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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
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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.
9-15
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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themselves are often protected with earth during winter.
In the south of Persia, and also in the north, the very slightest
cultivation is employed, yet in good years the harvests of every kind
are very heavy. In all cases it is the abundance, or the reverse, of the
supply of water that regulates the amount of harvest. Given plenty of
water, the harvest must be large.
The melon has been spoken of in another place. The water-
melons and the white-fleshed melons of Gourgab, near Ispahan, are
the finest in the world. I have seen melons weighing twenty-eight
pounds of the former variety; these were, however, phenomenal.
In the orchards of Ispahan clover is sown under the trees to break
the fall of the fruit, which is only plucked when a choice dish of it is
required as a present. The usual way is simply to pick up the
droppings. The Persian never thins the fruit. I have often
recommended their doing so, but on two occasions when I tried the
experiment and marked the trees, it did not succeed: the trees where
the fruit had been thinned merely giving fewer fruit, of the same size
as the unthinned trees under the same conditions and of the same
variety.
Nothing can be more delightful than these cool and silent gardens
in the summer in Ispahan. The thick foliage keeps out the sun, and
the deep green of the short clover refreshes the eye. Tea in a
garden, with pipes and fruit, is a pleasant way of spending a warm
afternoon. Unfortunately the Persian or Armenian usually looks on a
fruit garden merely as a good place to get drunk in, and the frequent
sounds of music and singing show the passer-by that this idea is
being carried out.
Garden parties are, however, often given by Persians who never
touch liquor, and they are as enjoyable a form of entertainment as
may be. An invitation to one is generally given without any
preparation, as during the paying of a call; it is accepted, and
forthwith an immediate start is made. A few carpets and pillows are
rolled up and placed on a mule, with the samovar or Russian urn in
its leather case, and the tea equipage in its travelling box. The cook,
on his pony, takes his whole batterie de cuisine, and hurries to the
garden indicated by his master, probably buying a lamb and a couple
of fowls, as he passes through the bazaar. The entertainer, his wife
and children too, if we are very intimate, the former on his horse, the
latter astride on white donkeys, proceed at a leisurely pace in the
direction of the garden; while the servants, all smiles, for they enjoy
the outing as much as the family, accompany them on foot or
horseback, carrying water-pipes, umbrellas, and odds and ends. On
reaching the garden, fruit is eaten; then the whole party roam
unrestricted among the shady paths while tea is prepared. This is
partaken of, and then a musician, or a singer, or perhaps a story-
teller, makes his appearance and diverts us all. Or some servant,
who has a good voice, sings or plays on the flute to us.
Often a grave and reverend merchant will produce a “tarr,” a
species of lute, or a “santoor” (the dulcimer), a kind of harmonica,
and astonish us by really good Eastern music. Few will consent to
sing; it is infra dig. The nightingales sing merrily, and dull care is
effectually banished. In these thoroughly family parties, wine or
spirits are never introduced. Chess or backgammon (Takht-i-Nadir,
the camp of Nadir Shah) are constantly played for a nominal stake of
a lamb or fat pullet.
The party is collected on a raised daïs in the open air, and sit on
carpets or lean on huge pillows. Candles are lighted in the lallahs or
Russian candle-lamps; these are convenient, as they are not
extinguished by wind. At about nine dinner is brought, after
innumerable kalians or water-pipes have been smoked: this is eaten
in comparative silence; host, guest, wives, and children, all sitting
round the leathern sheet which represents a table, and dipping their
hand in the platters. At about ten all retire, the bedding of each is
spread in a separate nook, on one’s own carpet—all of course being
in the open air—and at dawn one smokes a pipe, drinks a little cup
of black coffee, and takes one’s leave.
Our host and his guests go about their several businesses, while
the women and children and servants generally breakfast in the
garden and return home together in the cool of the evening, bringing
back fruit and huge bouquets of the moss-rose with them.
