Advertising Plan and Creative Strategies: A Comprehensive Guide - Prof. Steven R. Hall, Study notes of Banking Law and Practice

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Text Review:  Chapter 8 o Exhibit 8.4: The Advertising Plan (specifies the thinking, task & timetable needed to conceive and implement an effective adv effort; varies from advertiser to adv)  Introduction  Executive summary: states most important aspects of the plan; what the reader should remember  Overview: sets out what is to be covered and structures context  Situation Analysis  Client and agency lay out the most important factors that define the situation and then explain the importance of each factor  Knowing which generations you’re targeting is critical  Historical Context: how firm arrived at current situation  Industry Analysis: focus on developments and trends w/i an entire industry; supply side of supply-demand equation o food industry faces most dramatic trends and swings  Market Analysis: demand side of equation; account planning  Competitor Analysis: strengths, weaknesses, tendencies, threats  Objectives (quantitative benchmarks, measurement methods, criteria for success, time frame)  Increase consumer awareness & curiosity o Top-of-the-mind awareness: 1st brand they listed first (ex. Aflac)  Change consumers’ attitudes and beliefs about product (ex. “Yadda Yadda Nada” Sony Noise-Cancelling headphones)  Influence purchase intent of its customers  Stimulate trial use of its product or service  Convert one-time product users into repeat purchasers  Switch consumers from a competing brand to its brand  Increase sales  Budgeting (method, amount, justification)  Strategy (clear & concise articulation on how the plan will achieve its objectives)  What you do, given the situation and objectives  Execution (copy strategy, media plan, integrated brand promotion)  Actual “doing”; making/placing of ads; “rubber meets the road”  Evaluation (criteria, methods, consequences)  Agency graded on: what criteria will be applied/ how long the agency will have to achieve the agreed-on objectives  Chapter 10 o CP+B’s Recipe for “Hoopla”  Mutation: make a decision that you will always do things differently; attitude adjustment; violate established rules  Invention: “Do the opposite of what everyone else does.”  Candor: don’t overlook flaws/limits, don’t be afraid to talk about them; “warts”  Mischief: tricks, pranks, playful naughty behavior – keep people interested  Connection: listen, answer ?s, and engage the other party in a discussion; interactive media make the conversation easy to do  Pragmatism: make the product experience better in some way [ex. wrap product in better package, add little gifts/perks…]  Momentum: constant reinvention and doing tons of work, makes clients happy o Creativity: the ability to consider and hold together seemingly inconsistent elements and forces, making a new connection  Put things together in a way that, once we see it, makes sense, is interesting  Reflects early childhood experiences, social circumstances, and cognitive styles o “Assuring Bad Creative”: bad work is more a matter of structure than talent  Treat your target audience like a statistic: use #s  Make your strategy a hodgepodge: good ads have ONE dominant message  Have no philosophy: wild embrace of latest fashion/faddish bromide  Analyze your creative as you do a research report: demand every detail be present in every piece of creative = thoroughness  Make the creative process professional: be on schedule  Say one thing and do another: keep spirits low and turnover high in creatives who are actually talented  Give your client a candy store: show half-though-out ideas to client  Mix & match your campaigns: 3 campaigns to client and then mix them up  Fix it in production: incompetent hack when jingle with sales is dull  Blame creative for bad creative: you just can’t find good talent anymore  Let your people imitate: lacks original surprise, no strategic rationale  Believing posttesting when you get a good score: you can be slaughtered by client when different commercial gets 20 pts below the norm o Teams must have leadership that creates safe environment allowing creative abrasion to flourish  Creative Abrasion: clash of ideas, and from which new ideas and breakthrough solutions can evolve [GOOD!]  Interpersonal Abrasion: clash of people, from which communication shuts down and new ideas get slaughtered [BAD!]  Problem & Solution: consumer solves problem with advertised brand (ex. stain remover)  Music & Song: restrict amount of copy & present same difficulties for copywriting  Spokesperson: ex. Tiger Woods for Titleist  Dialogue: pressure copywriter to make it believable and keep ad moving forward  Vignette: uses sequence of related ads as a device to maintain viewer interest (ex. The Taster’s Choice couple in US and Great Britain)  Narrative: distinct format that tells a story (like vignette) but the mood is highly personal, emotional, and involving (ex. McDonald’s, Kodak, Hallmark)  Chapter 13 o Principles of Design: relate to each element within an ad and to the arrangement of and relationship between elements as a whole  Suggest:  A design should be in balance  The proportion within an ad should be pleasing to viewer  Components w/i ad should have an ordered and directional pattern  There should be unifying force within the ad  One element of the ad should be emphasized over all others  Balance: orderliness and compatibility of presentation  Formal: emphasizes symmetrical presentation (components on one side of imaginary vertical line through ad are repeated in approx. size and shape on other side of imaginary line); creates mood of seriousness and directness and offers viewer easy visual presentation  Informal: emphasizes asymmetry (optical weighing of non-similar sizes and shapes); difficult to manage  Proportion: size and tonal relationships between different elements in an ad, viewer shouldn’t detect mathematical relationships b/t elements; unequal dimensions and distances make for the liveliest designs in advertising  Order: “gaze motion”; establish relationship