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Chapter 09—Creative Execution: Art and Copy

CHAPTER NINE
CREATIVE EXECUTION: ART AND COPY

This chapter introduces the role of art and copy—the nonverbal and verbal elements of message
strategy—in print, radio, television, and on the Web. It also describes the artists, copywriters, and a
variety of specialists who follow specific procedures for conceptualizing, designing, writing, and
producing IMC messages. To be successful, creatives must be conversant with copywriting and
commercial art terms and formats used in the business. They must also develop an aesthetic sensitivity
so they can recognize, create, evaluate, or recommend quality work.
Learning Objectives:
LO 09-01 Describe the factors involved in creating print ads.
LO 09-02 List the types of copy and explain how great copy is created in print ads.
LO 09-03 Outline how great copy is created in electronic ads.
LO 09-04 Discuss the role of art in electronic ads.
LO 09-05 Review the unique requirements in writing for the Web.

What’s New?

Our new opening vignette gives the background behind McCann’s “Dumb Ways to Die”
safety PSA for the Australia Metro Trains network. The award-winning campaign uses a
highly creative approach to reduce unsafe behaviors around trains. This chapter features seven
“My Ad Campaign” boxes. The first helps students understand the importance of product
facts. The second offers advice from industry legend George Felton about how to write great
headlines and copy. “My Ad Campaign” box number three discusses the chief focus for
visuals. Box number four gives practical tips about layout and design. Box five gives advice
for writing effective copy, and box six provides similar advice for composing radio
commercials. The last box provides advice for creating television commercials.

Application Exercises

Ad Creation Process
Identify the Types of Headlines
Creating TV Commercials
Dumb Ways to Die
Electronic Creativity: Bleachable Moments

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Chapter 09—Creative Execution: Art and Copy

TEACHING TIPS AND STRATEGIES

Using the Opening Vignette in the Classroom

If you have Internet access in the classroom, show students the “Dumb Ways to Die” spot
(https://youtu.be/IJNR2EpS0jw). If not, ask your students to watch it at home. The ad nicely
demonstrates how creativity and a big idea come together. The point is to illustrate the
creative aspects of advertising deployed on a very serious subject. Ask students to identify
and discuss the creative elements of the spot (copy, art, music, etc.). Then ask them if they
believe it would be effective in changing people’s behaviors. Can creativity sometimes get in
the way of a message? This is a good entry point for discussion of the creative work in
advertising.

Other Tips and Strategies

In this chapter, students are introduced to how ads are created. In television, storyboard scripts are
used to design commercials. Some DVDs have “special features” that show storyboards and the scene
concurrently. I have a couple of movies that I show the class to demonstrate the phenomenon. By
watching the storyboard and the resulting scene, the students get a good idea of why storyboards are so
important in setting up a commercial. A useful DVD for this concept is the special edition of the
movie Suicide Kings (Artisan Home Entertainment, 1998).
Technology and software allow graphic designers to create more effective ads for print. I like to divide
students into groups and have them use different programs to create an ad (usually for the advertising
campaign). Students are amazed at how easy it is to add effects such as darkness or stars to pictures.
They also have fun adding text to pictures. I have had students create animated images. Students enjoy
being creative while simultaneously learning the benefits that software brings to creative departments.
In-class activities can include creating a copy platform for a brand (real or imagined) or pairing up
students as copywriters and art directors and having them work on a rough layout.

Web Resources for Enhancing Your Lectures:

AdWorks http://www.adworkscorp.com

Right Brain Works www.gocreate.com

B Creative www.bcreative.com

Design & Publishing Center www.graphic-design.com

Art Directors Club http://www.adcglobal.org/

American Institute of Graphic Arts www.aiga.org

Copy Chef www.copychef.com

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Chapter 09—Creative Execution: Art and Copy

Ads of the World http://adsoftheworld.com/

Video Resources:

Dumb Ways to Die ad https://www.youtube.com/watch?v=IJNR2EpS0jw&feature=youtu.be

Lubriderm alligator https://www.youtube.com/watch?v=c8mrWAkUM2Y

commercial, 2015
Flo / Progressive https://www.youtube.com/watch?v=3PFebslqRiI
(presenter
commercial)
Dyson vacuum https://www.youtube.com/watch?v=aaQ_c1UoXF8
(demonstration
commercial with
humor
The Tissue Test https://www.youtube.com/watch?v=AP3sCUbChlI
(Slice-of-life
commercial)
Android Friends https://www.youtube.com/watch?v=vnVuqfXohxc
Furever (most shared
viral ad of 2015)
Will It Blend? iPhone https://www.youtube.com/watch?v=lBUJcD6Ws6s
6 Plus (viral ad for
BlendTec)

My Ad Campaign [9-A]: Product Facts for Creatives

My Ad Campaign [9-B]: Creating Great Headlines and Copy

My Ad Campaign [9-C]: Determining the Chief Focus for Visuals

My Ad Campaign [9-D]: Design Principles

Ethical Issues: Imitation, Plagiarism, or Flattery?

My Ad Campaign [9-E]: Writing Effective Copy

My Ad Campaign [9-F]: Creating Effective Radio Commercials

My Ad Campaign [9-G]: Creating Effective TV Commercials

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Chapter 09—Creative Execution: Art and Copy

LECTURE OUTLINE

I. Vignette—The story of how McCann’s Melbourne, Australia, office developed a creative PSA
campaign called “Dumb Ways to Die” to reduce fatal accidents around trains.

II. Delivering on the Big Idea: Integrating the Visual and the Verbal
A. The “Dumb Ways to Die” ad demonstrates that what’s shown is just as important as
what’s said.
B. The nonverbal aspect of an ad carries at least half the burden of communication. It helps
position the product and create personality for the brand. It creates the mood of the ad.

III. The Art of Creating Print Advertising

A. Designing the Print Ad
1. Design refers to how the art director chooses and structures the artistic elements of an
ad. A director sets a style—the manner in which a thought or image is expressed—by
choosing particular artistic elements and blending them in a unique way.
2. Clean lines, formally composed photographs, and sparse copy give ads the breathing
room needed to draw the reader’s eye from one element to the next. Sufficient white
space gives and ad unity and balance.
B. The Use of Layouts
A layout is an overall orderly arrangement of the elements of an ad: visual(s), headline,
subheads, body copy, slogan, seal, logo, and signature. The layout serves several
purposes.
1. It helps both the agency and the client anticipate how the ad will look and feel. This
provides the client a tangible item to review, correct, change, and approve.
2. It helps the creative team develop the ad’s psychological elements: the nonverbal and
symbolic components. Advertisers want their ads to create brand personality, build
brand equity, and create an image or mood that reflects and enhances the advertiser
and the product.
3. Once the best design is chosen, it serves as a blueprint.
C. Advertising Design and Production: The Creative and Approval Process
The design process serves as both a creative and an approval process. In the creative
phase, designers use preliminary versions of the art to establish the ad’s look and feel. The
approval process takes place at each step of the entire design process.
1. Thumbnail Sketches—The thumbnail sketch (or thumbnail) is a very small, rough,
rapidly produced drawing the artist uses to visualize layout approaches without
wasting time on details.
2. Rough Layout—In a rough, the artists draw to the actual size of the ad.
3. Dummy—A dummy presents the handheld look and feel of brochures, multipage
materials, or point-of-purchase displays.
4. Comprehensive and Mechanical—The comprehensive layout, or comp, is a highly
refined facsimile of the finished ad. Copy for the comp is typeset on a computer and
positioned with the visuals, and the ad is printed as a full-color proof. At this stage, all
the visuals are final.

