Verity Kowal :: Blog

Dzamic, Lazar. “No Copy Advertising”. RotoVision. Switzerland. 2001. p.9-159.Abstract:‘No copy ads’ are defined as adverts that contain minimal copy (such as a product name or tag line) or no copy at all. Instead they rely on the visuals to convey the message to consumers. This book, by Dzamic, is the first to focus exclusively on no copy ads, reflecting the trend in images over words in advertising. The foreword, by Bob Garfield, provides some reasons for the popularity of no copy advertising:Busy and impatient society- images provide instant gratification, words take too much time.Globalisation- As more advertising campaigns become international it becomes increasingly difficult to communicate using words. Pictures are universal. Infact logos and images, not english, are accused of being the new global language.Harder to win international advertising awards with copy adverts- the message is too easily lost in translation.The simplicity and purity of a picture- makes a vivid impact.This book provides interviews with 3 prominent advertising creatives; Neil French, Jack Fund and Trevor Beattie, each giving their opinion and attitude towards no copy advertising. It also provides numerous examples the very best recent no copy advertising.Usefulness: *****

Williams, Eliza. “Writing Returns”. Creative Review. March 2006. Vol.26, Iss.3,  p.51-53.

Abstract:
For the past 2 decades images have predominantly made up press and poster advertising. Copy was viewed as too serious and time consuming. However in the last 2 years copy has been seen to be making a comeback, with many major brands (examples are offered in the article) choosing to go down the path of copy. A variety of reason seemed to have influenced this resurgence of copy:       

• People are growing tired of the overuse of special visual effects and therefore finding the intellectualism of words more appealing.       
• The new media sectors of the internet and mobiles have spawned a new respect for the written word. Email, blogging and text messaging has renewed the vigour of words and made it more exciting with the development of new “languages”.       
• Major political occurrences in the past 5 years (such as 9/11, Iraq War) have resulted in many industries developing a more respectful and honest  approach. Copy, more than images, addresses issues straight on, creating advertising that is candid and open.      
• Fashion trend- images have dominated the market for so long now that they are beginning to have less stand out. To catch viewers attention advertisers need to be doing something different from everyone else, even if that something new is actually something old

Usefulness: *****

Moira, Gerry. “Words for pictures”. Creative Review, Vol.24, Issue.5, p.55-57, May 2004.

Abstract:
Despite the fact that Moira has been a copywriter for over 30 years, he has had to do little writing in his career. Infact, he assumes its been as minimal as a couple of thousand words. To him the role is better described as a ‘conceptualiser’; someone who takes the clients commercial aims and turns them into an idea that can change the attitudes and behaviour of consumers. Often there is no significant difference between products within a market, but it’s in the branding that creates a distinction. However, with little time and money for identity development in advertising these days, and the overload of advertising that consumers are exposed to, it is essential that ads are interesting. The New Brutalism argues that this is better achieved through texture, feel and images. Moira on the other hand believes that the best way to express ideas is still with words.

Usefulness: ****

Johnson, Michael. “Words Work”. Design Week, 10/17/2002, Vol.17 Issue.42, p.19.

Abstract:
Examines the power of words in advertising and looks the history of advertising and the changes in the style that have occurred. In the initial years of advertising ads were made up entirely of copy, then by the 1960’s advertisers began to intertwine images and copy together, though long copy ads were still common. However words were often being used just for the sake of it, and no longer had the strength and effectiveness they once had. So in response to this ads began to become more visual based from the 1980’s onwards. Globalisation has only increased the dominance of the image, as images cross cultural boundaries much easier than words. Johnson gives some examples of the best written copy ads in the last 25 years to show that words still have the ability to make a powerful impact. It would be a shame to not re-embrace their potential.

Usefulness: ****

Jones, Simon. “Language barrier”.Design Week, Dec. 2004. vol.19, Issue.49, p.22-23Abstract:Discusses the importance of the use of  language in brand marketing, which is often overlooked by companies. Companies frequently invest heavily in their visual identities, but forget to put the same amount of time and capital into establishing a brand vocabulary and ‘voice’. By introducing a copywriter at the beginning of the brand process, rather than at then end, brands will have more structure, be better targeted and more likely to connect with consumers and create emotional attachment.The article uses ‘Orange’ and ‘Innocent Drinks’ as examples of brands that have incorporated language into the initial marketing and advertising strategy. This has been a vital component in their success.Usefulness: ***