among elements that leads reader through ad in some controlled fashion (ex. leftright, largesmall)  Unity: harmony among the diverse components of print advertising  Border: surround an ad keeps ad elements from spilling over into other ads/printed matter  White space: outside edges creates an informal border effect; can separate elements and give disorder (aka “negative” or “empty” space)  Axis: line (real or imagined) that runs through an ad/from where elements flare out o Layout: drawing or digital rendering of a proposed print advertisement, showing where all elements in ad are positioned  Thumbnails: first drafts of an ad layout; ¼ size; headlines=zig zags, body=straight parallel lines  Rough layouts: actual size; created with QuarkXPress (computer program); used for preliminary presentations  Comprehensives: polished version; computer-generated; final font/images used; printed in full color on high-quality printer  Mechanicals: final version to be sent to printer; adjust headline spacing (kerning), make copy changes the client requests, high-quality; digital file sent to printer electronically or by mail o Agency Participants:  Creative director: manages creative process in agency; art/copywriting business; oversee creative product of agency across all clients  Art director: works with copywriter to develop content of commercial; develops overall look of spot  Copywriter: responsible for words/phrases used; with AD, makes recommendations on choice of director, casting, editing facility  Account executive: liaison between creative team and client; coordinating scheduling, budgeting, and other approvals; rarely have direct input with creative/ technical exec.  Executive producer: in charge of many line producers who manage production at site; help manage production bid process; assign appropriate producers to particular jobs  Producer: supervises/coordinates all activities related to broadcast production; screen director reels, send out production bid forms, review bids, recommend production house to be used; participates in choosing locations, sets, and talent; on set throughout production & in editing room during postproduction, representing agency/client interests o Production Company Participants:  Director: in charge of filming/taping broadcast ad production; visionary who brings copy strategy to life on film/tape; manages actors, musicians, announcers used and to ensure their performances contribute to creative strategy; manages and coordinates activities of technical staff (camera operators, sound/light tech, special effects)  Producer: manages production at site; in charge of production crew and sets up each shoot; responsible for position of camera and readiness of production  Production manager: on set of shoot, providing all ancillary services needed to ensure successful production; range from making sure food service is available to providing dressing rooms and fax, phone, photocopy services; typically has assistant  Camera department: includes director of photography, camera operator, and assistant camera operator; ensures lighting, angles, movement are carried out according to plan  Art department: includes art director and other personnel responsible for creating set; designs the set, builds background or stunt structures, provides props  Editors: postproduction stage; direction to create finished ad; work for independent postproduction houses and use highly specialized equipment to cut and join frames of film or audiotape together to create finished version; synchronize audio track with visual images in tv ads and perform the transfer and duplication processes to prepare a commercial for shipping to the media o Postproduction:  Dailies: scenes shot during the previous day’s production  Editing: piecing together various scenes or shorts of scenes (takes) to bring about the desired visual effect [shot angles…]  Scratch track: rough approx of the musical score using only piano and vocalist  Rough cut: (use Avid computer) assembly of best scenes from the shoot edited together using the quick and precise access afforded by digital technology  Online editing: transferring finalized rough cut onto one-inch videotape o Production Options in TV advertising  Film: (35mm) most versatile medium and produces highest-quality visual impression; most expensive and most time consuming  Videotape: fewer lines of resolution, flatter image; less depth and less color intensity  Digital video (DV); replacing traditional videotape; low cost and high-quality look  Live production: realism and capturing spontaneous reactions/events that couldn’t be recreated; loss of control threatens objectives for a commercial  Animation: drawn figures and scenes to produce a commercial (Tony the Tiger)  Still production: series of pictures or slides is filmed and edited so the resulting ad appears to have movement and action Lecture Review:  Product marketing facts for creative people- o Proprietary Information: stuff about the company that is theirs/they can actually control; trade name, symbol, copyrights, patents, etc. (ex. Starbuck’s logo history)  Image:  Likes or dislikes related to the product o Consumers have a certain image or likes/dislikes to the brand (ex. Oreos, White Castle burgers)  Luxury or necessity? o (ex. going on spring break to Rome, Facebook, cell phones, etc.)  Habit or indulgence? o (ex. Lou Malnati’s Pizza, Starbucks)  Must have or wish you didn’t o (ex. cigarettes, dentist/teeth care, car insurance)  Use:  How it’s used/what it’s used for? (ex. Tea in the evening or morning? With or without lemon? Cell phone used for calls, texts, or internet)  When is it used? (ex. Flip cams – weddings or bars, etc.)  Other possible uses (ex. baking soda – laundry, toothpaste)  How often do you buy it? (ex. Dunkin Donuts, Levi’s, iTunes)  What type of person buys vs. what type doesn’t (ex. What type of person buys/shops at Ikea? Wal-Mart? Is there a difference between people who shop on Michigan Ave.?)  Why do they buy? (ex. Personal use, gift, work, etc.)  Who are the heavy users?  Performance:  What does it do?  What is it expected to do that it doesn’t?