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Chapter 09—Creative Execution: Art and Copy

5. Approval—The work of the copywriter and art director is always subject to approval.
The larger the agency and the larger the client, the more formidable this process
becomes.

APPLICATION EXERCISE: Ad Creation Process

Activity Summary: In this activity, students are reminded that the ad creation process begins
with abstract ideas and then goes through a series of steps leading to a finished advertisement.
In the exercise, students click and drag steps in this process into columns that identify if they
are part of the first, second, or third stage of ad development. (Note: A keyboard accessible
version of this activity is also available.)
Type: Click and Drag
Learning Objectives:
Learning Objective: 09-01 Describe the factors involved in creating print ads.
Difficulty Level: 1 Easy
Blooms: Analyze
AACSB: Analytical Thinking
Follow-Up Activity: Instructors could ask students to produce thumbnails for an
advertisement for a common household product, such as soap.

My Ad Campaign [9-A]: Product Facts for Creatives

Art directors and copywriters must have a thorough understanding of the brand to create
advertising that resonates. Make sure your creatives have the information that will help them
write copy that sizzles and create layouts that stop consumers dead in their tracks.

• Proprietary information
Product’s trade name.
Trademark.
Product symbol.
Other copyrighted or patented information.
• History
When was the product created or invented?
Who introduced it?
Has it had other names?
Have there been product changes?
Is there any “romance” to it?
• Research
Are research results available?

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Chapter 09—Creative Execution: Art and Copy

What research about the product does the supplier have?

Which research will be most useful for each medium?
• Life cycle
What is the product’s life or use span?
What stage is it in now and what style of copy should be used for that stage?
What stages are competitors in?
• Market position
What is the product’s share of the total market?
Does its market share suggest a positioning strategy?
What position does the company wish to occupy?
• Competitive information
Who are the product’s competitors?
Does the product have any advantages over them?
Does it have any disadvantages?
Are they all about the same?
Do rival products present problems that this one solves?
• Product image
How do people view the product?
What do they like about it?
What do they dislike about it?
Is it a luxury?
Is it a necessity?
Is it a habit?
Is it self-indulgent?
Do people have to have it but wish they didn’t?
• Customer use
How is the product used?
Are there other possible uses?
How frequently is it bought?
What type of person uses the product?
Why is the product bought?
Personal use.
Gift.
Work.
What type of person uses the product most (heavy user)?
How much does the heavy user buy?

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Chapter 09—Creative Execution: Art and Copy

Where do the best customers live?

• Performance
What does the product do?
What might it be expected to do that it does not?
How does it work?
How is it made or produced?
What’s in it?
Raw materials.
Special ingredients.
Preservatives.
Chemicals.
Nutrients.
• What are its physical characteristics?
Smell.
Appearance.
Color.
Texture.
Taste.
Others.
• Effectiveness
Is there proof the product has been tested and works well?
Do any government or other regulations need to be mentioned or observed?
How does it work compared to its competitors?
• Manufacturing
How is the product made?
How long does it take?
How many steps are in the process?
How many people are involved in making it?
Are any special machines used?
Where is it made?
• Distribution
How widely is the product distributed?
Are there exclusive sellers?
Is there a ready supply or a limited amount?
Is it available for a short season?
What channels of distribution must be reached?

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Chapter 09—Creative Execution: Art and Copy

• Packaging
Unit size or sizes offered.
Package shape.
Package design.
Styling.
Color.
Special protection for product.
A carrier for product.
Package label.

D. Principles of Design: Which Design Formats Work Best

The advertiser has only a second or two to grab the reader’s attention. Studies show large
numbers of people ignore ads. Good design not only commands attention but also holds it.
1. Advertisers use many types of layouts. Traditionally, the highest scoring ads employ a
standard, poster-style format (also called a picture-window layout or Ayer No. 1 in
the trade), which features a single dominant visual that occupies most of the ad’s total
area.
2. Advertising research indicates the following:
a. Ads scoring in the top third have visuals averaging 82 percent of the space.
b. Next in ranking, ads feature one large picture and two smaller ones.
c. Visuals can stop the reader and arouse interest, so their content must be
interesting.
d. Headlines also stop the reader and may actually contribute more to long-term
memory than the visual.
e. When the headline appears below the illustration, the ad typically gains about 10
percent more readership.
f. Readership can drop if ads have more than 50 words.
g. Copy blocks should be kept to 20 percent of the ad.
h. Ads for high-involvement products do better with long, informative copy when
the advertiser is more interested in quality of readership rather than quantity.
i. For best results, company signatures and logos should be placed in the lower
right-hand corner or across the bottom of the ad, but need not occupy more than 5
to 10 percent of the area.
3. Advertising author Roy Paul Nelson points out that principles of design are to the
layout artist what the rules of grammar are to the writer. Basic rules of design include
the following:
a. The design must be in balance.
b. Space within the ad should be broken into pleasing proportions.
c. A directional pattern should be evident so the reader knows what sequence in
which to read copy.
d. Some force should hold the ad together and give it unity.

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Chapter 09—Creative Execution: Art and Copy

e. One element, or one part of the ad, should have enough emphasis to dominate all
others.
E. The Use of Visuals in Print Advertising
Artists who paint, sketch, and draw in advertising are called illustrators. The artists who
produce pictures with a camera are photographers. Together they are responsible for all
the visuals, or pictures, we see in advertising.
1. Purpose of the Visual—Because it carries so much responsibility for an ad’s success,
the visual, or picture, should be designed with several goals in mind:
a. Capture the reader’s attention.
b. Clarify claims made by the copy.
c. Identify the brand.
d. Show the product actually being used.
e. Qualify readers by stopping those who are legitimate prospects.
f. Convince the reader of the truth of copy claims.
g. Arouse the reader’s interest in the headline.
h. Emphasize the product’s unique features.
i. Create a favorable impression of product or advertiser.
j. Provide continuity for the campaign by using a unified visual technique in each
ad.
2. Selecting the Visual—The kind of picture used is often determined during the
visualization process. Selecting an appropriate photo or visual is a difficult creative
task. Art directors deal with several basic issues:
a. Is a visual needed for effective communication?
b. If a visual is required, how many should there be?
b. Should the visual be black-and-white or color? Is this a budgetary decision?
c. What should the subject of the picture be? Is that subject relevant to the
advertiser’s creative strategy?
d. Should the ad use a hand-rendered illustration, a photograph, or a computer-
generated illustration?
e. What technical and budgetary issues must be considered?

