T hi sdi gi t a l v er s i onof T heAdv e r t i s e r ' sHandbook wa spr epa r edby i Book Bi ndi ngi n2019
Ver s i on1. 1 Whi l ei ti s n' tr ea l l yabooka boutbooka r t s , i tgi v ess ome i ns i ght sonpr i nt i nga ndt y pogr a phy . Andev enwhi l et ha t ' s pr i nt i nga ndt y pogr a phyofnews pa per s , i ti ss t i l l aqui t e f a s c i na t i ngobj ec tofbookhi s t or y . T hi si st hes i x t hedi t i onpubl i s hedi n1923byAs s oc i a t ed News pa per s , L t d. , Ca r mel i t eHous e , L ondon. Ha r dc ov er , 68 pp. , wi t hmul t i pl ei l l us t r a t i onsi nc l udi ngt y pesa ndbor der s s a mpl es . I fy ou nda nyOCRer r or s , pl ea s er ea c husa t s @i book bi ndi ng. c om Mor ebook sa boutbookhi s t or y , booka r t s , a ndbook bi ndi ng onourwebs i t e: ht t ps : / / www. i book bi ndi ng. c om/ pdf book bi ndi ngc ol l ec t i on/ ht t ps : / / www. pa t r eon. c om/ i book bi ndi ng
TH E
ADV ERTI SER’S HANDBOOK *
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1923 ASSOCI ATED NEW SPAP ERS, LIMITED CARMELITE HOU SE, LONDO N, E. C. 4
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CO NT EN TS Page T he W heel s of T ra de ...........................................................
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Attractio n the F irst E s s e n t i a l ....................................
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Attracti ng At t e n t i o n ................................................16,19
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I llustr ations
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T he T echn ical A spect of Advert ising N ew spa per P rint ing
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T he P ress R o o m ...........................................................
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L ay Out an Advert isemen t
Corre cting P roofs
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T he P rocess D epar tme nt
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How Adve rti ser s’ B locks T he F ound ry
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PREFACE rJ ^ H
I S Hand book is repub lished with the idea of
its being kept fo r reference on two subjects : How and where to advertise a give n prod uct ; and what mecha nical processes are used in the prod uc tion of the prin ted advertiseme nt. The
variou s hint s and suggestio ns in
the
Hand book are offered with the pur pos e of as sis tin g advertisers to obtain better value fo r their mon ey in the selection and use of advert ising medi a. If , to an y ind ivi du al reader, some of them seem too elemen tary to have been set down, they wil l be excused or the groun d of their possib le use fuln ess to some colleague of smaller experience. Fiv e previ ous edition s have been issue d, and it is at the request of ma ny Adve rtise rs, Ad ve rti sin g Ag ent s, Ad ver tisi ng Man ager s, and their respective staf fs that the pres ent editio n has been brought up to date, show ing the latest type s, dis pla y rules, and borders at their dispo sal.
CHAPTER ONE
THE WHEELS OF TRA DE Modern Adverti sing an Exact Science in Busin ess -Building H E day is past when Ad vertis ing was an isolate d depart ment in a business house, charged solely with the du ty of creatin g general publ icity, more or less at haphazard . Unt il near ly a quar ter of a centur y ago, an advertise r worked in the dark . The most importa nt newspapers resolutely declined to tell him wha t he was gettin g for his money. None but a few of the most impo rtant had any really fixed scale of charges, and these papers were precise ly the most reticent of all on the sub ject of net sales.
T
A manu factur er or merchant who adverti sed his goods made a guess (sometimes rather wildly) at the number of people who would see his announcement in a given paper, and relied upon his own acumen as a buye r to protect himself against the risk of pay ing more than his competit or for the space. Small wonder tha t his adver tising manager was satisfied to aim at produci ng a kind of general effect, har dly even attem pting to form an opinion of the results obtain able from any adverti sement or series of advert ise ments.
