Chapter 9 Message strategy and execution Chapter One An Introduction to Integrated Marketing Communications Chapter 9 Message strategy and execution © 2003 McGraw-Hill Companies, Inc., McGraw-Hill/Irwin

Learning objectives To examine messages—their types, structure and consistency. To discuss what is meant by creativity and creative thinking in IMC. To examine the creative process—looking at message strategy and execution. To be able to articulate a message strategy and identify different types of message strategy. To explore the best way to execute the big idea—looking at advertising appeals and execution techniques. To consider the contribution of creative tactics to outstanding production. To consider the importance of clients in inspiring and evaluating the creative work of their agencies. Relation to text This slide sets out the chapter’s learning objectives on p. 268 of the text.

Message strategy and execution Kinds of messages Message consistency Message structure Messages and IMC Guidelines for evaluation Barriers to big ideas Client inspiration and Message strategy and execution Creativity and IMC Message strategy The big idea Creative process How to say it Appeals Execution Types of strategies Message strategy statement Strategic triad Creativity Relation to text This slide presents a mind map of the key topics/concepts covered in Chapter 9 a shown on p. 268.

Persuasive communications The ‘right’ message: connects emotionally with the target audience may need to connect in different ways for different audiences contains a key insight or big idea is distinctive, memorable and creative. Relation to text This slide relates to material on p. 271 of the text. Summary overview This is a transition slide—designed to bridge the opening vignette with the substantive content of the chapter. Use of this slide This slide can be used to introduce the concept of message strategy.

Types of messages Relation to text This slide relates to material on p. 272-73 of the text and Figure 9.1. Summary overview Broadly, there are four different types of messages: product, service, planned and unplanned. Product message—what the product tells us (i.e. our experience with the product) Service message—what organisational representatives tell us about the product Planned message—what the organisation or advertising tells us Unplanned message—what everyone else tells us Some types of messages are more controllable than others. While unplanned messages may be relatively uncontrollable, they are becoming increasingly important given the rise of consumer-generated media. Marketers can monitor consumer sentiments via blogs and message boards and take corrective actions if required. Integrated marketing communication attempts to ensure that all messages are consistent. For instance, internal marketing may be required to ensure that service personnel and customer contact staff are aware of the implied promise delivered by advertising messages. Use of this slide It is important to note that advertising and promotion provides only one type of message. The potential for audiences to receive mixed messages is very real. The organisation or its employees cannot deliver on implied promises embedded in advertising.

The consistency triangle Relation to text This slide relates to material on p. 273-4 of the text and Figure 9.2. Summary overview This slide shows the three points at which messages come together to ensure strategic consistency. Say messages—the organisation’s promise Do messages—what the organisation does (in terms of product and service) to deliver on the promise Confirm messages—positive or negative confirmations about what other people say about the product (unplanned messages) Use of this slide It is important to note that advertising and promotion not backed by consistent product delivery is largely wasted.

The campaign theme A central or unifying idea around which a campaign is built A central message that can be coordinated across all marketing communications activities and media platforms Relation to text This slide relates to material on p. 274 of the text. Summary overview The campaign theme is about a core idea rather than a mode of expression. Message consistency must be embedded in the total campaign and must be robust enough to ‘travel’ to a range of media platforms. Use of this slide Note the distinction between a campaign theme and a particular campaign activity.

You ought to be congratulated Relation to text This slide relates to material on p. 274 of the text and Exhibit 9.1. Summary overview This slide shows an advertisement for Meadow Lea margarine. At a time when most margarine advertising emphasised product attributes (e.g. polyunsaturated fats), Meadow Lea resisted the temptation to follow suit. Instead, Meadow Lea elected to use a simple key promise: by using the product you will be acknowledged as a great cook and a key provider for your family. The campaign featured a catchy jingle, ‘You Ought to be Congratulated’. The campaign, which ran for 14 years, resulted in this jingle becoming one of the most recognised advertising jingles in Australian television. Use of this slide Use this slide to discuss how the consumer insight can lead to a creative idea. Subject presenters may wish to exhibit a television commercial taken from this campaign. See Youtube, http://www.youtube.com/watch?v=o1WMGOdDhAQ

Message structure Relation to text This slide relates to material on pp. 274-75 and Figure 9.3. Summary overview This slide shows that advertisements, no matter how small or short, possess a definite structure. In terms of sequencing an advertisement, the advertiser must consider several key issues: Order of presentation The advertiser must make decisions about whether to present the most important message arguments first or last. For low involvement products, it is advisable to present the strongest selling points early while for high involvement goods they may be presented later. Conclusion drawing Other issues to consider include whether the audience should be left to draw an explicit conclusion. Well-educated audiences tend to draw their own conclusions and may be annoyed by having inferences forced on them. Some research findings suggest that open-ended messages can be more effective. Message sidedness A one-sided message mentions only positive product attributes or benefits and is used when the audience already holds a favourable opinion. A two-sided message presents both positive and negative features and is used when the audience holds a contrary view. Use of this slide It is important to note that persuasive communications, like all forms of communication, require many decisions about placement of message arguments, transitions to link up core ideas, conclusions, etc.