These impromptu entertainments are most enjoyable: there is no
sense of restraint, and their absolute suddenness, absence of
formality, and true hospitality, form a remarkable contrast to the more
formal pleasures of European life and the regularity of
entertainments which hang over one, till their very thought becomes
insupportable. Of course, such entertainments are only possible in a
country where the gardens are freely thrown open to everybody.
CHAPTER XXIX.
PERSIAN CHARACTER, COSTUMES, AND
MANNERS.
Character of the Persians—Exaggeration—Mercifulness—Anecdote—Costumes of

men—Hair—Beards—Arms—Costumes of women—Jewellery—Glass bangles—
Nose-rings—Painting of the face—Tattooing—Hair—Outdoor costume—Dress of
children—Their manners—Strange custom—Love of mothers—The uncle—
Cousins—Slaves—Servants—Slavery.
The character of the Persian, as it appears to me, is that of an easy-

going man with a wish to make things pleasant generally. He is
hospitable and obliging, as honest as the general run of mankind, and
is specially well disposed to the foreigner. He is very kind and indulgent
to his children, and as a son his respect for both parents is excessive,
developed in a greater degree to his father, in whose presence he will
rarely sit, and whom he is in the habit of addressing and speaking of as
“master;” the full stream of his love and reverence is reserved for his
mother; and an undutiful son or daughter is hardly known in the country.
Home virtues among the Persians are many.
No act of serious import is ever undertaken without the advice of the
mother; no man would think, for instance, of marrying contrary to his
mother’s advice; and by the very poorest the support of their parents
would never be looked on as a burden. Respect for the aged is
universal; “this grey beard” is a common term of respect; and an aged
man or woman will frequently give an opinion unsolicited, and such
advice is often requested, and always listened to as valuable.
The peculiar honesty of the Persian servant towards his master in
respect to his goods and chattels has been previously remarked; and in
commercial morality, I fancy that a Persian merchant will compare not
unfavourably with that of the European generally, if he does not always
attain the high standard theoretically adopted by the Englishman.
To the poor, Persians are unostentatiously generous; most of the rich
have regular pensioners, old servants, or poor relations who live on
their bounty, and though there are no workhouses, there are in ordinary
times no deaths from starvation; and charity, though not organised, is
general.
The Persian is, I regret to say, a liar, but Oriental exaggeration and a
tendency “to run into poetry,” as Mr. Wegg said, perhaps accounts for
much of this. After a time one learns to mentally discount the
statements made by the natives, and habit generally enables one to do
this correctly. All ranks of society exaggerate and draw the long bow; a
curious instance of this occurred in Shiraz. I was conversing on the
subject of hunting with the king’s son, and a large circle of courtiers and
priests filled the room.
The prince narrated his exploits in hunting the antelope the previous
day, and gravely stated that while pursuing a pair of “ahū,” when riding
a very restive horse that he had, his head-stall broke.
“What should you have done, doctor?”
“I should have tried to stick on as long as the ground was good, and,
expecting an accident, have awaited it.”
“Ah, that was because you were not a prince,” he said. “I leant
forward, and unclasping my belt, placed it in the horse’s mouth as a
bridle, and thus directing him, pursued my game and killed both
antelope.”
All the circle applauded (as of course they were bound to do). I was
silent.
“You don’t mean to say you don’t believe that?” said the prince.
I smiled.
“Speak out if you don’t; I shan’t be offended in the least.”
“Well, your Highness, I don’t believe it.”
“Quite right, darogh bood” (it was a lie), unblushingly replied his
Royal Highness, and burst into a fit of laughter quite unabashed; the
circle of courtiers, of course, were convulsed.
The giving of the lie is no insult in Persia; among the natives a
common expression is, “You are lying,” and the general reply is merely
to asseverate the statement by an oath, no indignation whatever being
shown at the charge.