My Ad Campaign [9-B]: Creating Great Headlines and Copy

George Felton, in his book Advertising Concept and Copy, offers the following suggestions
for aspiring copywriters:

Headlines
 “Achieve synergy, not redundancy.” The headlines and artwork should work together to
create an idea, but not be completely redundant.
 “Let the consumer do some of the work.” Avoid ads that insult the audience’s intelligence.
 “Combine overstatement and understatement.” If the visual is BIG, make the headline
small. And vice versa.
 “Emphasize one idea per ad.” If you have several ideas, show how they are linked to make
them one.
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Chapter 09—Creative Execution: Art and Copy

Copy
Freelance copywriter John Kuraoka offers some excellent advice for new copywriters at
http://www.kuraoka.com/how-to-write-better-ads.html.
Here are summaries of his recommendations for your visuals:
 Capture the reader’s attention.
 Clarify copy claims.
 Let the reader know the ad is directed at him or her.
 Show the product in use.
 Offer evidence for copy claims.
 Emphasize the product’s unique features or benefits.
 Unify the different ads in the campaign.

 Check Yourself 9–1

1. What is a layout? What purposes does it serve in the process of print ad development,
approval, and production?
A layout provides for an orderly arrangement of the needed elements in an ad: visuals,
headline, subheads, body copy, and slogans. It allows the agency and client to develop
the ad and agree to its content.
2. How does an art director choose from among design formats?
Art directors choose design formats that attract customers and draw them into the ads.
A poster style format with a single, dominant visual has proven to be effective.
3. What is the purpose of the visual in a print ad?
A visual must capture the reader’s attention, demonstrate the product being used, and
emphasize the product’s unique features.

IV. Producing Great Copy in Print Advertising

In print advertising, the key format elements are the visual(s), headlines, subheads, body copy,
slogans, logos, and signatures. Copywriters can correlate the visual and headline to the
attention step of the creative pyramid. The interest step typically corresponds to the subhead
and the first paragraph of body copy. Body copy handles credibility and desire, and the action
step takes place with the logo, slogan, and signature block.

My Ad Campaign [9-C]: Determining the Chief Focus for Visuals

Selecting the focus for advertising visuals is a major step in the creative process. It often
determines how well the big idea is executed. Print advertising uses many standard subjects
for ad visuals, including
1. The package containing the product. Especially important for packaged goods, it helps the
consumer identify the product on the grocery shelf.
2. The product alone. This usually does not work well for nonpackaged goods.
3. The product in use. Automobile ads typically show a car in use while talking about its
ride, luxury, handling, or economy. Cosmetics ads usually show the product in use with a
close-up photo of a beautiful woman or a virile man.

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Chapter 09—Creative Execution: Art and Copy

4. How to use the product. Recipe ads featuring a new way to use food products have
historically pulled very high readership scores.
5. Product features. Computer software ads frequently show the monitor screen so the
prospect can see how the software features are displayed.
6. Comparison of products. The advertiser shows its product next to a competitor’s and
compares important features.
7. User benefit. It’s often difficult to illustrate intangible user benefits. However, marketers
know that the best way to get customers’ attention is to show how the product will benefit
them, so it’s worth the extra creative effort.
8. Humor. If used well, a humorous visual can make an entertaining and lasting impression.
But it can also destroy credibility if used inappropriately.
9. Testimonial. Before-and-after endorsements are very effective for weight-loss products,
skin care lotions, and bodybuilding courses.
10. Negative appeal. Sometimes visuals point out what happens if you don’t use the product.
If done well, that can spark interest.

A. Headlines
The headline contains the words in the leading position of the advertisement. These are
the words that will be read first and are situated to draw the most attention. Headlines
usually appear in larger type than other parts of the ad.
1. Role of Headlines
a. Effective headlines do the following:
i. Attract attention to the ad.
ii. Engage the audience.
iii. Explain the visual.
iv. Lead the audience into the body of the ad.
v. Present the key benefit.
b. Headlines should engage the reader—fast—and give a reason to read the rest of
the ad.
c. Ideally, headlines should do the following:
i. Present the complete selling idea. Three to five times as many people read the
headline as read the body copy. Most headlines average eight words.
ii. Offer a benefit that is apparent to the reader and easy to grasp.
iii. Present product news.

My Ad Campaign [9-D]: Design Principles

Make sure your layout follows these rules of thumb for creating attractive, informative ads.
Balance
The optical center is the reference point that determines the layout’s balance. The optical
center is about one-eighth of a page above the physical center of the page. Balance is achieved
through the arrangement of elements on the page—the left side of the optical center versus the
right, above the optical center versus below.
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Chapter 09—Creative Execution: Art and Copy

___Formal balance. Perfect symmetry is the key to formal balance: matched elements on
either side of a line dissecting the ad have equal optical weight. This technique strikes a
dignified, stable, conservative image.
___Informal balance. A visually balanced ad has elements of different size, shape, color
intensity, or darkness at different distances from the optical center. Like a teeter-totter, an
object of greater optical weight near the center can be balanced by an object of less weight
farther from the center. Many ads use informal balance to make the ad more interesting,
imaginative, and exciting.
Movement
Movement is the principle of design that causes the audience to read the material in the
desired sequence. It can be achieved through a variety of techniques.
___People or animals can be positioned so that their eyes direct the reader’s eyes to the next
important element.
___Devices such as pointing fingers, boxes, lines, or arrows (or moving the actors or the
camera or changing scenes) direct attention from element to element.
___Design can take advantage of readers’ natural tendency to start at the top left corner of the
page and proceed in a Z motion to the lower right.
___Comic-strip sequence and pictures with captions force the reader to start at the beginning
and follow the sequence in order to grasp the message.
___Use of white space and color emphasizes a body of type or an illustration. Eyes will go
from a dark element to a light one, or from color to noncolor.
___Size itself attracts attention because readers are drawn to the biggest and most dominant
element on the page, then to smaller elements
Proportion
___Elements should be accorded space based on their importance to the entire ad. Attention-
getting elements are usually given more space. Avoid the monotony of giving equal
amounts of space to each element.
White Space (Isolation)
___White space is the part of the ad not occupied by other elements (note that white space
may be some color other than white). White space helps focus attention on an isolated
element—it makes the copy appear to be in a spotlight. White space is an important
contributor to the ad’s overall image.
Contrast
___An effective way of drawing attention to a particular element is to use contrast in color,
size, or style; for example, a reverse ad (white letters against a dark background) or a
black-and-white ad with a red border.
Clarity and Simplicity

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Chapter 09—Creative Execution: Art and Copy

___Any elements that can be eliminated without damaging the overall effect should be cut.
Too many type styles; type that is too small; too many reverses, illustrations, or boxed
items; and unnecessary copy make for an overly complex layout and an ad that is hard to
read.
Unity
___Unity means that an ad’s many different elements must relate to one another in such a way
that the ad gives a singular, harmonious impression. Balance, movement, proportion,
contrast, and color may all contribute to unity of design. Many other techniques can be
used: type styles from the same family, borders around ads to hold elements together,
overlapping one picture or element on another, judicious use of white space, graphic tools
such as boxes, arrows, or tints.
Continuity
___Continuity is the relationship of one ad to the rest of the campaign. This is achieved by
using the same design format, style, and tone; the same spokesperson; or the same graphic
element, logo, cartoon character, or catchy slogan.