Message conclusions What conclusions do you draw from this ad for Veet? Relation to text This slide presents a newspaper page with a horizontal ad in the lower quarter as shown on p. 275 and Exhibit 9. 2. Summary overview This topical execution ran around the time of Obama’s inauguration. The execution includes a headline and a logo on a pink background. Although the ad lacks graphic elements, it is high in imagery as it builds on the news story and uses words replete with visual imagery. The lack of specific detail in this execution allows readers to draw a variety of conclusions. What conclusion do you draw about Veet from the ad? Better-educated people prefer to draw their own conclusions and may be annoyed at an attempt to explain the obvious or to draw an inference for them. But stating the conclusion may be necessary for a less-educated audience, or those who have a low level of involvement with the product. For highly personal or ego-involving issues, message recipients may want to make up their own minds and may resent any attempts by the communicator to draw a conclusion. Use of this slide Subject presenters can use this slide to stimulate a buzz session and to introduce the idea of allowing readers to draw their own conclusions. This ad can also be used to discuss verbal and visual imagery in ads.

Message arguments One-sided messages Two-sided messages Mention only positive attributes or benefits Two-sided messages Present both good and bad points Relation to text This slide relates to material on pp. 276 of the text. Summary overview Advertising messages consist of persuasive arguments. One decision facing the marketer involves how to present the main message argument There are basically three approaches: One-sided messages mention only positive attributes or benefits and are most effective when the target audience is less educated or already holds a favourable opinion about the topic. Two-sided messages present both good and bad points and are most effective when the target audience holds an opposing opinion or is highly educated. Two-sided messages may enhance the credibility of the source, as presenting both sides of an issue is likely to be seen as less biased and more objective. Refutational messages preset both sides of an issue, before refuting the opposing viewpoint. Refutational messages tend to ‘inoculate’ the target audience against a competitor’s counterclaims, they are more effective than one-sided messages in making consumers resistant to an opposing message. Use of this slide This slide can be used to discuss advertising messages as persuasive arguments. Refutational messages Present both sides of an issue, before refuting the opposing viewpoint

Creating an emotional connection Relation to text This slide relates to pp. 278-79 and Exhibit 9.3 which presents images from a television commercial for Bigpond. Summary overview The BigPond Rabbits TVC (see Exhibit 9.3), along with Carlton Draught’s Flashbeer and the RACQ Insurance Charter Boat campaigns were rated by consumers as favourites in a national online survey. Some commentators have attributed their popularity to emotional authenticity and emotional connection. Use of this slide This slide provides a practical example of creativity. Subject presenters may wish to use this ad (or collection of TVCs) to launch a discussion about the role of creativity in advertising and promotion. Subject presenters may wish to exhibit the full television commercial which can be found on Youtube, http://www.youtube.com/watch?v=DvlWQyvEI38. Other commercials mentioned in the text can also be found on Youtube, Carlton Flashdance, http://www.youtube.com/watch?v=PO06kTlY6RM or RACQ Charter Boat, http://www.youtube.com/watch?v=XJS58LzBhsw

Universal message standards Does this advertising position the product simply and with unmistakable clarity? Does this advertising bolt the brand to a clinching benefit? Does this advertising contain a power idea? Does this advertising design in brand personality? Is this advertising unexpected? Is this advertising single-minded? Does this advertising reward the prospect? Is this advertising visually arresting? Does this advertising exhibit painstaking craftsmanship? Relation to text This slide relates to material on pp. 279–280 and Figure 9.4 of the text. Summary overview This slide presents the universal advertising standards from agency D’Arcy, Masius, Benton and Bowles. Most agencies develop in-house standards for great advertising to help them achieve superior creativity consistently. Use of this slide Use this slide to discuss what ‘creative advertising’ means.

Buzzman creativity Relation to text This slide presents material covered on p. 279 and Exhibit 9.4. Summary overview Exhibit 9.4 shows the perspective on creativity that the former D’Arcy, Masius Benton & Bowles agency developed to guide its creative efforts and help achieve superior creativity consistently. The agency viewed a creative advertising message as one that is built around a creative core or a big idea and uses excellent design and execution to communicate information that interests the target audience. Use of this slide This slide can be used to discuss creativity in advertising and promotion.