Procrastination is the attribute of all Persians, “please God, to-
morrow,” being ever the answer to any proposition, and the to-morrow
means indefinite delay. A great dislike is shown generally to a written
contract binding the parties to a fixed date; and, as a rule, on breaking it
the Persian always appeals for and expects delay and indefinite days of
grace.
Only the upper classes and the natives of towns, among the military
and servant class, are in the habit of indulging in intoxicants, and
unchastity is confined to the females of these classes; this vice among
young women prior to marriage is very unusual; and the Persian
woman compares favourably with her European sister in this respect.
Persians are clean in their persons, washing themselves and their
garments frequently, differing in this habit from the Armenians, who
never wash more frequently than once a month, and consider it
unhealthy to do so; these people have great fear of taking cold, and
dread water like cats.
I will not trust myself to give my opinion on the character of the
Armenian. Of course I have known brilliant exceptions; but when I say
that I endorse all that Morier, Malcom, Lady Shiel, and the standard
writers on Persia have said of these people, I need not add that my
impression is unfavourable in the extreme. They possess one good
quality, however,—thrift.
The Persian always makes the best of his appearance; he is very
neat in his dress, and is particular as to the sit of his hat and the cut of
his coat They are all fond of animals, and do not treat them badly when
their own property. Of course hired horses and mules are often over-
ridden, and a good deal of cruelty from ignorance, in the way of riding
animals with sore backs, is seen; but as travellers must proceed, and
are frequently unable to give their horses or mules a rest, because they
must keep with their caravan, this is not to be wondered at. The
Persian, however, generally saves his animal as much as possible, and
frequently dismounts and walks, leading his mule or horse. Much of the
frequency of sore backs must be put down to the badly-made saddles
and pack-saddles, the latter of which are merely stuffed with “kah” (cut
straw).
MIDDLE CLASS PERSIANS.
PERSIAN BOY.
Cruelty is not a Persian vice; torture and punishments of an unusual

and painful nature being part of their judicial system. There are no
vindictive punishments, such as solitary confinement, penal servitude
for long terms of years, etc. Seldom, indeed, is a man imprisoned more
than twelve months, the rule being that there is a general jail delivery at
the New Year. Royal clemency is frequently shown, often, perhaps, with
want of judgment; still, it is very frequent. A cook I had, was years ago
one of the Baabi rebels, and was seized and conducted to Teheran.
(His guilt was undoubted; he himself acknowledged it; and these men
had made an attempt, nearly successful, on the Shah’s life, actually
wounding him.) This cook, “Mehdi,” was chained by the neck, with
eleven others, and led out in the Shah’s presence for execution. The
eleven men had their throats cut. “Enough,” said the king, “let that poor
rascal go!”
He was taken back to prison and his life spared; but though the Shah
had meant that he should be released, there being no formal order, he
remained in prison for several years, making a good living by selling
savoury messes to his fellow-prisoners.
The costume of the Persians may be shortly described as fitted to
their active habits. The men invariably wear an unstarched shirt of
cotton. This is sewn with white silk, cotton as a sewing material being
unknown; it is often, particularly in the south of Persia, elaborately
embroidered about the neck. It fastens in front by a flap, having two
small buttons or knots at the left shoulder. It seldom comes below the
hips. There is no collar, and the sleeves are quite loose, and are not
confined at the wrist. The lower orders often have it dyed blue,
particularly the villagers; but the servant and upper classes invariably
wear a white shirt. Silk shirts used to be worn, but are now seldom seen
on men. Among the very religious, during the mourning month
(“Mohurrim”), the shirt is at times dyed black.
The “zerejumah,” or trousers, are of cloth among the higher classes,
particularly those of the military order, who affect a garment of a
tightness approaching that worn by Europeans. But the ordinary
“zerejumah” is of cotton, white or dyed blue, or at times red, cut very
loose, and exactly similar to the “pyjamas” worn by Europeans in India.
They are held up by a thin cord of red or green silk or cotton round the
waist, and the labouring classes, when engaged in heavy or dirty work,
or when running, generally tuck the end of these garments in under the
cord, which leaves their leg bare and free to the middle of the thigh.
