ADV318J Ch. 10-13
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41 terms
Terms | Definitions |
|---|---|
 10 objectives: What the advertiser hopes to achieve | 1 promote brand recall 2 link a key attribute to the brand name 3 persuade the consumer 4 instill brand preference 5 scare the consumer into action 6 change behavior by inducing anxiety 7 transform consumption experiences 8 situate the brand socially 9 define the brand image 10 resolve social disruption and cultural contradictions |
| Objective 1 - Promote brand recall | To get consumers to recall its brand names first; that is, before any competitors brand names Method: 1. Repetition- by either buying a lot of ads or repeating the brand name many times within the ad Ex. kibbles and bits, Meow meow meow meow, geiko gecko, AT&T center 2. Slogans and Jingles- hard to get out of your head 3. Point of Purchase branding- provide a memory trigger of the ad or brand name Ex. you're in good hands, like a good neighbor statefarm is there, it keeps on going and going and going simplest type of adv recall increases the brands chance to be top of mind if a brand comes to mind first then people assume that it is the leading/most popular brand Strategic Implications: + extremely resistant to forgetting + efficient for consumer - long term commitment/expense - competitive interference - creative resistance |
| Objective 2 - Link a Key attribute to the brand name | to get consumers to associate a key attribute with a brand name and vice versa Method: 1. unique selling proposition (USP)- emphasize only one brand attribute (or two if complimentary) works best when consumers dont think too much about the claim just associate the name and the claim Strategic Implications: +big carryover +very resistant -long term commitment and expense -some creative resistance |
| Objective 3 - Persuade the consumer | to convince consumers to buy a product or service through high-engagement arguments poses one or more logical arguments to an engaged consumer Method: 1. reason why ads- list exact reasons that consumers should buy their product or somehow use psychology to lead them to make the decision on their own (more effective) +permission to buy, socially acceptable defense - high level of involvement, potential for counterarguments, legal/regulatory chalenges/exposure, some creative resistance 2. hard sell ads- sub category of reason why ads. reason why with urgency. Ex. act now, limited time offer, last chance to save, one time only + permission to buy now, socially acceptable defense - very bad rep, low credibility, legal/regulatory challenges/exposure, some creative resistance 3. comparison ads- compares brands features to those of competing products. can use direct brand names or just say leading brand or brand x. + can help a low share brand, provides social justification for purchase of the other brand, gives permission to buy - significant legal/regulatory exposure, not done much outside of U.S., not for established market leaders, sometimes evaluated as offensive and uninteresting Ex. mac vs. pc ads 4. testimonials- often have a spokesperson who champions the brand in an advertisement rather than simply providing information. celebrity testimonials, expert spokespeople, average user testimonial + very popular people can generate popularity for the brand, people perceived to be very similar to the consumer, or an expert can be powerful advocates for the brand - consumers often forget who likes what, can generate more popularity for the star than for the brand 5. demonstration- seeing is believing. when done well the results are striking +inherent credibility of seeing is believing, can be used as social justification, provides clear permission to buy - fairly heavy regulatory/legal exposure 6. infomercials- from 5-60 minutes, usually has a host and guest testimonials + long format gives advertisers plenty of time to make their case, as network ratings fall, dayparts that were previously unaffordable open up, has advantage of looking like an entertainment show - the genre of ads has a somewhat negative public image |
| Objective 4 - instill brand preference | to get consumers to prefer its brand above all others Method: 1. feel good ads- supposed to link good feeling elicited by the brand or by leveraging the propensity for humans to distort information in the favor of liked brands without even knowing they are doing so + eager creatives, may perform better in cluttered media environment - may generate competing thoughts and connections 2. humor ads- good entertainment but not always good business. sometimes people remember the funny punchline but not what brand the ad was for. Ex. Bud light ad- asks for a light and is given all kinds of different lights and then he specifies that he wants a bud light + if the joke is integral to the copy platform then humor can be very effective, very eager creatives - humorous messages may adversely affect comprehension, very funny messages can wear out very quickly (like so simple a caveman can do it ad) 3. sexual appeal ads- attention getting and arousing which may affect how consumers feel about the product. have to worry about going over the line but they rarely dissuade anyone from buying the product even if they are heavily sexually charged +higher attention levels, higher arousal and affective (feeling) -possible poor memorability of brand due to interference at the time of exposure, product theme continuity excludes many goods and services, legal political and regulatory exposure |