Absolut accessory Relation to text This slide relates to material on p. 281 of the text and Exhibit 9.5. Summary overview This slide shows an ad for Absolut Vodka. Absolut’s campaigns play on the distinctive brand name and depict it with visual puns and witty headlines such as shown here. This particular execution was developed specifically for an Australian women’s magazine. Absolut’s print ads have become well known and highly regarded for the consistent use of quirky humour and a consistent verbal message which endows the brand with a big personality. Use of this slide This slide can be used to show an example of creative executions and integrated advertising. Supplementary material An online archive of Absolut ads is available at http://www.absolutads.com/gallery/view.php?news=7&lang=en

Message strategy and execution Kinds of messages Message consistency Message structure Messages and IMC Guidelines for evaluation Barriers to big ideas Client inspiration and Message strategy and execution Creativity and IMC Message strategy The big idea Creative process How to say it Appeals Execution Types of strategies Message strategy statement Strategic triad Creativity Relation to text This slide presents a mind map of the key topics/concepts covered in Chapter 9 a shown on p. 268. Use of this slide This is a transition slide.

The creative process Big idea Execution Message strategy How to say it Brings strategy to life Execution How to say it Appeals and techniques Message strategy What to say Major selling argument Relation to text This slide relates to p. 281 and Figure 9.5 which discusses the creative process as a three step process. Summary overview There are three steps in the creative process—as shown in Figure 9.5. The message strategy works out what to say to our prospects. This is our major selling idea, or our proposition, or our message to consumers. The big idea is where the message strategy is brought to life. The big idea is where the consumer insight discussed in previous chapters is used to infuse the message with meaning that will resonate with and engage the target audience. The execution—the message will need to be executed through creative techniques. Use of this slide This slide can be used to introduce the creative process.

Rice sculptures Relation to text This slide relates to material on pp. 282-83 of the text and IMC Perspective 9.2 which discusses the sources of inspiration for advertising messages. Summary overview This slide shows images from a television commercial for Sunrice Rice Sculptures campaign. The original Sculptures campaign was launched in 1990. In 2002, the much loved and widely regarded advertising campaign was re-ignited with the aim of reminding consumers of the versatility of rice. The campaign ensures that rice is top of consumers’ mind when wondering ‘What's for dinner tonight?’ In the case of Sunrice, the brand enjoyed high levels of awareness. The creative team did not believe that other brands were a key threat. Instead, they felt that consumer attitudes to rice as a category represented the threat. For many consumers, rice is a commodity—it is a low interest food. So the creative challenge was how to engage consumers in a story about rice. Use of this slide This slide can be used to show how the product itself served as the inspiration for a campaign. Supplementary material Lecturers interested in viewing more examples of the Sunrice Sculptures campaign should note that they are no longer displayed on the Sunrice website. However, it is possible to locate them by accessing an archived version of the corporate website (2003) maintained by the internet archive, the Wayback Machine, http://web.archive.org/web/20030402053543/www.sunrice.com.au/tv/index.asp

Creative inspiration Market research Talking to customers Sources Of Creative Insight Use the product Ruminating on Data Store visits Observation Ask Questions Relation to text This slide relates to material on pp. 282-83 of the text and IMC Perspective 9.2. Summary overview Many learners incorrectly believe that big ideas appear spontaneously. Yet nothing could be further from the truth. Copywriters, art directors and other creative personnel work very hard to search out the big ideas that inform creative campaigns. They regularly consult multiple sources of information—both qualitative and quantitative before arriving at the creative insight that will ultimately inform the campaign creative strategy. Use of this slide The slide can be used to discuss the creative process and the role of the creative team.

The message strategy Message strategy defined: The major selling idea should emerge as the strongest singular thing you can say about your product or service. This should be the claim with the broadest and most meaningful appeal to your target audience. A. Jerome Jeweler, Creative Strategy in Advertising, 2007

Strategic triad

Message strategy statement

Message strategies Relation to text This slide relates to material on p. 286 of the text and Figure 9.8. Summary overview A widely used typology of message strategies is presented in this slide. Generic: promotes the category rather than the brand (used for new product categories or when there is no dominant brand) Pre-emptive: the brand is first to make a claim and ‘owns’ that space in the customer’s mind USP: a unique feature or brand attribute dominates the message Brand image: providing a strong, identifiable and memorable identify for the brand Inherent drama: finding the characteristics that trigger consumer purchasing Positioning: establishing a differentiated, defensible position or perceptual space in the consumer’s mind Resonance: evokes positive associations or good memories that can be transferred to the product Affective: emotional approach that tugs at the heart strings Use of this slide It is worth noting that these strategies tend to be competitor-oriented or consumer-oriented.

Unique selling proposition Relation to text This slide relates to material on p. 287 of the text and Exhibit 9.7. Summary overview This slide shows an ad for Colgate Micro SonicTM toothbrush. Use of this slide This slide can be used to show an example of using a USP as the brand strategy.

