The Hindu : Changing with the times

Online edition of India's National Newspaper
Saturday, Sep 13, 2003

Advertising

Advertising

Changing with the times

From the early days when it monopolised page one, advertising in The Hindu has come a long way, and the paper has consistently played the role of a true partner, writes S. R. (Mani) Ayer.

The Hindu was the first daily newspaper to offer spot colour way back in the early 1940s. It was also amongst the first to offer full colour halftone reproduction in the regular issue of the paper.

"The people who make ads are dealing in people's dreams, hopes and fears, touching aspirations, providing reassurance and making as their contribution to this mad mosaic that is life at least as depicted by the media... ."

Barry Day

Former Worldwide Creative Director, McCann Erickson

It is against this background that one must view the ads that have appeared in The Hindu since 1878. The early advertisements were simple messages more in the nature of classified advertisements printed across the full front page, modelled after the papers in England and James Augustus Hickey's Bengal Gazette. Not even news on the two World Wars or India's freedom struggle could get on to the front page.

The advertisements were largely limited to headlines, diverse typefaces, ornate fonts and other devices such as borders. There were very few displays or illustrations — these were to come later. Following the general pattern elsewhere these early ads were mostly for patent medicines such as "Hindu Ointment and Cashaya" which promised a cure for pains, insect stings, stomach and other disorders. Or "Little's Oriental Balm" that claimed to cure rheumatism, sprains, sciatica, neuralgia and so on. Not to be left out was a medical practitioner, a Dr. M. Nowrojee, LMS, who offered his services either at his clinic at Errabalu Chetty Street, or through a house visit for Re. 1.

So was the case with individual chemists. N. Cursetji & Co, on Mount Road, recommended Great American Remedies as a positive cure for brain wreckage or "Grimaults Indian Cigarettes" as a sure cure for asthma. In the absence of any code or regulations such as The Magic Remedies Act, the claims were restricted only by the imagination of the advertiser.

The paper merely printed the ads and did not pass any judgment on the veracity of the advertiser. Ethics apart, these purveyors of patent medicines certainly displayed entrepreneurial talent. They even offered mail order service.

The era of the 1800s was obviously devoid of the services of a modern advertising agency. The advertiser most probably wrote the ad — there is a distinct difference in the style of the language compared to news items, and the paper composed it in a manner it judged as most appealing.

Apart from patent medicines, there were advertisements for booksellers such as Higginbothams and publishers of legal books, dictionaries, books on astrology and self-education, including an imaginative one on "Kissing In Theory & Practice" published by a M.S. Ramulu & Co, Royapuram, Madras for Rs. 2 only — the attractiveness of the price highlighted in bold type!

There were other odd items on offer such as "The Planchette", which was supposed to write intelligent answers to questions, or ploughs from Massey & Company, who were in a position to supply you a `Made In England' Ransome plough or a `Madras made' Massey's plough — of course at a price differential. And so did Royal Insurance. Its ad said, "Native lives are also insured by this company. Rates on Indian lives have been reduced." And not to be missed are the "Academical Robes for the Graduates of the University of Madras, made of materials obtained from Oxford".

Patent medicines had prospered by promising the unreal. The era that followed saw product pitches that were quieter, more believable and even charming. A 1900s ad for "birth control" through contraception uses this approach. One also sees for the first time the free use of illustrations, mainly line drawings and sketches, though the news columns featured proper photographs. The era of the commercial photographer had not arrived. Yet, some of these ads reflect a craftsman-like application of art, more eye appeal and attention to form, visualisation and atmosphere — Goodwin's Toilet Soap, Pears, Glaxo Baby Food, and Mellin's Food are some examples. The combination of text with design to make a complete advertisement can be seen for the first time in the ads that were sent either by manufacturers in England or their advertising agencies. Soon ads created in India for the large stores such as Spencer's made their appearance, mainly of the catalogue variety but with illustrations and product specific features.

Advertisements sent by manufacturers in England or their advertising agencies, paid attention to issues such as `eye appeal', form, visualisation and atmosphere. The advent of the professional copywriter and art director is to be seen in the Horlicks and Macleans ads - a trend that advertising created in India soon took to.

