The Communications Process Receiver Sender Message Media Noise Feedback A simplified version of the communications process. The goal of communications is to encourage a desired action from the respondent. IN the communications process, noise occurs. Noise can be interpreted as competitive messages or simply the barrage of messages an individual receives on a daily basis. The goal of advertising is to break through the clutter of competitive advertising and have an impact on the receiver. The uniqueness of the message goes a long way in achieving this goal. This is the challenge that copywriters, art directors, and creative directors face when they undertake an advertising assignment. Action by Receiver Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Taking in Messages Certain behaviour must happen before a consumer will buy. An individual passes through four stages: 1. Awareness 2. Comprehension 3. Conviction 4. Action This is the DAGMAR model (Designing Advertising Goals, Measuring Advertising Results). The model shows how advertising affects consumer behaviour, specifically, the stages an individual passes through before making a purchase decision. Awareness - customer learns of something for the first time. Comprehension - interest has been created; message is perceived as relevant; product added to shortlist (potential purchase). Conviction - product viewed as satisfactory (benefits meet needs); customer may be sufficiently motivated to purchase. Action - desired active response occurs. Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Development Process Creative Brief Creative Objectives Creative Strategy Creative development is a 5-step process: Creative Brief - the presentation of appropriate background information (e.g., information from the marketing plan that will influence the direction of creative Creative Objectives - what to say Creative Strategies - how to say it Creative Evaluation - managerial evaluation by client of concepts presented by agency; some research may be conducted with target market to get immediate feedback Creative Execution - final production once approval is granted by client Client Evaluation Creative Execution Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Brief Document A discussion document prepared by the client. It contains relevant information that the agency creative team can use to develop the creative strategy. Typical content of a creative brief: Market Profile Size Growth Advertising History Media Usage Product Profile USP Positioning Statement Current and Past Creative Competitive Advertising Profile Target Market Profile Demographic Psychographic Geographic Buying Motives Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Brief Market Information Target Market Description Budget Brand Competitor Target Market Description Budget Problem Identification Content of a Creative Brief The nature and content of creative briefs vary from one client to another. Problem - the problem that advertising will resolve or the opportunity it will pursue. Market Background - relevant information on the market, product, competition and customer are crucial Target Market Description - clear definition of demographic, psychographic and geographic characteristics Positioning statement - a clearly worded positioning statement sets the framework for the creative development process Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Brief Communications Objectives Awareness Preference Trial Other Advertising Objectives Awareness Comprehension Conviction Action These are behavioural objectives that advertising attempts to achieve. Creative Objectives These deal with the actual content of the message with guidelines provided: Key Benefits (ranked in order of importance, this is the promise advertising makes) Support Claims (proof of promise) Mandatories - these are things that must appear in the ad (e.g., certain number of brand name mentions, logo, etc.) Creative Strategy - some initial input by client is okay but this is what you are paying the agency for. Positioning Strategy Statement Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Brief Creative Objectives Creative Strategy Key Benefit Statement Support Claims Statements Creative Strategy Tone and Style Appeal Techniques Theme Considerations Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Common Communications Objectives To increase awareness and preference To increase frequency or variety of use To attract new targets To communicate improvements To introduce line extensions To communicate promotion incentives To alter a perception or image This is a list of some typical objectives of advertising. They could be interpreted as the problems that advertising will resolve or the opportunities that advertising will pursue. They provide direction for the actual content of the message to be delivered. Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Strategy How will the message be communicated? Several appeal techniques are common. Positive Negative Factual Comparative Positive - presenting benefits in a positive, enjoyable manner (e.g., McDonald’s showing Wayne Gretzky interacting with young kids in a dressing room) Negative - benefits are presented based on an experience someone can avoid (e.g. ads that discourage drinking and driving) Factual - a straightforward presentation of the facts (e.g., Advil works faster and lasts longer than any other pain reliever) Comparative - head-to-head product comparison for an important attribute(e.g., Pepsi tastes better than Coke) Humorous - benefits presented in a light-hearted manner (e.g., VISA ad where monkey returns wallet to owner minus the VISA card--”It’s all you need.”) Emotional - arouse feelings by showing psychological satisfaction (e.g., DeBeers “Diamonds are Forever”) Sexual - sex sells, but explicit sexuality is risky (e.g., playful sex in Crispy Crunch ads compared to blatant sex in some Calvin Klein ads) Lifestyle - association of brand with a consumer lifestyle (e.g., Molson Canadian “I AM” Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Strategy More appeal techniques: Humorous Emotional Sexual Lifestyle Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Execution What is the most convincing way to present the message? Testimonials Endorsements Demonstrations Testimonial - typical user as presenter Endorsement - celebrities present the message Demonstration - product show in action Product as Hero - a negative situation is quickly resolved dramatically Product Comparisons - competitor product included in ad Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Execution Other convincing tactics include: Exaggerated Demonstrations Product as Hero Product Comparisons Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Execution Are there production considerations? Length of Commercial Size of Ad Use of Colour Tactical Considerations Specific ideas for presenting the product. What is the most convincing way to do it (e.g., demonstration, celebrity endorsement, etc.). Production Considerations May include: Commercial length Number of commercials needed Size specifications for print Colour versus black & white Money plays a key role in determining what to do production-wise. Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Influences on Creative Objectives and Strategies Product Characteristics Image and Reputation Competitor Strategy Target Market Profile Budget Primary Goal of Campaign Positioning Statement Creative Objectives Creative Strategy Creative Execution Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Evaluation I like it! I don’t like it! In the managerial approach to creative evaluation, clients consider the following criteria: Is it on strategy? Does it mislead or misrepresent? Is it memorable? Is there effective brand recognition? Is there a need for research? This chart reflects the way in which a client organization internally evaluates a creative submission. Typically they look for certain things. Most important are how the ad stacks up in comparison to the positioning strategy and how well the brand appears in the ad. Sometimes creatives go overboard and allow the creative to dominate an ad at the expense of brand identification. The immediate impression a manager gets when looking at an ad is also important. If the agency has to do a lot of selling, the concept will probably never see the light of day. I like it! I don’t like it! Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Creative Research Recognition Tests Recall Tests Tests for awareness of brand advertising Tests for comprehension and impact Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Some Research Methods Starch Readership Test Noted Associated Read Most Day After Recall Exposure to and recall of commercials Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.

Other Research Methods Opinion Measure Testing Physiological Testing Inquiry Tests (Split Runs) Controlled Experiments (Test Markets) Canadian Advertising in Action, 6th ed. Keith J. Tuckwell © 2003 Pearson Education Canada Inc.