View
610
Download
0
Category
Tags:
Preview:
DESCRIPTION
...communications objectives and creative approaches.
Citation preview
Advertising Media Strategy
Communications Strategy5
Percy and Elliott’s Five Steps…
Select the target audience
Understand target audience decision making
Determine the best positioning
Develop a communications strategy
Setting a media strategy
Percy and Elliott, 2009
Can analyse
advertising by using
this as a strategic
framework and
working backwards
Fundamentals of creativity…
Dependent on quality of brief (clear thinking/planning)
Saatchi and Saatchi
Make that message compelling (intrusion/interest)Communicate a selling message (persuasion)
(cited in Yeshin 2006)
Winston Fletcher
The product is inherently different (brand image)
The advertising is sufficiently unusual (creative appeal)
The advertising has personal relevance (target audience)
People keep seeing it (frequency and media mix)
(cited in Yeshin 2006)
People notice advertising when…
Is all advertising creative?
All ads have been created BUT some ads considered more creative than others
Creative label more usually applied to transformational ads
But a lot of advertising is informational
What is creativity?
Broad agreement that it involves having an idea that is…
In advertising, a creative idea also is usually…
extendable (into a campaign)
new, novel, original, useful and has value
transferable (across media)
(adapted from Percy and Elliott 2009)
Creative brief sets objectives
For a specific ad or campaign…
Category need objective… not always needed
Brand awareness objective… always an objective
Brand attitude objective… always an objective
Purchase intention objective… not always a specific
objective for advertising but is for a promotion
Percy and Elliott (2009)
Creative concept has to…
Break through clutter
Be relevant
Differentiate the brand from competitors
Arouse interest
Promote the brand and not the category
Answer the creative brief
Appeal to both the consumer and the client
Be meaningful to the target audience
(adapted from Yeshin, 2006)
Styles of advertising (content)…
USP: makes a claim of difference and superiority
Resonance: reflects the target’s experience
Generic: market leader makes a category claim
Brand image: psychosocial differentiation
Emotional: triggers an emotional response
Pre-emptive: presents a generic claim as a USP (Shimp 2007)
Ways of categorising…
Hard sell / soft sell
Informational / transformational
Type of advertising format
Rational appeal / emotional appeal
Type of advertising appeal
Not about which is right or always the best…
About which is most appropriate in a particular context
Advertising appeals
Product feature
Quality
Popularity
Price or value
News
Social acceptance (Yeshin, 2006)
Competitive advantage
Fear or anger
Sensory
Novelty
Celebrities
Ego
Advertising formats
Product as hero
Problem-solution
Testimonial
Product demonstration
Slice of life
Spokesperson
Mini drama
Brand heritage and history
Spectacular musical
Continuing character
Pastiche
Non-verbal
Celebrity endorsement
Opportunistic
Company endorsement
People like me
Animation
Infomercial
Teaser
Fantasy
Shock advertising
(Yeshin, 2006)
Benefits of frameworks…
Help us predict likely outcome
Help us come to an informed conclusion about whether a specific
advertisement is appropriate and effective in its context
Identify important aspects to be considered when analysing and
evaluating advertising
Are a useful planning and training tool
Stops us relying on our subjective reaction as consumers
Some often used models…
Elaboration Likelihood Model
Strong and Weak Theories
Ehrenberg model
FCB matrix
Rossiter-Percy planning grid
Shimp’s CAN model
ELM model…
the Elaboration Likelihood Model argues that
consumers have different motivations in attending to ads
the ELM assumes that once a consumer receives a message, the
way he or she processes it depends upon the personal relevance
of the information
that is, when the consumer finds the information to be relevant or
interesting, they will attend carefully to the message
ELM model…
central route… in order for a message to be relevant (eliciting a
cognitive response, to think about the information), the quality of the
argument will be important in the ad (more high risk purchases perhaps..?)
peripheral route… in contrast, when the person is not motivated to
think deeply about the argument, other cues should be presented in the ad such
as the colours, images and the sources attractiveness (FMCG goods)
ELM model…
if the Central Route argument is strong, relevant and there is the
ability in the receiver to process the message then favourable
attitudes will be formed…
…conversely if the argument is weak, irrelevant and there is an
inability to process then either negative attitudes will be formed or
the initial attitude is retained
Petty and Cacioppo, 1986
ELM in action…
• PeripheralPeripheral, central? Accept, reject?
