7 Creative Tactics Decisions. © 2005 McGraw-Hill Ryerson Limited Chapter Objectives To identify...
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Transcript of 7 Creative Tactics Decisions. © 2005 McGraw-Hill Ryerson Limited Chapter Objectives To identify...
7Creative Tactics Decisions
© 2005 McGraw-Hill Ryerson Limited
Chapter Objectives
• To identify three key decisions for creative tactics: execution style, message structure, and design elements.
• To analyze the various creative execution styles that advertisers can use and the advertising situations where they are most appropriate.
• To examine different types of message structures that can be used to develop a promotional message.
• To analyze various design elements involved in the creation of print advertising and TV commercials.
• To understand a planning model for making creative tactics decisions.
• To consider how clients evaluate the creative work of their agencies and discuss guidelines for the evaluation and approval process.
© 2005 McGraw-Hill Ryerson Limited
Creative Tactics
Creative Execution Style• The way in which an advertising appeal
is presented
© 2005 McGraw-Hill Ryerson Limited
Ad Execution Techinques
Personality Symbol Personality Symbol Personality Symbol Personality Symbol
Straight-sellStraight-sell
ScientificScientific
DemonstrationDemonstration
ComparisonComparison
DramatizationDramatization
HumourHumour
Slice of lifeSlice of life
TestimonialTestimonial
AnimationAnimation
FantasyFantasyFantasyFantasyDramatizationDramatization
ComparisonComparison
AnimationAnimationDemonstrationDemonstration
TestimonialTestimonialScientificScientific
Slice of lifeSlice of lifeStraight-sellStraight-sell
© 2005 McGraw-Hill Ryerson Limited
Apple Uses a Testimonial
© 2005 McGraw-Hill Ryerson Limited
Crest Whitestrips Uses a Demonstration
© 2005 McGraw-Hill Ryerson Limited
Chevy Trucks Uses a Slice-of-Life Execution
© 2005 McGraw-Hill Ryerson Limited
AFLAC Duck, a Personality Symbol
© 2005 McGraw-Hill Ryerson Limited
Creative Tactics
• Creative Execution Style• Message Structure
– The way marketing communications are presented is very important in determining their effectiveness.
© 2005 McGraw-Hill Ryerson Limited
Message Structure
Order of PresentationFigure 7-1
© 2005 McGraw-Hill Ryerson Limited
Conclusion Drawing
• Marketing communicators must decide whether messages should explicitly draw a firm conclusion or allow receivers to draw their own conclusions.
© 2005 McGraw-Hill Ryerson Limited
Message Sidedness
One-Sided Message
•Mentions only positive attributes or benefits.
•Most effective when target audience already holds a favourable opinion of product.
One-Sided Message
•Mentions only positive attributes or benefits.
•Most effective when target audience already holds a favourable opinion of product.
Two-Sided Message
•Presents both good and bad points.
•More effective when target audience holds an opposing opinion or is highly educated.
Two-Sided Message
•Presents both good and bad points.
•More effective when target audience holds an opposing opinion or is highly educated.
Refutation
•A special type of two-sided message.
Refutation
•A special type of two-sided message.
© 2005 McGraw-Hill Ryerson Limited
Verbal versus Visual Messages
• Pictures affect the way consumers process accompanying copy.– A recent study showed that use of pictorial
examples increased immediate and delayed recall of product attributes when verbal information was low in imagery value.
• Advertisers often design ads where visual information supports verbal appeal to create a compelling impression in consumer’s mind.
• Sometimes advertisers design ads in which the visual portion is incongruent with the verbal information presented.