| Objective 5 - scare the consumer into action | to get consumers to buy a product or service by instilling fear. considered hard to use effectively and is fairly limited in its application Method: 1. fear appeal ads- highlights the risk of harm or other negative consequences if the product is not used or a recommended action is not taken. moderate levels of fear work better than low levels until ou reach a certain point +moderate levels of fear appear to work the best, you must have a plausible threat to motivate consumers, you must have a completely clear and easy to discern link between the alleviaton of the threat and the use of the advertised brand - too little or too much fear may cause problems, legal regulatory and ethical problems, some fear ads are simply ridiculous and have low impact |
| Objective 6 - Change behavior by inducing anxiety | to get consumers to make a purchase decision by playing to their anxieties; often, the anxieties are social in nature. not outright fear but uncomfortable and can last longer. advertisers [ursue a change-behavior-by-inducing-anxiety objective by playing on consumer anxieties. one of the most effective types of advertising around Method: 1. anxiety ads- message conveyed is that there is a clear and present problem and the way to avoid this problem is to buy the advertised brand 2. social anxiety ads- danger is negative social judgement and not physical threat Ex. You never get a chance to make a second impression (dandruff shampoo) + can generate perception of widespread threat and motivate action, brand can become the solution to the ever present problem and this results in long term commitment to the brand, efficient -too much anxiety may overwhelm the consumer, if the anxiety-producing threat is not linked tightly enough to your brand tyou may increase category demand and provide business to competitors especially the market leader, ethical issues, these ads have historically been disproportionally targeted at women |
| Objective 7 - transform consumption experiences | to create a feeling, image or mood about a brand that is activated when the consumer uses the product or service. allow for an enormously effective form of communication in a crowded media environment (like mcdonalds golden arches). once established they create clear differentiation of one brand from another. not very dependent on one language and are perfect for the transnational company Method: 1. Image ads- heavy reliance on visuals with a sparse use of words. ads are often figurative and not literal. + generally less counterarguments generated by consumers, relatively little or no legal/regulatory exposure, iconic potential, creatives tend to love them - very common in some categories, can be quickly rejected if advertised image rings untrue or poorly matches what the consumer currently thinks about the brand, dont tend to copy test well, managerial resistance, poor understanding by brand management of the desired image |
| Objective 8 - situate the brand socially | to give the brand meaning by placing it in a desirable social context. the social setting and brand rub off on each other. good social meaning advertising can let the advertiser shape that meaning. Method: 1. slice of life ads- depict an ideal usage situation for the brand +generally fewer counterarguments, legal/regulatory advantages, iconic potential, creation of brand social realities, creatives tend to love these ads - fairly common, they dont tend to copy test well 2. Branded entertainment: product placement/short internet films- began with bringing together hollywood and the advertising industry (Madison and Vine). many advertisers are now involved in producing movies, tv shows, tv spots that are really brand promotion. Ex. an actor on a show picks up a coke can, BMW made 6 dramatic films showing their product, 24 promoted degree deodorant +low counterargument, may reduce defensive measures by consumers, may actually increase consumers estimates about how many other people use the brand, a perceived cost advantage over the expensive TV network -nonstandardized rate structure, hard to prize these, may not be very effective for high involvement categories light fantasy ads |
| Objective 9 - Define the Brand Image | to create an image for a brand by relying predominantly on visuals rather than words and argument. find a point where social fabric is frayed and suggest that your brand gets it and is the unofficially sanctioned brand of the counter culture Ex. marlboro (independence and reassertion of rigid gender/labor roles in the post WWII period). Virginia slims (2nd wave of american feminism). Mountain Dew (disaffected Generation X slackers). Pepsi (60s youth revolution) Method: image ads 1. tie brand to social/cultural movement- sophisticated and typically difficult method. must know in the present what various target markets are conflicted about and how to offer a brand solution... current conflict? populist anger, anger at the very rich, or wall street crowd who are accused of betting against their fellow citizens |
