite truly that the
military qualities of Afghanistan proceed entirely from the inborn
fanaticism of its people and not from the practical organisation of its
active state. Nevertheless under conditions applicable to mountain
warfare the Afghan army could become an invaluable auxiliary;
although its capacity, as well as its determination, to offer any
prolonged resistance are matters of doubt. Defects could be
removed by re-organisation; good qualities enhanced by careful
training under British officers or by the despatch of selected Afghan
officers and men for training with our own troops.
In spite of the obduracy of Habib Ullah over this point, he has
made known his intention of falling back upon the support of the
Indian Government when his own arms have been defeated. This
contingency, which is liable to arise at the outset of a war with any
foreign power, imposes upon the Government of India a thankless
burden, in no way lessened by the proposal of the Amir to create in
Kabul an Afghan Staff College, and the determination of the Imperial
Government to avoid insistence upon what is, by no means, an
unreasonable precaution. As matters rest at present unless change
is introduced the preposterous conceit, which distinguishes the
Afghans, is destined to receive an unwelcome shock. Nevertheless
the Amir cannot be persuaded to place his military affairs in the
hands of the Indian Government; since, now that the Japanese have
beaten the Russians and, in the mind of the Amir, the Imperial
Government is frightened at the Russian Government, the Afghans
argue, having defeated British arms, that they are now superior to
the Japanese. Therefore, they deny us the possession of any point
of advantage in their country, a consummation which, while not quite
that towards which our diplomacy has been directed, may be
ascribed to the results, in combination, of a policy of friendly
missions and half measures. Now that we have given Habib Ullah
permission to import without check unlimited supplies of arms and
ammunition the disadvantages of such a situation increase rather
than diminish; as it exists so close to the Indian frontier and in a way
in which it cannot be controlled by the Indian Government, it
behoves the Imperial Government to come to a definite decision at
once with regard to its line of action in relation to Afghanistan.
infantry on the march
Abdur Rahman did not confine his work of reorganisation solely to