Ethical Issues: Imitation, Plagiarism, or Flattery?

1. Some art directors claim that “coincidental invention” explains why many ads look the
same. Do you think that’s really possible?
Answer guidelines:
Plagiarism is, in essence, using another’s idea or product and trying to pass it off as one’s
own original idea or product. A freelance artist created an illustration using Photoshop
software that distorted a photograph, found in a promotional brochure, of a man with a
clock face for a head. The photographer then saw the illustration published in Newsday, a
Long Island, New York, newspaper (tabloid size) and sued the publication.
In another case, a historian was sued and his credibility was damaged when a few
paragraphs of his book used some of the same words and short phrases from a footnoted
source.
When an ad “borrows” a concept or “look” (by modifying an existing model), the
advertiser can usurp the creativity of others and pay a big price. In addition, today’s
software can more easily create distorted images that mislead—and that’s illegal.
Defenses to claims of plagiarism include:
a. It is possible, although not probable, that two or more similar executions could be
developed by different advertisers at the same time, particularly in the same product
category.
b. Intent is a key issue that must sometimes be proven in law. People often get a hot idea,
not realizing that they actually saw something like it in the media a few months
earlier—they just forgot what they had seen and lacked true “intent” to actually steal
the idea.
c. Courts will ask: Is the initial idea original enough to be plagiarized?
d. The law will seek proof that a chain of events existed for the alleged pirate to have
had access to the idea.

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Chapter 09—Creative Execution: Art and Copy

There is no denying that success breeds imitation, and not just in ad agencies. Alfred
Whitehead contended a hundred years ago that the history of Western philosophy was one
long footnote to Plato, and, indeed, his basic ideas do form the foundation of some of
contemporary philosophy. “Imitation is the sincerest form of flattery.” It is almost
impossible to get an imitator to admit copycat advertising, let alone pull it from the
marketplace. Once an advertising campaign is out there, millions of dollars have probably
been committed to executing it, but a successful lawsuit can stop it from running.
2. Who wins and who loses when advertising is imitated? Do you believe that it’s actually an
advantage to be copied?
Answer guidelines:
The crux of the problem may be that imitation is an accepted part of the business, at least
unofficially. Clients tend to avoid the debate, perhaps because they’re more comfortable
with well-worn ideas than with bold, original concepts. Many art directors and writers
collect competitive ads for inspiration. And advertising is such a highly collaborative
process that it’s often difficult to determine each individual’s creative contribution.
Few art directors and writers are likely to say it’s an advantage to be copied. They are
least likely to be concerned when the ads in question are for non-competing products and
therefore are aimed at different consumer bases.
3. What would you do if a client asked you to copy an ad that was already running? Is it
acceptable to plagiarize advertising ideas, as long as they are recycled “in a useful way”?
Client awareness of the issue can be raised by reminding them of the consequences of
legal action and consumer backlash that may occur from plagiarizing.
Sometimes clients even request that a competitor’s advertising be copied. That is also why
there are so many voice-over announcers who mimic famous voices and announcing
styles. The creative person who goes along with the client’s request to imitate a successful
campaign jeopardizes his or her financial future and career. The only way to avoid
compromising personal ethics is to come up with something better, and then convince the
client to run it instead. However, that can be a very dicey proposition.
4. Is plagiarism justified by the contention that “there are very few original ideas”?
Answer guidelines:
Yes: “There are very few original ideas,” according to Philip Circus, an advertising law
consultant to the Newspaper Society in London. “Plagiarism is the name of the game in
advertising. It’s about recycling ideas in a useful way.”
No: Jim Golden, executive producer of DMH MacGuffin, says, “All we have in this
business are creativity and ideas. The moment someone infringes on that, they’re reaching
into the very core of the business and ripping it out.” Ultimately, advertisers must stop
“borrowing” ideas from each other and demand greater creativity from themselves.

2. Types of headlines—Copywriters use many variations of headlines depending on the

advertising strategy. Typically, they use the headline that presents the big idea most
successfully. Headlines may be classified by the type of information they carry:
a. Benefit headlines promise the audience that experiencing the utility of the
product or service will be rewarding.
b. News/information headlines announce news or promise information.
c. Provocative headlines provoke the reader’s curiosity.
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Chapter 09—Creative Execution: Art and Copy

d. Question headlines ask a question, encouraging readers to search for the answer
in the body of the ad.
e. Command headlines order readers to do something; sometimes this might seem
negative, but readers pay attention to such headlines.

APPLICATION EXERCISE: Identify the Types of Headlines

Activity Summary: This activity tests student knowledge of the different types of headlines
used in advertising. In the exercise, students click and drag sample headlines to the boxes that
identify what type of headline each one exemplifies. (Note: A keyboard accessible version of
this activity is also available.)
Type: Click and Drag
Learning Objectives:
Learning Objective: 09-02 List the types of copy and explain how great copy is created in
print ads.
Difficulty Level: 1 Easy
Blooms: Analyze
AACSB: Analytical Thinking
Follow-Up Activity: Instructors could ask volunteers to suggest headlines that could be used
in an advertising campaign aimed at convincing more people to ride the bus. Instructors
should challenge students to use all of the different types of headlines.

B. Subheads
1. A subhead is an additional smaller headline that may appear above or below headline.
A subhead above the headline is called a kicker (or overline), while those below the
headline are called underlines. Subheads may also appear in body copy.
2. Subheads are usually set smaller than the headline but larger than the body copy.
Subheads generally appear in boldface type, italic type, or a different color. Most
people only read the headline and subhead. Subheads usually support the interest step
best.
3. Subheads are longer and more like sentences than headlines.
C. Body Copy
The advertiser tells the complete story in the body copy, or text. The body copy
comprises the interest, credibility, desire, and often even the action steps. It is a logical
continuation of the headline and subheads, set in smaller type. It must speak to the
reader’s self-interest, explaining how the product or service satisfies the customer’s need.
1. Body Copy Styles—Experienced copywriters look for the technique and style with the
greatest sales appeal for the idea being presented. Common copy styles include the
following:
a. Straight-sell copy immediately explains or develops the headline and visual in a
straightforward, factual presentation that appeals to the prospect’s intelligence.