Creating a brand image Used when competing brands are so similar it is difficult to find or create a unique attribute. Creativity sales strategy is based on a strong, memorable brand identity through image advertising. Relation to text This slide relates to the material on pp. 287-88 of the text, which discusses brand image. Summary overview This slide show the basis of brand image as an approach to the development of the major selling idea. A brand image approach is often used by advertisers when it is difficult to differentiate a product or service on the basis of attributes or benefits. Image advertising is designed to create an identity for a product or service by emphasising psychological meaning or symbolic association of the brand with certain values, lifestyles, traits or other meaningful factors. Use of this slide This slide can be used to discuss the use of the brand image as an approach to developing the major selling idea for an advertising campaign. Image advertising is often used for products and services such as cosmetics, clothing, liquor, soft drinks and airlines. Often used for products such as soft drinks, perfume, liquor, clothing, airlines.

Approaches to the major selling idea: positioning Establish a particular place in the customer’s mind for the product or service. Positioning Positioning may be based on: product attributes/benefits price/quality use or application type of user problem solved. Relation to text This slide relates to the material on pp. 291–292 of the text, which discusses positioning strategy. Summary overview This slide show the basis of positioning as an approach to the development of the major selling idea. The basis of positioning is that advertising is used to establish a particular place in the customer’s mind for the product or service. This can be done on the basis of product/service attributes or benefits, price/quality, use or application, type of user or the ability to solve a problem. Use of this slide This slide can be used to discuss the use of positioning as an approach to developing the major selling idea for an advertising campaign. Many of the top brands in various product and service categories have retained their market leadership because they have established and maintained a strong position or identity in the minds of consumers.

Creative principles

Positioning Relation to text This slide relates to p. 289 and Exhibit 9.9. Summary overview This slide presents an ad for Virgin Blue built around its position in the market as being a young, no-frills airline, with a sense of humour. The ad (Exhibit 9.9) for their web check-in shares a sense of empathy and a joke with its target market the time-poor consumer. This ad is an example of positioning by user group. Use of this slide This slide can be used to show an example of a positioning theme.

Approaches to the major selling idea: inherent drama Messages generally presented in a warm, emotional way e.g. McDonald’s, Kellogg’s cereals and Hallmark greeting cards Inherent drama Focus on consumer benefits with an emphasis on the dramatic element in expressing them Relation to text This slide relates to the material on pp. 288-89 of the text, which discusses the inherent drama. Summary overview This slide show the basis of using inherent drama as an approach to the development of the major selling idea. The idea behind this approach is that advertising is based on a foundation of consumer benefits with an emphasis on the dramatic element in expressing those benefits. Messages based on inherent drama are generally expressed in a warm, emotional way. Use of this slide This slide can be used to discuss the use of inherent drama as an approach to developing the major selling idea for an advertising campaign. The inherent drama approach is often used in advertising for companies/brands such as McDonald’s, Kellogg cereal brands and Hallmark greeting cards.

Finding the inherent drama Relation to text This slide relates to material on pp. 288-89 of the text and Exhibit 9.8. Summary overview This slide shows two print advertisements for Band-Aid. Use of this slide This slide can be used to show an example of a product’s inherent drama.

The big idea Relation to text This slide relates to p. 290 and Figure 9.10 Summary overview The big idea emerges from consumer insight. It builds on message strategy by converting the ‘what to say’ into an idea that makes the message relevant and engaging to the consumer. The big idea can be a difficult concept to understand. As the figure shows, many commentators believe that the big idea calls for divergent thinking. It is the point where insight meets inspiration. Use of this slide This slide can be used to discuss the relationship between the big idea and the message strategy.

The big idea (cont.) David Ogilvy on the big idea: I doubt if more than one campaign in a hundred contains a big idea. I am supposed to be one of the more fertile inventors of big ideas, but in my long career as a copywriter I have not had more than 20, if that. David Ogilvy, Ogilvy on Advertising, 1983 Relation to text This quotation relates to material covered on p. 290 of the text. Summary overview This slide presents a quotation from David Ogilvy’s book on advertising. Ogilvy was one of the great advertising men of the mid twentieth century and was a great proponent of creative brilliance in the form of the big idea. In this quotation, he forces us to recognise just how very difficult the creative process really is. Use of this slide This slide can be used to explore the concept of the big idea.

The big idea (cont.) Relation to text This slide relates to p 290. and Exhibit 9.10. Summary overview This campaign for the Environmental Protection Foundation by DDB China demonstrated that people can make a difference to save the environment. A 12.7 x 7 metre canvas of a lifeless tree was laid across a busy intersection. Through two mega-sponges full of green washable ink, pedestrians could add leaves to the tree as they crossed the road. Almost 4 million people painted trees to life in 15 cities across China and the final work now resides in the Shanghai Zheng Da Art Museum. The campaign was a Gold Lion winner in design at Cannes 2010. Use of this slide This slide can be used to illustrate the big idea.