Spencer's ads in The Hindu tended to feature merchandise such as watches, clocks, cameras, (including the early Movex variety) furniture and sports goods whereas their ads for "European food items, wines, dresses, toys, etc." were to be seen more in The Mail — a reflection of the different audiences the two newspapers catered to.

The advent of the professional copywriter and art director is most visible in the ads for Horlicks that uses the strip cartoon treatment, the ads for Macleans with the headline "Did you Maclean your teeth today? My hat, I did" and the illustration of a lady wearing a hat, and the cigarette ads for Gold Flake, Players, and Sello Films amongst many others.

Corporate campaigns were popular in the 1950s and 1960s. Amul, a cooperative, highlighted their contribution.

The 1940s saw another high point: The Hindu made possible the use of colour for the first time in advertisements. This was inaugurated by an ad for a full-length movie, Gemini's Nandanar. Soon several advertisers, both for movies and products, took advantage of this value addition.

The Second World War saw a slowdown due to a mild economic recession and the difficulty of importing products. There were the usual entertainment and classified ads, the ads for War bonds and a few ads for products such as Hamam soap, touching the swadeshi chord with the slogan, "Made in India with Indian capital and management." In a different manner, the Bombay Swadeshi Co-operative Stores advertised their "Swadeshi Lead Pencils." They described them as "Best in writing and cheapest in price. Manufactured in machines invented by Indian brains."

Pre-1947, some products such as the 501 Special Soap highlighted the Swadeshi angle, but dropped it after Independence.

Pre-1947, some products such as the 501 Special Soap highlighted the Swadeshi angle, but dropped it after Independence.

After Independence, the new economic policies adopted by the Nehru Government and the changes they brought about can be seen in the kind of ads the paper carried. Import substitution, the ISI mark and corporate campaigns were very visible.

Corporate campaigns were of three kinds: old, established foreign companies talking about their dedication to India's attempts to industrialise, such as the campaigns of Shell; newer Indian ventures, some in the public sector such as Air India and Amul, and new overseas tie-ups such as Tata Fison.

Ads for FMCG products are to be seen but mainly where choice and options existed. Textiles, toilet soaps and personal products are some examples.

The use of Indian newsprint also had its impact on the illustration techniques. Line drawings, scraperboard and quarter tone were the mostly widely used forms. The use of colour too was restricted despite the paper offering this facility for several years.

The 1980s saw the beginnings of brand-building as we understand it today, following relaxations in the economic policies and an easing newsprint situation. The paper's offer of colour first in the Sunday supplement and subsequently in the daily newspaper opened new avenues. Thus, the paper played its role in this era of totally consumer oriented marketing.

Advertisements could now appear in a variety of forms and styles given that many products and services hardly offered any real or competitive difference. The style of copy became different — shorter, simpler and more Indianised. `Hinglish' and similar improvisations became popular and slowly passed into common parlance. Striking photography, lifestyle depictions and imaginative use of colour became major elements to catch the attention of an ever-distracted consumer.

In the 1990s, the change in the demography and the geography of major cities created new categories of advertisers. The younger age profile, the emergence of a new class of professionals brought up in the information age and newer work opportunities brought about a population influx to the cities.

Newer residential areas away from downtown, and more shopping centres, saw more ads for personal transportation, consumer durables and accommodation. With this came three other important changes — consumer finance on attractive terms from banks and finance companies, the attraction of eating out and takeaway foods especially for working couples, and the popularity of supermarkets and readymade clothing. These developments saw a change in the ratio of advertisements.

The share of FMCG advertising began to decline but, correspondingly, the share of goods that entailed a larger outlay was on the increase, a true indication of the real franchise of the paper.

This brief journey into the past is only a bird's eye view of the kind of goods or services that were on offer, through The Hindu. It also reflects the needs and aspirations of the traditionally wealthy and the newly-emerging educated and professional classes who continue to be the backbone of The Hindu readership even today.

The paper plays the role of a true partner, as advertising moves from simple product ads to offering an entire lifestyle. And the paper will continue to play its role, as marketing seeks to strengthen the new belief that hard lives are of the past and the future is full of promises.

(The writer is a former Managing Director & CEO of Ogilvy & Mather)

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