The amplitude of these loose garments enables the Persian to sit
without discomfort on his heels, his usual mode of sitting, for chairs are
only used by the rich, great, or Europeanised; and it is a common thing
for a visitor, if on familiar terms, to ask to be allowed to sit on his heels,
as the unaccustomed chair tires him.
Over the shirt and “zerejumah” comes the “alkalūk,” generally of
quilted chintz or print. This is a closely-fitting garment, collarless, with
tight sleeves to the elbow, whence to the wrist are a number of little
metal buttons; these are fastened in winter, and left open in summer.
Above this is the coat, or “kemmercheen,” a tunic of coloured calico,
silk, satin, moiré, cloth, Cashmere, or Kerman shawl, gold embroidered
silk, satin, or velvet, according to the time of year and the purse or
position of the wearer. This, like the alkalūk, is open in front, and shows
the shirt. It has a small standing collar at times, and is double-breasted.
It has a pocket-hole on either side, giving access to the pockets, which
are always in the alkalūk, in which garment is the breast-pocket, where
watch, money, jewels, and seals are kept. The length of the
“kemmercheen” denotes the class of the wearer. The military and
official classes and the various “noker,” or servants, from the king’s
valet, who may be also prime minister, wear them short; that is to say,
to the knee, while fops and lutis (sharpers) wear them shorter even
than this. The priests, and merchants, and the villagers, especially
about Shiraz, and the townsmen and shopkeepers, with doctors and
lawyers, wear them very long, often nearly to their heels.
Over the kemmercheen is worn the kolajah, or coat. This is as a rule
cast off in summer, save on formal occasions, as when the wearer is
performing his functions or making a call, and is often borne by a
servant or carried over the shoulder by the owner himself. They are of
cloth, shawl, or camel-hair cloth, and are invariably lined throughout
with either silk or cloth, flannel, or even fur. They are like the Turkish
frock-coat, made with a very loose sleeve, and with many plaits behind.
They have lappels, as with us, and are trimmed with gold lace
(derbeeri), shawl, or fur, or at times worn quite plain; they have a roll
collar and false pockets.
Besides these garments there are others, as the long juba, or cloth
cloak. This ample and majestic garment is affected by mirzas
(secretaries), Government employés of high rank, as ministers, farmers
of taxes, courtiers, physicians, priests. The wearers carry a staff as a
rule. The jubas are made of the finest cloth, very amply cut. They have
a standing collar and long sleeves. These sleeves are from one to two
feet longer than the arm, and are often allowed to hang down empty
when the garment is worn out of doors; but when in the actual presence
of guests or a grandee, they are used to keep the hands hidden (a
token of respect to those present), and the many wrinkles formed by
the excessive length of these sleeves are supposed to be their beauty.
The abba, or camel-hair cloak of the Arab, is often worn by travellers,
priests, and horsemen. The priests particularly affect it; it is a very
picturesque garment, warm, and waterproof, also very light. Some of
these abbas are very expensive, though plain; while others, much
embroidered in gold, are given as dresses of honour to the middle
classes and priests, and are used at weddings, etc.
Among outer garments worn by travellers and the aged are the well-
known poosseen, or Afghan skin-cloak. These are full length, only used
by travellers and the sick or aged; and the “neemtan,” or common
sheepskin jacket, with short sleeves, used by shopkeepers and the
lower class of servants, grooms, etc., in winter. They are mostly seen at
Ispahan. The Afghan poosseen is a wonderful garment for travellers, as
it is so very warm, and forms bed and bedding, but it has to be kept dry.
The skins are dyed yellow; the fur is generally a natural brown. An
ample cloak is made with very long sleeves, which act as gloves, the
hands not being protruded. They are often elaborately embroidered
with yellow silk, and are worth in Teheran, where they are very
common, from four pounds (ten tomans) to sixteen pounds (forty
tomans).
