Brand Character Types emerging from the Sophistication Levels of ATL Communications, from a Jungian perspective. Analytical Psychology and Advertising, for Creative Direction and Branding Strategy. Self-published research, 16 illustrated pages, about half an hour worth of reading. Marketing, Advertising, Graphic Design, Brand Ethics

1. 8Levelsof AD sophistication
&Jung’s
PsychologicalT y p e s
in
BRAND
N i © k
D a C h R i SC r e a t i v e D i r e c t i o n

2. Nick Dachris
8 Levels of Ad Sophistication
and Jung’s Psychological Types
in Brand
Milton Keynes, March 2017
CONTENTS
Preface: 2 Types of Branding
Introduction: Theoretical Basis
Juxtaposition: Types and Sophistication
Analysis: Case Studies
Conclusion: Nice. What’s it for?
Appendix: Tables of Reference
pg. 3
pg. 4
pg. 5
pg. 6
pg. 14
pg. 15

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2 Types of Branding
OUT → IN
Audit Focus
CONSUMERS
DISTRIBUTORS
MEDIA
COMPETITORS
Business Objective
RIDE THE TIDE
Brand Strategy
PLURALISTIC
Organisation Culture
PUSH
THE COMPANY
Sales Force
PUSH PRODUCT
Marketing Game
SELL WHAT SELLS
Public Message
BETTER CHEAPER FASTER
Brand Character
EXTRAVERT No1
“I know what’s good for you”
Risk - Yield
Low
IN → OUT
Audit Focus
EMPLOYEES
DIRECTORS
OWNERS
COMPLEMENTERS
Business Objective
SET THE TREND
Brand Strategy
MONOLITHIC
Organisation Culture
PUSH
THE MARKET
Sales Force
PULL CUSTOMER
Marketing Game
INNOVATE
Public Message
NEW DIFFERENT SPECIAL
Brand Character
INTROVERT Lux
“I know what’s good for me”
Risk - Yield
High
- Polar extremes combined in various proportions - rarely found on their own. -
There are, in a manner of
speaking, two schools of thought
in Corporate Communications.
One sets as its priority the
market-place, the other the
company. The Out-In school
starts work from the side of
the consumers and makes their
needs the corporate mission. The
In-Out school starts from the
side of the company’s employees
and makes their happiness the
corporate vision.
Businesses usually take both
perspectives into account, but
there is an obvious attitude
distinction to be found in
advertising, corresponding
to those schools. The two,
emerging brand characters are
reflecting the personality of
its stakeholders. One is more
product-centered, the other
more ego-centered.
In further analysis, each school
produces both, rational and
irrational, brand characters,
corresponding to ads that make
logical arguments and ads that
make utter nonsense. The latter
are commonly belittled on the
grounds of judging irrationality
and nonsense as inferior
communication, but often seem
to be commanding greater brand
equity than the former, and they
tend to be telling better stories.
The same as in the field of
Psychology, Branding can be
inclusive and respectful of the
character of each brand it is
called upon. Creative Direction
and Strategy can be part of an
analytical treatment based on
a very well defined typology.
We can perceive brands,
humanity and knowledge as one
ecosystem.
P R E FA C E