The Policy of the Open Book It is not claiming too much for A ssocia ted Newspapers, Limit ed, to say that the y were the first to publish two sets of figures— the certified net paid sales (or in other words, the e xact number o f copies of each paper act ual ly purchased by readers) and the fixed prices 5
CHAPTER TWO
ATT RAC TION TH E FIRST ESSENTIAL Main Principles of Display and Pictoria l Design In a newspaper, as elsewhere, it is useless to stat e the adva ntages of a produc t unless the reader’s atten tion is specially attr act ed to these statem ents in some way. Attra ction is achieved with efficiency thro ugh proper atte ntio n to two details—the copy and the mechanical presen tation of it. It may here Ъе pointed out that the Daily Mail advertisement pages and columns are made up fro m the point of view that is most pleasing to the eye ; the general tone of the advertising carried is very light, and heavy illustrations, dark backgrounds, and poster advertisements that are out of all proportion to the space, must be avoided. A design suitable for newspaper advertising will not commonly be th at adapte d to advertising in weekly periodicals, magazines, and the illustra ted papers. It is often a mistake to use the same designs or illustrations for b oth, either to save expense or with the idea t ha t a b etter cumul ative effect can be obtained when these are identical in the two sets of papers. At all events, the mechanical presentati on of the design mus t be differentiated. Remembering th at when a design or drawing has been made it can be reproduced as many times as may be desired, and in as many sizes as the different spaces m ay call for, it is false economy to save a little money in order to make one drawing suffice for two entirely different purposes, neither of which may, in consequence, be completely fulfilled. Compared with the price of space in a dozen, a score, or hundreds of papers, even a first-class drawing is 16
The Adver tiser’s Handbook cheap ; and ver y often it can be used more than once. The first consideration should be to make the best possible use of the space. To achieve this object, an experienced advertiser will ask himself the question, What do I want the design to do ? Accordin g to the class of papers in which it is proposed to advertise, the answer will be, to attr act attention and to explain the tex t of the advertisement. Speaking generally, a block goes with a newspaper advertisement to attrac t, and goes with an advertisement anywhe re else chiefly to convince, though it must also attra ct. Deco rativ e effects and striking borders (which cut off one ad vertise ment from its surroundings) should always be mecha nically produced in a wa y calculated to give a maximum of effect. The advi ce and help of those constant ly engaged in designing and block maki ng for newspaper purposes can g ive great help to th e ad vertise r who avail s himself of them. The Ideas and Business Development Departm ent of the Asso ciate d Newspapers, Limited— the special service departm ent— is mainta ined with the sole object of giving service to advertisers. It brings no direct profit to the Company, and has no reason for existence excep t to make advertising more efficient. The commercial object with which it is maintained is, o f course, the belief tha t whatever makes advertising more efficient increases the amount of advertising space that can be sold.
What a Picture Should Illustrate A picture or design for newspaper advertising should be simple, strong, and significant. Tha t is to say, it must tell its story at a glance and te ll i t strongl y. If it is able to arouse curiosity, it will be ver y nearly ioo per cent efficient. If it attrac ts attentio n to itself, but does not draw the reader on to consider the text , it does no good. Should a picture represent the goods, or the use of the goods, or some idea connected with the goods ? In newspaper advertising в
17
The Ad ver tise r’s Handbo ok The attentio n-value of a headline may be as great as that of a picture, and according to one prominent writer on the subject the attentio n attra cted by a headline is of a more intense character than that attra cted by a picture. This is a matte r of opinion ; but words are more calculate d to lead a reader on, and cause him to read the text , than pictures. The same auth ority lays down the rule tha t a headline must be dignified, relevant , and sincere ; and that it must have the power to arouse interes t— if possible (he adds), curiosity. These requirements sum up the problem of how to write a headline. Change of copy all thro ugh has importance, where the advert ise ment is more than a mere announcement. The old idea of “ itera te and reiterat e ” has lost some of its force. Reite ration should be renewal of argument, not mere repetition of the same words to the point of tiresomeness. People read advertisemen ts with more atten tion than of old. The y read them more att ent ive ly eve ry year. The reason is that advertisements are bett er writt en as time goes on and the business of advertising develops new talen t.
