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| Foreword | |
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| Acknowledgments | |
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| Introduction | |
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| Informing, Persuading, and Provoking | |
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| How Advertising Works | |
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| A Brief History of Advertising | |
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| In the Very Beginning | |
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| The Art of Advertising: Theories and Media | |
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| The Creative Revolution | |
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| Showcase: George Lois | |
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| Showcase: Lou Dorfsman | |
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| Showcase: Allan Beaver | |
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| Showcase: Smokey Bear Public Service Campaign | |
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| Showcase: "I Love New York" Campaign | |
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| The Biz: Structure, Strategy, and the Creative Brief | |
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| What Is Advertising?The Ad Agency | |
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| Who Is the Audience?Types of Ads | |
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| The Creative Brief | |
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| Sample Creative Brief from The Richards Group/Dallas | |
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| Case History: Mustoes/London | |
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| Insights and Intuition | |
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| Ethics | |
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| What's The Big Idea?Formulating an Advertising Concept | |
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| Thinking Critically and Creatively, and Getting Started | |
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| Thinking Critically and Creatively | |
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| Getting Started | |
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| The Creative Team | |
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| Brainstorming Technique | |
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| What Makes an Ad | |
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| Ingredients That Go into an Ad | |
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| Design, Execution, and Media | |
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| Critique Guide | |
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| Critique Method | |
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| The Big Idea | |
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| Points of Departure: Where Do Big Ideas Come From?Visual Analogy | |
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| Visual Metaphor | |
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| Life Experience | |
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| Eccentric Points of View | |
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| The Problem Is the Solution | |
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| A Darned Good Reason | |
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| Comparison | |
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| Exaggeration | |
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| Authenticity and Being First in Its Class | |
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| Motivation and Inspiration | |
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| Just the Facts, Ma'am | |
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| Interview: Bob Isherwood | |
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| Ad Categories | |
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| Demonstrations | |
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| Endorsements and Testimonials | |
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| Declarations | |
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| Slice of Life | |
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| Meta-Advertising | |
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| Popular Culture | |
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| Fantasy | |
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| Misdirection | |
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| Image or Lifestyle | |
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| Adventures and Escapes | |
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| Benefits and Differentiation | |
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| Recognition | |
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| Expression: Make 'Em Laugh, Make 'Em Cry | |
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| Humor | |
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| Satire, Parody, and Irony | |
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| Passion, Lust, and Desire | |
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| Triumph | |
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| Respect and Value | |
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| Pathos and Compassion | |
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| Fear | |
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| Shock and Changing Our Expectations | |
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| Association | |
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| Interview: John Butler | |
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| Design and Copy | |
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| Graphic Impact: Design Principles | |
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| The Design Process | |
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| Composition: Critical Principles of Design | |
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| Format | |
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| Balance | |
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| Positive/Negative Shapes and Space | |
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| Visual Hierarchy | |
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| Unity and Variety | |
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| Rhythm | |
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| Types of Compositions | |
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| Illusion | |
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| The Design of Advertising and Expressive Typography | |
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| The Design of Advertising | |
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| Audience and Appropriateness | |
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| It Shouldn't Look Like Advertising | |
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| Size of Logo/No Logo | |
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| Layout | |
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| Copy as Sales Pitch | |
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| Text and Subtext | |
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| Size and Media | |
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| Design Pointers to Follow (and Sometimes Ignore) | |
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| The Seamless Concert: Type and Image | |
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| Interview: Erik Kessels | |
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| Flexibility: The Ad Campaign and Creativity | |
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| Designing Print Campaigns | |
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| Creativity | |
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| Copy | |
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| What Comes First-the Line or the Visual? | |
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| Visual and Words: How Should They Work Together? | |
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| Visual or Words: Which Should Dominate? | |
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| How Many Words Are Too Many? | |
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| Conventions | |
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| Writing Creatively | |
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| Say It in the Line-Don't Rely on the Body Copy | |
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| It's Established in the Claim | |
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| The "Do I Sound Like a Sales Pitch?" Test | |
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| The "Do I Sound Like Something No One Would Ever Say to Anyone Else?" Test | |
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| Intention | |
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| Whose Voice Is It?Process | |
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| Style | |
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| Feed Your Writing | |
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| Interview: Valerie Graves | |
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| Interview: Guido Heffels | |
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| Beyond Print Media: Television Commercials, Interactive Med | |