| Objective 10 - resolve social disruption and cultural contradictions | to leverage disruption and cultural contradictions in society to the brands advantage. get consumers to see the brand as a way to resolve these tensions and contradictions. advertiser is trying to help create positive memories of brand usage even before the consumer has used the brand, and weave those memories of actual use together with advertising supplied "memories" in a way that the advertising can effectively shape consumer memories of brand usage. promotional experience is said to have transformed the actual consumption experience. Method: movement 1. tie brand to social/cultural movement- idea that you can actually make the consumption experience better. attempts to create a brand feeling expectation and mood that are activated when the consumer uses the product. Ex. if disney mailed you a video of the perfect trip to disney world before and after you visited then in a year or two those memories would merge in a fashion that benefits disney + can be extremely powerful due to merging of ad and brand experience, fosters long term commitment - can ring absolutely false and hurt the brand, ethical issues most sophisticated type of advertising |
| Creative Team | art director, copywriter, media planner, account planner, etc. |
| media planner | needed because media forms are evolving so quickly. help determine what type of media to use and what kind of ads will work in different media types |
| Account planner | get involved so that the consumer has a voice in the creative planning. usually backed with a lot of consumer research |
| Creative brief | cana be thought of as the unique creative thought behind a campaign, has been described as the ignition for the creative team. copywriters often suggest the idea for the visuals, art directors often come up with the headline or tagline, media planners convey what is possible through the media choices, account planners try to keep the profile of the target consumer in the team's mind. serves as the guide used in the copywriting process to specify the message elements that must be coordinated during the preparation of copy. must tell main brand claims, creative devices, media that will be used, special creative needs, and what we want the message recipients to think once they receive the message |
| brandscapes | the total environment within which the brand is presented and displayed |
| copywriting | the process of expressing the value and benefits a brand has to offer via written or verbal descriptions. it is the never ending search for ideas combined with a never ending search for new and different ways to express those ideas. effective copywriters are well-informed, astute advertising decision makers with creative talent. able to comprehend and then incorporate the complexities of marketing strategies, consumer behavior, and advertising strategies into powerful communication |
| executing copywriting for print advertising | Headline- leading sentence or sentences usually at the top or bottom of the ad that attracts attention, communicates a key selling point, or achieves brand identification. Purposes: get attention, give news about the brand, emphasize a brand claim, give advice to the reader, select the audience, stimulate the reader's curiosity, set a tone or establish an emotion, identify the brand Subhead- consists of a few words or a short sentence and usually appears above or below the headline. offers the opportunity to include more brand info not in the headline. usually in print smaller than the headline but larger than the body copy. usually lengthier than the headline because it can be used to communicate more complex selling points Body copy- textual component that tells a more complete story of the brand. how interesting it is is a reflection of how good the copywriter is. must not be "off creative strategy. several standard techniques for preparing a body copy -straight line copy approach explains in straightforward terms why a reader will benefit from use of the brand. often used with a benefits message strategy -dialogue delivers the selling points of a message through a character or characters. often used in slice of life messages -testimonial uses dialogue as if the spokesperson is having a one sided convo with the reader -narrative displays a series fo statements about a brand. difficult to make lively for the reader -direct response copy is the least complex. the copywriter is trying to highlight the urgency of acting immediately. rely on sales promotion devices like coupons, contests and rebates or gives deadlines Guidelines for writing a body copy: use the present tense whenever possible, use singular nouns and verbs, use active verbs, use familiar words and phrases, very the length of sentences and paragraphs, involve the reader, provide support for the unbelievable, avoid cliches and superlatives |
