am]

ABSTRACT
The aimofthis paper is to test a structural
model ofcreativity in print advertising
called the ,Remote Associate Matching
(RAM) model. This model states that the
essence of creativity lies in being able to
associate seemingly remote, or unusual
ideas together, such that they are linked to
the attribute or benefit ofthe advertised
product. Three essential components of the
RAM model are the conveyor (ie. the
unusual picture in the ad), the product-
representation (ie. the advertised product or
service), and the attribute-benefit prompt
(ie. the headline or copy).
The main hypothesis is that the more remote
the ad, the more likely it is perceived to be
creative, provided the target audience can
make the attribute or benefit link between
the conveyor (ie. the unusual picture in the
ad) and the product-representation (ie. the
advertised product or service).
In an experiment using 6 print ads for two
product categories, three levels of
remoteness and two levels ofresolution
were manipulated. The predicted effect was
consistently found across two product
categories, thus supporting the new theory.
Creativity in
Print
Advertising:
A Test of the
Remote Associate
Matching Model
Lawrence Ang
Macquarie Graduate School of
Management
Macquarie University
Australia
AUSTRALASIAN MARKETING JOURNAL. VOLUME 8, No.1
INTRODUcnON
Crnbvily III iII id le410 be ..
upm 01' od\um.... BuI R.nd.. .... Del..-
(1991) pcltIlI<d -. if ill P , die Inst' A<ItId.
arQ or od\"fttisin&' 'V-1M. W!lae (1m) allb
cral/YIl)' Ib< &aor, anu.tilll 10 .... J('"""'cIY
.......... qualily. E..... 1Ih'eltoSq ntboob (e.....
AmI 19'; VIIId<n IkrJlI .... 19'; Welk,
a- """ Moriarty XlOO), ...,lb die ucepeioa or
IloMitn aod Pm:y (1997) IrIId IlOIlO diocvss!be doeory
or odvntlS"'I crearivity ill detaIl. 11\Sltad.
is ollnl discuued in a co.II.", of succasfill
caK orudiC'S, IS pv1 of 1lIe prodllCtion proc.... (ie.
c.....i"e or o. pv1 of bnin"ormilli (ie.,
C"lrive proce..). II is therefore 1>01 SlIrp.ui!l& lhal ... ",-e
move mlO the "".. mil1cnftiwn, in od"cnisma
wlllJ'OUSCl rruch dtholC ond rhcIOric (Lukas 1998).
One poaible re...,., ..iIy link provea Iwbcea made ill
bc1Ico" IIfIdenuDdio& u<Mi.iI) .. od\'atisiQ& is ........
o:INCfWlOl modI-l or ..t.w ... _1IY .. bcea puI
........ Widloul a "" '" modcI, M is diffic"k 10
" .... ek_0I' ...
10 ;be p",cepOA 0( CRaI>ily .... lleola: make unpioic:al
-.. ,...ibk Suell a modI-l will belp make p""...
by clon/Yull:
I, How !be perception of auvily c_1bour?
2. How vorioos C"lri"o < ill IlJ\ III infhoeto::e
oltcnlion and <oo,,,,,l\(ns,001
3. 1I0w creali";l)' infIl>tnccJ ad ottilUdc ond brand
IttiNde?
nlE RAM MODEL _ MOVING FRG:\I
PERCEJ>1l0N TO STRUCTliRE
Who1. cnwiV\l)'1 H_do poopk ... ,,,,,i.e if? 0... arQ
0( me:.dI ..... UID. belp ... __ ...-e iftfo>rmtd
... dInI quno;... "'" ;be r.coo. ..,.]yloCIIl wdics of
aho_,... p::iCCpbooo (La..... 1970: Sc.llol:Doc<:r 1979;
zWbao ud Bon- 1989; Ad:a- .... 511)1l'1li 199O)-
Sue....... fOund liIal poopk lIUId 10 ...ra:i ... ads ...
IIaYIIII 0 IUIIbn or wodnlyina nnca. rn-
4 10 9, """"'c 1Ioc5c, .- comiuml dllromsiOlo ...hio<h
lhiJ aulbor calb <be 'cre.rive' d.irl'CNiooI. is described
willi words like, 'do"'" imaginative, original,
hul'!lOUrous' ,
Whilll lbiI r.xm of racarch help IIIleOr 1loc _jot
....'iptocl or. it doei_ IeU .. !Iow 1bis ... ";epbooo
0DaICI u.o.t. F..- "1M e, how do !be UNcIlnl
elmnu ill 1loc od inomc1 cadi ........ 10 IIlIIb ..
Id crali\-e _ ..... iI ckwr, tive, aripoaI _
1K aim or Ihit II .. !his
pe=pbOa .... I'ftIC'II .... _ a IIlI'I.w:Ual IDlIdd or
crntmIY ill priJU aolkd .... &-
Mu:" (RAM) mockl (o\so _ Rossi1cr IIld
Percy 1997). Cono:qla>olise<l onp-Uy by ......dlor',
Ihit mockl Iw its .--. ill M...midCI (1962)
I!lcofyor....ativily.
THEORETICAL ORlGIl" OF TIlE RAM
MOI)EL OF' CREATIVITY
The dOCOio"'ol dcvelopmcDi or the RAM mockl iI
InIIucnccd ""'Y owcb by 1l'IditioIlII 1booricI of
cratMly, "'". of Medaic:k (I962).