© 2005 McGraw-Hill Ryerson Limited
Design Elements for IMC Tools: Creative Tactics for Print Advertising
Layout:How Elements Are Blended Into a Finished Ad
Layout:How Elements Are Blended Into a Finished Ad
Visual Elements: Illustrations Such As Drawings or Photos
Visual Elements: Illustrations Such As Drawings or Photos
Body Copy:The Main Text Portion of a Print Ad
Body Copy:The Main Text Portion of a Print Ad
Subheads:Smaller Than the Headline, Larger Than the Copy
Subheads:Smaller Than the Headline, Larger Than the Copy
Headline:Words in the Leading Position of the Ad
Headline:Words in the Leading Position of the Ad
Visual Elements: Illustrations Such As Drawings or Photos
Visual Elements: Illustrations Such As Drawings or Photos
Body Copy:The Main Text Portion of a Print Ad
Body Copy:The Main Text Portion of a Print Ad
Subheads:Smaller Than the Headline, Larger Than the Copy
Subheads:Smaller Than the Headline, Larger Than the Copy
Headline:Words in the Leading Position of the Ad
Headline:Words in the Leading Position of the Ad
© 2005 McGraw-Hill Ryerson Limited
Altoids Uses a Headline Effectively
© 2005 McGraw-Hill Ryerson Limited
Headlines Can Capture Attention
© 2005 McGraw-Hill Ryerson Limited
Types of Headlines
• Direct headlines • Indirect headlines• Subheads
© 2005 McGraw-Hill Ryerson Limited
Print Ad Layout
FormatFormat Arrangement of the Elements on the Printed PageArrangement of the Elements on the Printed Page
SizeSize Expressed in Columns, Column Inches or Portions of a PageExpressed in Columns, Column Inches or Portions of a Page
ColourColour Black & White or Two-, Three-, or Four-Colour PrintingBlack & White or Two-, Three-, or Four-Colour Printing
WhiteSpaceWhiteSpace
Marginal and Intermediate Space That Remains UnprintedMarginal and Intermediate Space That Remains Unprinted
FormatFormat Arrangement of the Elements on the Printed PageArrangement of the Elements on the Printed Page
ColourColour Black & White or Two-, Three-, or Four-Colour PrintingBlack & White or Two-, Three-, or Four-Colour Printing
SizeSize Expressed in Columns, Column Inches or Portions of a PageExpressed in Columns, Column Inches or Portions of a Page
© 2005 McGraw-Hill Ryerson Limited
Design Elements for IMC Tools: Creative Tactics for Television
Video
•Various technical and production-related decisions.
•Many TV commercials have very high production costs to make product and actors look perfect.
Video
•Various technical and production-related decisions.
•Many TV commercials have very high production costs to make product and actors look perfect.
Audio
•Voices on camera or voiceover
•Music Create appropriate mood, jingles.
Audio
•Voices on camera or voiceover
•Music Create appropriate mood, jingles.
© 2005 McGraw-Hill Ryerson Limited
Top 10 Jingles of the Century
1. McDonald’s You deserve a break today
2. U.S. Army Be all that you can be
3. Pepsi Cola Pepsi Cola Hits the Spot
4. Campbell’s Soup M’m, Good M’m Good
5. Chevrolet See the USA in your Chevrolet
6. Oscar Mayer I wish I was an Oscar Mayer Wiener
7. Wrigley’s gum Double your pleasure, double your fun
8. Winston Winston tastes good like a cigarette should
9. Coca-Cola It’s the real thing
10. Brylcreem Brylcreem—A little dab’ll do ya
CompanyCompany JingleJingle
© 2005 McGraw-Hill Ryerson Limited
Nortel Uses Music Creatively
© 2005 McGraw-Hill Ryerson Limited
Production Stages for TV Commercials
ProductionProduction Period of filming, taping, or recordingPeriod of filming, taping, or recording
PostproductionPostproduction Work after spot is filmed or recordedWork after spot is filmed or recorded
PreproductionPreproduction All work before actual shooting, recordingAll work before actual shooting, recording
ProductionProduction Period of filming, taping, or recordingPeriod of filming, taping, or recording
PreproductionPreproduction All work before actual shooting, recordingAll work before actual shooting, recording
© 2005 McGraw-Hill Ryerson Limited
Preproduction Tasks
Select a DirectorSelect a Director
Cost Estimation and Timing
Cost Estimation and Timing
Choose Production Company
Choose Production Company
BiddingBidding
Preproduction Meeting
Preproduction Meeting
Production Timetable
Production TimetableProduction Timetable
Production Timetable
Cost Estimation and Timing
Cost Estimation and Timing
BiddingBidding
Choose Production Company
Choose Production Company
Select a DirectorSelect a Director
PreproductionPreproduction
© 2005 McGraw-Hill Ryerson Limited
Production Tasks
Location Versus Set Shoots
Location Versus Set Shoots
Night/weekend Shoots
Night/weekend Shoots
TalentArrangements
TalentArrangements
Night/weekend Shoots
Night/weekend Shoots
Location Versus Set Shoots
Location Versus Set Shoots
ProductionProduction
© 2005 McGraw-Hill Ryerson Limited
Postproduction Tasks
EditingEditing ProcessingProcessing
Sound EffectsSound Effects
Audio/Video Mixing
Audio/Video Mixing
OpticalsOpticalsClient/agency Approval
Client/agency Approval
DuplicatingDuplicating
Release/ShippingRelease/Shipping
DuplicatingDuplicating
Client/agency Approval
Client/agency Approval OpticalsOpticals
Audio/Video Mixing
Audio/Video Mixing
Sound EffectsSound Effects
ProcessingProcessingEditingEditing
PostproductionPostproduction
© 2005 McGraw-Hill Ryerson Limited
Frameworks for Creative Tactics
• FCB Planning Model• R&P Model
© 2005 McGraw-Hill Ryerson Limited
Foote, Cone & Belding Grid
1InformativeThe Thinker
3Habit
FormationThe Doer
Thinking Feeling
Low
In
volv
em
en
t2
AffectiveThe Feeler
4Self-
SatisfactionThe Reactor
Hig
h
Involv
em
en
t
© 2005 McGraw-Hill Ryerson Limited
Foote, Cone & Belding Grid
1InformativeThe ThinkerCar-house-furnishings-new productsModel: Learn-feel-do (economic?)