the military system of Afghanistan. He devoted great attention to the
military roads of the state, realising that a system of communications
was as important as a well-equipped and efficiently-organised army.
Kabul, as the capital, was united with Badakshan on the east, with
Turkestan on the north and with Kandahar and Herat on the south
and west. Prior to these works certain native roads did exist between
the several centres; but it was due to the activity and initiative of the
late Amir that improvements were introduced, or altogether new lines
of communication opened. Undeterred by the difficulties which beset
his engineers and as an index to the consistent vigour with which he
assisted the development and execution of his policy, he threw roads
across the Hindu Kush, facilitating by these means not only the trend
of inter-provincial trade, but the pacification and administration of his
provinces. In addition to these strategic roads, he improved the trade
routes which led into the country from the Trans-Oxus, India and
Persia. In the south the Khyber, Kurram and the Gomul routes
received notice; in the north there were the routes from Russian
Turkestan leading through well-known centres to points of admission
upon the Afghan border. After the subjugation of Kafiristan he took
the precaution of making a military road through that country from
north to south, thus opening up communication with the Kunar
Valley, and Jelalabad, where considerable numbers of troops are
always stationed. Further, he directed that it should eventually be
carried over the western Hindu Kush so as to give a better route to
Kataghan, Badakshan, and the upper Oxus Valley. This portion of
the work was finished in March 1904. The northern terminus of the
road is at Faizabad, the principal town of Badakshan, where caravan
routes meet from Bokhara on the north-west, the Pamirs and
Kashgar on the north-east. The Afghan Government have
constructed serais at all the halting-places, and caravans are
encouraged to use the road in preference to that through Chitral.
Curiously enough in another direction, the construction of
fortresses, Abdur Rahman was more neglectful. If he improved the
lines of communication and re-organised the state of the army he
built but few forts, relying almost entirely upon those which already
had been constructed. Nowadays with the exception of the Kabul
positions, Dehdadi, Mazar-i-Sharif and Baldak Spin, the two latter of
which he built to command the approaches to Balkh and Kandahar,
there are no modern forts in the kingdom. Those that do exist are
made of mud and are of insufficient strength to withstand
bombardment. The great majority serve merely as garrison depôts
and are without interest save as interesting ruins.
The list is as follows:
Kala Afghan.—A fort in the Kunduz district, on the east
side of the Lataband Pass, and on the road to Badakshan. It
is famous for its springs, of which there are 450 in the
neighbourhood.
Kala Asin.—A fort 33 miles south-east of Kabul on the
route from Kabul to Jelalabad by the Karkacha Pass.
Kala Azim Khan.—A square mud fort, 73 miles from Kalat-
i-Ghilzai, 16 miles from Kandahar. Provisions and fuel very
scarce. Good water.
Kala-i-Babakar.—A fort in good repair, inhabited by Karotis,
6 miles east of the Kotal-i-Sarwandi Pass, over the Suliman
range, and at the source of the Gomul river.
Kala Badal.—A fort in the Murghab river basin.
Kala-i-Bhak.—A fort in the Ghilzai country, south-east of
Kalat-i-Ghilzai, situated upon the plain. It contains 400 to 500
houses, and belongs to the Ohtak Ghilzais.
Kala-i-Bist.—A fort 30 miles south of Girishk, situated upon
an island of the Helmund river, just above its confluence with
the Tarnak.
Kala-i-Dukhtar.—A small fort 3 miles south of Sabzawar,
upon the left bank of the Adraskand.
Kala Fatula.—A small square mud fort with bastions upon
each corner about 90 miles from Quetta and 57 miles from
Kandahar. Forage and grass are procurable but the water is
brackish. The place contains some 40 houses and shops.
Kala Haji.—A fort 10 miles north of Kabul, upon a small
stream which drains to the Panjsher river.
Kala Ibrahimi.—The centre group in a number of small
forts situated in the eastern extremity of the Bakwa plain,
about 95 miles from Girishk and 66 miles from Farah.
Kala Kaisar.—A fort in the Taimani country, north-east of
Teivereh.
Kala-i-Karoti.—A fort 102 miles south-east of Ghazni and
at the west end of the Ghwalari Pass. It contains 30 houses of
Karoti Afghans and its water is procured from the Gomul river.
Kala Kasim.—A deserted fort 13 miles from Kabul upon the
Ghazni road. It is situated in a beautiful and highly cultivated
valley in the basin of the Kabul river.
Kala Kazi.—A fort 20 miles north of Kabul, south-east of
Istalif.
Kala Kazi.—A fort 3 miles south-west of Kabul. It is
enclosed by walls and lies upon an eminence. The inhabitants
are Tajik. Water and supplies procurable.
Kala Khanum.—A fort in the Ghilzai district, situated in the
hills, 12 miles from Kala-i-Bhao and south-east of Kalat-i-
Ghilzai. The garrison is usually 50 men; and 2000 tribal levies
