1. 7 Creative Tactics Decisions

2. © 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.

3. © 2005 McGraw-Hill Ryerson Limited Creative Tactics Creative Execution Style The way in which an advertising appeal is presented

4. © 2005 McGraw-Hill Ryerson Limited Ad Execution Techinques Personality Symbol Straight-sell Scientific Demonstration Comparison Dramatization Humour Slice of life Testimonial Animation Fantasy Dramatization Comparison Animation Demonstration Testimonial Scientific Slice of life Straight-sell

5. © 2005 McGraw-Hill Ryerson Limited Apple Uses a Testimonial

6. © 2005 McGraw-Hill Ryerson Limited Crest Whitestrips Uses a Demonstration

7. © 2005 McGraw-Hill Ryerson Limited Chevy Trucks Uses a Slice-of-Life Execution

8. © 2005 McGraw-Hill Ryerson Limited AFLAC Duck, a Personality Symbol

9. © 2005 McGraw-Hill Ryerson Limited Creative Tactics Creative Execution Style Message Structure –The way marketing communications are presented is very important in determining their effectiveness.

10. © 2005 McGraw-Hill Ryerson Limited Message Structure Order of Presentation Figure 7-1

11. © 2005 McGraw-Hill Ryerson Limited Conclusion Drawing Marketing communicators must decide whether messages should explicitly draw a firm conclusion or allow receivers to draw their own conclusions.

12. © 2005 McGraw-Hill Ryerson Limited 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.

13. © 2005 McGraw-Hill Ryerson Limited 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.

14. © 2005 McGraw-Hill Ryerson Limited 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 Body Copy: The Main Text Portion of a Print Ad Subheads: Smaller Than the Headline, Larger Than the Copy Subheads: Smaller Than the Headline, Larger Than the Copy Headline: Words in the Leading Position of the Ad Headline: Words in the Leading Position of the Ad Visual Elements: Illustrations Such As Drawings or Photos Body Copy: The Main Text Portion of a Print Ad Body Copy: The Main Text Portion of a Print Ad Subheads: Smaller Than the Headline, Larger Than the Copy Subheads: Smaller Than the Headline, Larger Than the Copy Headline: Words in the Leading Position of the Ad Headline: Words in the Leading Position of the Ad

15. © 2005 McGraw-Hill Ryerson Limited Altoids Uses a Headline Effectively

16. © 2005 McGraw-Hill Ryerson Limited Headlines Can Capture Attention

17. © 2005 McGraw-Hill Ryerson Limited Types of Headlines Direct headlines Indirect headlines Subheads

18. © 2005 McGraw-Hill Ryerson Limited Print Ad Layout Format Arrangement of the Elements on the Printed Page Size Expressed in Columns, Column Inches or Portions of a Page Colour Black & White or Two-, Three-, or Four- Colour Printing White Space White Space Marginal and Intermediate Space That Remains Unprinted Format Arrangement of the Elements on the Printed Page Colour Black & White or Two-, Three-, or Four- Colour Printing Size Expressed in Columns, Column Inches or Portions of a Page

19. © 2005 McGraw-Hill Ryerson Limited 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.

20. © 2005 McGraw-Hill Ryerson Limited 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 gumDouble 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 CompanyJingle

21. © 2005 McGraw-Hill Ryerson Limited Nortel Uses Music Creatively

22. © 2005 McGraw-Hill Ryerson Limited Production Stages for TV Commercials Production Period of filming, taping, or recording Postproduction Work after spot is filmed or recorded Preproduction All work before actual shooting, recording Production Period of filming, taping, or recording Preproduction All work before actual shooting, recording

23. © 2005 McGraw-Hill Ryerson Limited Preproduction Tasks Select a Director Cost Estimation and Timing Choose Production Company Bidding Preproduction Meeting Production Timetable Cost Estimation and Timing Bidding Choose Production Company Select a Director Preproduction

24. © 2005 McGraw-Hill Ryerson Limited Production Tasks Location Versus Set Shoots Night/weekend Shoots Talent Arrangements Talent Arrangements Night/weekend Shoots Location Versus Set Shoots Production

25. © 2005 McGraw-Hill Ryerson Limited Postproduction Tasks Editing Processing Sound Effects Audio/Video Mixing Opticals Client/agency Approval Duplicating Release/ Shipping Duplicating Client/agency Approval Opticals Audio/Video Mixing Sound Effects Processing Editing Postproduction

26. © 2005 McGraw-Hill Ryerson Limited Frameworks for Creative Tactics FCB Planning Model R&P Model

27. © 2005 McGraw-Hill Ryerson Limited Foote, Cone & Belding Grid 1 Informative The Thinker 3 Habit Formation The Doer ThinkingFeeling Low Involvement 2 Affective The Feeler 4 Self- Satisfaction The Reactor High Involvement

28. © 2005 McGraw-Hill Ryerson Limited Foote, Cone & Belding Grid 1 Informative The Thinker Car-house-furnishings-new products Model: Learn-feel-do (economic?) Possible implications Test:Recall diagnostics Media:Long copy format Reflective vehicles Creative:Specific information Demonstration Thinking High Involvement

29. © 2005 McGraw-Hill Ryerson Limited Foote, Cone & Belding Grid 2 Affective The Feeler Jewelry-cosmetics-fashion goods Model: Feel-learn-do (psychological?) Possible implications Test:Attitude change Emotional arousal Media:Large space Image specials Creative:Executional Impact Feeling High Involvement

30. © 2005 McGraw-Hill Ryerson Limited Foote, Cone & Belding Grid 3 Habit formation The Doer Food-household items Model: Do-learn-feel (responsive?) Possible implications Test:Sales Media:Small space ads 10-second ID’s Radio; Point of Sale Creative:Reminder Thinking Low Involvement

31. © 2005 McGraw-Hill Ryerson Limited Foote, Cone & Belding Grid 4 Self-satisfaction The Reactor Cigarettes, liquor, candy Model: Do-feel-learn (social?) Possible implications Test:Sales Media:Billboards Newspapers Point of Sale Creative:Attention Feeling Low Involvement

32. © 2005 McGraw-Hill Ryerson Limited The R&P Planning Model Brand Awareness Tactics Brand Attitude Grid Tactics

33. © 2005 McGraw-Hill Ryerson Limited 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.

34. © 2005 McGraw-Hill Ryerson Limited Brand Awareness Tactics 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.

35. © 2005 McGraw-Hill Ryerson Limited Brand Awareness Tactics 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.

36. © 2005 McGraw-Hill Ryerson Limited Brand Attitude Grid Tactics Informational Motivation Transformational Motivation Low-involvement decision Informational motivation Low-involvement decision Transformational motivation High-involvement decision Informational motivation High-involvement decision Transformational motivation

37. © 2005 McGraw-Hill Ryerson Limited Evaluation Guidelines For Creative Output Consistent With Brand’s Marketing Objectives? Consistent With Brand’s Advertising Objectives? Consistent With Creative Strategy, Objectives? Does It Communicate What It’s Suppose to? Approach Appropriate to Target Audience? Communicate Clear, Convincing Message? Does Execution Overwhelm the Message? Appropriate to the Media Environment? Consistent With Brand’s Marketing Objectives? Consistent With Brand’s Advertising Objectives? Consistent With Creative Strategy, Objectives? Does It Communicate What It’s Suppose to? Approach Appropriate to Target Audience? Communicate Clear, Convincing Message? Does Execution Overwhelm the Message? Appropriate to the Media Environment? Is the Advertisement Truthful and Tasteful?