Appeals and execution Advertising appeal defined: The appeal can be said to form the underlying content of the advertisement, and the execution the way in which that content is presented. Advertising appeals and executions are usually independent of each other; that is, a particular appeal can be executed in a variety of ways and a particular means of execution can be applied to a variety of advertising appeals. William Weilbacher, Advertising, 1984

Message appeals Informational Transformational Primarily processed cognitively Informational Rational appeals Focus on practical, functional, utilitarian benefits or reasons Relation to text This slide relates to material on pp. 292–293 of the text. Summary overview Advertising appeals can be classified into two major groups: informational—rational based appeals need to be informative and the information contained in them is intended to be processed rationally and cognitively transformational—defined as one which associates the experience of using the advertised brand with a unique set of psychological characteristics which would not typically be associated with the brand experience to the same degree without exposure to the advertisement. Transformational appeals create feelings, images, meanings and beliefs about the product or service that may be activated when consumers use it, and thus ‘transforms’ their interpretation of the usage experience. Use of this slide This slide can be used to revise informational and transformational appeals introduced in the FCB model in Chapter 4. Primarily processed emotionally Transformational Emotional appeals Focus on social or psychological needs

Message appeals Relation to text This slide relates to material on p. 293 and Figure 9.11. Summary overview This slide provides a summary of personal feelings and social feelings that might be used as the basis of advertising appeals. Many feelings or needs can serve as the basis for advertising appeals designed to influence consumers on an emotional level, as shown in Figure 9.11. These appeals are based on the psychological states or feelings directed to the self (such as pleasure or excitement), as well as those with a more social orientation (such as status or recognition). Use of this slide This slide can be used to discuss different types of advertising appeals.

Executional techniques Execution technique Brief description Type of appeal Straight sell Straight presentation of product information Rational Scientific/ technical Provides technical information or endorsements by scientific organisations Demonstration ‘Seeing is believing’: shows product in operation Rational/ emotional Comparison Compares product advantages with competitors or substitutes Testimonial/ endorsement Person, staff or celebrity discusses personal satisfaction emotional/ Rational Relation to text This slide relates to material on pp. 295-99 of the text and Figure 9.12. Summary overview This slide provides a summary of principal executional techniques. It is continued on the next slide. Use of this slide It is worth noting that these techniques are not necessarily mutually exclusive. An advertising execution may be, for example, both humorous and a testimonial. Examples and notes to consider for some of the executional techniques Straight sell: L’Oreal (see p. 297 of text). Scientific/technical appeal: this type of execution is most commonly associated with high-involvement, high-risk or complex products and services. Financial services and healthcare products often adopt this type of execution. Comparison: 1. A print ad for Land Rover Discovery explicitly compares Discovery, Jeep and Pajero using the device of a customer report card. 2. In the Australian market, Herron paracetamol is a clear market challenger (with approx 25% share) up against the giant Panadol (with around 46% market share). There is little to differentiate these two brands as paracetamol is a relatively pure drug that cannot be readily combined with other ingredients. Herron positions itself as the ‘Australian-made’ brand and uses direct comparisons with its rival to force consumers to make direct comparisons. (You could discuss the advantages and disadvantages of comparative appeals. Ask learners to comment on the ethics of the comparative approach.)

Executional techniques (cont.) Execution technique Brief description Type of appeal Slice of life Product solves a problem in a real-life, everyday situation Emotional/ rational Animation Stylised execution Emotional Imagery Focus on visual elements: pictures, illustrations and symbols Dramatisation A narrative where the product is the hero Emotional/ rational Humour Uses humour to appeal to the target audience Relation to text This slide relates to material on p. 295-99 of the text and Figure 9.12 (and is a continuation of the preceding slide). Summary overview This slide provides a summary of principal executional techniques. It is continued from the preceding slide. Use of this slide It is worth noting that these techniques are not necessarily mutually exclusive. An advertising execution may be, for example, both humorous and a testimonial. Examples and notes to consider for some of the executional techniques Slice of life: This type of execution is most commonly associated with goods that are difficult to differentiate on functional or performance criteria. In such cases, the marketer often attempts to develop a strong brand image and establish an emotional connection with the brand. The Bushells Our Cuppa campaign is accessible from both the Unilever Australia site (http://www.unilever.com.au/ourbrands/advertising/) and a dedicated Bushells site (http://www.bushells.com.au/bushells-tea). The campaign injects quintessentially Australian elements into the execution and mocks pretentious, fussy tea-drinking habits promoted by other brands. The execution clearly positions Bushells as a uniquely Australian beverage and by association the tea is positioned as robust, informal and unpretentious. The insight for this execution came from attitudinal research (known as the 'The Bushells Barometer') undertaken to determine how Australians like to drink their tea. Among other things, the findings show that: a massive 76% of respondents prefer to drink their tea without a saucer half the respondents (50%) enjoy 'dunking' cake or biscuits into their tea Australians have also proudly abandoned the formal 'British' style of entertaining. Only 18% of respondents still have a room specifically designed for hosting guests, suggesting Aussies now prefer to connect and enjoy a social cup of tea with their friends in a relaxed, laidback setting. more than half the respondents (58%) agree that catching up over a cup of tea is still the best forum for sharing stories and anecdotes Animation: ‘Norm’ the normal man from the Life. Be in it. campaign is available on the ‘Life. Be in it.’ web site (Northern Territory), http://www.lifebeinitnt.org/our-history.asp. Norm, a dedicated couch potato, became something of a cult figure following the campaign’s release. The campaign is believed to be Australia’s longest running campaign, running from the mid-1970s through to the mid-1980s. Indeed it was so successful that it was re-launched, albeit in a refreshed execution, in 2000. Imagery: consider various print ads for Singapore Airlines’ loyalty program, Krisflyer. These are an excellent example of imagery. Imagery uses pictures, illustrations or symbols rather than information to communicate the primary message. In Singapore Airlines’ execution, the ‘Singapore girl’ stands as a symbol of the high quality, personal service associated with Singapore Airlines. The Singapore girl is a consistent visual image used in virtually all Singapore Airlines advertising and collateral material and has been used since 1972 when the airline was first established. The Singapore girl has become a visual trademark for Singapore Airlines. It is thought to be one of the longest running brand icons in existence. Humour: this type of execution is most commonly associated with goods that are difficult to differentiate on functional or performance criteria. In such cases, the marketer often attempts to develop a strong brand image and establish an emotional connection with the brand. The Lynx Effect website (www.lynxeffect.com.au) advertises the Lynx range of male personal care products. Lynx claims that its mission is to ‘give guys the tools to get ahead in the mating game’. The target audience is young, adolescent males. Lynx advertising is always humorous, exaggerated and irreverent.