can be mustered in the vicinity.
Kala Khan Taraki.—A fort in the Ghilzai country, about 20
miles from Mukur, and upon the direct road to Shalkot. It is
situated in the centre of a populous region. The garrison,
composed of levies from the Taraki Ghilzais, numbers 200
horse and 100 foot. Four thousand men can be called up in
the neighbourhood.
Kala Khoja.—A fort in Afghan-Turkestan, north of Bamian,
upon the road to Kamard and between Saighan and Dasht-i-
Sufed. Kala Khoja is the largest of several forts, all situated in
this district.
Kala Khoja.—A village and fort in Wakhan, on the bank of
the Panja.
Kala Khushk-i-Jamburan.—A small fort 16 miles north-east
by east of Sabzawar. It is situated in a fertile plain, 20 miles in
breadth, enclosed by hills upon three sides.
Kala Khan.—A fort 30 miles south of Lake Abistada.
Kala-i-Langar.—At this point, which is 222 miles from Dera
Ismail Khan and 68 miles from Ghazni on the Ghwalari road,
there are two forts, each containing about 80 houses. The
larger fort is a square, 100 yards in length with mud walls 20
feet high and 6 feet thick, flanked by towers. It is one of the
strongest forts in Katawaz. The inhabitants belong to the
Suliman Khel Ghilzais.
Kala Mahomed Husen.—A fort in the Jelalabad district and
situated 15 miles from Jelalabad.
Kala Mama.—A fort in Wazikhwah district of the Ghilzai
country. It lies on the road from the Kundar to Kandahar, 12
miles from Khan Taraki, and some 32 miles from Mukur. The
fort contains mounted lines besides quarters for infantry. It
contains two wells and a few shops. The walls are pierced by
three gateways.
Kala Mir Alam.—A fort in Shorawak, on the road from
Kandahar to Kalat. It is capacious and neatly constructed of
mud, with eight towers on each face besides the corner
bastions. Close by there is a canal from the Lora river.
Kala-i-Nadar.—An abandoned fort 52 miles from Kandahar
upon the road to Herat. It is of large dimensions, with a good
supply of water; the adjacent country is well cultivated.
Kala Najil.—A fort 88 miles from Jelalabad and 41 miles
from Farakhan, containing 300 houses.
Kala Nao.—A fort 20 miles north-east of Herat, and north
of the Serabund mountains. Once a place of some
importance and a depôt for caravans going from Persia to
Bokhara; it is surrounded now only by the encampments of
nomadic Hazaras.
Kala Panj.—A fort in Wakhan, upon the left bank of the
Panja just below the junction of the Sar-i-Kol and Langar Kisht
branches.
Kala Rahim Khan.—A fort 60 miles south of Ghazni, and
west of Lake Abistada.
Kala Ramzan Khan.—A fort 3 miles south of Kalat-i-
Ghilzai, on the road from Ghazni to Kandahar.
Kala Sangi.—An uninhabited fort a few miles north-east of
Teivereh, in the Taimani country. It is built of large roughly-cut
stones piled together without cement.
Kala Bar Sang.—A fort in Afghan-Turkestan, commanding
a defile south of the Saighan valley. The fort is a rude,
shapeless building, with no pretensions to strength save what
it derives from its site.
Kala Takah.—A fort in Afghan-Turkestan, 42 miles south of
Sar-i-Pul.
Kala Wasil.—A fort in the Kah Dara division, north-west of
Kabul.
Kala Kamard.—A fort of Afghan-Turkestan upon the road
from Balkh to Kabul, and about 110 miles south of Khulm. It is
inhabited by Hazaras and Tajiks, and draws its water from the
Surkhab, a tributary of the Kunduz river. At this point the
Surkhab possesses a width of 24 feet, a mean depth of 2 feet,
and an average current of 4½ miles an hour. Its source is at
the head of the valley, where it issues from a cleft in the rock.
Kamard fort stands 5600 feet above the sea in a gloomy
narrow valley, containing orchards of apricots which extend
for many miles. The rocks rise upon either side of the valley to
a height of 3000 feet; the valley itself is not more than 300
yards in width.
The following routes indicate briefly the principal lines of
communication in Afghanistan.
i.
balkh to herat.
1. Aktapa (10 miles).—A fort in ruins, 150 houses; forage
plenty; road level; intersected by canals and watercourses;
four canals bridged.
2. Meilik (10 miles—20 miles).—A town of 2500 souls,
surrounded by a mud wall; water and forage plentiful;
cultivation scarce; road level, with no impediments.
3. Shekhabad (10 miles—30 miles).—A village of 50
houses; water and forage plentiful; cultivation very partial;
road over a level plain; no impediments from canals.
4. Akcheh (10 miles—40 miles).—A town containing 4000
or 5000 souls; supplies, forage and water abundant; road
over a level plain, crossing 10 or 11 canals, all having wooden
bridges about 12 feet broad. Any amount of supplies
procurable.
5. Airagli (10 miles—50 miles).—A small mud fort, 80 to
100 houses; supplies, forage and water abundant; road level,
crossing two bridged canals.
6. Shibirghan (10 miles—60 miles).—A town and fort
containing 1500 to 2000 houses; supplies, water and forage
abundant; road excellent, crossing one bridged canal.
7. Khorasanguzar (10 miles—70 miles).—A halting place;
forage and water alone procurable; road level, but slightly
sandy.
8. Takht-i-Rustam Khan (20 miles—90 miles).—A halting