| executing copywriting for broadcast advertising: RADIO | fleeting messages Writing copy for Radio: creative potential rests in its ability to stimulate a theater of the mind. drawback is that most radio listeners switch the channel during ads, and many use the radio as background noise and dont actually listen. adds the dimension of sound to the basic copywriting effort which can become a primary tool in creating copy. can conjure images in the mind of the receiver that extend beyond the starkness of brand info actually being provided. should strive to stimulate listeners imagination. Radio Advertising Formats: -music- threat that jingles will sound silly, can use a song to capture and hold listener attention, can be used to attract attention and enhance recall, can be used to create a certain mood -dialogue- threat of boredom exists so they try and include humor (like real men Genius) -announcement- prevalent technique for live radio spots given by disc jokeys or news commentators. one advantage is that any affinity the listener has for the DJ or commentator can carry over to the brand through a positive halo effect -celebrity announcer- having a famous person might increase the attention paid to the radio ad. good when celebrities have unique voices or are recognizable to listener. Guidelines for writing Radio copy: capture attention and get to point early, use common familiar language, use short words and sentences, stimulate the imagination, repeat the brand name, stress the main selling point(s), use sound and music with care, tailor the copy to the time place and specific audience |
| Executing copywriting for broadcast advertising: TELEVISION | visuals, special effects and sound techniques may ultimately convey a message far better than the cleverest turn of phrase. represent a difficult timing challenge because the copy must be precisely coordinated with the visuals. copywriter, producer and director work closely together to make sure the copy supports and enhances the video element using a storyboard. Guidelines for writing TV copy: use the video, support the video, coordinate the audio with the video, sell the brand as well as entertain the audience, be flexible, use copy judiciously, reflect the brand personality and image, build campaigns |
| Storyboard | important shot by shot sketch depicting in sequence the visual scenes and copy that will be used in the advertisement |
| Executing copywriting for broadcast advertising: DIGITAL/INTERACTIVE MEDIA | copy in digital/interactive media evolved in a techno speak community, with a twenty something, generation x meets techno nerd kind of voice. audience members often seek out the ads or other online IBP material rather than the other way around mostly via computers and smartphones Common approaches: -long copy landing page- website designed to sell a product directly. brand and benefits described in great detail with visuals included -short copy landing page- brand offer that may be accessed by a consumer though key word search. has length and look of a magazine ad. -long copy email- designed to offer the receiver all sorts of incentives to buy the product and usually offers a link to a short copy landing page -teaser email copy- short message designed to drive readers to a long copy landing page -pop up/under ad copy- headlines without much body copy. usually makes a special offer or drives the receiver to a website -social media copy- rarely has headlines or subheads but rather is more like pure copywriting. tweets about a brand or brand call outs in a blog. |
| Executing copywriting for broadcast advertising: SLOGANS/TAGLINES | slogan or tagline is a short phrase that is in part used to help establish an image, identity, or position for a brand or organization but it is most often used to increase memorability of the key benefit of a brand. slogan is established by repeating the phrase in a firms advertising and other public communication as well as through sales people and event promotion. slogans are often used as headlines or subhead and typically appear directly below the brand or company name. Good slogan/tagline can be integral part of brands image and personality, act as a shorthand identification for the brand and provide info, provides continuity across different media and between advertising campaigns |
| Common mistakes in Copywriting | vagueness, wordiness, triteness, bad taste, laundry lists, creativity for creativitys sake |
| Copy Approval Process | begins with the creative department at the ad agency. copywriter submits draft copy to either a senior writer or creative director or both. redrafted copy is forwarded to the account management team. main concern is legalities at this point. account management team makes recommendations. meeting is held to present copy and proposed visuals to clients product category manager, brand manager, and/or marketing staff. client reps almost always make recommendations (helpful or not). to resolve any differences the creative team may turn to various forms of copy research. the copy is submitted for final approval to the advertisers senior executives but sometimes they leave the job to middle managers. |