Besides these “balapoosh,” or overcoats, is the “yapunjah,” or
woollen Kūrdish cloak. This is a kind of felt, having a shaggy side, of
immense thickness. It looks like a bear-skin, and is of great weight. It is
a half-circle in shape; a strap at the neck holds it on. The wearer,
generally a shepherd, uses it as great-coat, bed and bedding. It is quite
waterproof, and very warm. The thing is worn slung, closed side to the
wind, and is used as a shield against the wind or snow.
There is also the felt coat of the villager, before described, a very
warm and inexpensive garment, which wears well. It is from half an inch
to one inch thick, and enables the villager to defy the severest weather.
The cost is from five to fifteen kerans.
The kemmerbund, or belt, is also characteristic of the class. It is
made of muslin, shawl, or cotton cloth among the priests, merchants,
traders, and bazaar people; shawls and muslin are also affected by the
secretary class and the more aged or old-fashioned among the great
Government employés.
In it is carried by the literati and merchants the pencase and a roll of
paper, and its voluminous folds are used as pockets: and by the bazaar
people and villagers, porters, and merchants’ servants a small sheath
knife is stuck in it; while by “farrashes,” the carpet-spreader class, a
large canjar, or curved dagger, with a heavy ivory handle, is carried;
less for use than as a badge of office.
The headgear, too, is very distinctive. The turban is worn by the
priests. These use generally a white one, consisting of many yards of
muslin, unless they be “Syuds,” or descendants of the prophet, when a
green one is worn. This at times is a very deep colour, nearly black; at
others a grass-green.
These Syuds, too, usually wear a kemmerbund, or girdle of green
muslin, shawl, or cotton cloth. Merchants also affect the turban, usually
of muslin, embroidered in colours; or of a yellow pattern on straw-
coloured muslin, or of calico, or at times of shawl.
The waist of the Persian is generally small, and he is very proud of
his fine figure and broad shoulders.
The distinctive mark of the courtier, military, and upper servant class
is the belt, generally of varnished leather, black in colour, with a brass
clasp, usually of Russian manufacture. The princes and courtiers often
replace the brass clasp by a huge round ornament of cut stones, the
favourite one of his Royal Highness Zil-es-Sultan being of diamonds, of
large size, a huge emerald being in the centre.
The “kola,” or hat, is of cloth or sheepskin, on a frame of pasteboard.
The most expensive are made of the black skin of the fœtal lamb.
Strange to say, these skins usually go to Europe to be dyed—I believe
to Leipzig. The commoner people wear coloured lambskin hats, as
grey, or even sheepskin, with the wool long. The fashions in hats
change yearly; they are generally affected by the military and noker
(servant) class, by courtiers and beaux, and are usually worn with a
knowing cock. The Ispahani merchant, and the Armenian, at times wear
very tall ones.
The hair is generally shaved at the crown, or the entire head is
shaved, a karkool, or long thin lock, being at times left, often two feet
long from the middle of the crown. This is kept knotted up and hidden.
Its use is to enable the prophet Mahommed to draw up the believer into
paradise. The lower orders generally have the hair over the temporal
bone long, and this is brought in two long locks, turning backwards
behind the ear; they are termed “Zūlf;” the beaux and youths are
constantly twisting and combing them. The rest of the head is shaven.
Long hair, however, is going out of fashion in Persia, and the more
civilised affect the cropped hair worn by Europeans, and even have a
parting in it.
The chin is never shaved, save by “beauty men,” or “Kashangs,”
though often clipped, while the moustache is usually left long. At forty, a
man generally lets his beard grow its full length, and cherishes it much;
part of a Persian’s religious exercises is the combing of his beard.
Socks, knitted principally at Ispahan, are worn: they are only about
two inches long in the leg. The rich, however, affect a longer sock: white
cotton ones are worn in summer, and coloured worsted in winter. The
patterns of these worsted socks are often very pretty and effective. The
villagers only wear a sock on state occasions, as at a wedding, the New
Year, etc.