Mcdmck'i (1962) 1boDry ofawivil)o llMicaIIy men 10
ohc Ii, t C Il'nd __ lho1 crall"" "'"'*"'a ;0 die
abdily '" _.ibiw: c or ....... b:I901edcc fJom
"'- "'-"'I FOf if .- -... t:ivm l'IOO
1II'OldI.. 'roct' 'wore', JUdI d\aI die bmcr ",ren 10 a
..... of _ -hUe ;be Ioua rera. 10 0 oolIecQoa of
orne""..- .....-cbaDcliIe, Ihnl.- .....yof IiaI:iDa ... l'IOO
"'OrdI 1iII<!be' is Ibrouib lhc --.1, '!wd'. l'lUI is
beco_" """" 'hud' CIIfl be linlrll<l 10 'rott' 10 I'onn
Aanl 'OCt .... il can olio be linked lO ' .....",' 10 fontt
Iu",Iv......,. Thus, by lUina: !be 'JlIO'd. 'hud' a new
comllinllion is found wilh these Iwu words. Fi&\l<c I
illlUlralCS lhis idel slNC.....lly. Accordma 10 Mednick, i.
iI!hi1 obiHI)' 10 link -miJla)r _011111<1 "",rdllGgelber
WI lhintina.
A......... inf1I>cMioImockl 0( auri>ily illhol of INa-
(1971). ..iIo pwtublOd a ..,.,....,tIIt IinaIor idea willllIiI
coaccpt or 1I\efa1 lb";". no ............. 10 be
III poWlcm oom..c. .- ..... tnak _ or ;be -'
modi- doinI:;"" lila. io. 10 1hiat auISick !be -'
boo.ooldMics. BuI Iloauw .. II "n)' ditricuh 10 .... he
"<: I ....... 0 ..hok J(I of .......... led . Ion
(e,Co, p1o.ocaliuu .... .-Iono IIlpIC; _INS- 1992,
P. 16J.IIJ) 10 acIlievc _ T1liI .......Jd JubHquMly
..ad 10 ..... pallenM of ..., ....pIl<tiI and. lhiDIrias obooI1
... publcm For example, if.- ....... 10 jw;.1apOM 0
problem obJ<'C1, 'dlarcllo' "';111 a random word like
Ii"''', 1loctt !he rcsullin& llfOVOClli"C gpcnlion
(ie., "po"):_
'"Ci&aUllC (PO) !rlffIC li"'l"
FIGURE!
A figure illustrating the idea of associating NO
remote words, 'rock'and 'ware' using a third,
'hard'
may set off a new train of thought about ways of
discouraging cigarette smoking. This provocation may
lead to the suggestion of printing a red band (triggered
by the word, 'traffic light') around a cigarette a certain
distance from the butt. Smoking beyond this band would
indicate a "danger zone". Therefore by having a random
word in the problem statement, a new suggestion for
encouraging non-smoking has been found. In other
words, the aim is to encourage ourselves to say
"something outside reality in order to bump us out of our
usual thinking patterns" (DeBono 1994,p.13, italics
added). In the context of Mednick's (1962) theory, the
use of a random word is similar to the idea of a choosing
a word from a remote domain.
Another early scholar of creativity was Koestler (1964).
In trying to understand creativity in humour, he
postulated that very often the essence of a joke relies on
using words that have more than one meaning. This
occurs because more than one context is often evoked.
Because such words are associated with two different
meanings (a property called bisociation), the reader will
need to oscillate between these two different planes of
meanings in order to understand the joke. According to
Koestler (1964), puns are classic examples of this idea.
More recently, McQuarrie and Mick (1992)
conceptualised this idea using the tenn, "resonance". For
instance, take the following headline for a golf
tournament:
bisociated to two different planes of meaning, notunllke
the notion of remote domains in the case of Mednick
(1962)i.
Finally, the metaphor theory should be briefly mentioned
because it shares the idea of temotenesswith Mednick's
theory even though it is not strictly a theory of creativity.
According to Richards (1936), a metaphor is explicitly
made up of the tenor (which is the subject or primary
focus of the argument), and a vehicle (which is the
phrase use to imply something about the subject or
tenor). For instance, consider the headline, ''Prior sports
watch - it's a kaleidoscope on your wrist". In this
example the phrase, "sports watch" is the tenor, while
"kaleidoscope" is the vehicle. As a pair of nouns, they
originate from different domains (ie., a sports watch and
a kaleidoscope do not belong to the same category), yet
they are juxtaposed together, a common technique in
metaphors (Tourangeau and Sternberg 1982). The
remoteness of a tenor and a vehicle in metaphor is
therefore similar to the idea of remote domains of
Mednick (1962).
Taking the lead from these earlier scholars on creativity,
the RAM model basically states that the essence of
creativity lies in being able to associate seemingly
remote, or unusual ideas together, such that they are
linked to an attribute or benefit ofthe advertised product.
According to the RAM model, a print ad is perceived to
be creative (ie., clever, imaginative and amusing) when a
seemingly unusual, unrelated or remote picture, termed
conveyor, can be linked to an attnbute or benefit of the
advertised product. (This attribute or benefitllnkage is
often found in the headline or copy). In other words, one
can think of the conveyor (ie., the remote picture) and
the advertised product as coming from two different
domains. And according to Mednick (1962), the essence
of creativity is in being able to link these two different
domain-elements together. Thus, from the literature
review above, one can begin to see the similarity
between Mednick's (1962) original idea of creativity
with the other theories, including the RAM model.
Ware
/
Hard
Rock
"Come see the shooting stars".
TYPES OF VISUAL UNUSUALNESS
On one hand, the words, "shooting stars" can literally
mean the celestial bodies as in astronomy. But on the
other hand, they imply that celebrity golf players are
taking part in the tournament In the context of
Koestler's theory, the words "shooting stars" are
Having discussed the theoretical origin of the RAM
model, let's turn to visual unusualness. What does it
mean for a picture to be visually unusual? It is only by
understanding this can one begin to. understand the idea
ofvisual "remoteness".