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Chapter 09—Creative Execution: Art and Copy

b. Institutional copy promotes a philosophy or extols the merits of an organization

rather than product features.
c. Narrative copy tells a story. Ideal for the creative writer, narrative copy sets up a
situation and then resolves it at the last minute by having the product or service
come to the rescue. Allows for emotional appeals.
d. Dialogue/monologue copy adds the believability that narrative copy sometimes
lacks. The characters portrayed in a print ad do the selling in their own words.
e. Picture-caption copy uses illustrations and captions to tell the story. It is
particularly useful for products that have a number of different uses or come in a
variety of styles or designs.
f. Device copy may be used to enhance attention, interest, and memorability. Device
copy uses figures of speech as well as humor and exaggeration. These can help
people remember the brand and tend to affect attitudes favorably. Humor comes
with certain issues:
i. Humor should always be used carefully and never be in questionable taste.
ii. Humor grows old very quickly.
iii. Some believe humor distracts readers.

My Ad Campaign [9-E]: Writing Effective Copy

 Get to the main point—fast.
 Emphasize one major idea simply and clearly.
 Be single-minded. Don’t try to do too much. If you chase more than one rabbit at a time,
you’ll catch none.
 Position the product clearly.
 Keep the brand name up front and reinforce it.
 Write with the consumer’s ultimate benefit in mind.
 Write short sentences. Use easy, familiar words and themes people understand.
 Don’t waste words. Say what you have to say—nothing more, nothing less. Don’t pad,
but don’t skimp.
 Avoid bragging and boasting. Write from the reader’s point of view, not your own.
Avoid “we,” “us,” and “our.”
 Avoid clichés. They’re crutches; learn to get along without them. Bright, surprising words
and phrases perk up readers and keep them reading.
 Write with flair. Drum up excitement. Make sure your own enthusiasm comes through in
the copy.
 Use vivid language. Use lots of verbs and adverbs.
 Stick to the present tense, active voice. It’s crisper. Avoid the past tense and passive
voice. Exceptions should be deliberate, for special effect.
 Use personal pronouns. Remember, you’re talking to just one person, so talk as you
would to a friend. Use “you” and “your” whenever appropriate.
 Use contractions. They’re fast, personal, natural. People talk in contractions (listen to
yourself).

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Chapter 09—Creative Execution: Art and Copy

 Don’t overpunctuate. It kills copy flow. Excessive commas are the chief culprits. Don’t
give readers any excuse to jump ship.
 Read the copy aloud. Hear how it sounds; catch errors. The written word is considerably
different from the spoken word so listen to it.
 Rewrite and write tight. Edit mercilessly. Tell the whole story and no more. When
you’re finished, stop.

2. Formatting Body Copy—The keys to good body copy are simplicity, order,
credibility, and clarity. Four basic format elements are used to construct body copy:
a. The lead-in paragraph is a bridge between the headline and the sales idea
presented in the text. It is part of the interest step.
b. Interior paragraphs develop credibility by providing proof for claims and build
desire by using language that stirs the imagination.
c. A trial close can be interspersed in the interior paragraphs with suggestions to act
now. The trial close encourages a consumer to make the buying decision early.
d. The close is the real action step. A good close asks consumers to do something
and tells them how. The close can be direct or indirect. A direct close seeks
immediate response in the form of a purchase, a store or website visit, or a request
for further information.
D. Slogans
1. Many slogans (also called themelines or taglines) begin as successful headlines, and,
through continuous use, become standard statements (not only in advertising but also
for salespeople and company employees, e.g., “Diamonds are forever” or “Reach out
and touch someone”).
2. Slogans have two purposes:
a. Provide continuity to an ad series.
b. Reduce an advertising message strategy to a brief, repeatable, and memorable
positioning statement.
E. Seals, Logo, and Signatures
1. A seal is awarded only when a product meets standards established by a particular
organization, such as the Good Housekeeping Institute or Underwriters Laboratories.
Because these organizations are recognized authorities, their seals provide an
independent, valued endorsement for the advertiser’s product.
2. Logotypes and signatures are special designs of the advertiser’s company name or
product name. Like trademarks, they give the product or company individuality and
quick recognition.

 Check Yourself 9–2

1. What are the key format elements in a print ad?
Key format elements include the use and placement of visuals, headline, body copy,
slogan, seal, logo, and signature.
2. What are some important types of headlines?

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Chapter 09—Creative Execution: Art and Copy

Important types of headlines are benefit headlines (which promise that experiencing
the utility of the product or service will be rewarding), news/information headlines
(which announce news or promise information), provocative headlines (which
provoke curiosity), question headlines (which encourage readers to search for the
answer in the body of the ad), and command headlines (which order the reader to do
something).
3. When would an advertiser use straight-sell copy rather than device copy?
Straight-sell copy works with concise facts and is good for high think-involvement
products or products that are difficult to use, while device copy opts for figures of
speech, humor, and exaggeration, and is good for building brand recognition.

V. Creating Great Copy in Electronic Media

For electronic media, the fundamental elements—the five steps of the creative pyramid—
remain the primary guides, but the copywriting formats differ. Radio and television writers
prepare scripts and storyboards.
A. Writing Radio Copy
1. A script resembles a two-column list. On the left side, speakers’ names are arranged
vertically along with descriptions of any sound effects (SFX) and music. The right
column contains the dialogue, called the audio.
2. Radio listeners usually decide within five to eight seconds whether to pay attention;
thus, radio copy must be intrusive (people listen while doing something else).
2. Scripts must fit time slots. With electronic compression, ads can now include 10 to 30
percent more copy than text read live. The following is a good rule of thumb:
10 seconds = 20–25 words
20 seconds = 40–45 words
30 seconds = 60–70 words
60 seconds = 130–150 words
3. Radio writing must be clear because the listener cannot refer back to clarify meaning.
B. Writing Television Copy
1. Radio’s basic two-column format also works for television, but in a TV script, the left
side is titled “Video” and the right side “Audio.”
a. The video column describes the visuals and production: camera angles, action,
scenery, and stage directions.
b. The audio column lists spoken copy, sound effects, and music.
2. The writer sets the tone and the language that determines the visuals.

My Ad Campaign [9-F]: Creating Effective Radio Commercials

Writing for radio takes a sharp ear, empathy for the listener, and the ability to create pictures
inside the consumer’s head. These tips will help you create great radio spots.
 Make the big idea crystal clear. Concentrate on one main selling point. Radio is a good
medium for building brand awareness, but not for making long lists of copy points or
complex arguments.
 Mention the advertiser’s name early and often. If the product or company name is
tricky, consider spelling it out.

