Msp Creative Lecture

8/9/2019 Msp Creative Lecture

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Media Strategy

and Planning

Creative Strategy



The creative process

Strategy

Creative Brief

Advertising idea

Copy and layout

Evaluation

Approval

Production

Appearance

Tracking and measuring effectiveness

(adapted from Percy & Elliott 2009)



Who comes up with the idea

If advertising agency used:

- Creative department

- Copywriter and art director team

- Working under creative director

If done in-house:

- In-house creative department

- Freelance writer and art director/designer

- Write copy in-house and use freelance graphic designer

- Get the media to do it



What the creatives do

Come up with the concept

Develop the concept into copy and layout or storyboard

Obtain production quotations

Present to client for approval

Make any amendments

Direct production



What is creativity?

No universal definition but

Broad agreement that it involves:

- having an idea that is new, novel, original

- but that is also useful and has value

In advertising, a creative idea also is ideally:

- transferable (across media)

- extendable (into a campaign)

(adapted from Percy & Elliott 2009)



Creative concept

The underlying creative concept that drives the advertising

The creative platform

The big idea

Copywriter and art director working together

Creative Platform: Particular device chosen to convey the message

Execution: Nature of the appeal used to communicate the message to

the target audience (Yeshin 2006)



The concept has to:

Break through clutter

Arouse interest

Be relevant

Differentiate the brand from competitors

Promote the brand and not the category

Be meaningful to the target audience

Answer the brief

Appeal to both the consumer and the client

(adapted from Yeshin 2006)



Saatchi & Saatchi

Fundamentals of creativity:

Communicate a selling message (persuasion)

Make that message compelling (intrusion/interest)

Dependent on quality of brief (clear thinking/planning)

(cited in Yeshin 2006)



Winston Fletcher

People notice advertising when:

The product is inherently different

The advertising is sufficiently unusual

The advertising has personal relevance

People keep seeing it

(cited in Yeshin 2006)



Is all advertising creative?

Some ads considered more creative than others

Creative label more usually applied to transformational ads

But the majority of advertising is informational



Shimps CAN model

Connected:

- empathy with the target audience

- creates a bond with the consumer

Appropriate:

- pertinent to the brand

- fits the brands positioning

Novel:

- unique, fresh, unexpected

- but not too weird that it fails to resonate

(Shimp 2007)



Shimps STICKY theory

Advertising has to STICK to the target audience:

- be remembered

- have impact

- change behaviour and/or attitudes

Does this by combining a number of attributes



STICKY advertising has:

Simplicity: captures key element; simple and profound

Unexpectedness: generates interest and curiosity; cuts through

clutter; stands out

Concrete: concrete image as opposed to abstract; tangible idea or

demonstration (show dont tell)

Credibility: reason to believe

Emotion: taps into peoples feelings; creates an emotional reaction;

makes people care

Storytelling: has a plot, characters, setting; theres a narrative



Skills of creativity

The creative platform (concept, big idea) comes from:

Either the copywriter or art director but most usually from both working

together

An imaginative leap

An intuitive understanding of the target market

A detailed understanding of the product

A thorough grasp of the brief

(Advertising Association n.d.)



Skills of copywriting

Write in an articulate manner

Write concisely and clearly

Write persuasively

Write in a wide variety of styles

Write technical information in everyday language

Revise, redraft, edit and polish

These skills come from wide reading and an ear for language



Skills of art direction

Two sets of skills:

Visualisation: create the rough layout/design in order to sell the idea to the client

and give an impression of the finished ad

Execution: production of finished ad by working with graphic artists,photographers, film directors and crew, etc.

Needs an understanding of:

art and design

typography

photography

cinematography



Styles of advertising

USP: makes a claim of difference and superiority

Brand Image: psychosocial differentiation

Resonance: reflects the targets experience

Emotional: triggers an emotional response

Generic: market leader makes a category claim

Pre-emptive: presents a generic claim as a USP

(Shimp 2007)



Ways of categorising

Hard sell / soft sell

Rational appeal / emotional appeal

Informational / transformational

Advertising appeals

Advertising formats



Advertising appeals

Product feature

Competitive advantage

Price or value

Quality

News

Popularity

Ego

Social acceptance

Fear or anger

Celebrities

Sensory

Novelty

(Yeshin 2006)



Advertising formats

Product as hero

Product demonstration

Problem-solution

Slice of life Testimonial

Spokesperson

Celebrity endorsement

Company endorsement

Opportunistic

People like me

Mini drama

Continuing character

Brand heritage and history

Pastiche

Spectacular musical Non-verbal

Teaser

Animation

Fantasy

Infomercial

Shock advertising

(Yeshin 2006)



Humour and musicHumour:

Effective but with risks

Can be culturally, gender and age specific

Wearout factor can be high

Makes ads likeable and memorable

Music:

Creates and enhances mood and atmosphere

Implies an image and lifestyle

Sung lyrics more memorable than spoken script Identifies brand

(Yeshin 2006)



Essentials of copywritingHeadlines should:

Complement the image

Add meaning to the image

Be part of the story

Push the reader into the body copy

Copywriters should:

Avoid cliches (and be careful with puns)

Use active language

Keep it as sh

ort as possible Talk about the consumer not the brand

Use everyday language that fits the audience and the brand

Avoid jargon, flowery language, long words

(Burtenshaw, Mahon and Barfoot 2006)



Essentials of art directionDecisions:

Photography or illustration?

Digital manipulation?

Which typeface?

What goes where (we read left to right and top to bottom)

Proportions

What usually works:

Simple, clean layout

Strong, dominant image Apt and carefully crafted typography

Use of white space

Logo in bottom right corner

(adapted from Burtenshaw, Mahon and Barfoot 2006)



The future?

Less use of network television

More use of targeted direct communications

Combination of old and new media

More use of ambient media

Global campaigns to culturally diverse audiences

Rejection of the hard sell

Advertising as entertainment

User generated content

Product Placement

Rapid changes in whats fashionable

(adapted from Burtenshaw, Mahon and Barfoot 2006)



References

Advertising Association (undated). Getting into advertising. Brochure

published by the Advertising Association.

Burtensh

aw, K., Mah

onN

. and Barfoot, C. (2006).Th

e 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 Learning.

Documents

Msp Creative Lecture