AUSTRALASIAN MARIOITING JOURNAL, VOLUME 8, No.1
[ill
II is COIICcplLlI.lited by d>e oulhor IN.l 10 be ua_1
_ 10 be itMistic.ally T1Iis ......Iy _
0IlI of Ille on1ilIaIy. 01 ......., lpC'Ci(lClllly, owide
",_tilled MIDdanII 01 ....... Bill III ....u 1IIQ
judp:oelll, .... __ be :obk III -.-' \he
isoa&l III _ __ be 01 .. p"'....'C' 01 bat
KlInlal T1liI .......,Iic:al po;>:opt<Q'" it d>cub'
smiIot III KNmemoa and Miller'1 (19S6) GDfIIl dIaIry of
dtcilioo _I' Co aod. IG EIer!)1Ic', (1960) ida. 0/
colIao'" .' .... ",oputiu. 10 sbon, wtlII __ III
be ......" dot""odi ef)' GIlIdI GO ...toll __
adI brioIp III lle jo '* Based GIl d>iI idiN,
it illIotclfiIcd 1lAI 3 t 1M' au ad III I III
pel";" au loCI III J.>e IGIImlSlIII .......,
.j Cwti... '1, \he ob;cct dot....44 ill .... Y\i\lIl msy
be ldoIlievIbIc 0IlWU1islic, uri'"
b) Cocdi.ioo n, 1Iloo ....""" may be ...uq"., 01 rln'ly
-.. '" OI/and
cj Condition 113, lhc object may be I(N"lI<thina dill it
flGllIOmlIl1y lUGCillN"';1lI lie producl clt.gory.
1"heIe conditions are bt illustrated willi I few
.xa....I... Finlly, In object in \he pictun: CIII be Ilt.red
(IlIma l'aphicll oicb) ill '\lOh I ....y wt it i' no long..
rellislie (ie., coodilion '1). A aood 'JWqlIc: nfthis it.
print loCI for bnnd of mo>t oil (Essuj .we " JlIowI a
of I car l\lsed "'lb WI of lliger. One CIllImn
this as ot;eet-domaiD '0 .. words.
10 I oormaI Ii", (01 car), I,d. viIuIJ it
-,.
S<coodIy, I piocIun: QU abo be ltGtaoua1 becauw it ..
nrdy uwd io IdvuIKinrI C.... -.diliool n). For
iN"...., ;. !be """" 1991l1, B ...... ... oridl I
ICriotI of _.alia! priIlI .... iodod" pO:ue 0/ I
dyq 01 AIDS -. _ bani belly widI ill
I "'0 I' cord Iri11 anacW (Millu. 1991). Nobody
'" W' 10 _ IUdI pimft -.I ;. IG)'
act>mis.... ODe au Imo ItMII _
10 ..-0. .Oi..... od IG ............ _b ........ ia
.....,.
Fiully, priol od uo abo be .........1 becauIe lbe
-urioo betwfta Ibo ............ the produo:t tecorY
it low (ie., condition U). for I prioIld for
Ford tho.... I piclun: ofo jUUler balancilli a IIUII1bcr of
hoopt (as ollen...,. in .irelll), At rlfSt ,lance, uno may
wor>der why I juaaJ.. i. uoed in I car Id? T1lo:
W1......1neu I,ems !Tom lhc low lUGCillion
belWttG lie picture Ind lbc producl CllCiOlY. Thil eln
be temIOd IS 'visual-p-oduc\ ,e"IGkIiUil. Ia otbu--.1i
10 ads ill the ...... product CI!CJOfY, AIdI I
RF.soUTIlON: VIA
ATTRlBUTE-BEl"Ef1T L .....'KACE
No __ .... fonrJ of >iaoaI '."'''''''', .....
j.1 __
'I" a,..- is..." a41 II .lloJoiw 1!baI
tlIiI _ wIteo Ibo ..uias: poioI of .. loCI I
dear. 10 Glbrr -.. ....... lbe 'W t ..........
tIe.......t YisuaI. used IG 1011 .... pRHIun. To pill it ill
IGGlba _y, comp-e.....ioo ocaIQ lbe nn'"
0/ \he ltGtaoua1 picaft _ ..... lle .IIN0 I 6, of"
ad<eniitd pRHIun.
leI'. like lbc of the Ford prioI ad. It ..., a
picNre of I juuJer lUGCialed 'l'ilb tie Fun! brud name.
Initially, !his would indue. I puzzle: in tie reid... This
would ill lUm mnlivalO tie 10 Harch for tie
Hlli"i poiDI oflhc ad. "The: HltCb"';lI 1.1d lhc reader In
\he beldline: sine:e this it usually tie rlfll tIGp.1ter lbc
picnu-. of lbc Id is ocanned (Fruen 1994). II
"Forde..., p<"enti I ro--oo-dinated approacb to car
buyiQ,r. II it ooly by readio& lhc beadlinc: lhal tie liJlk
bu_aL jugkr and .... """"iii of is made: I
'.-diI;a44 approat:h. IL otba WOldt, !be or
......iaIioo of the jugIc:I _ I bat ......
..-Ii...... olciIlI - bat bem .-d 10 hi,blip tie
l:nn4. 10 odter words. the GIIln1 0/ tbo:
........J viIuaI _ 10 mapify \he lIrJftod beoefiI of
1Iloo pRHIun. wa I maICb U<af$, din IIIdcINIy ...toll
_ III obIo:ore or IUIIGk pieue iI ........ "'"
Tlaa iI callod t ol"
nCUREI.
/_-'
_.-
../
"-
/
.-
1-
.-
/_--
.....
,
"
./
To summarise, the tactic is to use the unusual picture
(ie., conveyor) to att:ntctthe attention of the reader. And
since the pictureis obscure or remote, its relationship to
the. .product is initially a puzzle. This will in turn
motivate the reader to search for the attribute-benefit of
the product When this is found (ie., usually in the
headline or copy), the reader then tries to match the
association of the unusual picture with the attribute-
benefit When this happens, it leads to comprehension
because the reason for using the unusual picture is now
clear. Figure 2 illustrates the process.