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Chapter 09—Creative Execution: Art and Copy

 Take time to set the scene and establish the premise. A 30-second commercial that
nobody remembers is a waste of money. Fight for 60-second spots.
 Use familiar sound effects. Ice tinkling in a glass, birds chirping, or a door shutting can
create a visual image. Music also works if its meaning is clear.
 Paint pictures with your words. Use descriptive language to make the ad more
memorable.
 Make every word count. Use active voice and more verbs than adjectives. Be
conversational. Use pronounceable words and short sentences.
 Be outrageous. The best comic commercials begin with a totally absurd premise from
which all developments follow logically. But remember, if you can’t write humor really
well, go for drama.
 Ask for the order. Try to get listeners to take action.
 Remember that radio is a local medium. Adjust your commercials to the language of
your listeners and the time of day they’ll run.
 Presentation counts a lot. Even the best scripts look boring on paper. Acting, timing,
vocal quirks, and sound effects bring them to life.

 Check Yourself 9–3

1. From the writer’s perspective, what are the important differences between a radio
listener and a print ad reader?
Radio copywriting must be clear and concise. The listener can’t refer back to previous
words, as one might while reading a print ad. Also, the English language has a variety
of homonyms—words that sound alike and can cause problems in an audio format.
2. What is the approximate word limit of a 30-second radio ad?
A 30-second radio ad can feature a maximum of 60 to 70 words.
3. What are the two columns labeled in a TV script?
In a TV script, the left side is “video” and the right side is “audio.”

VI. The Role of Art in Radio and TV Advertising

A. Developing the Artistic Concept for Commercials
Creating the concept for a radio or TV commercial is similar to creating the concepts for
print ads.
1. The first step is to determine the big idea.
2. Then the art director and copywriter must decide what commercial format to use.
3. The next step is to write a script containing the necessary copy or dialogue plus a
basic description of any music, sound effect, and/or camera views.
4. In both radio and TV, the art director assists the copywriter in script development.
Artistic development in television is much more extensive. Using the TV script, the
art director creates a series of storyboard roughs to present the artistic approach, the
action sequences, and the style of the commercial.
B. Formats for Radio and TV Commercials
Similar to print advertising, the format for a broadcast ad serves as a template for
arranging message elements into a pattern. Eight common commercial formats can be
used for either radio or television:
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Chapter 09—Creative Execution: Art and Copy

1. The straight announcement is the oldest and simplest type of radio or TV

commercial, and is probably the easiest to write. One person, usually a radio or TV
announcer, delivers the sales message.
a. In radio, a straight announcement can also be designed as an integrated
commercial—that is, it can be woven into a show or tailored to a given program.
b. For TV, an announcer may deliver the sales message on camera or off screen, as
a voice-over, while a demonstration, slide, or film shows on screen.
2. Presenter commercials use one person or a character to present the product and carry
the sales message. Some presenters are celebrities, like Brad Pitt for Calvin Klein. A
radio personality (such as Rush Limbaugh or Howard Stern) may ad-lib an ad
message live in his or her own style.
3. Testimonial ads allow a satisfied user to tell how effective the product is; this can be
highly credible in both TV and radio advertising.
4. Demonstration spots are especially suitable for television. Products can be
demonstrated in use, in competition, or before and after.
5. Musical commercials (or jingles), if done well, can have an enormous impact on the
success of a commercial. Done poorly, they can waste the advertising budget and
annoy audiences.
6. Slice-of-life (problem-solution) ads are a dramatization of a real-life situation where
an issue is discussed and resolved with a successful trial use of the product. The key to
effective slice-of-life commercials is simplicity. Often a mnemonic device can
dramatize the product benefit and trigger instant recall; e.g., the Aflac duck reminds
users that Aflac is there to pay bills if you get hurt and can’t work.
7. The lifestyle technique presents a user rather than presenting the product, showing
characters working in various occupations and participating in many pastimes. For
example, the person who drinks the product would be more strongly presented than
the product’s features.
8. Animation, such as cartoons, puppet characters, and demonstrations (e.g., pounding
headache) with computer-generated graphics are very effective for communicating
difficult messages or for reaching specialized markets (e.g., children).

