The document summarizes the chapters of a book on advertising. Chapter 1 discusses unconventional wisdom. Chapter 2 covers finding your creative voice. Chapter 3 outlines the eight greatest lies told in advertising. Later chapters provide advice on developing ideas, making critical design choices, crafting visuals and copy, considering global audiences, and the qualities of cutting-edge communicators. The document emphasizes creativity, originality, simplicity, humanity and resilience.

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GAMBAR COVER BUKU/
GAMBAR PENDUKUNG LAIN
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BOOKCLUB
CUTTING EDGE
ADVERTISING
Chapter 8-10
Jim Aitchison

2. RECAP
Chapter 1: UNCONVENTIONAL WISDOM
Chapter 2: HOW TO FIND YOUR VOICE
Chapter 3: THE 8 GREATEST LIES YOU’LL EVER BE TOLD
Chapter 4: THE CREATIVE WORK BEFORE THE CREATIVE WORK
Chapter 5: HOW TO GET AN IDEA
Chapter 6: THE FIVE CRITICAL CHOICES
Chapter 7: HOW TO CRAFT VISUAL
TODAY
Chapter 8: HOW TO CRAFT COPY
Chapter 9: THE GLOBAL VIEW
Chapter 10: THE CUTTING EDGE AGENDA
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3. “The written word
is the deepest dagger
you can drive
into a man’s soul”.
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4. How to be Creative?
Creative = Think
Everybody is creative.
The choice is clear.
Creative people can
leave behind landmarks
in their industry, or spend
a lifetime in blank obscurity
(and mediocrity).
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Bloom’s Taxonomy
CHAPTER 1
UNCONVENTIONAL WISDOM

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Never be afraid of
having ideas.
If they fail? Failure is fantastic. You learn so much more from it.
Dare to be different. Dare to take the risk.
CHAPTER 2
HOW TO FIND YOUR VOICE

6. CHAPTER 3
THE 8 GREATEST LIES YOU’LL EVER BE TOLD
1. You Must Have a Unique Selling Proposition
2. You Must Offer A Rational Benefit
3. Humour Doesn’t Sell
4. You Must Have A Memorable Slogan
5. You Must Have A Logo In The Ad
6. You Must Show The Product In The Ad
7. Every Ad In a Campaign Must Look The Same
8. Creative Ads Don’t Sell
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7. CHAPTER 4
THE CREATIVE WORK BEFORE THE CREATIVE WORK
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Strategy should be the
blueprint for the
campaign.
Simon Sherwood defines
a strategy as the single
starting point for the
creative process.

8. CHAPTER 5
HOW TO GET AN IDEA
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1. Product Name or Logo
2. Packaging
3. How the Product is Made
4. Where the Product is Made
5. Product’s History
6. Old Advertising
7. Something That’s Happening Around You
8. Showing What Happens With the Product
9. Showing What Happens Without the Product
10. What Happens with & Without in the Same Ad
11. Where the Ad Will Run

9. Each person have their own personal methodologies.
Belows are recaps from the interviewees’ methods:
Pay attention to the process, and what you did on previous project.
Scribble your ideas, the outline.
Analyse, isolate the key ideas.
Study the product itself.
Eliminate the unnecessaries.
Position & Propositions, think from the consumer’s mind.
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HOW TO GET BETTER IDEAS?

10. CHAPTER 6
THE FIVE CRITICAL CHOICES
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1. Will you send a POSTCARD or a LETTER?
2. Will you have a BENT HEADLINE with a STRAIGHT PICTURE?
Will you have a STRAIGHT HEADLINE with a BENT PICTURE?
3. Will you use TYPOGRAPHY instead?