Shoes are of many patterns; the Orūssi or Russian shoe, similar to
our children’s shoe without the strap, is the most common. Next, the
Kafsh, or slippers of various kinds. The heel is folded down, and
remains so. The priests affect a peculiar heavy shoe, with an ivory or
wooden lining at the heel. Green shoes of shagreen are very common
at Ispahan. Blacking is unknown to Persians generally, but a
European’s servant may be always recognised by his polished shoes.
Boots are only used by horsemen, and are then worn much too large,
for ease. Those worn by couriers often come up the thigh, and are
similar to those used by our sewer-men.
With boots are worn shulwar, or baggy riding breeches. These are
very loose, and tied at the ankle by a string; a sort of kilt is worn by
couriers. Pocket-handkerchiefs are never used, save by the rich or the
Teheranis.
Most Persians affect a “shub kola,” or night hat, for wear in their
homes. This is a loose, baggy cap, of shawl or quilted material: it is
often embroidered by the ladies, and presents of “night hats” are as
frequent with them as our ones of embroidered slippers.
As to arms, these are usually carried only by the tribesmen, who
bristle with weapons. The natives of the south of Persia and servants—
these latter generally, particularly in Shiraz—carry a kammer, or dirk,
which is, however, seldom used as an offensive weapon, save in
drunken rows. The soldiery, on or off duty, always carry one of these
“kammers” or their side-arms, sometimes both. They hack, but never
thrust with them. Of course on the road the carrying of weapons is the
rule, and it is needed, as there is no police, save the ephemeral
phenomena introduced by Count Monteforte at Teheran. These men,
who are really efficient, are too good to last.
The costume of the women has undergone considerable change in
the last century; it is now, when carried to the extreme of the fashion,
highly indecent, and must be very uncomfortable.
The garment doing duty as a chemise is called a perhān; it is, with
the lower orders, of calico, white or blue, and comes down to the middle
of the thigh, leaving the leg nude. Among the upper classes it is
frequently of silk. At Shiraz it is often of fine cotton, and elaborately
ornamented with black embroidery: among the rich it is frequently of
gauze, and much embroidered with gold thread, pearls, etc. With them
it often reaches only to the navel.
The head is usually covered with a chargāt, or large square of silk or
cotton, embroidered. These chargāts are folded, as were shawls
amongst us some years ago, thus displaying the corners, two in front
and two behind; it is fastened under the chin by a brooch. It is often of
considerable value, being of Cashmere shawl, embroidered gauze, etc.
A jika, a jewelled, feather-like ornament, is often worn at the side of
the head, while the front hair, cut to a level with the mouth, is brought
up in love-locks on either cheek. Beneath the chargāt is generally a
small kerchief of dark material, worn to set off the complexion, and
preserve the chargāt; only the edge of this is visible. The ends of the
chargāt cover the shoulders, but the gauze perhān, quite transparent,
leaves nothing to the imagination. The breasts and chest are very
visible, and the abdomen is quite bare.
On state occasions, or with women who aim at beauty, the face is
always painted more or less, and a profusion of jewellery worn. This is
of the most solid description, the gold some twenty-three carats fine,
and quite flexible: no hollow jewellery is worn, intrinsic value being what
is aimed at.
Silver is only worn by the very poor: coral only by negresses.
Necklaces and bracelets are much worn, and numerous chains with
scent-caskets attached to them; while the arms are covered with
clanking glass bangles, called “Alangū,” some twenty even of these
hoops being worn on an arm.
Jewelled “Bazūbund,” containing talismans, are often worn on the
upper arm, while among the lower orders and South Persian or Arab
women nose-rings are not uncommon, and at times bangles, or anklets
of beads, on the ankles.
