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Chapter 11

Chapter 11. The Creative Side of Advertising. Lotus Brand Campaign (1999). $100 M account by Ogilvy and Mather Advertising campaign: Objective: To boost awareness of the Lotus brand as a whole (rather than simple product-focused ads)

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Chapter 11

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  1. Chapter 11 The Creative Side of Advertising

  2. Lotus Brand Campaign (1999) • $100 M account by Ogilvy and Mather • Advertising campaign: • Objective: To boost awareness of the Lotus brand as a whole (rather than simple product-focused ads) • Creative strategy: Lotus brand like R5 has all the qualities of the Man of Steel such as security and substance • Creative execution: Symbol of Superman, minority representation, etc.

  3. Criteria for Evaluating Creative Approaches • Is the creative approach consistent with the brand’s marketing and advertising objectives? • Is the creative approach consistent with the creative strategy and does it communicate what it is supposed to? • Is the creative approach appropriate for the target audience? • Does the creative strategy communicate a clear and convincing message to the customer? • Does the creative execution overwhelm the message? • Is the creative approach appropriate for the media environment in which it is likely to be seen? • Is the advertisement truthful and tasteful?

  4. Art Director Person most responsible for the graphic image of the ad. Makes decisions about using art or photography in print. Use of color is another important design decision. Copywriter Person who shapes and sculpts the words in an ad. Copy should be as simple as possible and should have impact. Avoid Adese, which is formula ad copy. Creative Roles

  5. What is Creative Advertising? • Advertising tries to deliver the right message to the right person at the right time and must have: • Relevance – ideas have to mean something important to the audience. • Originality – one of a kind ideas that only one person thinks of. • Impact – a commercial with impact has the stopping power that comes from an intriguing idea, something you have never thought about before. • This creativity leads to a Big Idea, which expresses an original advertising thought, and involves a mind shift.

  6. Creative Processes Compared Roger Von Oech model 1986 Graham Wallas model 1926 Alex Osborn model 1963 James Young model 1983

  7. The Creative Concept Creative Concept Message that is Attention-Getting and Memorable & Serves as an Umbrella for a Series of Ads in a Campaign Relevance Strategy Originality Creativity Impact

  8. Effective Creativity The Most Important Principle of Effective Creativity is Unity, Where the Ad Must Integrate the Words and Pictures, as Well as the Strategy and Execution.

  9. Creative Pyramid 5. Action 4. Desire 3. Credibility 2. Interest 1. Awareness 5. Action 4. Desire 3. Credibility 2. Interest 1. Awareness

  10. Practical Tips # 1Creating Original Ideas • To create an original and unexpected idea, use the following techniques: • An unexpected twist. • An unexpected association. • Catchy phrasing. • A play on words. • Analogy and metaphor. • Familiar and strange. • To prevent unoriginal ideas, avoid the following: • The common. • The look-alike. • Clichés and tasteless ideas.

  11. The Foote, Cone & Belding Grid

  12. Creative Strategy and Execution • Creative strategy (what to communicate) and execution (how to communicate) • Copy Platform (“Creative Brief”, “Copy Strategy”) - (1) Problem or issue that adv must address - (2) Advertising and communication objective - (3) Target audience - (4) Major selling idea or key benefits to communicate - (5) Creative strategy (theme, appeal, execution) - (6) Supportive information

  13. EXH 13-12

  14. EXH13-13

  15. Adv. “Philosophies” or Creative Styles/Strategies • USP (Unique Selling Proposition) (Rosser Reeves) • Brand personality/image (David Ogilvy) • Inherent drama (Leo Burnett) • Positioning (Trout and Ries) • Creative execution (Bill Bernbach) • Scientific advertising (Claude Hopkins)

  16. Adv. “Philosophies” (cont’d) • Entertainment and emotion (Philip Dusenbury) • Irreverence (Lee Clow) • Small-town warmth (Hal Riney) • Generic • Preemptive • Resonance

  17. Advertising Execution • Straight sell or factual message • Scientific/technical evidence • Demonstration • Comparison • Testimonial • Slice of Life

  18. Advertising Execution (cont.) • Animation • Personality symbol • Fantasy • Dramatization • Humor • Combinations

  19. Recall Performance (ability to get attention):Humor Versus Other Execution Types)

  20. Persuasion Performance: Humor Versus Other Execution Types

  21. Success Ratio for Humorous Commercials: Established Versus New Products

  22. The Product Continuum (at the extremes)

  23. The 10 Most Popular Cartoon Characters Among Six-to-11-Year-Olds • TIMON AND PUMBAA (from The Lion King)………... 66 • RUGRATS…………………… 63 • BUGS BUNNY………………. 60 • MICKEY MOUSE…………….59 • (tied) MILO (form The Mask)…………….. 55 • (tied) ROAD RUNNER……… 55 • TASMANIAN DEVIL………… 54 • (tied) CASPER………………. 53 • (tied) GARFIELD……………. 53 • (tied) SNOOPY………………. 53 “Time, Nov4, 1996”