RESOLUTION NEEDS PROCESSING TIME
As one can .imagine, a creative ad of this nature is not
straightforward. It is not simply showing the product and
the headline. This is because there is an extra component
(ie., the conveyor) that on fU'St glance does not seem to
be related to the product. The reader then has to put in
some effort to make the associative link. This requires
time. In other words, resolution is more likely to occur if
there is enough time for people to process the ad. There
is theoretical support for this reasoning. For instance it is
well known within the cognitive as well as in the
advertising literature that the more unusual the picture,
the longer people tend to fixate on it in order to
understand it (Berlyne 1960; Houston, Childers and
Heckler 1987; Ratneshwar and Chaiken 1991; Goodstein
1993). It is thus theorised that an ad will be perceived to
be more creative (ie., clever, imaginative and amusing) if
the visual is extremely unusual and yet can be linked to
the product attribute or benefit. When this occurs, the
selling point of the ad becomes clear, and there is
comprehension. However, for this linkage or resolution
to occur, the reader must be given enough time to
process the ad.
HYPOTHESES
With this basic theoretical framework in place, five
hypotheses will now be formally stated. It is
hypothesised that the greater the remoteness of the
conveyor, the more creative the ad will be, but only if
subjects were given enough time to process the ad. If
exposure time is limited, then there is a lower probability
that this matching will occur, leading to an attenuation of
the creativity ratings. This leads to the following
hypotheses:
Ht: Ads with remote conveyors will be perceived to be
more creative if subjects are given enough time to
process the ad.
H2: The creativity effect in HI will become attenuated
when the exposure time is limited.
Making the ad creative is only the first step. How does
the perception of creativity affect brand attitude? It is .
theorised that this occurs via ad attitude, that is, the
initial effect of creativity will be on ad attitude. There
are two sources of evidence for this. First, in prelitniDary
studies, it was often observed that when respondents
come across a "clever" ad, they are also more likely to
say, "I like it". Secondly, this utterance of likeability is
also reported in a phenomenological interviewconducted
by McQuarrie and Mick (1992, p. 192). It is therefore
theorised that the more remote the ad, the more
favourable will be the ad attitude provided that the
subjects think that the ad is creative - that is provided
they have sufficient time to make the attribute-benefit
link to the unusual visual (following HI and H2 above),
H3: Ads with remote conveyors will produce greater ad
attitude if subjects are given sufficient time to process
the unusual visual (ie., remote ads).
Once a favourable ad attitude is formed (because of its
creativity), it will in turn lead to a more favourable brand
attitude. The relationship between ad attitude and brand
attitude has been known for some time (e.g.,. Mitchell
and Olson 1981; Lutz, Mackenzie and Belch 1983;
Mackenzie, Lutz, and Belch 1986). In a meta-analysis of
43 studies involving ad attitude, the relationship between
ad attitude and brand attitude was also confirmed to be
an important one (r=.67) (Brown and Stayman, 1992).
Furthermore, ad attitude was also found to be an
important factor in discriminating winning ads from
losing ads as defined by sales (Haley and Baldinger
1991; c.f., Rossiter and Eagleson 1994).
In the current context, it can be hypothesised that ad
attitude mediates between creativity and brand attitude.
In other words, creativity leads to favourable ad attitude
which in turn influences brand attitude. It therefore
follows that the brand attitude effects are likely to be
larger provided that the subjects think that the ad is
creative - that is provided they have sufficient time to
make the attribute-benefit link (following HI and H2
above).
AUSTRALASIAN MARKETING JOURNAL, VOLUME 8, No.1
H4: Ad attitude will mediate between creativity and
brand attitude.
H5: Brand attitude effects will be larger if subjects are
given sufficient time.
In summarising, the predicted increase in brand attitude,
ad attitude and creativity is more likely to occur if
subjects were given enough time to process the remote
conveyors. However, if exposure time is limited, then
comprehension will be affected, leading to an attenuation
of all the effects. Under such circumstances, the remote
conveyor will not be as effective.
EXPERIMENTAL STIMULI
To test these hypotheses, experimental print ads are
developed using the structural model as a guide. A total
of six print ads were created using the product categories
of chilli sauce and soft drinks. There were three ads for
each product category, such that each was increasingly
more remote. They are as follows:
1. The first ad simply shows the product (e.g., soft
drink can or bottle of chilli sauce),
2. The second ad shows the product accompanied by a
non-remote conveyor (e.g., soft drink + a young
woman lifting weight; a bottle of chilli sauce +some
chilli)
3. The last ad shows the product with a remote
conveyor. (e.g., a soft drink can + old woman lifting
a sofa with one fmger; a bottle of chilli sauce +
burning chopstick)
Table 1 outlines the various ad concepts for the two
product categories, soft drink and chilli sauce. Thus, as
one goes from the left to the right of the table, one can
see that the ad concepts become more and more visually
unusual (ie., remote). For instance, a picture of an old
lady lifting a sofa with one finger is more unusual than a
lady lifting weights in the gymnasium. Similarly, a pair
of burning chopsticks is more visually unusual (ie.,
remote) than a picture of some chillis.
To make sense of these pictures, headlines are added to
the pictures. The attribute-benefit link of each product
category is inserted into the headline so that the selling
point of each ad is clear. In the case of the soft drink, the
attnbute-benefit link is 'extra energy' with the headline,
"ONE - the drink that gives you that extra energy". The
attribute-benefit for chilli sauce is 'hot' with the
headline, "Sanja chilli sauce - it is hot". (Note that the
brand names, ONE and Sanjay, used in these ads are
fictitious in nature).
PRELIMINARY EXPERIMENTAL
MANIPULATION CHECK
Prior to the main experiment, a separate experiment was
carried out to check whether the independent v ~ a b l e s
(ie., resolution and remoteness) were well manipulated.
The experimental design and instructions were exactly
the same as the main experiment except that the
dependent variables were not measureq to prevent
contamination of the independent variables (perdue and
Summers 1986).
Manipulation Check on Remoteness
Visual unusualness was pretested by asking a total of 84
subjects to rate each ad on two II-point scales (from 0 to
10) anchored on the following adjectives:
~ Believable-unbelievable and realistic-unrealistic
(condition #1)
S Connnon-unique advertising, and often-rarely seen
in other advertising (condition #2)
~ Finally, the extent to which the conveyor and the
product were likely to be associated or occur
together in the same ad (condition #3)
The three measures were averaged to form a single
index, called 'remoteness' shown in Table 2. The greater
the remoteness index, the more unusual the ad is said to
be. As one can see from Table 2, the score increases
from the left to the right as the picture becomes more
and more visually unusual.