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CHAPTER THREE
THE TECHNICAL ASPECT OF ADVERTISING The Com posin g Room—Ins truct ions to Print er—Making a Lay- Out—Pro of-Re ading and Pri nte rs’ Marks—B loc kMakin g—The Foundry—The Machine Room Whe re an adve rtise r does not employ a Serv ice Ag enc y, the Ide as and Busin ess Deve lopm ent Depa rtme nt of the Ass oci ate d New spap ers, Lim ited , will present in outline comp lete adv erti sin g cam paig ns. Spec ial staffs will write and design adv ertis eme nts to the requ irem ents of clients, will provid e illust ratio ns and bloc ks, and sug gest follow- up system s and merchandi sing plans cal cul ate d to cons olid ate the benefits and inten sify the impetu s gen erat ed by Pres s adve rtisi ng. Le t us here, as brief ly as possible, endeav our to con vey an idea of the mec han ical side of the produc tion of the grea t nat iona l news pape r, the Dail y Ma il. A workin g knowle dge of the succe ssive stag es thro ugh which an adv erti ser’ s announc ement must pass will be foun d of assista nce in plann ing the cop y and illu str ati ve effects.
The Compo sing Room “ Co py, ” which is the pri nte r’s name for manu scrip t to be put into typ e, is rece ived from the adve rtise r or his agen t by the Ad vert isem ent Dep artm ent and, on being appr oved , is passed to the Hea d Adv erti sem ent Prin ter in the composin g room. Pho togr aphs or pict oria l designs are passed to a specia l staf f of artis ts in the Adv erti sem ent Dep artm ent if the y require atte ntio n in tha t respect, or the y ma y go stra igh t to the process depa rtme nt to hav e the block s made, as describ ed late r. 21
The Ad ver tise r’s Handboo k Interv als between words are called by printers “ spaces ” ; intervals between lines are called “ leads.” Rules are pieces of lead or brass, type-high, measured in “ po ints” like type, to print a plain or a decorated line. The rules kept in stock in this office are shown on later pages. The term “ typehigh ” means the depth from face to base of a printers’ letter or block. Obvious ly, a rule that was not type-hig h would become a lead, and a lead tha t was too deep, or was locked up in the forme withou t being pushed down (as sometimes happens in a rough proof), a rule. The height of type is approx imatel y the diameter of a shilling.
Making a Lay-O ut A Lay -ou t is a sketch, given to the compositor, to indicate the choice and arrangement of type and rules desired, the position in which blocks are to be placed, and the general effect aimed at. It is not necessary to wr ite the whole of the copy on the l ay-o ut, and no t strictly necessary to draw the display-lines. The type writ ten copy is usua lly letter ed in ink, to enable the different paragra phs, etc., to be iden tified on the lay-ou t ; and the style, or ac tual part, of e ach portion will be presented, though it is best not to prescribe them too rigidly. Thus a lay-ou t need not contain any of the wording. Most advertisi ng managers, however, prefer to have the display lines drawn, and even the illustrations sketched in, to assist the imagination. It is easy, when this has been done, to form a fair ly exact idea of what the finished ad vertisement will look like. The following example shows how a complete lay-o ut is made, and what result it produces. The typew ritten copy, with proofs of the illustrations intended to be used, is sent to the printer with the lay-out. This lay-out , being correct ly interpreted by the printer, produces the finished result finally shown. 24
The Adv erti ser’s Handbook
Scotch Tweed Overcoatings
(o r Overcoats rea dy -to -w ea r) with the guarantee (und er stringe nt Board of Trade Regula tions) of the above mark. All materials thus marked have been
Made in Scotl and of Pure. Ne w Wool The y carry with them the age-long Scottish tradition of th oroug hness in quality and manufacture. laaucd b j Гha ScuMish W oo tlc a Tr ad e M ar ti Aaao ciau oa, U ta it o d
П Char lotte Squ are , Edi nbur gh
Th e fin ish ed advertiseme nt shows how accur ately the prin ter and block- maker have carrie d out the inst ruct ions on a good “ lay -o ut. "
A good “ la y- ou t" saves the adv erti ser' s tim et as revised p roo fs are rarely requir ed.
The names of the variou s type s may be tak en from the speci men pages at the end of this handbo ok. It would be preferable not to name the point-sizes of, at all events, the smal l-type ma tter . By keeping the Hand book where a handb ook ought to be—th at is to say, han dy—display typ e can be readi ly selected ; bu t if work 25
CHELTENHAM No. 39
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ITAL IC
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