1. 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. 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.

7. 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.

8. 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.

9. 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.

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

11. 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.

12. 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.

13. 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.

14. 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.

15. 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.

16. 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.

17. 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.

18. 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.