TABLE 1. Increasing level of remoteness from left to right
Product 1:
Can of drink
Drink +Young woman lifting weights Drink +Old woman UfUng a sofa with one
fmger
Product 2: Bottle of sauce Chilli sauce +Chillies Chilli sauce +Burning chopstick
AUSTRALASIANMARKETING JOURNAL; VOLUME 8, No.1
~
TAnLE,2. Remoteness score increasing from left to right
Can of drink Drink +Young woman lifting weights Drink+Old woman lifting a sofa with
."
one finger
Total remoteness Score 3.1 4.4 7.6
(average)
.
Bottle of sauce Chilli sauce +Chillies Chilli sauce +Burning chopstick
Total remoteness score 2.7 3.5 7.1
(average)
TABLE 3. Resolution score of ads
"Time to understand" Can of drink Drink +Young woman lifting Drink+Old woman lifting a sofa with
weiehts onefine:er
4-second exposure
7.8 6.4 4.9
IS-second exposure
8.2 8.6 8.9
"Time to understand" Bottle of sauce ChilU sauce +Chillies Chilli sauce +Burning chopstick
4-second exposure
7.1 6.7 4.8
IS-second exposure
8.9 8.4 8.9
Analysis of variance revealed that remoteness was well
manipulated for both product categories. In the case of
the chilli sauce, the remoteness scores for the three
advertisements were 2.7, 3.5, and 7.1. Simple main
effects test revealed a significant overall difference
(F(2,8l) = 88). In the case of the soft drink, the
increasing remoteness scores of 3.1, 4.4. and 7.6 also
revealed a significant overall difference (F(2,SI) = 129).
Contrast testing revealed significant differences (p<.05)
between each type of ad for both product categories.
Manipulation Check on Comprehension or
Resolution
Comprehension was assessed by asking subjects to rate
on an ll-point scale (0 to 10) whether they had enough
time to fully understand the ad. As theorised earlier, this
was the main assessment of whether resolution had
occurred. Table 3 shows the results of this pretest. As
one can see from the table, comprehension tends to drop
sharply in the 4-second condition as ads become more
unusual. However, if there is ample time to process the
ad (ie., in the 15 second) condition, comprehension
remains stable. Statistically one would expect to fmd an
interaction effect.
Indeed analysis of variance confirmed a significant
interaction for both the chilli sauce (F(2,78 )= 5.4) and
the soft' drink (F(2,7S)= 4.5). As ads in the 4-second
condition got more and more remote, subjects' ratings of
whether they had enough time to fully understand the ad
dropped significantly (means = 7.8, 6.4, and 4.9 for chilli
sauce; means = 7.1, 6.7, and 4.8 for soft drink) (F(2,39)
= 10 for chilli sauce; F(2,39 ) = 4.3 for soft drinks).
However, when the subjects were exposed to the ads for
15 seconds, the ratings did not show any overall
difference (means = 8.9, 8.4, and 8.9 for chilli sauce;
means = 8.2, 8.6, and 8.9 for soft drink) in both product
categories (F(2,39 )<1).
In summary, the above pretest results show that the
manipulation of remoteness and resolution was
successful. First, as the ads get more and more visually
unusual, so do the ratings on the remoteness index.
Secondly, subjects comprehend the ad significantlymore
in the IS-second than in the 4-second condition.
Once the advertising stimuli were pretested to be
satisfactory, the main study was conducted to test the
hypotheses stated earlier.
MAINSTUDY
Experimental Procedure
The experimental design was 2x3 factorial where there
were three levels of remoteness and two levels of
resolution (ie., a total of six cells). The three levels of
AUSTRALASIAN MARKETING JOURNAL, VOLUME 8, No.1
remoteness were manipulated by different ad concepts as
discussed previously. The two levels of resolution were
4 second and 15 second exposure. In total, 132 subjects
participated in the study (or 22 per cell).
Each subject was randomly allocated to one of the six
cells in the design. On arrival they were given a
questionnaire booklet. On it were the instructions that
they were about to see six slides of ads. The ads were
projected onto a large screen using a projector. After the
exposure was completed for all the ads, they were told to
turn to the first page ofthe questionnaire.
In the questionnaire, subjects were ftrst asked to think
about the ftrst target product category they saw (e.g.,
chilli sauce) and answer the questions about it. The
questions were ratings of brand atti1J.!.de, ad attitude and
creativity of the ad. When these were completed,
subjects were then told to think about the second target
product category they saw (e.g., soft drink), and then in
the same manner, complete these measures for this
product category. The ads for the two product categories
were counterbalanced across exposures.
Measurements
Dependent measures
The most important measures were brand attitude, ad
attitude and creativity, since these were the three major
variables that were hypothesised to be affected by the
remoteness ofthe conveyors. Ofthese three variables,
FIGURE 3.
Creativity ratings for different types of chilli
sauce advertisements exposed for 4 and 15 seconds
seconds
the main dependent variable is the brand attitude.
Brand attitude was measured by averaging three II-point
bipolar scales (-5 to +5) anchored by the adjectives
good-bad, high-low quality, and like-dislike of the brand.
This was followed by a measure of ad attitude which was
scored by averaging three II-point bipolar scales (-5 to
+5) anchored by the adjectives of like-dislike, pleasant-
unpleasant, and good-bad. Creativity was measured by
asking subjects to rate on three II-point scales (from0 to
10) how clever, imaginative, and amusing was the idea
of the ad.