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1
5
2
6
3
7
4
8
Sophistication by Level
of Product Visibility
T h e o r e t i c a l
b a s i s
C.G. Jung’s Psychological Types
are an inclusive, binary model that
distinguishes 8 types of character
on the basis of two attitudes in
respect to the self, Extraverted and
Introverted, and four functions or
approaches to reasoning, Rational
Thinking and Feeling, and Irrational
Sensation and Intuition. In his
descriptions of the Types, Jung
never states it but seems to be
hinting to a scale of objectivity,
from a maximum that is found in
extraverted thinking to a minimum,
in introverted intuition.
In Advertising there is a
classification model of ads on the
basis of their sophistication level.
This is a scale of how symbolic the
ad content is, or how far removed its
meaning is from the object for sale,
that is the literal point of reference
for the advertiser. The farther from
it, the more disciplined the audience
is perceived to be, and the more
sophisticated the ad.
In Information Theory, the deeper
the encoding of a message is, the
fewer the bits necessary for its
transmission. Reversely, the more
the information carried by each
bit of code, the higher the entropy,
or inherent uncertainty, of the
message, and the higher the level
of abstraction. The bit carrying the
message “tangible product” has
lower entropy than that carrying
the message “intangible brand”,
because the tangible product is a
more concrete object, of far less
uncertainty as to its deciphering,
than the intangible brand.
Finally, the creative process, itself,
is governed by an instinctive scale of
involvement with the subject of the
creation, corresponding to a scale of
semantic steps by which a message is
removed from the literal meaning of
the symbolic objects comprising the
creative message, and/or from the
creator.
On such a basis I did a little
“home-lab” experiment, keeping
the product for sale equal, altering
just the sophistication and therefore
the psychological type of the brand
persona portrayed by the ad. I
ordered the results, on the far left
column of this page, accordingly,
but when I looked closer I found
that instinct had led me somewhat
astray. Instinct is a drive for self-
preservation, not a skill. The skill,
communication, takes some work.
The Rosetta Stone
(The British Museum)
The Rosetta Stone carries the same
text in three ancient languages,
three different encoding systems,
arranged from the one with the
fewest but largest symbols to the
one with the most but smallest
ones. The Greek at the bottom
uses 10 times the amount of bits of
the Egyptian at the top. It can be
argued that the Egyptian is more
sophisticated, and the Greek more
analytical. The Greek code stood
the test of time and was used to
decipher the Egyptian when the
Stone was found. Maybe the higher
their entropy, the shorter the life-
span of symbols.
I N T R O D U C T I O N

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INTROVERTED|EXTRAVERTED
IRRATIONAL|RATIONALIRRATIONAL|RATIONAL
T H I N K I N G
T H I N K I N G
F E E L I N G
F E E L I N G
S E N S AT I O N
S E N S AT I O N
I N T U I T I O N
I N T U I T I O N
1
5
2
6
3
7
4
8
Intellectually
considered motives,
Objective, Dogmatic,
entrepreneurial, self-
denying
1. IMMATURE
Product description
Factual, optimistic,
rational
Pack shots, product
attributes
Consumer as target for
rote learning
Symbolically considered
motives, Subjective,
Holistic, theoretical,
critical
5. SOPHISTICATED
(advertising as focus)
Ads as entertainment
Brand as symbol
Poetic, allusory style
Consumer as critic
Morally considered
motives, Compliant,
Conformist, hysterical,
loyal
2. DEVELOPING
(product choice)
Product attributes -
competitive
Demonstration of
superiority
Rational argument
Brand name emphasis
Consumer as target for
persuasion
Value-considered
motives, Reserved,
Mysterious,
sentimental,
melancholic
Aesthetically generated
motives, Realist,
Sensationalist,
impulsive, empirical
3. DEVELOPED
(brand choice)
Brand emphasis
Focus on consumer
benefits
Celebrity endorsements
or “ordinary” consumer
testimonials
Ads straddle rational
and emotional
Consumer as chooser
Empathy generated
motives, Hypocritical,
Hedonist, compulsive,
self-alienating
Insight generated
motives, Speculative,
Opportunist,
passionate, unstable
4. MATURE
(brand involvement)
Lifestyle-based brand
stories
Shorthand brand values
Identification and
reinforcement
Consumer involvement
Ego generated motives,
Mystical, Artistic,
psychotic, visionary
Psychological
Type (Jung)
Sophistication by
Level of Rationality of Character
Sophistication
Level (overlaps)
J U X TA P O S I T I O N