The face on all important occasions—as at entertainments,
weddings, etc.—is usually much painted, save by young ladies in the
heyday of beauty. The colour is very freely applied, the cheeks being
reddled, as are a clown’s, and the neck smeared with white, while the
eyelashes are marked round with kohl (black antimony). This is
supposed to be beneficial to the eyes, and almost every woman uses it
—very needlessly, as the large languishing eye of the Persian belle
needs no adventitious aid. The eyebrows are widened and painted till
they appear to meet, while sham moles or stars are painted on the chin
and cheek—various in their way, as the patches of the eighteenth-
century belles: even spangles are stuck at times on the chin or
forehead. Tattooing is common among the poor and villagers, and is
seen among the upper classes.
The hair, though generally hidden by the chargāt, is at times exposed
and plaited into innumerable little tails of great length, while a
coquettish little skull-cap of embroidery or shawl or coloured silks is
worn. False hair is common. The Persian ladies’ hair is very luxuriant,
and never cut; it is nearly always dyed red with henna, or black with
indigo to a blue-black tinge; it is naturally a glossy black. Fair hair is not
esteemed, and I have been asked to condole with ladies in their grief in
being the possessors of fair locks. At Ispahan so universal is this
feeling that a young half-caste lady having beautiful golden hair, dyed it
on her marriage to a pre-Raphaelite auburn, to please her Baghdadi
husband.
Blue eyes are not uncommon, but brown ones, like those of the full-
blooded Jewess, are the rule: a full-moon face is much admired, and
the possession of a dark complexion termed “nummak” (salt) is the
highest native idea of beauty.
Most Persian women are small, with tiny feet and hands. The figure,
however, is always lost after maternity, and they wear no support of any
kind.
A very short jacket of gay colour, quite open in front, and not covering
the bosom, with tight sleeves with many metal buttons, is usually worn
in summer: a lined outer coat in cold weather.
In winter a pair of very short white cotton socks are used, and tiny
slippers with a high heel; in summer in the house ladies go often
barefoot.
The rest of the costume is composed of the “tūmbūn,” or “shulwar;”
these are simply short skirts of great width, held by a running string; the
outer one usually of silk, velvet, or Cashmere shawl, often trimmed with
gold lace, according to the purse of the wearer; or among the poor, of
loud-patterned chintz or print. Beneath these are innumerable other
garments of the same shape, and varying in texture from silk and satin
to print.
The whole is very short indeed; among the women of fashion merely
extending to the thigh, and as the number of these garments is
amazing, and they are much bouffée, the effect of a lady sitting down
astonishes the beholder, and would scandalise the Lord Chamberlain.
As the ladies are supposed, however, to be only seen by their lords in
these indoor dresses, there is perhaps no harm done.
Indecency, too, is very much an idea, for a Persian lady, who will thus
expose her extremities and the greater part of her trunk, will carefully
veil her face, showing nothing but the eyes. The ladies of rank,
however, have no shame of any kind, and display very redundant
charms. The indoor costume of the Persian lady is in fact exactly that of
the corps de ballet, but shorter: while in winter, an over-mantle like the
“kolajah” or coat of the man, and with short sleeves, lined and trimmed
with furs, is worn; this gives the costume a peculiarly graceful
appearance.
OUTDOOR DRESS OF PERSIAN WOMEN.
(From a Native Drawing.)
Leg-coverings are now being introduced, and the last princess of the
blood royal I saw added to her comfort, though she destroyed the
poetry of her appearance, by a tightly-fitting pair of black cloth “pants”
with a gold stripe! This garment will doubtless soon become general.
In ancient days the Persian ladies always wore them, as may be
seen by the pictures in the South Kensington Museum. In those times
the two embroidered legs, now so fashionable as Persian embroideries
(“naksh”), occupied a girl from childhood to marriage in their making;
they are all sewing in elaborate patterns of great beauty, worked on
muslin, in silk.