place; forage and water alone procurable; road sandy; for
want of water this stage cannot be shortened.
9. Tekeh Marakht (10 miles—100 miles).—A halting place
by a river; forage procurable; road good, over a desert; one
bridged canal and three small watercourses.
10. Khairabad (10 miles—110 miles).—A village of 150
houses; road level and good.
11. Islim (10 miles—120 miles).—An encampment of
shepherds, with a small mud fort; a river, fordable, knee-deep;
partial cultivation.
12. Maimana (10 miles—130 miles).—A city and fort cross
the Sangalak river; fordable, ankle-deep.
13. Almal (20 miles—150 miles).—Five small forts,
containing 500 houses; a weekly fair here; a road, 4 miles
longer than the direct road which crosses nine different hills,
turns off to lead over three hills, easy of ascent and descent.
This stage can be divided by halting at Iskat Baru, where
there is plenty of water.
14. Kisir (10 miles—160 miles).—A village of 200 houses
and tents and a small fort; river bridged; road good over one
hill, easy of passage.
15. Mahri (10 miles—170 miles).—A camp of 20 tents; no
cultivation; water and forage abundant; the Kabr-i-Shutr hill at
starting.
16. Char Shanbi (10 miles—180 miles).—A camp of 50 or
60 tents; partial cultivation; water and forage abundant; level
good road.
17. Panj Guzar (10 miles—190 miles).—A camp of 60
tents; cultivation extensive; water and forage abundant; road
good.
18. Kaor Mach (10 miles—200 miles).—A camp of 10
tents; no cultivation; water and forage abundant; level good
road.
19. Gali Chasm (10 miles—210 miles).—Two old deserted
forts; no cultivation; camel forage and water abundant; road
runs between hills.
20. Bala Murghab (20 miles—230 miles).—A village of 200
houses and tents and a fort; cultivation abundant; 8 miles
from Gali Chasm is a steep hill, practicable for guns with
some labour. There is not sufficient water at any intermediate
place for more than 200 persons with cattle.
21. Karnachi (10 miles—240 miles).—No habitations;
camel forage plentiful; the only water is from a small cut 2 feet
wide from the Murghab river; road along the water-course; no
impediments.
22. Chasm-i-Mangur (10 miles—250 miles).—A camp of 15
or 20 tents; forage and water abundant; level good road.
23. Koh-i-Duzd (20 miles—270 miles).—No habitations
here; the river water brackish, but there are 30 or 40 springs
near at hand; at 3 miles there is an ascent for half a mile, and
then a long descent for 4 miles, after which the road is good
and level.
24. Kala-i-Nao (20 miles—290 miles).—A town of 1500
houses with a mud fort; cultivation abundant; road level and
good. This stage can be divided by halting half-way at
Postalak, where there are springs of fresh water.
25. Aushara (10 miles—300 miles).—A camp of 30 or 40
tents; and good water and encamping ground; forage
abundant.
26. Khushk-i-Zard (10 miles—310 miles).—A camp of 40
tents; no cultivation; forage and water abundant; one hill
difficult of descent.
27. Band-i-zer-Mast (20 miles—330 miles).—No dwellings;
forage and water abundant; an ascent of 6 miles, very stony
and difficult.
28. Kharoke (20 miles—350 miles).—A military post;
cultivation, forage, and water abundant; road level and good.
There is water in the middle of this stage, but no forage.
29. Herat (20 miles—370 miles).—Good level road,
through a well populated country, the whole way.
N.B.—The first numbers in this and following routes give
the length of the stage, the second the total distance from the
commencement of the route.
ii.
kandahar to herat (by the northern route)
1. Kokaran (7 miles).—The river Argandab runs within 500
yards of the high road; an irrigation channel also furnishing an
abundant supply of water. Small quantities of forage
procurable. For the first 3 miles the road passes through the
enclosed gardens surrounding the city and crosses the
several canals drawn from the Argandab for irrigating the
valley of Kandahar.
2. Jangeri (5 miles—12 miles).—Water procured from an
irrigation canal drawn from the Argandab, the river one mile
distant south-east; forage for camels and horses procurable.
The road stony in some places but generally good; there is an
abrupt descent into the bed of the Argandab river, which is
easily fordable.
3. Haoz-i-Madat Khan (14 miles—26 miles).—Watered by
the same canal which supplies Jangeri; grass plentiful about 5
miles to the southward; several villages and much cultivation
in the vicinity; large flocks of sheep and goats. The march lies
across a hard and level plain. Water is found close to the
road, a short distance from the village of Badwan, 2½ miles
from Jangeri.
4. Khushk-i-Nakhud (15 miles 6 furlongs—41 miles 6
furlongs).—Abundant supply of good water from two artificial
watercourses. Grass scarce, and little cultivation. A hard level
road.
5. Khak-i-Chopan (9 miles 5 furlongs—51 miles 3
furlongs).—Water procurable in sufficient quantity. Road
generally good and level; sand lies rather deeply on it for a
short distance, and some slight undulations in the ground are
met with towards the end of the march. Cultivation and
villages lie 2 or 3 miles to the south.