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EXTRAVERTED
THINKING
Intellectually
considered motives,
Objective, Dogmatic,
entrepreneurial, self-
denying
1. IMMATURE
Product description
Factual, optimistic,
rational
Pack shots, product
attributes
Consumer as target for
rote learning
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
1
THE PRODUCT
Don’t laugh. Our dildo, a blunt sex supplement,
of a tradition as old as humankind, to be
taken as part of a balanced diet in human
relationships, or to be used as a substitute for
the real thing in various occasions, comes in
three colours, and has no other special features,
so we can concentrate on the brand differences
that rely solely on ATL communication.
TYPICAL SITUATION
Monopoly. Our product is the only option, a
category of its own. Spoilt for choice, pick a
colour or collect all three. Advertising blunt.
People get paranoid around sophisticated ads,
content with their social order. The strictlier
we adhere to fundamentalist piety, the blindlier
we’re trusted. The advertiser, essentially, is a
totalitarian State. Whatever it sells, we buy.
THE BRAND CHARACTER
Pious, straight-forward materialistic. No
pleasure, just business. Owning an object
doesn’t make you special. Just normal, well-
adjusted. Dead boring. Smells of slave-labour.
COMMUNICATION
Plain and simple. White background, product
and pack shot, functional name, price, that’s
it. Mere reproduction of the display shelf
in the shop, for display beyond the shop.
To most people, this doesn’t even count
as advertising. But a strictly conservative
audience could find it honest and safe.
A N A LY S I S

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EXTRAVERTED
FEELING
Morally considered
motives, Compliant,
Conformist, hysterical,
loyal
2. DEVELOPING
(product choice)
Product attributes -
competitive
Demonstration of
superiority
Rational argument
Brand name emphasis
Consumer as target for
persuasion
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
2
TYPICAL SITUATION
Monopolistic environment, no actual need for
differentiation, but people have high morals
and low morale, and they avoid purchasing
our good. Context forbids a functional value
proposition or a literal illustration of the
product in use. But where there’s morals there’s
mores, too. Mores are values. Pretending to be
winning in value, in a category of various similar
products of other vendors/manufacturers,
boosts the urge to buy.
THE BRAND CHARACTER
The best buy for the best people. Impossible to
evaluate beyond the self-fulfilling criteria the ad
gives you beforehand. Dubiously manipulative
but totally effective. The best is better than
nothing at all.
COMMUNICATION
Wake up call. White background, red jagged
cartoon-balloon, pack shot, functional
name, brain-numbing price-offer “only-
something-99”, “The Best!” title, “unique
comfort” tag-line. To most people, this
doesn’t count as advertising, just as loud
announcement, lacking imagination. The
consumer reads it as a typo mistake, but,
subtly, labelling the consumer, along the
product, “the best”, creates a special kind of
rapport. Innocent con trick. No harm done.
A N A LY S I S

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EXTRAVERTED
SENSATION
Aesthetically generated
motives, Realist,
Sensationalist,
impulsive, empirical
2. DEVELOPING
(product choice)
Product attributes -
competitive
Demonstration of
superiority
Rational argument
Brand name emphasis
Consumer as target for
persuasion
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
3 3. DEVELOPED
(brand choice)
Brand emphasis
Focus on consumer
benefits
Celebrity endorsements
or “ordinary” consumer
testimonials
Ads straddle rational
and emotional
Consumer as chooser
TYPICAL SITUATION
There is some competition around and our
product needs to stand out. Not necessarily
in the same category. We need wallet-share
if not market-share, too. There is an element
of insight about what consumers are looking
for, cannot reach, and our product is the next
best thing. It’s basic market problem-solving,
exploiting a weakness of the customer. Going
with the dominant flow of prejudices and
stereotypes pushing for identification of our
product with those.
THE BRAND CHARACTER
Even better than the real thing. It’s got a name
and a mental image of something beyond the
object, it stands for something, moving towards
the symbolic but never touching it. Somewhat
hilarious but also masculine and attractive.
Sporty and irresistible. Guidance for those who
don’t know what they’re looking for. Clueless but
honest character. Almost childish.
COMMUNICATION
A simplistic system of associations.
Product on one side, metaphor on the
other. Boyscout name for title, boyscout
tag-line, boyscout Call To Action. Blue skies,
dark figure. Duty calls. The duty of self-
pleasure, the duty to buy more than one
piece. Titillating set-up, calling up on our
imagination to complete the image.
A N A LY S I S

