msp creative lecture
TRANSCRIPT
8/9/2019 Msp Creative Lecture
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Media Strategy
and Planning
Creative Strategy
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The creative process
Strategy
Creative Brief
Advertising idea
Copy and layout
Evaluation
Approval
Production
Appearance
Tracking and measuring effectiveness
(adapted from Percy & Elliott 2009)
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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
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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
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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)
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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)
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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)
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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)
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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)
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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
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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)
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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
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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
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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.)
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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
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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
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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)
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Ways of categorising
Hard sell / soft sell
Rational appeal / emotional appeal
Informational / transformational
Advertising appeals
Advertising formats
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Advertising appeals
Product feature
Competitive advantage
Price or value
Quality
News
Popularity
Ego
Social acceptance
Fear or anger
Celebrities
Sensory
Novelty
(Yeshin 2006)
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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)
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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)
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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)
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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)
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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)
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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.