6. Left Bank of Helmund River (22 miles 5 furlongs—74
miles).—Water abundant, from irrigation channels and from
the river. Very little cultivation on this side of the river and but
few dwellings. Road generally good and hard.
7. Girishk (1 mile 4 furlongs—75 miles 4 furlongs).—Water
from irrigation channels abundant. The river a mile distant to
the south-east; ground somewhat broken by water-courses
and damp spots. Forage both for camels and horses excellent
and most abundant. Many small villages and much arable
land, but comparatively little cultivated ground.
8. Zerak (20 miles 7 furlongs—96 miles 3 furlongs).—
Water good and abundant; forage for both camels and horses
plentiful; some cultivation in the vicinity. The dried bushes
found on the plains form almost the sole fuel procurable at
most of the stages. The first 6 miles of the road on this stage
stony and undulating, the beds of several torrents which drain
the desert plain crossing the line; after this it becomes level
and easy till the fort of Sadat, 18 miles from Girishk, is
reached. Beyond Sadat the road again passes over
undulating ground with one or two steep slopes till Zerak is
close at hand. There is an abundant supply of water at Sadat.
9. Doshakh (12 miles 7 furlongs—109 miles 2 furlongs).—
Water abundant; one or two villages and some cultivation in
the vicinity; the road hard and level the whole way. At the
village of Sur, 6 miles from Zerak, forage is procurable, and if
Sadat were made a halting-place Sur would form another at a
distance of 8½ miles from it.
10. Khushk-i-Sufed (21 miles 7 furlongs—131 miles 2
furlongs).—The first part of the road good and level; excellent
water from a reservoir at a distance of 3 miles from
encamping-ground. At 10½ miles from Doshakh the march is
through a range of hills, the path leading over which shortly
afterwards contracts in several places, so that a laden camel
can barely pass. The ascent gradual, no steep slopes; the
road broken and stony.
11. Washir (9 miles 5 furlongs—141 miles).—Abundance of
water. The road is hard and good with a gentle descent the
whole way till within a mile or two of Washir, when it is
undulating and stony in some places.
12. Left Bank of Khash Rud (12 miles 2 furlongs—153
miles 2 furlongs).—Excellent water from the river; forage for
camels not abundant on the banks of the river; the grass not
plentiful nor of good quality; no village in sight and the country
on either side dry, stony and almost a desert. The road stony
and uneven.
13. Ibrahim Jui (16 miles 7 furlongs—170 miles 1 furlong).
—Water abundant. The road leads across a hard level plain
for about 9 miles without any obstacle. At the termination of
the plain it enters a range of hills of moderate elevation, the
path being in some places narrow, difficult, and crossed in
many places by the dry beds of mountain torrents.
14. Nalak (13 miles 4 furlongs—183 miles 5 furlongs).—
Water from a running stream good and abundant; forage for
camels and horses plentiful; very little cultivation. The road
lies among hills for a mile, then debouches on a plain. Skirting
a range of precipitous and lofty hills on the right for 3½ miles
road good again, twining into another mountain gorge and
ascending the valley for 5 miles to a spot called Ganimargh,
where villages are seen. The road continues to thread a
succession of mountain valleys.
15. Tut-i-Kasarman (6 miles 5 furlongs—190 miles 2
furlongs).—Good water from a “karez”; forage for both camels
and horses abundant; fuel procurable but no supplies. Road
among hills all the way, gradually ascending but not difficult.
16. Lajward Karez (15 miles—205 miles 2 furlongs).—
Water from the ‘karez’ good and abundant. The road pursues
a northerly direction for about 2 miles, and then turns to the
westward and follows a mountain valley from three-quarters
of a mile to 2 miles wide, bounded by lofty and rugged peaks
on either side. At 5½ miles from Tut-i-Kasarman, the summit
of the pass, a height of 1200 feet is gained. The path then
descends to the foot of the slope, where water is found in the
bed of a stream completely overgrown by long grass, bushes
and reeds; here the valley widens out from 3 to 4 miles, and
the road continues tolerably level till a “karez” is reached. The
road over the pass is much broken.
17. Shaharak (15 miles—220 miles 2 furlongs).—
Abundance of good water; grass plentiful; villages and
cultivation near.
18. Shahiwan (15 miles—235 miles 2 furlongs).—
Numerous canals for irrigation.
19. Right Bank of Farah Rud (1 mile 3 furlongs—236 miles
5 furlongs).—Water of great purity from the river; forage not
plentiful.
20. Ab-i-Khurmah (21 miles 3 furlongs—258 miles).—
Water from a spring not very wholesome; ground very
irregular; fuel scarce; forage for camels sufficient. For 14
miles the road traverses a hard stony level plain; it then
enters among low hills, and follows for some time the bed of a
mountain stream.
21. Chah-i-Jahan (17 miles 2 furlongs—275 miles 2
furlongs).—Water tolerably good from spring; forage for both
camels and horses abundant; vegetation in the bed of the