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EXTRAVERTED
INTUITION
Insight generated
motives, Speculative,
Opportunist,
passionate, unstable
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
4 3. DEVELOPED
(brand choice)
Brand emphasis
Focus on consumer
benefits
Celebrity endorsements
or “ordinary” consumer
testimonials
Ads straddle rational
and emotional
Consumer as chooser
TYPICAL SITUATION
Either no competition around or a hell of a lot.
Consumers are frustrated, in a self-conflict
regarding their failure to get satisfaction. With
all the problems in the world, the economic
crisis, the depression and all that, the
consumers will fall for anything associated
with what they want to be, out of pure instinct
for survival. Beside the girls, there are boys,
too, buying gifts for their girlfriends, and can
be tapped under the same premise. There is
a window of opportunity for us to identify our
brand with success and fulfilment if we appeal
to consumer impulse. The feel-good factor has
to be stressed in the advertising.
THE BRAND CHARACTER
Friendly, happy and generically successful.
Almost funny but too glamorous for laughter.
Makes you smile, so, buy with confidence. You
don’t have to be wanting in the satisfaction
department. You’re safe. Enjoy yourself.
Protective, playful, motherly character.
COMMUNICATION
Another simplistic system of associations.
Self-metaphor on one side, product on
the other. Smile voluptuously and wink
knowingly, and get Miss Success’s secret,
half price, only today. Bright yellow over
dull grey. Posh-looking slut-face, artfully
composed product/pack shot. A mirror of
happiness to identify with. Life is so simple.
An opportunity too unique to miss.
A N A LY S I S

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INTROVERTED
THINKING
Symbolically considered
motives, Subjective,
Holistic, theoretical,
critical
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
5 4. MATURE
(brand involvement)
Lifestyle-based brand
stories
Shorthand brand values
Identification and
reinforcement
Consumer involvement
TYPICAL SITUATION
Competition doesn’t count. The target audience
is wanting for identity, something to give it
a sense of character, while the company is
so cocky it thinks its product unparalleled.
Opposites attract. Authoritarian organisation,
like a secret order. The staff is brain-washed
and disciplined to a higher purpose. The brand
script and the leader prescribe what we must
think and it’s up to us to figure out how to think
it. We have no means to resistance except
hiding, so we might as well join the sect. This is
the brand ruling over the earth like monotheistic
religions do. The CEO is the godhead. The
product is merely an artefact of faith, devotion
and belonging. It’s not like you can belong
without owning at least one dildo. If not, you’re
scorned, like a heretic.
THE BRAND CHARACTER
Predatory, totalitarian, dominant, absolute,
godlike, impenetrable, irresistible, highly
sophisticated, intellectual, autistic maniac. No
empathy whatsoever. Judge and executioner of
the universe.
COMMUNICATION
Abstract association system, pretty
advanced, promoting the logo as symbol
of everything the brand stands for. The
product has neither priority nor significance,
therefore no place in the ad, but the logo
itself hints to it, and with the support of a
minimal framing layout, it is very compelling.
The single word, “fidelity”, under the icon of
a glans, both within three, concentric, thin
circles in the colours of the brand, and all
on a plain black background - this is not so
much advertising as territory-marking. The
unspoken message is “you belong to me.”
Intimidation into respect and loyalty.
A N A LY S I S