Fear appeal Relation to text This slide relates to material covered on p. 297 and Exhibit 9.11. Summary overview In the 1980s the Grim Reaper campaign was designed to communicate the deadly potential of a new disease called AIDS. The creative director, Siimon Reynolds decided to demonstrate it. The TV commercial opened on a bowling alley, where the pins had been replaced with men, women and children. The Grim Reaper bowled the ball, killing indiscriminately and instantly. The effect of the TV commercial was just as instant, changing a generation’s attitude towards safe sex. Although the television commercial is somewhat dated, it still packs a punch. Subject presenters may wish to exhibit the original TVC from 1987. See Youtube, http://www.youtube.com/watch?v=U219eUIZ7Qo Use of this slide This slide provides a practical example of a fear appeal.

Which appeal? Comparative Fear Humour ads appeals appeals Often used for brands with small market share Frequently used in political advertising May be especially useful for new brands/market challengers May stress physical danger or threats to health May identify social threats: disapproval or rejection May backfire if the level of threat is too high Attract and hold attention Often the most memorable They put the consumer in a positive mood Can suffer from early wear-out Relation to text This slide relates to material on pp. 295–299 of the text. Summary overview The slide shows that each appeal has both advantages and disadvantages. While there is no formula for selecting the ‘right’ appeal, the creative team must weigh up the advantages/disadvantages of each appeal while having regard to the task at hand: the marketing challenge and external environmental factors. Some of the issues to discuss include: Comparative ads—directly or indirectly naming competitors in an ad and comparing one or more specific attributes. Characteristics of comparative advertising include: useful for new brands to get in the evoked set of the consumer useful for market challengers as part of an aggressive competitive posture often used for brands with small market share used frequently for political advertising. Fear appeals—evokes an emotional response of danger and arouses individuals to take steps to remove the threat. Characteristics of fear appeals include: may stress physical danger (drugs) or social rejection (mouthwash) have both facilitating and inhibiting effects. Humor appeals—evoke an emotional response by making people laugh or feel good about a company or brand. Characteristics of humorous appeals include: an effective way to attract and hold attention put consumer in positive mood can wear out once the receiver gets the joke or punch line. Use of this slide This slide can be used to discuss the advertising message appeal options. One of the advertiser’s most important creative strategy decisions involves the choice of an appropriate appeal. Many factors can influence the message appeal decision such as the type of product, image of company, message to be delivered and target audience.

Testimonial Relation to text This slide relates to material on p. 297 and Exhibit 9.12 which presents an ad for L’Oreal. Summary overview Eva Longoria for L’Oreal (Exhibit 9.12). When endorsers promote a company or its products or services, the message is not necessarily based on their personal experiences. Use of this slide This slide provides a practical example of a testimonial.