strong and weak theories…
strong view… ads can increase sales through use of persuasive,
manipulative techniques, deployed against passive customers who do not
process information, such as the sequential models
weak view… Ehrenberg’s ATR‘N’ framework (awareness-trial-reinforcement-nudge)
promotional messages do not make us buy products
but rather consumers are driven by habit
hence, it is only after trial that our attitudes are changed
Ehrenberg model
Awareness
Trial
Reinforcement
Nudging
Reinforcement to encourage regular purchase (habit)
Maintain interest and provide reassurance
Curiosity may inspire trial purchase or finding out more
Consumer has to become aware of and interested in the brand
Achieved through advertising + other marketing activities
Thinking Feeling
Level of
Involvement
High Low
Informative (Thinker)Car – House - Furniture
Affective (Feeler)Jewelry – Cosmetics - Fashion
Model:Possible ImplicationsTest:Media:
Creative:
Learn – Feel – Do
Recall, DiagnosticsLong Copy, ReflectiveSpecific Information, Demonstration
Model:Possible ImplicationsTest:
Media:
Creative:
Feel – Learn – Do
Attitude Change, Emotional ArousalLarge Space, Image SpecialsExecutional, Impact
Habit Formation (Doer)Food – Household Items
Self Satisfaction (Reacter)Cigarettes – Alcohol - Sweets
Model:Possible ImplicationsTest:Media:
Creative:
Do – Learn – Feel
SalesSmall Space Ads, 10 second IDs, Radio, POSReminder
Model:Possible ImplicationsTest:Media:
Creative:
Do – Feel – Learn
SalesBillboards, Newspapers, POSAttention
Adapted from FCB (Foote, Cone and Belding) Grid, Vaughn, 1980
Rossiter-Percy Planning Grid
Motivation
Informational Transformational
Involvement
Low
High
Brand Attitude Strategy Quadrants from the Rossiter-Percy Grid, 2006
Fast Food
Holiday
Banking
Credit Card
Transformational Motives…Sensory GratificationIntellectual StimulationSocial approval
Informational Motives…Problem RemovalProblem AvoidanceIncomplete Satisfaction
Shimp’s CAN model
Connected
Appropriate
Novel
- unique, fresh, unexpected
- but not too weird that it fails to resonate
- pertinent to the brand
- fits the brand’s positioning
- empathy with the target market
- creates a bond with the consumer
(Shimp 2007)
Which to use?
Different models can work better for some types of brands and
some types of advertising than others
Which is most helpful in evaluating a particular advertisement?
No one model is perfect and there are many others…
Using a model stops us judging based on personal preferences
and prejudices (subjective) and pushes us towards analytical
evaluation based on theory (objective)
Use more than one model so can compare and contrast and
produce a more complex analysis
which is correct...
so in contrast to the strong view, the weak view sees consumers as selective and only perceive ads which promote products they have use of or some prior knowledge of
it follows that if the person holds strong views, ads cannot convert
them and when combined with peoples ability to switch off, there may
be no effect at all
Advertising then is often seen as a defensive approach to retain customers, to reinforce existing attitudes and not change them
Brief the creative team (in conjunction with agency
account management and account planning)
Agency will believe in the idea… their job is to persuade the client
to agree with them… and this doesn’t always happen!
Advertising manager’s job
Will have already been approved by Creative Director of agency
and Account Management/Planning
Evaluate the ideas they come up with and approve the
ad or campaign for production and media scheduling
The creative process
Creative brief
Evaluation
Evaluation
Pre-production testing
Post-production testing
Advertising strategy
‘The Big Idea’: creative concept, creative platform, advertising idea
Detailed copy and layout, scamp or storyboard
Client approval
Appearance and then measuring effectiveness
Production
Who - and what they do
If advertising agency used…
creative department
If done in-house…
write copy in-house and use freelance graphic artist
get the media to do it
freelance copywriter and freelance art director/designer
in-house creative department
copywriter and art director team
working under creative director
What the creatives do…
Art director and copywriter team…
Develop the concept into detailed copy and layout or script
Present draft work to client for approval (but not always)
Come up with ‘the big idea’ (creative concept)
Brief those providing production estimates
Make client amendments
Commission and direct production
and the client responds…
and the client responds…
Essentials of copywriting
Headlines should…
Copywriters should…
Use active language
Complement the image
Be part of the story
Push the reader into the body copy
Add meaning to the image
Avoid clichés (and be careful with puns)
Use everyday language that fits the audience and the brandTalk about the consumer not the brand
Keep it as short as possible
Avoid jargon, flowery language, long words
(Burtenshaw, Mahon and Burfoot 2006)
Essentials of art direction
Decisions…
What goes where? (We read from top to bottom and left to right)
What usually works…
Photography or illustration? Proportions
Simple, clean layout
Digital manipulation?
Which typeface?
Strong, dominant image
Use of white space
Apt and carefully crafted typography
Logo in bottom right corner
(Burtenshaw, Mahon and Burfoot 2006)
The future?
Less use of network television
More use of ambient media
Rejection of the hard sell
User generated content
Rapid changes in what’s fashionable
Advertising as entertainment
Global campaigns to culturally diverse audiences
More use of targeted direct communications
Combination of ‘old’ and ‘new’ media
References and reading
Burtenshaw, K., Mahon, N. and Barfoot, C. (2006). The Fundamentals of Creative Advertising. Switzerland: AVA Publishing.
Percy, L. and Elliott, R. (2009) Strategic Advertising Management. Oxford, Oxford University Press.
Shimp, T. (2007) Integrated Marketing Communications in Advertising and Promotion. USA: Cengage.
Yeshin, T. (2006). Advertising. London, Thomson
Recommended