watercourse very luxuriant; no villages or cultivation near; the
road rough and stony.
22. Aisabad (20 miles 1 furlong—295 miles 3 furlongs).—
Abundance of water. The plain is rather marshy; forage for
both horses and camels abundant; fuel scarce.
23. Left Bank of the Adraskand (21 miles 2 furlongs—316
miles 5 furlongs).—Water from the river; forage and fuel
abundant; no signs of cultivation or inhabitants near the river,
nor are any villages seen between the valley of Sabzawar and
that of Herat, a fatiguing and difficult march. High peaks rise
to the eastward, the summits of which are judged to exceed
10,000 feet in height above the level of the sea. The table-
land is 2½ miles across, where there is a further slight ascent,
the elevation reached being considered 1500 feet above the
level of Sabzawar. The descent into the valley of the
Adraskand is steep, rocky, and tortuous.
24. Robat-i-Shah Bed (22 miles 2 furlongs—338 miles 7
furlongs).—Forage for camels and horses abundant; no
supplies of any description procurable. For 19 miles from the
Adraskand the road ascends among hills, the elevation being
6500 feet above sea-level. Forage and water procurable the
whole way. The road stony.
25. Rosabagh (21 miles—359 miles 7 furlongs).—Good
water from numerous artificial channels. Road attains
elevation 7200 feet above sea-level falling further 2000 feet,
and is good the whole way from the foot of the hills. The
Rosabagh is a Royal garden planted with Scotch firs, now of
great size and beauty.
26. Right Bank Hari Rud (4 miles 4 furlongs—364 miles 3
furlongs).—Water good. This spot is but 3 miles from Herat
and within reach of the bazaars of the city. The road fords the
Hari Rud river running in several channels over a wide shingly
bed.
27. Herat (3 miles 180 yards—367 miles 3 furlongs).
iii
kandahar to herat by girishk, farah
and sabzawar (the southern route).
As far as Girishk (7 marches, 75 miles 4 furlongs), see
route II. page 331.
8. Haoz (a reservoir) (17 miles—92 miles 4 furlongs).—The
reservoir, which is 20 feet square, is built in a broad ravine,
through which there is a considerable stream after the snow
begins to melt; forage and grass scarce; a few ravines
crossed; the road, generally good, is over a hard, level, and
arid plain.
9. Shorab (23 miles—115 miles 4 furlongs).—Water
plentiful in the winter and spring; later in the year it is
brackish, but the supply is susceptible of great improvement;
forage and grass generally plentiful; road over a desert plain,
somewhat uneven, and in places stony.
10. Dalhak (8 miles—13 miles 4 furlongs).—A ruined fort;
water rather scarce, but might be increased with care from a
spring; forage and grass scarce.
11. Hasn Gilan (15 miles—138 miles 4 furlongs).—A ruined
fort; water, forage, and grass scarce. The Darwaza pass is
crossed about the third mile.
12. Dilaram (13 miles—151 miles 4 furlongs).—Water,
forage, and grass abundant; the road fords the Khash Rud at
the end of the march; the bed of the river is 300 yards broad,
with a small clear stream in the dry season about 2½ feet
deep. There are villages all the way; the left bank is high and
steep.
13. Ibrahim Jui (14 miles—165 miles 4 furlongs).—Forage,
water, and grass scarce.
14. Kala Ibrahimi (5 miles—170 miles 4 furlongs).
15. Chiagaz (14 miles—184 miles 4 furlongs).—A small
fort near Siahab; water, forage, and grass abundant. Road
crosses the Bukwa plain.
16. Karez (15 miles—199 miles 4 furlongs).—Water bad;
road good, over a level plain.
17. Khormalik (16 miles—215 miles 4 furlongs).—Water
good and plentiful; cultivation in the neighbourhood; the road
crosses two ranges of hills, one pass being stony and difficult
for camels.
18. Haoz-i-Kalsa (10 miles 4 furlongs—226 miles).—Water,
forage and grass good and plentiful.
19. Farah (10 miles 4 furlongs—236 miles 4 furlongs).—All
supplies procurable.
20. Karez (9 miles—245 miles 4 furlongs).—Road over a
fine plain, crossing the Farah Rud soon after leaving Farah.
The river is about 400 yards broad, with a stream in the dry
season of 150 yards, and 2 feet deep. Water clean and rapid.
21. A Well (8 miles—253 miles 4 furlongs).
22. Mula Mustafa’s Well (7 miles—260 miles 4 furlongs).
23. Jeja (13 miles—273 miles 4 furlongs).—A village on
the left bank of the Adraskand. Road for the most part
tortuous, rocky, and bad.
24. Water among Hills (9 miles—282 miles 4 furlongs).—
Road crosses the Adraskand on leaving Jeja, and soon
afterwards ascends a short pass.
25. Adraskand River (9 miles—291 miles 4 furlongs).—
Water.
26. Adraskand River (8 miles—299 miles 4 furlongs).—
Water.
27. Sabzawar (8 miles—307 miles 4 furlongs).—The road
follows the right bank of the Adraskand until Sabzawar is
reached, and crosses the Gudar Khana pass.
28. Ziarat (12 miles—319 miles 4 furlongs).—Few supplies
procurable. Water sufficient; forage and grass abundant; the
road lies over a plain.
29. Sherbakhsh (17 miles 4 furlongs—337 miles).—Water
plentiful but brackish; forage and grass abundant.
30. Gandatsu (9 miles 4 furlongs—346 miles 4 furlongs).—
Water scarce; forage and grass abundant.
31. Shorak (10 miles 4 furlongs—357 miles).—Water