  24. The Match Game: Linking Celebrities and Brands Bob Hope Disney, Hallmark Maxwell House Bill Cosby Corning Ware, Diet Pepsi Fisher-Price Walter Cronkite Bayer, Cream of Wheat George Bush Bell, Disney, Exxon Pope John Paul hallmark, Hershey, Pepsi Michael Jordan Cadillac, Minute Maid, NBA basketball Meryl Streep Kodak, Lenox, Volvo Jack Micholson CNN, Levi’s, Nike Luciano Pavarotti Cuisinart, Wall Street Journal “Atlanta Journal, Oct 29, 1991”

  25. K-Mart Celebrity Commercial—Jaclyn Smith vs.Non-celebrity Commercial Communication Processing Brand Attitude .350 .540 CENTRAL .631 Product/Brand Related .311 .441 Intention To Buy .317 PERIPHERAL Commercial Execution Related .478 .466 Commercial Attitude/Liking .217 Red number = Celebrity Commercial Green number = Non-celebrity Commercial Number along arrows = Standard Coefficients  = Direction of Causation Source/Model Related

  26. Attention Instant Communication Memory To Use Visuals Effectively, Advertisers Must Focus on Six Key Points: Demonstration Brand Reminder Distinction Words and Pictures The Two Most Important Creative Tools in the Creative Person’s Tool Kit are Art and Copy.

  27. Words and Pictures • Advertisers often use words in five situations: • If the message is complicated. • If the ad is for a high-involvement product. • If the information needs definition and explanation. • If a message tries to convey abstract qualities (such as justice and quality). • Slogans and jingles help lock in key phrases that cue a brand image or remind of a brand feature.

  28. Examples of Successful Long-Running Ad Campaigns Nike “Just do it.” Allstate Insurance “You’re in good hand with Allstate.” Hallmark Cards “When you care enough to send the very best.” DeBeers “A diamond is forever.” BMW “The ultimate driving machine.” State Farm “Like a good neighbor, State Farm is there.” Timex Watches “It takes a licking and keeps on ticking.” Dial soap “Aren’t you glad you use Dial? Don’t you wish everyone did?”

  29. Practical Tips # 2Writing Effective Copy • Be succinct. • Be specific. • Get personal. • Keep a single focus. • Be conversational. • Be original. • Use variety in print and TV ads.

  30. The Creative Person . Independent Good Sense of Humor Self-Assertive Uses Intuition As Much as Logic Self-Sufficient Alert, Watchful, & Observant Personal Characteristics of a Creative Person Persistent Internally Driven Ego Self-Disciplined Risk Takers High Tolerance For Ambiguity

  31. “The MECCAS Model” Aspects of Creative strategy Elements of Advertising strategy Relevant levels of a Means-end chain Driving Force The value orientation of the Ad. The end goal or value state implied in the ad, but seldom stated explicitly. Terminal or Instrumental value Executional Framework How the ad Communicates the advertising strategy. All details of the finished Ad, including models, setting, clothing, other props, the script or plot, the overall theme, and the style of the ad Leverage point The “hook” that connects the tangible attributes and consequences to the Intangible personal values and goals oft the driving forces.The key to activating the driving force. Psychosocial consequences Consumer benefits The key benefits consequences communicated in the ad—verbally or visually. Functional consequences Concrete or abstract attributes Message elements The product or brand attributes communicated in the ad— verbally or visually

  32. The Psychological Impact of Color RED—Symbol for Blood and fire. High action and masculine appeal. Can use with some foods Blue—Exudes decisiveness. Can use with foods. Emotes coolness (of temperature and attitude). Brown—Symbol for earth, woods,age, warmth, and comfort. Can use with most products. Orange—Most “edible” color, good with most foods. Evokes “autumn” and warmth. Yellow—Associated with exuberance. Eye catching. Can use with some foods, particularly fruit Black—Conveys sophistication (fashion, technology). Seldom used with foods. Eye-catching contrast. Green—Symbol for health and freshness. Can use with some foods, particularly mint.

  33. Dimensions of Source • Credibility • Expertise, Trustworthiness • ==> Internalization • Attractiveness • Similarity, Familiarity, Liking • ==> Identification • Dynamism (Power) • Authority, Control, Scrutiny • ==> Compliance

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