My Ad Campaign [9-G]: Creating Effective TV Commercials

 Begin at the finish. Concentrate on the final impression the commercial will make.
 Create an attention-getting opening. An opening that is visually surprising or full of
action, drama, humor, or human interest sets the context and allows a smooth transition to
the rest of the commercial.
 Use a situation that grows naturally out of the sales story. Avoid distracting gimmicks.
Make it easy for viewers to identify with the characters.
 Characters are the living symbol of the product. They should be appealing, believable,
nondistracting, and most of all, relevant.
 Keep it simple. The sequence of ideas should be easy to follow. Keep the number of
elements in the commercial to a bare minimum.
 Write concise audio copy. The video should carry most of the weight. Fewer than 2
words per second is effective for demonstrations. For a 60-second commercial, 101 to 110
words is most effective; more than 170 words is too talky.
 Make demonstrations dramatic but believable. They should always be true to life and
avoid the appearance of camera tricks.
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no related content on Scribd:
 Dürer. The Holy Family
St. Anne, attended by St. Joseph and St. Joachim, receiving from
His Mother the Infant Jesus
 Size of the original woodcut, 9¼ × 6⅛ inches
The years 1510 and 1511 were the most prolific of all, and witnessed
the publication of other connected pieces, the Beheading of John the
Baptist and Salome bringing the Baptist’s Head to Herod, and then
the three little woodcuts, Christ on the Cross, Death and the Soldier,
and The Schoolmaster, which Dürer brought out on large sheets at
the head of his own verses, signed with a large monogram at the
end of all. The single sheets of 1511 include, besides the marvelous
Trinity already mentioned, the large Adoration of the Magi, the Mass
of St. Gregory, a St. Jerome in his Cell, which is the best, after the
celebrated engraving of 1514, of Dürer’s repeated versions of that
delightful subject; the Cain and Abel, which is one of the great
rarities; two rather unattractive Holy Families; and the beautiful
square Saint Christopher, of which many fine impressions are extant
to bear witness to its technical virtues. The average level of all the
work of the year 1511 is so astonishingly high, that it must be
regarded as the culminating period of the woodcuts, just as a slightly
later time, the years 1513-14, witnesses the climax of the
engravings. In the next few years Dürer’s time was much taken up
with carrying out the emperor’s important but rather tiresome
commissions for the Triumphal Arch and two Triumphal Cars, the
small one which forms part of the Procession, and the much bigger
affair, with the twelve horses and allegorical retinue, which did not
appear till 1522. All this group offers a rich field of research to the
antiquary, but is simply unintelligible without a learned commentary,
and appeals much less than the sacred subjects to the average
collector and lover of art, who cannot unearth the heaps of pedantic
Latin and German literature in which the motives by which Dürer was
inspired, if I may use the word, lie buried. Inspiration certainly
flagged under the influence of Wilibald Pirkheimer and other learned
humanists who encouraged Maximilian in his penchant for allegory,
and compelled Dürer, probably somewhat against his will, to use a
multitude of symbols, intelligible only to the learned, instead of
speaking directly to the populace in the familiar pictorial language
derived from old tradition but enriched and ennobled by his own
matchless art.
The later woodcuts are comparatively few in number. They include a
few that are primarily of scientific interest, such as the celestial and
terrestrial globes and the armillary sphere, besides the numerous
illustrations to Dürer’s own works on Measurement, Proportion, and
Fortification. But among them are the two splendid portraits made
from drawings now in the Albertina, the Emperor Maximilian of 1518
and the Ulrich Varnbüler of 1522. Of the former several varieties
exist, from no less than four different blocks, and it is now
established that the only original version is the very rare one in which
the letters “ae” of the word “Caesar” are distinct, not forming a
diphthong, and placed within the large “C.” The other cuts are all
copies, produced probably at Augsburg, the fine large one, with an
ornamental frame and the imperial arms supported by griffins, being
indisputably the work of Hans Weiditz. Only three impressions of the
original are known, in the British Museum, the Berlin
Kupferstichkabinett, and the Hofbibliothek at Vienna, in addition to
which the École des Beaux-Arts at Paris possesses a fragment
damaged by fire at the time of the Commune, when it was still in
private hands. It is more generally known that the handsome
chiaroscuro impressions of the Varnbüler date, like those of the
Rhinoceros, from the seventeenth century, the color blocks having
been added in Holland. The brown and green varieties belong to
different editions, distinguished by the wording of the publisher’s
address at the foot, which in the majority of cases has been cut off.
 Dürer. Saint Christopher
Size of the original woodcut, 8⁵⁄₁₆ × 8¼ inches
 Dürer. The Virgin with the many Angels
Size of the original woodcut, 11¹³/₁₆ × 8⅜ inches
The Virgin with the many Angels, of 1518, is one of Dürer’s most
accomplished woodcuts, and quite good impressions of it are
comparatively common to-day. The latest of his compositions of this
class, the Holy Family with Angels, of 1526, is, on the other hand,
extremely rare. Some critics doubt its being an authentic work of
Dürer, but in spite of certain rather eccentric and unpleasant
peculiarities in the drawing, I consider this scepticism unfounded.
Quite at the end of Dürer’s life comes that rather fascinating subject,
The Siege of a Fortress, unique among Dürer’s woodcuts in the tiny
scale on which its countless details are drawn. Of the many heraldic
woodcuts and ex-libris attributed by Bartsch and others to Dürer,
very few can be regarded as his genuine work, and most of these
are very rare. The best authenticated are his own coat of arms; the
arms of Ferdinand I in the book on Fortification; those of Michel
Behaim, of which the block is extant with a letter written by Dürer on
the back; the arms of Roggendorf, mentioned in the Netherlands
Journal, of which only one impression is known, and the arms of
Lorenz Staiber, of which the original version is also unique. There
can be no doubt that the Ebner book-plate of 1516 is by Dürer; the
much earlier Pirkheimer book-plate is intimately connected with the
illustrations to the books by Celtes, and cannot be regarded as a
certain work of the master himself, while the arms of Johann
Tschertte are also doubted.
It is a fortunate circumstance for the museums and collectors of to-
day that Dürer’s prints have always been esteemed, and his
monogram was held in such respect and so generally recognized as
the mark of something good that they have been preserved during
four centuries, while so much that was interesting was allowed to
perish because it was unsigned or its signature was not recognized
as the work of any one important. It may be paradoxical to say that
Dürers are common; few of them are to be had at any particular
moment when one wants to get them; but they are commoner than
any other prints of their period, and a large number of impressions of
some subjects must come into the market in the course of every ten
years. But the sort of Dürer the collector wants, the really beautiful,
fresh, clean impression, with the right watermark and genuine,
unbroken border-line, is not, and never has been, common. It is
surprising how few, even of the famous museums of Europe, have a
really fine collection of the woodcuts, perhaps because so many of
them were formed some generations ago in uncritical times, when
people were apt to think it enough if the subject was represented, in
whatever condition it might be. The first-rate proofs are scarce, and
getting scarcer every year; when they are to be had, they should be
grasped and treasured.
 SOME EARLY ITALIAN ENGRAVERS
BEFORE THE TIME OF
MARCANTONIO
By ARTHUR M. HIND
Of the Department of Prints and Drawings, British Museum
Author of “Catalogue of Early Italian Engravings in the British Museum,”
“Short History of Engraving and Etching,” “Rembrandt’s Etchings:
an Essay and a Catalogue,” etc.

F
IFTEENTH-CENTURY Italian engraving is not an easy hunting-
ground for the collector, but it is one of the most fascinating not
less for its own sake than for the difficulty of securing one’s prize.
From the time of Raphael onward Italian engraving presents an
overwhelmingly large proportion of reproductions of pictures, and
loses on that account its primary interest. But in the fifteenth and the
early sixteenth century, the engravers, though for the most part less
accomplished craftsmen, were artists of real independence. We may
in some cases exaggerate this independence through not knowing
the sources which they used, but the mere lack of that knowledge
adds a particular interest to their prints. Treated not only in virtue of
their special claim as engravings, but merely as designs, we find
something in them which the paintings of the period do not offer us.
In general, the presence and influence of one of the greater artistic
personalities of the time may be recognized, but seldom definitely
enough for us to trace the painter’s immediate direction. Mantegna is
the most brilliant exception of a painter of first rank who is known to
have handled the graver at this period. But forgetting the great
names it is remarkable how in the early Renaissance in Italy even
the secondary craftsmen produced work of the same inexpressible
charm that pervades the great masterpieces.
One of the most beautiful examples I can cite is the Triumph of
Bacchus and Ariadne, which is known only in the British Museum
impression. It has all the fascination of Botticelli’s style without being
quite Botticelli—unless the engraver himself is to account for the
coarsening in the drawing of individual forms. Mr. Herbert P. Horne,
the great authority on Botticelli and his school, thinks it is by
Bartolommeo di Giovanni (Berenson’s “Alunno di Domenico”). But
whether immediately after Botticelli or after some minor artist of the
school, there is the same delightful flow and rhythmic motion in the
design that one thinks of in relation to Botticelli’s Spring.