scarce except in the spring, when it is abundant; forage and
grass plentiful; the road skirts the Shah Bed range.
32. Water in a Ravine (7 miles—364 miles).—Water
scarce; forage and grass plentiful; the road winds round the
north-western extremity of the Shah Bed range.
33. Ghor-i-Sufed (8 miles—372 miles).—Water, forage and
grass sufficient: succession of rolling undulations, which the
road crosses at right angles; soil hard and gravelly.
34. Kala-i-Mula Yasin (9 miles 4 furlongs—381 miles 4
furlongs).—Water plentiful; forage and grass abundant; a few
small villages in the vicinity; road over undulating ground.
35. Rozeh Bagh (11 miles 4 furlongs—393 miles).—Water
plentiful from canals; grass very scarce.
36. Hari Rud (4 miles 4 furlongs—397 miles 4 furlongs).
37. Herat (3 miles—400 miles 4 furlongs).
iv
kandahar to dera ismail khan.
1. Kala Mohmand (6 kos).—Over the Kandahar plain. The
water here is from springs, but brackish. A little cultivation in
the neighbourhood.
2. Taruk (6 kos—12 kos).—Over a sandy plain;
encamping-ground on the bank of the Tarnak river, from which
water is procurable.
3. Wilgai (5 kos—17 kos).—In this day’s march a small
“pass” has to be crossed. No provisions procurable here, and
water only from springs.
4. Jandar Madat Khan (5 kos—22 kos).—A village in the
midst of a well cultivated tract on the banks of the Arghesan;
road good.
5. Lora (6 kos—28 kos).—Road along the bed of the
Arghesan; here also are villages and cultivation, and Lora
itself is situated at the junction of a stream coming down from
above the Mukur with the Arghesan.
6. Sarghaz Kotal (6 kos—34 kos).—Still up the bed of the
stream, the road is broken and rugged; there are a few small
villages in the neighbourhood surrounded by small patches of
cultivation. The country generally is mountainous and barren;
camping-ground at the foot of the Kotal.
7. Camp (6 kos).—Long tedious march. The ascent and
descent of the Sarghaz mountain takes the greater part of a
day. The encamping-ground is at a spring on the remote side
of the range; no village, but trees.
8. Camp (6 kos).—Over an undulating broken country,
gradually descending again to the bed of the Arghesan, on
the bank of which is the spot for encamping.
9. Shirkzai (6 kos).—Over a country undulating and hilly;
the banks of the Arghesan are here and there cultivated, and
have a good sprinkling of villages.
10. Katt (6 kos).—Road resembles previous march. A
Ghilzai encampment near some springs; the road leaves the
bed of the Arghesan and crosses the Ghwauza Kotal, which is
neither high nor difficult; this is the last halting-place in the
Kandahar district.
11. Surkhel (7 kos).—A village belonging to the Tokhi
Ghilzais; country tolerably well cultivated; water brackish from
springs.
12. Sturanisa (7 kos).—Over an undulating plain; no
cultivation; villages deserted; water procurable from wells; this
spot belongs to the Tokhi Ghilzais.
13. Kirshutu ke Kala (6 kos).—Road good, country level,
but only inhabited by wandering Babars; water from “karez.”
14. Topan (6 kos).—Over a plain; here is one well but no
cultivation. The country belongs to Babars.
15. Lowana Karez (7 kos).—Over a plain; Lowana is a
small village surrounded by cultivation.
16. Gharabi Dara (6 kos).—Halting-ground at the entrance
to the pass; water procured by digging in the bed of a ravine
where it is always to be found close to the surface.
17. Lari (6 kos).—The name of a plain occupied by a tribe
of Kakars. Road through a long darah flanked by low hills;
water from springs.
18. Trikhghaz (7 kos).—This place consists of 30 or 40
houses of the Jhunirian tribe. Country hilly and barren.
19. Mukhal (6 kos).—An encamping ground; road passes
through a long defile; water procured from a small stream, a
tributary of the Gomul.
20. Mamukhani (8 kos).—A long and tiresome march, for
five kos through a narrow defile, commanded by lofty heights;
the path then debouches on the Mamukhani plain, occupied
by Mandukhels and Nasrs.
21. Kharkhandi (6 kos).—Here are a few villages in the
midst of cultivation belonging to Mandukhels and Nasrs. Road
generally through a hilly country along the bed of the Kundar
stream.
22. Gasta (6 kos).—Still along the bed of the stream; this
spot which is only an encamping-ground without houses
belongs to the Mandukhels.
23. Husen Nika (7 kos).—A halting-place at the Ziarat of
Husen, where the Kholdad Khel and Suliman Khel Ghilzais
come down to trade and barter with the Lohanis. From here
two roads strike off, one to Ghwalari and the other to Zhob.
24. Damandar (7 kos).—A halting-place watered from a
spring on the water-shed line between the Kundar and Gomul
streams; this day’s march is a difficult one, through a rugged
dara, at the end of which a high kotal has to be ascended.
25. Kanzur.—The first halting-place in the Waziri country
on the banks of the Gomul. Caravans are frequently attacked
by the Waziris in all the routes through their portion of the
country, where there are no villages, but only well-known
halting-places, named as here shown. The road in this march
is down a steep descent, and then along the bed of the
Gomul river.

