the idea of social acceptance and glamour projected by the advertisement. Cheskin employed the scientific method in marketing, testing his hypotheses of product acceptance by observing customers, which was a unique approach at the time. His methods focused on catering to what consumers felt, desired, and needed rather than trying to directly manipulate those ideas. His methods also advocated frequent updates to the methodology used, as Cheskin's methods were based on ephemeral consumer attitudes rather than on Freudian psychology. By the 1950s, Cheskin had already implemented the concept that brands, messages, and offerings could be coordinated and delivered through multiple contexts and media. He relied on scientific testing procedures and detailed standards, including colour guides. One such standard was first to understand, then explain what companies had to offer in a way that customers understood. Use of color Published in 1951, Louis Cheskin's groundbreaking Color For Profit initiated a scientific approach to color and design. Cheskin's philosophy rotates around three core concepts: 1. Good taste has little to do with how well a design sells. 2. Asking customers what they think of a package design is not a useful way to measure effectiveness. Surveys and polls don't measure unconscious reactions, and what consumers do, not what they say, is what matters. Research shows that most people who claim advertising doesn't affect them tend to buy widely advertised products. 3. Colors have symbolic meanings: "We associate red with festivity, blue with distinction, purple with dignity, green with nature, yellow with sunshine. Pink is generally associated with health... White is a symbol of purity. Black expresses evil." Preferences for pure colors are often associated with the poor. The rich tend to prefer tints. And while women generally prefer tints and men deep shades, both are attracted to fleshtones." From: The Louis Cheskin Animal Coloring Book by Jack Szwergold. Changing the face of Ford In researching the automobile market in 1957, Cheskin wrote a scathing prediction that the Edsel motor car would be a market flop because its styling did not portray a coherent aesthetic and reflect the changing trend toward modernism. Inversely, he predicted the massive success of the Ford Thunderbird. Experts of the time had made the opposite prediction based on the comparative size of the companies' advertising budgets. Though Henry Ford and the automotive industry initially denounced Cheskin's opinion, Ford subsequently included Cheskin in the Ford Falcon project after his