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INTROVERTED
FEELING
Value-considered
motives, Reserved,
Mysterious,
sentimental,
melancholic
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
6 4. MATURE
(brand involvement)
Lifestyle-based brand
stories
Shorthand brand values
Identification and
reinforcement
Consumer involvement
TYPICAL SITUATION
There is plenty of competition in the product
category but there is a subculture of consumers
that is not represented in it. The company is
run by a bunch of goths and this is what they
want to be doing. A business with like-minded
customers. Ethno-psychographic research can
verify that the target consumer is either on a
Christian Catholic sex diet or in a revolution
against it. Goths and emos, or wannabe goths
and emos, prone to temptation, afraid of sin,
always eager, never fulfilled. Also appreciative
of avant-garde Art and music. A niche market,
maybe, but a considerably large niche and a
loyal one, too. You can’t go wrong with lifestyle
identification.
THE BRAND CHARACTER
Well, Gothic, what else? Clear cut. Voluptuous
and innocent. Religiously sinful. Elegantly
exotic. Pure and complex and wild and tamed
at the same time. The silent type. The beautiful
witch. Hiding a magic wand.
COMMUNICATION
Another advanced system of associations,
this time fairly concrete (opposite of
abstract), identifying the product with a
particular lifestyle, by personifying the
brand as a hero/heroine representing the
lifestyle, only subtly hinting at the product.
A black and white portrait of a dark-haired
woman in half-reserved ecstasy, in-between
singing and having an orgasm, the word
redemption next to her face and three dots
in the colours of the product, in a plain white
background reflecting our broken innocence.
A N A LY S I S

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INTROVERTED
SENSATION
Empathy generated
motives, Hypocritical,
Hedonist, compulsive,
self-alienating
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
7 5. SOPHISTICATED
(advertising as focus)
Ads as entertainment
Brand as symbol
Poetic, allusory style
Consumer as critic
TYPICAL SITUATION
A particular target audience with a clear
common ground, in a very cluttered market.
The brand, on a limited advertising budget,
can hijack a fan base from a different product
category. A play on attitude and semantics,
with symbol distortion, can create a buzz to
carry the ad further than any paid campaign.
This may lead to law suits and negative media
attention. By the time the law suit goes to court
the sales will have paid off the lawyers. I use it
here for the sake of illustration, for educational
purposes only, not as recommendation for
practice. It could be done by piggy-backing on
a cultural element that is free, e.g. Christmas
or Socialism, instead of a corporate brand,
but it would be slower, more imperialistic, and
easier to misunderstand in the present context.
Placing the ad must be very precise, either way.
THE BRAND CHARACTER
Informal, provocative, niche, controversial.
Left-field, Punk, underdog humour, criticising
the status quo. Naive, parasitical character.
Counter-culture activist.
COMMUNICATION
Insider joke. For those in the know, only.
Advanced association system. Introducing
a mascot, hiding the product in plain sight,
and making a pun out of the brand name,
“TED-Talks”, with a teddy-bear that doesn’t
talk. The set, in the colours of TED-talks
stages, is made out of product packs. The
slogan goes “imagine tomorrow in the
colours in which our product is available.”
The mascot-bear plays the jester, in a
way granting licence to connect with the
underdog within the mind of the consumer.
A N A LY S I S