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Advertising and Promotion An

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Advertising and Promotion An Integrated Marketing

Advertising and Promotion An Integrated Marketing

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Chapter and Lecture Outline

1. Informational/rational appeals—these types of appeals focus on the consumer's practical,

C. Advertising Execution—Creative execution refers to the manner in which an advertising appeal

1. Straight-sell or factual message—this type of execution relies on a straightforward

2. Scientific/technical evidence—a variation of the straight sell where scientific or technical

3. Demonstration—this type of execution is designed to illustrate the key advantages or benefits

4. Comparison—this type of execution involves a direct or indirect comparison of a brand

5. Testimonials—many advertisers present their advertising messages in the form of a

7. Animation—this technique used animated characters or scenes drawn by artists or on

8. Personality symbol—this type of execution involves the use of a central character or

10. Dramatization—this execution technique creates a suspenseful situation or scenario in the

12. Combinations—many of these execution techniques can be combined in presenting an

II. CREATIVE TACTICS

4. Visual elements—another major component of a print ad is the visual elements or

4. Planning and production of television commercials—the various elements of a television

III. CLIENT EVALUATION AND APPROVAL OF CREATIVE WORK

• Is the creative approach appropriate for the target audience?

• Does the creative execution overwhelm the message?

• Is the advertisement truthful and tasteful?

Answers To Discussion Questions

Additional Discussion Questions (not in text)

infantry on the march

Abdur Rahman did not confine his work of reorganisation solely to

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