| Developmental copy research | can actually help copywriters at the early stages of copy development by providing audience interpretations and reactions to the proposed copy |
| Evaluative copy research | used to judge copy after it has been produced. here the audience expresses its approval or disapproval of the copy used in an ad. |
| reasons for Rise of visual in adv | 1. improved technologies which facilitate better and more affordable illustration and the opportunity to rotate visuals nearly instantaneously in digital media 2. the inherent advantage of pictures to quickly demonstrate the values of a brand 3. the ability to build brand images through visuals 4. legal advantages of pictures over words in that the truth or falsity of a picture is almost impossible to determine 5. widely held belief that pictures, although just as cultural as words, permit a certain type of global portability that words do not 6. pictures allow advertisers to place brands in desired social contexts, thus transferring important social meaning to them |
| Illustration | in the context of print and digital advertising, is the actual drawing, painting, photography, or computer generated art that forms the picture in an ad purposes: attract attention of target audiences, make the brand heroic, communicate brand features/benefits, create a mood feeling or image, stimulate reading of body copy, create desired social context for the brand Components: size, color, medium (drawing, photography, computer graphics, etc.) |
| Design | the structure itself and the plan behind the structure for the aesthetic and stylistic aspects of a print advertisement. represents the effort on the part of the creative team to physically arrange all the components of a printed or digital/interactive advertisement in such a way that order and beauty are achieved Principles: balance, proportion within an ad should be pleasing, components within ad should have an ordered and directional pattern, there should be a unifying force within ad, one element should be emphasized above others |
| Layout | drawing or digital rendering of a proposed print advertisement showing where all the elements in the ad are positioned. art director uses the layout to work through various alternatives for visual presentation and sequentially develop the print ad to its final stages thumbnails- first draft of adv layout rough layout- done in actual size of proposed ad and created with computer program like indesign comprehensive (comp)- polished version of ad but not final version. client looks at it and makes recommendations |
| Typography in Print production | blackletter- gothic, in formal docs roman- most common script- cursive serif- feet on letters sans serif- without feet miscellaneous- designed to draw attention point- type sizes are from 6-120 points in printing, 2-720 points in computer layout programs picas- width of lines, one pica is 12 points |
| Consumer generated content | where people are making their own ads for their favorite brands |
| fact sheet radio ad | most loosely structured production option in radio essentially requires no production at all. merely a listing of important selling points that a radio announcer can use to ad lib a radio spot |
| live script radio ad | loosely structured radio ad. involves having an on air radio personality read the detailed script of an advertisement. normally no sound effects. ensures all selling points are included when delivered. unrehearsed |
| creative guidelines for TV advertising | use an attention getting and relevant opening emphasize the visual coordinate the audio and visual persuade as well as entertain show the brand |
| Production Process in Advertising | Preproduction- part of tv production process in which advertiser and advertising agency carefully work out the precise details of how the creative planning behind an ad can best be brought to life with opportunities offered by tv storyboard/script approval-> budget approval -> assessment of directors, editorial houses, and music suppliers -> review of bids from production and houses and other suppliers -> creation of production time table -> selection of location, sets, and cast Production/shoot- where storyboard and script come to life and are filmed. lighting and blocking are important Post Production- once shooting is completed several postproduction activities are required before the commercial is ready for airing. |
| Directors rough cut | preliminary video assembly before final editing. generally doesnt include special effects or transitions between shots and typically doesnt include audio |
| digital editing | final assembly is done through computerized editing and includes all effects and transitions. |
| audio edit | professional audio production studio does a final cut edit of audio. audio producer will add required sound effects and music |
| master, dubs, and distribution | production company makes a digital copy on the spot and usually a copy to be archived for safe keeping. master is then used to produce enough copies of the spot for every tv station that is included in the media schedule |
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