Creative tactics for print Headline Words that introduce the ad Body copy Main sales message Relation to text This slide relates to material on pp. 299-301 of the text. Summary overview This slide presents the elements of a print advertisement. Headline Subheads Body copy Visual elements Layout (not signposted) refers to the arrangement of the elements—for example, the ad shown in this slide uses an informal (asymmetrical layout), a simple, uncluttered space where white background is revealed (white is the colour of cleanliness and hygiene). A series of technical drawings on the lower part of the page appear to lead the eye to the product and packaging display on the lower right hand side of the page. (Leading the eye towards the pack is reinforced by the horizontal placement of the toothbrush). Use of this slide This slide can be used to introduce the design elements of a print advertisement and to discuss layout issues. Once the creative approach, type of appeal, and execution style has been determined, attention turns to the design, implementation and production of the actual advertisement. These components of a print ad must be arranged in creating the ad. Visual elements Images, including product display

Print ad layout Format Size Colour White space Arrangement of the elements on the printed page Size Expressed in columns, column inches or portions of a page Relation to text This slide relates to the material on p. 300 of the text. Summary overview This slide shows the various components that are part of the layout of a print ad. Format—arrangements of the elements of the ad on the paper Size—expressed in columns, column inches or portions of a page (full, half, quarter) Colour—black and white, two colour, three colour, four colour White space—margins and intermediate space not used Use of this slide This slide can be used to introduce the elements of the print layout. The creative specialist works with these different elements in the design of a print ad. Layouts are often done in rough form and presented to the client so the advertiser can visualise what the ad will look like before giving preliminary approval. Colour Mono, spot colour or four colour White space Marginal and intermediate space that remains unprinted

Creative tactics for video and digital Jingles Audio Voiceovers Relation to text This slide relates to the material on p. 301-2 of the text, which discusses creative tactics for video and digital. Summary overview This slide show the creative elements used in video and digital executions. Use of this slide This slide can be used to discuss creative tactics for different media. Interactivity Click throughs Advergames

Planning and production of TVCs Relation to text This slide relates to material on pp 302–305 of the text and Figure 9.13. Summary overview This slide presents a model of the production process. Examples of work performed are shown on subsequent slides. Preproduction: refers to all work that must be done before the actual shooting of the commercial. Tasks may include selecting creative staff, talent and locations. Production: completing tasks associated with the making of the advertisement. For television tasks may include filming or videotaping of the commercial while for print tasks may include layout, design, photography, etc. Postproduction: Refers to all work that occurs after the advertisement has been made. Tasks may include editing, adding sound effects, client approval, duplicating. Use of this slide Use this slide to discuss the process and its implications for timelines. Complex productions may require many months before the advertisement is ready for airing.

Storyboards Storyboards have numerous applications. Some of the storyboard’s uses include: presenting concepts to clients for approval a basis for dialogue and negotiation between agencies and clients detecting problems before expensive production commences pretesting before focus groups for consumer acceptance providing guidance to art directors and crew during production. Summary overview At the concept development stage, the agency will normally produce a storyboard for each concept. The storyboard is a frame by frame sketch depicting the visual sequence, including: audio—music, sound effects, etc. camera work—guide for camera suggesting appropriate mix of close ups, long shots, medium shots, etc. scenes—actors and action script—dialogue to be spoken by actors and voice-overs.

Message strategy and execution Kinds of messages Message consistency Message structure Messages and IMC Guidelines for evaluation Barriers to big ideas Client inspiration and Message strategy and execution Creativity and IMC Message strategy The big idea Creative process How to say it Appeals Execution Types of strategies Message strategy statement Strategic triad Creativity Relation to text This slide presents a mind map of the key topics/concepts covered in Chapter 9 a shown on p. 268. Use of this slide This is a transition slide.

Creative risk-takers Relation to text This slide presents material covered on p. 303 and Exhibit 9.13 Summary overview One agency that has been successful in getting its clients to take risks is Wieden & Kennedy, best known for its excellent creative work for companies such as Nike, Microsoft, ESPN and Honda (see Exhibit 9.13). The agency’s founders believe a key element in its success has been a steadfast belief in taking risks when most agencies and their clients have been retrenching and becoming more conservative. Use of this slide This slide can be used to discuss the partnership between agencies and clients as well as the concept of creative risk. Subject presenters wishing to show television commercials of Wieden & Kennedy’s work might consider exhibiting any of the following selected examples: Old Spice The man your man could smell like campaign, Youtube, http://www.youtube.com/watch?v=owGykVbfgUE Honda Cog commercial. Youtube. See, Youtube, http://www.youtube.com/watch?v=_ve4M4UsJQo Nike Human Race, Youtube, http://www.youtube.com/watch?v=JB49FHuR_rQ