11. CHAPTER 7
HOW TO CRAFT VISUAL
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1. When to keep it simple
2. When to add another layer
3. When to keep layering
4. When to craft a classic

12. Chapter 8
HOW TO
CRAFT COPY
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13. Style & Writing
Begin with style and the writing
process itself.
The argument can be made that
the best style is one that appears
to be no style at all. Perhaps the
writer’s true style begin to emerge
when he makes no deliberate
effort to produce one.
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14. Style & Writing
A writer’s style is more than his
diction -word choice- or his
rhetoric-his intention to persuade.
It is his use of sentence rhythms,
short, long, simple, complex, or of
compound sentences connected
by ands that suggest the diction.
Style is reflected in the use and
originality of metaphors, the form
of the conditional, or the use of the
present tense instead of the more
conventional past, etc.
Style is dedicated by the subject or
product.
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Writers should see themselves as not the client’s representative,
but the reader’s perspective.

16. Headline
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How should headlines be written? Persuasive, insightful, intelligence, etc.
A headline is a promise.
That’s how readers see it, and that’s how you should see it too.

17. Writing HEADLINE
In a sense,
there are two kinds of copy.
There’s this kind of copy
that supports the headline,
or expands on the line.
I.e. News headline.
Then there’s this kind of copy
that’s more like a story, that in
itself is supported by the headline,
and the headline may not be
written until after you’ve written the
story.
I.e. Book Title
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18. Writing COPY
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19. Writing COPY
Mostly in advertising,
first sentence, first paragraph
matter. Then the copy has to flow.
Read it aloud to check the flow.
The whole point is, to get someone
to read the copy,
you have to be interesting
all the time.
The end also important.
It’s like the last chapter of a book,
it’s got to reflect something of the
premise of the book. The end line
should just be the end of a clever
piece of copy.
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20. Short COPY or Long COPY?
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To make a GREAT ADVERTISING
ART DIRECTORS and COPYWRITERS,
should both learn basic editorial techniques.

22. Chapter 9
THE GLOBAL VIEW
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23. Cutting edge advertising is all about clarity, simplicity, and imagination.
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24. Can The Same Idea Work Universally?
Look for things that UNITE us, not DIVIDE us.
Universal ideas will work if the product itself is universal.
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25. What Sort of Ideas Work Universally?
Advertising has to lead people
and give people a point of view.
Great advertising present a
vision that people want to share.
People are able to operate on a
global basis as well as on a local
basis. It's not a case of giving up
one for the other.
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26. How Cutting Edge
Cuts Through?
Visual narratives offer the
most opportunities with
powerful visual presence.
Pay attention on
human insights
that touches emotions
and offer relationships.
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27. Chapter 10
CUTTING EDGE
AGENDA
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28. HOW DOES IT TAKE
To be a CUTTING EDGE print communicator?
1. Being in the right agencies
2. Having great client
3. Having talent
4. Resilience

29. HOW DOES IT TAKE
To be a CUTTING EDGE print communicator?
1. Being in the right agencies
2. Having great client
3. Having talent
4. Resilience

30. HOW DOES IT TAKE
To be a CUTTING EDGE print communicator?
1. Being in the right agencies
2. Having great client
3. Having talent
4. Resilience

31. HOW DOES IT TAKE
To be a CUTTING EDGE print communicator?
1. Being in the right agencies
2. Having great client
3. Having talent
4. Resilience

32. If creativity is a destructive process, If it means tearing down
what has gone before and rebuilding afresh, what better place
to start than with ourselves
- Jim Aitchison
OFFER TO YOU

33. RECAP
Chapter 1: UNCONVENTIONAL WISDOM
Chapter 2: HOW TO FIND YOUR VOICE
Chapter 3: THE 8 GREATEST LIES YOU’LL EVER BE TOLD
Chapter 4: THE CREATIVE WORK BEFORE THE CREATIVE WORK
Chapter 5: HOW TO GET AN IDEA
Chapter 6: THE FIVE CRITICAL CHOICES
Chapter 7: HOW TO CRAFT VISUAL
Chapter 8: HOW TO CRAFT COPY
Chapter 9: THE GLOBAL VIEW
Chapter 10: THE CUTTING EDGE AGENDA
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34. THANK YOU
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