RESULTS
Creativity Effects
The results (see Figures 3 & 4) show that hypotheses HI
and H2 are supported consistently across both product
categories of chilli sauce and soft drinks. That is, as.
these ads became more and more remote, subjects
perceived them as more creative (ie., clever, imaginative
and amusing). But this effect only occurs in the 15-
second condition (mean = 2.3, 3.1, 7.3 for chilli sauce;
1.0, 2.7, and 7.8 for soft drink). Simple effects test
revealed this to be signiftcant (F(2,63) = 48.5 for chilli
sauce; F(2,63) = 93 for soft drink) overall. Contrast
testing revealed that the increase was signiftcant between
remoteness levels 2 and 3 of the chilli sauce ads (t=7.9,
p<.05) and between all remoteness levels for the soft
drink ads (t=3.6 and t=8.7, p<.05).
FIGURE 4.
Creativity ratings for different types of soft
drink advertisements exposed for 4 and 15
seconds
10
10
9
+4seconds
9
+4seconds
.... 15 seconds
.... 15 seconds
8
8
..
,7 ..
7
I:IlI
I:IlI
I:l
6
:
6 ';I

...
...
to
5 to
5
. ~
. ~
';I
4
';I
4

v
v
...
...
3
U 3
U
2
2
1
1
0
0
Bottle of sauce Chillies Burning
Can of Young woman Old woman
chopstick
drink
AUSTRALASIANMARKETING JOURNAL, VOLUME 8. No.1
~
In the 4-second condition however, where there was less.
time to process the ad, the creativity effect of the remote
conveyors became attenuated for both product categories
(mean =2.5,2.7,3.1 for chilli sauce; 2.1, 2.2, 2.8 for soft
drink) with no overall significant difference (p>.OS) in
the simple effects test (F(2,63) < 1 for chilli sauce and
soft drink).
advertisements (t=2.7, p<.05), and between all
remoteness levels for the soft drink advertisements
(t=3.3 and t=3.9, p<.OS) when the ads were exposed for
15 seconds. However, no significant difference (p>.05)
was found when the same ads were exposed for four
seconds.
Ad Attitude Effects
As in the case of creativity ratings, similar results are
obtained for ad attitude (see Figures 5 and 6) hence
supporting hypothesis H3. The results show that under
the 15-second condition the more remote the conveyor,
the higher the ad attitude (mean = 0.7, 1.1, and 2.8 for
chilli sauce; 1.7,0.5,3.2 for soft drink). But under the 4-
second condition, the opposite trend occurred (mean =
0.6,0.2, -0.1 for chilli sauce; -0.1, -0.8, and -1.6 for soft
drink). The interaction effect was significant (p<.05;
F(2,126) = 3.9 for chilli sauce; F(2,I26) = 10.5, soft
drink). Simple effects test revealed that the increase in ad .
attitude ratings for the IS-second condition was
significant overall for both product categories (F(2.63) =
5.4 for chilli sauce; F(2,63) = 36.3 for soft drink).
However, in the 4-second condition, the decrease in ad
attitude ratings was significant only for chilli sauce
(F(2,63) = 2.5 for chilli sauce), and not for soft drink
(F(2,63) = 1.2 for soft drink).
Contrast testing revealed a significant difference
between remoteness levels 2 and 3 for the chilli sauce
Brand Attitude Effects
The same phenomenon is also seen in brand attitude.
That is the more remote the conveyors of the ad were,
the higher were the brand attitude ratings, but only when
the ads were exposed for 15 seconds (mean = 0.3, 1.0,
and 2.6 for chilli sauce; mean =-2.2, 0.6 and 2.1 for soft
drink). Simple effects test revealed this to be significant
overall (p<.05) for both product categories (F(2,63) =9.5
for chilli sauce; F(2,63) =18). Contrast testing, revealed
that the increase was significant between remoteness
levels 2 and 3 of the chilli sauce ads (t=3.7, p<.05) and
between all remoteness levels of the soft drink ads (1=4
and t=2.0, p<.05).
However when the ads were exposed for four seconds,
brand attitude actually decreased when subjects have less
time to process the ad (mean =0.4,0.1, and -1.9 for the
chilli sauce; 0.2, -0.5, and -2.9 for soft drink). Simple
effects test revealed this to be significant overall (F(2,63)
= 5.1 for chilli sauce; F(2,63) = 6.5 for soft drink) (see
Figures 7 and 8). Contrast testing showed that the
decreased was significant between remoteness levels 2
and 3 for both the chilli sauce ads (t=2.9, p<.05)
FIGURES.
Ad attitude ratings for different types of chilli
sauce advertisements exposed for 4 and 15 seconds
FIGURE 6.
Ad attitude ratings for different types of soft
drink advertisements exposed for 4 and 15
seconds
+4seconds
""15 seconds
+4seconds
""15 seconds
5,-------------------,
4
3
2
:
~ 1
f
-8 0
a
i! 1
'"
~ -2
-3
-4
5 +------,-------.,------1
5,-------------------,
4
3
2
:
~ 1
f
-8 0
j -1
"
~ 2
3
-4
5 +-------,--------,,-------1
Bottle of sauce Chillies Burning
chopstick
Can of
drink
Young woman Old woman
AUSTRALASIAN MARKETINGJOURNAL. VOLUME 8, No. I
FIGURE 7.
Brand attitude ratings for different types.of
chilli sauce advertisements exposed for 4 and
15 seconds
FIGURE 8.
Brand attitude for different types of soft drink
advertisements exposed for 4 and 15 seconds
"4seeonds
"15 seeonds
"4seeonds
"15seeonds
5....---------------,
4
iii 3
~ 2
..
~ 1
."
0
;:
.. -1
."
: 2
..
IlQ 3
-4
5 ..L------.------r--------\
5.----------------""1
4
iii 3
~ 2
..
~ 1
."
0
;:
.. -1
."
: -2
..
IlQ -3
4
-5 -1-----.-----,-------1
Bottle ofsauee Chillies Burning
ehopstlek
Can of
drink
Young woman Old woman
and the soft drink ads (t=3.4, p<.05). These results
supportH5.
chilli sauce, t =9.5 p<.05; .82 for the soft drink, t =10.0,
p<.05 - see Tables 4 and 5).