Creative risk-takers (cont.) Relation to text This slide relates to the opening vignette on p. 304 of the text and Exhibit 9.14. Summary overview This slide presents still images taken from Apple’s now classic 1984 campaign used to launch the Apple Mac in 1984. As the text notes, this commercial almost never made it as some members of the Apple Board thought it was too controversial. Campaign background Produced by Ridley Scott, a feature film director, the Apple 1984 advertisement is one of the most memorable campaigns of all time. More than 20 years after its launch, many consumers continue to rank it as their favourite in the online popularity polls. The advertisement, which features a strong narrative structure, is George Orwell’s classic futuristic book simply entitled 1984. In the book, Orwell prophesised a bleak future where an all powerful leader (big brother) used technology to observe his brainwashed followers. Campaign creative details: Agency: TBWA Chiat/Day Product Launch: Apple Ma Media: Television—US Superbowl (half-time break)—aired once only- seen by 50% of Americans Creative concept References to George Orwellian book entitled 1984. The advertisement contained popular references to ‘Big Brother’ combined with Blade Runner. The commercial features one lone woman who remains unbroken amid a brainwashed society under the absolute control of the leader known as Big Brother. The rebel female hurls a hammer at the TV screen shattering it and symbolically shattering any prospect of a bleak Orwellian future. The key take out message is that computers empower people. Campaign details The text of 1984 reads as follows: ‘Today, we celebrate the first glorious anniversary of the Information Purification Directives. We have created, for the first time in all history, a garden of pure ideology. Where each worker may bloom secure from the pests of contradictory and confusing truths. Our Unification of Thoughts is more powerful a weapon than any fleet or army on earth. We are one people, with one will, one resolve, one cause. Our enemies shall talk themselves to death and we will bury them with their own confusion. We shall prevail!’ Use of this slide This slide can be used to show an example of a strong narrative appeal. The execution is designed to make a powerful connection with the audience while communicating core brand values. This execution is also an excellent example of a ‘big concept’ ad. The advertisement has many possible applications: use it to discuss and reinforce advertising appeals (selected advertising appeals were covered in chapters 3 and 4). use it to discuss the value of creativity in advertising (impact vs frequency). use it to discuss positioning themes—especially the ways that each of the Apple campaigns has built on core themes of empowering consumers and being different. use it to discuss viral marketing—when the advertisement was re-released in 2004 it went viral, showing that a high impact concept can have currency long after the campaign date has expired. Subject presenters may wish to exhibit the full ad for which many copies are available on Youtube. See, for instance, http://www.youtube.com/watch?v=OYecfV3ubP8 for a reasonable quality version

Barriers to big ideas Relation to text This slide relates to material on p. 304-5 of the text. Summary overview The way we implement and judge creativity in advertising appears to have changed with globalisation, technological advances, fragmented and reinvented media, and shifting client and consumer attitudes. Of the issues that dampen creativity, client fear is described as a creativity killer and accountability as driving homogeneity. And while there is global branding, there is also a lot of global blanding. This is shown in Figure 9.14 Use of this slide This slide can be used to discuss creativity and the barriers to creativity.

The copy platform Advertising problem Advertising objectives Distinctive feature Target audience Target competitor Positioning Creative strategy Execution Supporting copy points The copy platform, also known as creative platform or work plan, focuses energy and keeps the creative team ‘on strategy’. Relation to text This slide relates to material on pp.305-6 of the text. Summary overview This slide presents the issues typically covered in the copy platform. Use of this slide As the copy platform is only mentioned briefly in the text, many presenters may wish to omit this slide from their presentations.

Guidelines for evaluating 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 supposed to? Relation to text This slide relates to material on pp. 305–306 of the text. Summary overview Advertisers use numerous criteria to evaluate the creative approach suggested by the ad agency. The basic criteria for evaluating creative approaches are listed on this slide. Some questions that are asked by the client to evaluate the creative approach are: Is the creative approach consistent with the brand’s marketing and advertising objectives? Must also be consistent with the brand image and positioning. Is the creative approach consistent with the creative strategy and objectives? Does it communicate what it is supposed to? Creative specialists can lose sight of what the advertising message is supposed to be. Is the creative approach appropriate for the target audience? The ad needs to appeal to, be understood by, and communicate effectively with the target audience. Does the creative approach communicate a clear and convincing message to the customer? While creativity is important, it is also important that the ad communicates information, attributes or features. Does the creative execution keep from overwhelming the message? So much emphasis is placed on creative execution the sales message may be overshadowed. Is the creative approach appropriate for the media environment in which it is likely to be seen? The ad should fit into the climate, editorial, or type of reader/viewer of the medium. Is the ad truthful and tasteful? The ultimate responsibility lies with the client. Use of this slide This slide can be used to discuss some basic guidelines that can be used by personnel on both the agency and client side when reviewing, evaluating and approving the advertising being proposed by the creative specialists. It is worth noting that these criteria are considered ‘basic’ and that creative agencies may develop alternative sets of criteria for specific applications. 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?

Summary and conclusion Consistency of message is a core aspect of IMC. Creative messages require a ‘big idea’. Developing the campaign involves consideration of both message strategy, the advertising appeal and execution. Message strategies can be broken down into two broad categories: informational and transformational. Different types of appeals are used depending on consumer involvement, product type and competitive environmental factors. Relation to text This slide relates to material on p. 307 of the text. Summary overview This is a summary slide and recapitulates core themes from Chapter 9.