7 Creative Tactics Decisions. © 2005 McGraw-Hill Ryerson Limited Chapter Objectives To identify three key decisions for creative tactics: execution style,

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.


Creative Tactics

Creative Execution Style• The way in which an advertising appeal

is presented


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


Apple Uses a Testimonial


Crest Whitestrips Uses a Demonstration


Chevy Trucks Uses a Slice-of-Life Execution


AFLAC Duck, a Personality Symbol


Creative Tactics

• Creative Execution Style• Message Structure

– The way marketing communications are presented is very important in determining their effectiveness.


Message Structure

Order of PresentationFigure 7-1


Conclusion Drawing

• Marketing communicators must decide whether messages should explicitly draw a firm conclusion or allow receivers to draw their own conclusions.


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.


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.


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


Body Copy:The Main Text Portion of a Print Ad


Subheads:Smaller Than the Headline, Larger Than the Copy


Headline:Words in the Leading Position of the Ad











Altoids Uses a Headline Effectively


Headlines Can Capture Attention


Types of Headlines

• Direct headlines • Indirect headlines• Subheads


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


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.


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


Nortel Uses Music Creatively


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


Preproduction Tasks

Select a DirectorSelect a Director

Cost Estimation and Timing


Choose Production Company


BiddingBidding

Preproduction Meeting

Preproduction Meeting

Production Timetable

Production TimetableProduction Timetable

Production Timetable



BiddingBidding



Select a DirectorSelect a Director

PreproductionPreproduction


Production Tasks

Location Versus Set Shoots


Night/weekend Shoots


TalentArrangements

TalentArrangements





ProductionProduction


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


Frameworks for Creative Tactics

• FCB Planning Model• R&P Model


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



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



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



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



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


The R&P Planning Model

• Brand Awareness Tactics• Brand Attitude Grid Tactics


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.



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.



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.


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


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?

Documents

7 Creative Tactics Decisions. © 2005 McGraw-Hill Ryerson Limited Chapter Objectives To identify three key decisions for creative tactics: execution style,