Mediating Effects of Ad Attitude
It was theorised that once an ad is perceived to be
creative, subjects were also more likely to have a
positive attitude towards the ad, and hence brand attitude
- that is, ad attitude would act as a mediator between the
perception of creativity and brand attitude. The
methodology proposed by Baron and Kenny (1986) was
used involving three regression equations for testing this
mediating hypothesis.
First, ad attitude was regressed onto creativity. This
yielded a significant and positive beta of .60 (t = 8.6,
p<.05) for chilli sauce, and .74 (t = 12.7, p<.05) for soft
drink, implying that creativity did influence ad attitude
for both product categories.
Then brand attitude was regressed onto creativity. This
yielded a significant and positive beta value of .52 for
chilli sauce (t = 6.8, p<.05), implying the creativity did
influence brand attitude. But when ad attitude was
included in the regression, this beta value was reduced to
an insignificant value of .10 (t = 1.4, P >.05; see Table
4). Similarly in the case of the soft drink, the beta value
was reduced from a significant value of .54 (t = 7.5,
p<.05) to an insignificant value of -.07 (t = -.8, p>.05),
when ad attitude was added in the equation (see Table
5). In both cases, the beta value of ad attitude still
remained significant and in the right direction (.69 for
From this result one can conclude that ad attitude is a
potent mediator between creativity and brand attitude for
both product categories, reducing the direct effects of
creativity on brand attitude from a significant value to an
insignificant one. Hence hypothesis H4 was supported.
CONCLUSION
In summary, this paper presents a new waycof
conceptualising and achieving creativity in print
advertising. The hypotheses were supported, that is the
more remote or unusual the visual, the more likely it is
perceived to be creative, provided a product attribute-
benefit link can be made.
In this study, the link between the product and the
conveyor was provided by a target attribute written in
the headline. This linkage between the conveyor and the
product was then dismpted by limiting the time of
exposure of the ad to only four seconds. On the other
hand, when the subjects were given 15 seconds to
process tlle same sequence of ads, less difficulty is
encountered hence making attribute linkage more likely
to occur. This was observed in the pretest that as the ads
became more remote, the subjects' rating of whether
they had enough time to understand the ad decreased
significantly in the 4-second condition, but not in the 15-
second condition. This result is also consistent with what
was previously known about unusual visuals, that time is
AUSTRALASIAN MARKETING JOURNAL, VOLUME 8, No.1
TABLE 4. Regression coefficients obtained from regression of brand attitude
of chilli sauce on creativity first, and then with ad attitude
Variable Beta t Significance
Creativity .52 6.8 .00
Variables Beta t Significance
Creativity .10 1.4 .16
Ad attitude .69 9.5 .00
TABLES. Regression coefficients obtained from regression of brand attitude
of soft drink on creativity first, and then with ad attitude
Variable Beta t Significance
Creativity .54 7.5 .00
Variables Beta t Si2nificance
Creativity -.07 -.82 .41
Ad attitude .82 10.0 .00
needed for its full processing (Loftus and Mackworth
1978; Berlyne 1958, 1960).
The mediating results found in this study shows that ad
attitude is a significant mediator between creativity and
brand attitude. Although such a result seems to parallel
those obtained by previous researchers into "feelings"
and "moods" in advertising (Batra and Ray 1986;
Holbrook and Batra 1987; Edell and Burke 1987;
Stayman and Aaker 1988), this is the first study to
demonstrate that the creativity effect is ~ e d i a t e d through
ad attitudeiii . What this results says is that creative ad
will make a person like the ad, and this in turn will make
the person like the brand. While this may make not be
true across all product categories, this effect is found for
the two low involvement product categories here, chilli
sauce and soft drinks.
The practical implications of this study can now be
summarised. First of all, when clever advertising is
attempted using unusual visuals, more time must be
given to the target audience for its processing.
Copywriters must therefore assess how easy it is for an
advertising concept to be processed in a given situation.
If processing is not likely to occur, because people are
generally not motivated as implied by Politz (1960), then
attempting to use a remote conveyor in order to make the
ad more creative may be a waste of the client's money.
For this reason, perhaps television might be the most
appropriate medium to attempt remote advertising,
simply because there is a greater probability of capturing
the attention of the target audience, and hence increasing
the probability of resolution. On the other hand, outdoor
or transit advertising medium (e.g., on the back of buses
or taxis) are less likely to be effective in using unusual
visuals because people are less likely to have time to
process it.
In print advertising, it has been shown that the picture is
the first structural element a person looks at (Franzen
1994) when he or she encounters a print ad. This is
followed by the headline. Thus, behaviourally, the RAM
model also suits print advertising. In other words, the
unusualness of the visual will motivate the person to
check out the ad and the subsequent headline should
resolve the curiosity. To further improve the motivation
and resolution of the reader, the following are four more
suggestions:
a. Ensure that the product is also prominently shown,
that is do not hide the product or brand.
b. Ensure that the selling point (ie., product attribute or
benefit) is clearly communicated in the headline,
that is, do not hide the selling point in the body of
the ad.
c. Ensure that the conveyor is as 'remote' as possible so
as to maximise curiosity.
d. Ensure that the print ad is pretested to make sure
there are no unforseen associations.
AUSTRALASIAN MARKETING JOURNAL, VOLUME 8, No.1
TABLE 4. Regression coefficients obtained from regression of brand attitude
of chilli sauce on creativity first, and then with ad attitude
Variable Beta t Significance
Creativity .52 6.8 .00
Variables Beta t Significance
Creativity .10 1.4 .16
Ad attitude .69 9.5 .00
TABLES. Regression coefficients obtained from regression of brand attitude
of soft drink on creativity first, and then with ad attitude
Variable Beta t Significance
Creativity .54 7.5 .00
Variables Beta t Si2nificance
Creativity -.07 -.82 .41
Ad attitude .82 10.0 .00
needed for its full processing (Loftus and Mackworth
1978; Berlyne 1958, 1960).