The outdoor costume of the Persian women is quite another thing;
enveloped in a huge blue sheet, with a yard of linen as a veil,
perforated for two inches square with minute holes, the feet thrust into
two huge bags of coloured stuff, a wife is perfectly unrecognisable,
even by her husband, when out of doors. The dress of all is the same;
save in quality or costliness, the effect is similar. And yet with such a
hideous disguise, a Persian coquette will manage to let the curious
know if she have a good face and eye, by lifting her veil in a sly and
half-timid way. The only thing I know exceeding in folly the chimney-pot
hat, is the outdoor dress of the Persian woman. Expensive, ugly,
uncomfortable, hot in summer, cold in winter, words fail to express its
numerous disadvantages; it has one positive quality—as a disguise it is
perfect, and its use favours the intrigues rife in the country.
As for the children, they are always when infants swaddled: when
they can walk they are dressed as little men and women, and with the
dress they often, nay generally, ape the manners; a Persian child of the
upper class being a master of etiquette, an adept at flattery, and a
mirror of politeness. It is a strange custom with the Persian ladies to
dress little girls as boys, and little boys as girls, till they reach seven or
eight years; this is often done for fun, or on account of some vow,
oftener to avert the evil eye.
Persian women are very fond of their children, and pet them greatly.
The love of the Persian for his mother is very great; he never leaves her
to starve, and her wishes are laws to him, even when he is an old man,
and she an aged crone. The mother is always the most important
member of the household, and the grandmother is treated with
veneration. Mothers-in-law are not laughed at or looked down on in
Persia; their presence is coveted by their sons-in-law, who look on them
as the guardians of the virtue of their wives. The uncle, too, is a much
nearer tie than with us, that is to say, the paternal uncle: while men look
on their first cousins on the father’s side as their most natural wives.
Possibly this is because their female cousins are the only women they
have any opportunity of knowing anything of personally. Black slaves
and men-nurses, or “lallahs,” are much respected and generally
retained in a household, while the “dyah,” or wet nurse, is looked on as
a second mother, and usually provided for for life.
Persians are very kind to their servants, and try to make their people
look on them as second fathers; a master will be often addressed by a
servant as his father, and the servant will protect his master’s property
as he would his own, or even more jealously.
A servant is invariably spoken to as “butcha” (child). The servants
expect that their master will always take their part, and never allow
them to be wronged; if he does not do so, he cannot obtain a good
class domestic, while if he sticks to the man, he never leaves him.
The slaves in Persia have what Americans call “a good time;” well
fed, well clothed, treated as spoiled children, given the lightest work,
and often given in marriage to a favourite son, or taken as a “segah,” or
concubine, by the master himself (and respectable Persians only take a
“segah” for ninety-nine years, which is equivalent to a permanent
marriage), slaves have the certainty of comfort and a well-cared-for old
age. They are always looked on as confidential servants, are entrusted
with large sums of money, and the conduct of the most important
affairs; and seldom abuse their trust.
The greatest punishment to an untrustworthy slave is to give him his
liberty and let him earn his living. They vary in colour and value: the
“Habashi” or Abyssinian is the most valued; the Souhāli or Somāli, next
in blackness, is next in price; the Bombassi, or coal-black negro of the
interior, being of much less price, and usually only used as a cook. The
prices of slaves in Shiraz are, a good Habashi girl of twelve to fourteen,
forty pounds; a good Somāli same age, half as much; while a Bombassi
is to be got for fourteen pounds, being chosen merely for physical
strength. They are never sold, save on importation, though at times
they are given away. Strange as it may appear, to the mind of any one
who has lived in Persia, slavery in that country to the African is an
unmixed good. Of course the getting to Persia, and the being caught, is
another thing. But I have never seen a Persian unkind to his own horse

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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)

Character of the Persians—Exaggeration—Mercifulness—Anecdote—Costumes of

The character of the Persian, as it appears to me, is that of an easy-

Cruelty is not a Persian vice; torture and punishments of an unusual

OUTDOOR DRESS OF PERSIAN WOMEN.

(From a Native Drawing.)

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