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INTROVERTED
INTUITION
Ego generated motives,
Mystical, Artistic,
psychotic, visionary
PSYCHOLOGICAL
TYPE
SOPHISTICATION
LEVEL
8 5. SOPHISTICATED
(advertising as focus)
Ads as entertainment
Brand as symbol
Poetic, allusory style
Consumer as critic
TYPICAL SITUATION
The company couldn’t care less for rational,
marketing science arguments on consumer
behaviour, as long as the brand is advertised
on the media with the highest returns. If one
competitor puts on a campaign, all the rest
must do so, too. The creatives can do what they
want with the brand, as long as it maintains
enough consistency with past expressions to
reinforce the brand character, which may have
nothing to do with the product in rational terms.
So the creatives can create a vision that seems
to be from out of this world, stretching the
narrative of the dream-sequence, that previous
campaigns have created, to breaking point. And
depending on the socio-economic context in
which the ad will appear, they can adjust the
depth of the dream or they can flow with it, or
change it entirely.
THE BRAND CHARACTER
Exotic, calm, wish-fulfilling and fantasy-bright
(or brilliantly dark). A source of inner strength
and justification of unjustifiable experiences. An
anchor of purpose in a purposeless life.
COMMUNICATION
The most complex system of associations,
one between the product and nature, in
this case a tropical sunset. While the
composition is standard, pack-shot over
landscape, the connection is illogical. The
print reads “Secret Jack, all the love, none
of the heartbreaks”. The ad is like downright
nonsense, except it communicates on the
subliminal level, with symbols that target
the endocrine controls of the brain and
create a positive, irrational predisposition
for preference towards our product. Like in
the language of dreams. This is what most
people would recognise as advertising, and
its genuinely hypnotic.
A N A LY S I S

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Nice. What’s it for?
Clarification of three
issues. Creative Strategy, the
relationship between Advertising
and Brand, and the classification
of brands according to
advertising narrative/character.
Creative Strategy in
Advertising is the most
important thing in branding,
next to the quality of the product
or service advertised, and to
the ethics of the advertiser’s
company. It is mostly a personal
matter of a decision maker, what
approach should be taken, and
the market has little say over it.
The decision maker usually has
to choose among a number of
pitches, preliminary sketches
or detailed proposals, most of
which are wasted along with the
work that has gone into them.
The creative strategy, in other
words, is based on someone’s
whim and bias, instead of
concerted, scientific effort.
Jung’s Psychological Types are
a start in understanding this
whim scientifically. This helps
us communicate better, make
fewer wasted pitches, make
better design decisions, be
less offended by ads that are
opposing our type, and grasp the
connection between Brand and
Creative Strategy.
The brand character is a
concept similar to brand
narrative, brand story, brand
personality, or brand script,
but distinctive from brand
equity, brand accounting and
brand vision and mission.
The character is that which
is perceived by the public
about the brand, comprising
experience and hearsay of a
business or a set of goods. In that
respect, Advertising, along with
Product-Design, Packaging, and
Display-Architecture, constitutes
the framing of the character,
the principal expectations
management of the brand. The
Creative Strategy, defining that
framing, inevitably determines
the grounds for everything else
about the brand in the mind
of the consumers, including
reception of other promotion
methods as well as criticism.
A brand character is never
complete without taking into
account the business underlying
the brand, and its impact on the
socio-economic environment.
Nonetheless, what is displayed
in Advertising is clearly falling
upon those categories, Jung’s
types, that are used in Analytical
Psychology to classify people
according to how they deal
with reality. This, in turn, is
based on an older, Philosophical
distinction between objectivity
and subjectivity, but whereas
Philosophy may be a war of
opposites, Psychology may be
a path of inclusiveness, and
peaceful diversity. I do not
subscribe to that branch of
Behaviour Economics that sees
irrationality as detrimental. Self-
interest is different in each of us
and the point of rationality is to
set conventions which include
the acceptance of irrationality
as one point of self-interest.
Besides, the Creative Type is
irrational by definition. There
is no human progress without
breaking away from rationality.
There are many things not done
for profit. Kids, for example.
Love is irrational. And constant
rationality is boring, anyway.
INTRO-
VERTED
EXTRA-
VERTED
R AT I O N A L I R R AT I O N A L
T H I N K I N G F E E L I N G S E N S AT I O N I N T U I T I O N
Nick Dachris, Ad Sophistication and Brand Character (based on Jung’s Psychological Types)
C O N C L U S I O N