Cracknell, Andrew.  “A complete write-off Fay Weldon did it. So did Salman Rushdie. Copywriting was once a respectable way for young writers to get a start. But somewhere along the line, advertising fell out of love with the words.” [SURVEYS EDITION]Financial Times. London (UK):  May 22, 2004. p.24

Abstract:
A fantastic article by one of the industries best copywriters, Andrew Cracknell. He gives an account of his beginnings in advertising and what it was like to be a copywriter back in the days when it was a laborious task of love to craft a piece of writing. He looks at how the industry previously employed people with literature and poetry backgrounds, who spent numerous hours drafting and re-drafting copy. As a Creative Director he now finds that junior creatives are entering the industry as established teams, yet not having a member who is a strong or passionate writer. Many teams now define themselves as conceptualisers, and often underestimate the value of the craft of copywriting and art direction. Cracknell considers several reasons for the deterioration of good writers.    

• The omnipotence of television which lends itself to a faster, slicker style of writing.   
• The outburst of new mediums which has created to a “quick cut visually based society”.   
• A series of recessions in the advertising industry which caused staff cuts of between 30-50%. This meant that everyone has had to work faster and harder to stay in the game.This article provides a fantastic account of the change in attitude, mentoring and skill that has occured in copywriting within creative advertising.

Usefulness: *****

Lewis, Herschell Gordon. ”Sloppy Copy: Part I” Catalog Age. New Canaan: Jan 1990. Vol.7, Issue. 1;  p.85-86.

Abstract:
Gordon Herschell Lewis is a direct response writer, consultant and speaker, who has written catalogue copy for numerous companies, as well as being an author of a number of books on the art of copywriting. In this article he talks about poorly written catalogue copy; what he terms “sloppy copy”. Lewis considers sloppy copy to be copy that uses terms that are unclear and are not explained or uses descriptions that are too general. He uses a number of examples in the article to display his point. Good copywriting should increase the viewers desire and understanding. However Lewis believes that too much copy these days aims at creating desire without providing clear information that helps consumers understand what is being offered. If viewers do not understand the product then they will not buy it. 

Usefulness: **

Carter, Meg. “Copywriting”; [Surveys edition]Financial Times. London (UK):  May 29, 2001. p.6

Abstract:
Before the mid 1980’s ads tended to be full of dense copy and long headlines. As a rebellion to this stifling style, advertisers began to create ads that had short headlines, big pictures and little or no body copy. However this has in turn has led to a new advertising stereotype. This preoccupation with the image in the last three decades has caused us to forget the power of copywriting. However the nominations for the 2001 D&AD awards show evidence of the ‘rebirth’ of long copy in advertising; a rebirth that is long overdue. Previously TV has been an unchallenged medium at D&AD, however there now appears to be a more quality copy-based entrants. A number of reasons were provided as a response to this change:  

• A direct response to the significant increase in reading materials. The magazine sector has exploded, newspapers now publish more sections, and the internet continues to become increasing popular. Infact it is argued that advertising has been out of step with what has been happening in these mediums for a while.   
• Instead of directing ads at broad, general audiences, there is now the opportunity for specific targeting.This has enabled copy to be increasingly focusedand more relevant to the particular target market.   
• As the structures and restrictions of traditional media become increasingly rigid, especially in TV, advertisers are exploring more unconventional mediiums that allow for greater creativity and flexibility. Despite this positive step for copywriting, there does however, still appear to be a lack of good creative radio advertising. Though radio provides an ultimate opportunity for producing great copywriting, it seems to be the medium that contains the highest percentage of poor-average ads. Too many briefs are being palmed off to junior creatives and too much airtime is bought for frequency rather than for the potential offered by the written and spoken word.

Usefulness: *****

Marquis, Simon . “A Moment with Marquis”. Campaign. Teddington. May 13, 2005. p.14. 

Abstract:
This article is Marquis’ response to the Viacom Outdoor poster-writing competition, where copywriting goes Underground. He is praises the initative that encourages the art of long copy, a skill that seems to have slipped out of existence in the last few decades. His hope is that this competition can revive copywriting in advertising and spread further; back into other mediums such as newspapers, direct mail magazines and the internet.

Usefulness: *

Met again with S.W today to pass on the images that I'd sourced for the poster. Had a quick skim through them together and decided to try and use as many of the images that were on a white background as possible, as they would involve a lot less time photoshoping. As S.W is the art director/designer in the assignment she is going to choose which images to use and then I will photoshop them ready for her to put them together in the poster.