Triumph of Bacchus and Ariadne

After a design by a close follower of Botticelli, possibly by Bartolommeo di
Giovanni
“But whether immediately after Botticelli or after some minor
artist of the school, there is the same delightful flow and
rhythmic motion in the design that one thinks of in relation to
Botticelli’s Spring.... We could ill afford to lose the charm of
the early Florentine Triumph of Bacchus and Ariadne for all
the finished beauty of Marcantonio’s Lucretia, and it is still the
youth of artistic development, with its naïve joy and freshness
of outlook, which holds us with the stronger spell.”
Arthur M. Hind.
Reproduced from the unique impression in the British Museum
Size of the original engraving, 8⅛ × 22 inches
 The Assumption of the Virgin
Florentine engraving, in the Broad Manner, after a design by Botticelli
“Most important of all the contemporary engravings after
Botticelli is the Assumption of the Virgin.... An original study
 by Botticelli for the figure of St. Thomas, who is receiving the
girdle of the Virgin, is in Turin, and clinches the argument in
favor of Botticelli’s authorship. The view of Rome, a record of
Botticelli’s visit, is an interesting feature of the landscape.”
Arthur M. Hind.
Size of the original engraving, 32⅝ × 22¼ inches

Botticelli was in early life under the immediate inspiration, if not in the
very service, of the great goldsmith Pollaiuolo (witness his picture of
Fortitude in Florence). One almost expects in consequence that he
may at some period have tried his hand at engraving, but there is no
proof that he did anything besides supplying the engravers with
designs. His chief connection with the engravers was in the series of
plates done for Landino’s edition of Dante’s “Divine Comedy”
(Florence, 1481). Altogether nineteen plates (and a repetition of one
subject) are known, but although spaces are left throughout the
whole edition for an illustration to each canto, it is only in rare copies
that more than two or three are found. Even the fine presentation
copy to Lorenzo de’ Medici (now in the National Library, Florence) is
without a single plate, showing perhaps the small regard that was
paid to engraving for book decoration at that period. This lack of
appreciation and the difficulties (or double labor) the printers
experienced in combining copperplate impressions with type led
soon after this and a few other experiments of the period to the use
of woodcut as the regular mode of book illustration for well over a
century. Apart from the plates to this edition, Botticelli’s devotion to
Dante is shown in the beautiful series of pen drawings—in the most
subtly expressive outline—preserved at Berlin and in the Vatican. It
seems on the whole probable that they are later than the 1481
edition, so that we cannot point to the original drawings for the prints.
Most important of all the contemporary engravings after Botticelli is
the Assumption of the Virgin, the largest of all the prints of the period
(printed from two plates, and measuring altogether about 82.5 × 56
cm.). An original study by Botticelli for the figure of St. Thomas, who
is receiving the girdle of the Virgin, is in Turin, and clinches the
argument in favor of Botticelli’s authorship. The view of Rome, a
record of Botticelli’s visit, is an interesting feature of the landscape.
This engraving is produced in what has been called the Broad
Manner in contradistinction to the Fine Manner, e.g. of the Dante
prints. In the Broad Manner the lines are laid chiefly in open
parallels, and generally the shading is emphasized with a lighter
return stroke laid at a small angle between the parallels. Its aim is
essentially the imitation of pen drawing after the manner of such
draughtsmen as Pollaiuolo and Mantegna. The Fine Manner on the
other hand shows shading in close cross-hatching (somewhat patchy
and cloudy in effect in most of the early Florentine prints), and gives
the appearance of imitating a wash drawing.
The two manners may be well compared in the series of “Prophets
and Sibyls,” which exists in two versions, the earlier being in the
Fine, and the later in the Broad Manner. The first series shows a
craftsman who drew largely from German sources (putting a St. John
of the Master E. S. into the habit of the Libyan Sibyl). In the second
we have an artist who discarded all the ugly and awkward features
which originated in the German originals, and showed throughout a
far truer feeling for beauty and a much finer power of
draughtsmanship than the earlier engraver. Mr. Herbert Horne
suspects, rightly I think, that Botticelli himself directly inspired this
transformation of the “Prophets and Sibyls.”
Through our lack of knowledge of the engravers of this early period
in Florence we are driven to a rather constant use of the somewhat
unattractive distinctions of the Fine and Broad Manners. We may
claim, however, to have advanced a little further in the elucidation of
questions of authorship, though the great German authority on this
period, Dr. Kristeller of Berlin, would still keep practically all the early
Florentine engravings in an unassailable anonymity. This is of course
better than classing all the engravings of the period and school, both
in the Fine and Broad Manners, under the name of Baccio Baldini,
which has long been the custom. A certain “Baccio, orafo” has been
found in documents as buried in 1487, but there is practically nothing
to connect his name with the substance of our prints. We would not
on that account regard him as a myth, but are reduced at the
moment to Vasari’s statement that “Baldini, the successor of
Finiguerra in the Florentine school of engraving, having little
invention, worked chiefly after designs by Botticelli.” Considering the
fact that both Broad and Fine Manners (in all probability the output of
two distinct workshops) show prints definitely after Botticelli, we are
still in entire darkness as to the position of Baldini.
The Libyan Sibyl
From a series of the “Prophets and Sibyls,” engraved in the Fine
Manner of the Finiguerra School
Size of the original engraving, 7 × 4¼ inches
 The Libyan Sibyl
From a series of the “Prophets and Sibyls,” engraved in the
Broad Manner of the Finiguerra School
Size of the original engraving, 7 × 4¼ inches
With regard to an important group of Fine Manner prints, Sir Sidney
Colvin has given strong reasons for the attribution to Maso
Finiguerra, made famous by Vasari as the inventor of the art of
engraving. Considering Vasari’s evident error in regard to the
discovery of engraving (for there were engravings in the north of
Europe well before the earliest possible example of Finiguerra),
modern students have been inclined to regard Finiguerra as much in
the light of a myth as Baldini. But there is no lack of evidence as to
his life and work, and without repeating the arguments here, which
are given in full in Sir Sidney Colvin’s “Florentine Picture-Chronicle”
(London, 1898), we would at least state our conviction that a
considerable number of the early Florentine engravings, as well as
an important group of nielli, must be from his hand. Vasari speaks of
him as the most famous niello-worker in Florence, and he also
speaks of his drawings of “figures clothed and unclothed, and
histories” (the “figures” evidently the series traditionally ascribed to
Finiguerra in Florence, but now for a large part labeled with an
extreme of timidity “school of Pollaiuolo”; the “histories,” probably the
“Picture-Chronicle” series, acquired from Mr. Ruskin for the British
Museum). Then considering Vasari’s fuller statement that Finiguerra
was also responsible for larger engravings in the light of a group of
Florentine engravings which correspond closely in style with many of
the only important group of Florentine nielli (chiefly in the collection
of Baron Édouard de Rothschild, Paris) as well as with the Uffizi
drawings, we can hardly escape the conviction that Vasari was
correct in his main thesis. A curiously entertaining side-light is given
by one of these engravings, the Mercury for the series of “Planets.”
Here we see the representation of a goldsmith’s shop in the streets
of Florence, stocked just as we know from documents Finiguerra’s to
have been. And the goldsmith is evidently engaged in engraving, not
a niello, but a large copperplate.
 The Planet Mercury
Florentine engraving in the Fine Manner, attributed to
Maso Finiguerra, or his school
“A curiously entertaining side-light is given by one of these
engravings, the Mercury for the series of ‘Planets.’ Here we
see the representation of a goldsmith’s shop in the streets of
Florence, stocked just as we know from documents
Finiguerra’s to have been. And the goldsmith is evidently
engaged in engraving, not a niello, but a large copperplate.”
Arthur M. Hind.
Size of the original engraving, 12¾ × 8⁹⁄₁₆ inches