15. 15
© N i c k D a c h r i s , 2 0 1 7A d S o p h i s t i c a t i o n a n d P s y c h o l o g i c a l T y p e s
C.G.Jung, PSYCHOLOGICAL TYPES (1920, Routledge 1971)
ATTITUDE-TYPE
(direction of
interest, relative
to the self) *
FUNCTION-TYPE
direction of libido, relative to the object) *
EXTRAVERT
Object-oriented
stimulus-response.
Open but shallow.
Materialist.
Stereotypes seeker.
[Market Audit,
Consumer Trends,
Best Offers]
RATIONAL - “The rationality of both types is
object-oriented and dependent on objective
data. It accords with what is collectively
considered to be rational... Reason, however,
is in large part subjective and individual.”
(§603)
IRRATIONAL - “...whatever they do or do not
do is based not on rational judgement but
on the sheer intensity of perception. Their
perception is directed simply and solely to
events as they happen, no selection being made
by judgement.” (§616)
Thinking Feeling Sensation Intuition
Intellectually
considered motives,
Objective, Dogmatic,
entrepreneurial, self-
denying
Morally considered
motives, Compliant,
Conformist,
hysterical, loyal
Aesthetically
generated
motives, Realist,
Sensationalist,
impulsive, empirical
Insight generated
motives, Speculative,
Opportunist,
passionate, unstable
INTROVERT
Subject-oriented
stimulus-response.
Closed but deep.
Spiritualist.
Archetypes seeker.
[Organisation Audit,
Employee Beliefs, New
Offers]
RATIONAL - “...the judgement of the
introverted rational types is undoubtedly
rational, only it is oriented more by the
subjective factor. This does not necessarily
imply any logical bias, since the bias lies
in the premise. The premise consists in the
predominance of the subjective factor prior to
all conclusions and judgements.” (§644) **
IRRATIONAL - “The irrational introverted
types are certainly no teachers of a more
perfect humanity; they lack reason and the
ethics of reason. But their lives teach the
other possibility, the interior life which is so
painfully wanting in our civilisation.” (§665)
Thinking Feeling Sensation Intuition
Symbolically
considered motives,
Subjective, Holistic,
theoretical, critical
Value-considered
motives, Reserved,
Mysterious,
sentimental,
melancholic
Empathy generated
motives, Hypocritical,
Hedonist,
compulsive, self-
alienating
Ego generated
motives, Mystical,
Artistic, psychotic,
visionary
** “The introvert is far more subject to misunderstanding than the extravert... because the style of the
times [the Western cultural norm] which he himself imitates works against him.” (§645)
* The attitudes can and
often do complement
each other.
* Principal and Auxiliary Functions
When the principal is a rational function the auxiliary is an irrational one, and vice versa. The pairs
comprise mutually exclusive functions
R.White, THE FIVE STAGES OF ADVERTISING SOPHISTICATION, in
ADVERTISING (McGraw-Hill 2000) *
1. IMMATURE 2. DEVELOPING
(product choice)
3. DEVELOPED
(brand choice)
4. MATURE
(brand involvement)
5. SOPHISTICATED
(advertising as focus)
Product description
Factual, optimistic,
rational
Pack shots, product
attributes
Consumer as target
for rote learning
Product attributes -
competitive
Demonstration of
superiority
Rational argument
Brand name
emphasis
Consumer as target
for persuasion
Brand emphasis
Focus on consumer
benefits
Celebrity
endorsements or
“ordinary” consumer
testimonials
Ads straddle rational
and emotional
Consumer as chooser
Lifestyle-based brand
stories
Shorthand brand
values
Identification and
reinforcement
Consumer
involvement
Ads as entertainment
Brand as symbol
Poetic, allusory style
Consumer as critic
* based on M. Goodyear, The five stages of advertising literacy, Admap, March 1991
A P P E N D I X

16. Nick Dachris
Creative and Branding Consultant
Director, Delta Salience Ltd
Author, Commanding Demand®
nickdachris@deltasalience.com
0044.(0)7790.685.181
LinkedIn, Facebook: Nick Dachris