The mediating results found in this study shows that ad
attitude is a significant mediator between creativity and
brand attitude. Although such a result seems to parallel
those obtained by previous researchers into "feelings"
and "moods" in advertising (Batra and Ray 1986;
Holbrook and Batra 1987; Edell and Burke 1987;
Stayman and Aaker 1988), this is the first study to
demonstrate that the creativity effect is ~ e d i a t e d through
ad attitudeiii . What this results says is that creative ad
will make a person like the ad, and this in turn will make
the person like the brand. While this may make not be
true across all product categories, this effect is found for
the two low involvement product categories here, chilli
sauce and soft drinks.
The practical implications of this study can now be
summarised. First of all, when clever advertising is
attempted using unusual visuals, more time must be
given to the target audience for its processing.
Copywriters must therefore assess how easy it is for an
advertising concept to be processed in a given situation.
If processing is not likely to occur, because people are
generally not motivated as implied by Politz (1960), then
attempting to use a remote conveyor in order to make the
ad more creative may be a waste of the client's money.
For this reason, perhaps television might be the most
appropriate medium to attempt remote advertising,
simply because there is a greater probability of capturing
the attention of the target audience, and hence increasing
the probability of resolution. On the other hand, outdoor
or transit advertising medium (e.g., on the back of buses
or taxis) are less likely to be effective in using unusual
visuals because people are less likely to have time to
process it.
In print advertising, it has been shown that the picture is
the first structural element a person looks at (Franzen
1994) when he or she encounters a print ad. This is
followed by the headline. Thus, behaviourally, the RAM
model also suits print advertising. In other words, the
unusualness of the visual will motivate the person to
check out the ad and the subsequent headline should
resolve the curiosity. To further improve the motivation
and resolution of the reader, the following are four more
suggestions:
a. Ensure that the product is also prominently shown,
that is do not hide the product or brand.
b. Ensure that the selling point (ie., product attribute or
benefit) is clearly communicated in the headline,
that is, do not hide the selling point in the body of
the ad.
c. Ensure that the conveyor is as 'remote' as possible so
as to maximise curiosity.
d. Ensure that the print ad is pretested to make sure
there are no unforseen associations.
AUSTRALASIAN MARKETING JOURNAL, VOLUME 8, No.1
ENDNOTES
Tbe fll'Sl snuntio:n is I<) <'T>SWe thaI the who
might be in the market for the prodact (or the prodnct
cateaory) will stop aDd rud the .d. Wl\ttl the prodn<:t is
prornintntly di,pla)'Cd. perhaps ,id by,side willl the
con'..yor, it will have the adde<l po to stop those
who mighl be io the market. The secood
sugge.rio:n i' I<) .....un that 'esolutioo occun qnicldy.
Whil,t the may choo<ie I<) plll the or
benefit prorq>l . selling point) in<ide the body of the
ad, it i' mongly TCt:o......oded 1lIat this should occur in
the headlu.. Only tbm will the raollltion he
<DOn: to occur, Tbe lhird "'U",uo:n i. obvi......
because lht <DOn: unusual lhe vi,nal. the <DOn: likly it
will arouse the cwi",ity. and lhe areal.. the
'Ioppi"i power of the prin' ad, Mouowr, if the fi"t
two ",unli"", adhcrN 1<), tbm the third ,uggntion
is I... ",ky. 10 other ",,=,rdt, thel'll i. a p ...tr:r
pro\>ability w, the ,eadeT can make ,he anribule or
benefi, link (ie., selliog point) even though the oonveyor
is very lIOusuaL The final snggestio:n is to that 00
o1he: nnforseen .,sociati"", R"t in the way of the
resolntion. For inltano;e, !he autbo< has carried 0\11
larse nnmbe-r of pretests prior I<) 1hil .lI>dy and found
thaI lIDUSllal ""uab can Ilso have nnforseen ncglli,..
usoc:iations. This 1000s I<) I1eCr !he into thinking
something else and hence mis.s !he selliOi point of the
ad Ideally, !be fCrn:)!e 000'"0)'01" should alSO P"'S"" a
,tr0"i associarive '1Jength to the dc,ired anribule or
benefit But in practice, this ....y be di/lkuh I<) achieve,
pretest i' an Idded ins'IlJancc.
In SW1IInI1)', the RAM model is <DOn: precise and
musW1lble than wNI1 Iw beco in lhe
JIISl including the concepts
H..,kler aDd Childer-J.
1992). The whole al'lla of sc!lema-<:O!I8n>eney whicb
owes its mots to socill psychology Iw been criticised
for being vague (II Ilso EyS<'DCk and 1990 and
$orloski. Paivio and GoelZ,' 1991). As _II. odopting
such I fr?rnewort. will only,""", to ...co more
what is 10 Ibeldy neblll...., area in .dverti.ing:
cl'lliliviry. l1Ie RAM model on !he otbef ha"" is I
S1NCNn1 model which vcry precisely points 001 !he
SOUfUS of the how it occun s"""fI1rIlly and
bow its dfe<:u Clll flow through 10 bnlld aniNde. This
seJVes to demystify how and wby c",ativity works in
print advenising. It is hoped !hat !his paper will stiJrollate
more in1e1e$t in r...,lrch iolO advel1isiog io the
""IV millennium.

This pope. fo"'" part of the Ph.D thesis of lbe

...-bo would obo likod to tbanIr John
Rossiter for his oonlribution in those early but
nnforgcttable yean at !be Australian Graduale
ScbonlofManagement.
Strictly .pelking. McQuarrie'. (1989) theory of
'.-.oIW"ICe is "Ot jusl wrbal pollI$ fow>d iIl!be
beadlir>e. The ""1111 in !he ad is also involved,
literally depicting or "'tlat!be he.dliM
-0
Note lhallllhollgh and Staymon (1990 p.
14) bave .bolVll lhat !be c,eativity factor ..
clever and imagi... original, C1Ilel1ainina,
""""in&J had signifICant ..io:n coetlIcienll
(Of bodI bnlld lniNde and ad aniNde, !bey never
lO'ted the me<liating hypothesis.
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