Possible implicationsTest: Recall diagnosticsMedia: Long copy format
Reflective vehiclesCreative: Specific information
Demonstration
Thinking
Hig
h
Involv
em
en
t
© 2005 McGraw-Hill Ryerson Limited
Foote, Cone & Belding Grid
2AffectiveThe FeelerJewelry-cosmetics-fashion goodsModel: Feel-learn-do (psychological?)
Possible implicationsTest: Attitude change
Emotional arousalMedia: Large space
Image specialsCreative: Executional
Impact
Feeling
Hig
h
Involv
em
en
t
© 2005 McGraw-Hill Ryerson Limited
Foote, Cone & Belding Grid
3Habit formationThe DoerFood-household itemsModel: Do-learn-feel (responsive?)
Possible implicationsTest: SalesMedia: Small space ads
10-second ID’sRadio; Point of Sale
Creative: Reminder
Thinking
Low
In
volv
em
en
t
© 2005 McGraw-Hill Ryerson Limited
Foote, Cone & Belding Grid
4Self-satisfactionThe ReactorCigarettes, liquor, candyModel: Do-feel-learn (social?)
Possible implicationsTest: SalesMedia: Billboards
NewspapersPoint of Sale
Creative: Attention
Feeling
Low
In
volv
em
en
t
© 2005 McGraw-Hill Ryerson Limited
The R&P Planning Model
• Brand Awareness Tactics• Brand Attitude Grid Tactics
© 2005 McGraw-Hill Ryerson Limited
Brand Awareness Tactics
Awareness• Match the brand stimuli and the type of
response behaviour of the target audience so that understanding of the brand in a category is unambiguous.
• Use a unique brand execution style to connect the brand and the category.
• Maximize brand contact time in the exposure to reinforce name and category connection.
© 2005 McGraw-Hill Ryerson Limited
Brand Awareness Tactics
Recognition• The brand package and name should
have sufficient exposure in terms of time or size, depending on the media.
• Category need should be mentioned or identified.
© 2005 McGraw-Hill Ryerson Limited
Brand Awareness Tactics
Recall• Brand and category need should be
connected in primary benefit claim.• Primary benefit claim should be short to be
easily understood.• Primary benefit claim should be repeated
often within an exposure.• Message should have or imply a clear
personal reference.• A bizarre or unusual execution style may be
used if consistent with the brand attitude objective.
• A jingle or similar “memory” tactic should be included.
© 2005 McGraw-Hill Ryerson Limited
Brand Attitude Grid Tactics
Informational Motivation
Transformational Motivation
Low-involvement decision
Low-involvement decisionInformational motivation
Low-involvement decisionTransformational motivation
High-involvement decision
High-involvement decisionInformational motivation
High-involvement decisionTransformational motivation
© 2005 McGraw-Hill Ryerson Limited
Evaluation Guidelines For Creative Output
Consistent With Brand’s Marketing Objectives?Consistent With Brand’s Marketing Objectives?
Consistent With Brand’s Advertising Objectives?Consistent With Brand’s Advertising Objectives?
Consistent With Creative Strategy, Objectives?Consistent With Creative Strategy, Objectives?
Does It Communicate What It’s Suppose to?Does It Communicate What It’s Suppose to?
Approach Appropriate to Target Audience?Approach Appropriate to Target Audience?
Communicate Clear, Convincing Message?Communicate Clear, Convincing Message?
Does Execution Overwhelm the Message?Does Execution Overwhelm the Message?
Appropriate to the Media Environment?Appropriate to the Media Environment?
Consistent With Brand’s Marketing Objectives?Consistent With Brand’s Marketing Objectives?
Consistent With Brand’s Advertising Objectives?Consistent With Brand’s Advertising Objectives?
Consistent With Creative Strategy, Objectives?Consistent With Creative Strategy, Objectives?
Does It Communicate What It’s Suppose to?Does It Communicate What It’s Suppose to?
Approach Appropriate to Target Audience?Approach Appropriate to Target Audience?
Communicate Clear, Convincing Message?Communicate Clear, Convincing Message?
Does Execution Overwhelm the Message?Does Execution Overwhelm the Message?
Appropriate to the Media Environment?Appropriate to the Media Environment?
Is the Advertisement Truthful and Tasteful?Is the Advertisement Truthful and Tasteful?