This document discusses key concepts in advertising strategy and creative development. It covers developing objectives for categories, brands, and purchase intent. Common objectives include brand awareness and attitude. The creative brief guides the creative team in developing ideas that break through clutter and differentiate the brand. Effective creative appeals to emotions or provides information in an engaging way. Testing ensures the creative concept and execution achieve the objectives. The creative process involves developing concepts, copywriting, art direction, and client approvals before production.

1. Advertising Strategy and Media Planning
Communications Strategy
5

2. Fundamentals of creativity…
Dependent on quality of brief (clear thinking/planning)
Saatchi and Saatchi
Make that message compelling (intrusion/interest)
Communicate a selling message (persuasion)
(cited in Yeshin 2006)

3. Winston Fletcher
The product is inherently different (brand image)
The advertising is sufficiently unusual (creative appeal)
The advertising has personal relevance (target audience)
People keep seeing it (frequency and media mix)
(cited in Yeshin 2006)
People notice advertising when…

4. Is all advertising creative?
All ads have been created BUT some ads
considered more creative than others
Creative label more usually applied to transformational ads
But a lot of advertising is informational

5. What is creativity?
Broad agreement that it involves having an idea that is…
In advertising, a creative idea also is usually…
extendable (into a campaign)
new, novel, original, useful and has value
transferable (across media)
(adapted from Percy and Elliott 2016)

6. Creative brief sets objectives
For a specific ad or campaign…
Category need objective… not always needed
Brand awareness objective… always an objective
Brand attitude objective… always an objective
Purchase intention objective… not always a specific
objective for advertising but is for a promotion
Percy and Elliott (2016)

7. Which to use?
Category need… is the need for the product decreasing or is it new
to the market?
Brand awareness… recall when need arises or recognition at point of
purchase …always an objective
Brand attitude… linking the brand to benefit, positive or negative, what
does it offer, what is its value? …always an objective
Purchase intention… favourable mindset to purchase after the
message is consumed

8. Category need…
…using advertising to communicate the benefits of the category
…remind of an existing category (latent or forgotten)
…sell a new category

9. brand awareness…
Recognition… reminds audience of need via advert
Recall… need for category reminds them of brands and advertising

10. brand attitude…
MUST be positive but…
Can focus on negative factors (features and benefits to overcome
problems and issues – rational - cognitive) or…
…can focus on positive factors (entertainment through emotional
content - affective)
…create new, modify existing or completely change attitude
…need to consider motivation and involvement of audience

11. brand purchase intention…
‘I’ll try that’…
Advertising for low involvement to provoke curiosity
Advertising for high involvement to provide definite intent
‘I’ll buy that’…

12. Thinking Feeling
LevelofInvolvement
HighLow
Informative (Thinker)
Car – House - Furniture
Affective (Feeler)
Jewelry – Cosmetics - Fashion
Model:
Possible
Implications
Test:
Media:
Creative:
Learn – Feel – Do
Recall, Diagnostics
Long Copy, Reflective
Specific Information,
Demonstration
Model:
Possible
Implications
Test:
Media:
Creative:
Feel – Learn – Do
Attitude Change, Emotional
Arousal
Large Space, Image Specials
Executional, Impact
Habit Formation (Doer)
Food – Household Items
Self Satisfaction (Reacter)
Cigarettes – Alcohol - Sweets
Model:
Possible
Implications
Test:
Media:
Creative:
Do – Learn – Feel
Sales
Small Space Ads, 10
second IDs, Radio, POS
Reminder
Model:
Possible
Implications
Test:
Media:
Creative:
Do – Feel – Learn
Sales
Billboards, Newspapers, POS
Attention
Adapted from FCB (Foote, Cone and Belding) Grid, Vaughn, 1980

13. Rossiter-Percy Planning Grid
Motivation
Informational Transformational
Involvement
LowHigh
Brand Attitude Strategy Quadrants from the Rossiter-Percy Grid, 2006
Fast Food
Holiday
Banking
Credit Card
Transformational
Motives…
Sensory Gratification
Intellectual Stimulation
Social approval
Informational
Motives…
Problem Removal
Problem Avoidance
Incomplete Satisfaction

14. Creative concept has to…
Break through clutter
Be relevant
Differentiate the brand from competitors
Arouse interest
Promote the brand and not the category
Answer the creative brief
Appeal to both the consumer and the client
Be meaningful to the target audience
(adapted from Yeshin, 2006)

15. Styles of advertising (content)…
USP: makes a claim of difference and superiority
Resonance: reflects the target’s experience
Generic: market leader makes a category claim
Brand image: psychosocial differentiation
Emotional: triggers an emotional response
Pre-emptive: presents a generic claim as a USP (Shimp 2007)

16. Ways of categorising…
Hard sell / soft sell
Informational / transformational
Type of advertising format
Rational appeal / emotional appeal
Type of advertising appeal
Not about which is right or always the best…
About which is most appropriate in a particular context

17. Advertising appeals
Product feature
Quality
Popularity
Price or value
News
Social acceptance (Yeshin, 2006)
Competitive advantage
Fear or anger
Sensory
Novelty
Celebrities
Ego

18. Advertising formats
Product as hero
Problem-solution
Testimonial
Product demonstration
Slice of life
Spokesperson
Mini drama
Brand heritage and history
Spectacular musical
Continuing character
Pastiche
Non-verbal
Celebrity endorsement
Opportunistic
Company endorsement
People like me
Animation
Infomercial
Teaser
Fantasy
Shock advertising
(Yeshin, 2006)

19. Shimp’s CAN model
Connected
Appropriate
Novel
- unique, fresh, unexpected
- but not too weird that it fails to resonate
- pertinent to the brand
- fits the brand’s positioning
- empathy with the target market
- creates a bond with the consumer
(Shimp 2007)

20. Brief the creative team (in conjunction with agency
account management and account planning)
Agency will believe in the idea… their job is to persuade the client to
agree with them… and this doesn’t always happen!
Advertising manager’s job
Will have already been approved by Creative Director of agency and
Account Management/Planning
Evaluate the ideas they come up with and approve the ad
or campaign for production and media scheduling

21. The creative process
Creative brief
Evaluation
Evaluation
Pre-production testing
Post-production testing
Advertising strategy
‘The Big Idea’: creative concept, creative platform, advertising idea
Detailed copy and layout, scamp or storyboard
Client approval
Appearance and then measuring effectiveness
Production

22. Who - and what they do
If advertising agency used…
creative department
If done in-house…
write copy in-house and use freelance graphic artist
get the media to do it
freelance copywriter and freelance art director/designer
in-house creative department
copywriter and art director team
working under creative director

23. What the creatives do…
Art director and copywriter team…
Develop the concept into detailed copy and layout or script
Present draft work to client for approval (but not always)
Come up with ‘the big idea’ (creative concept)
Brief those providing production estimates
Make client amendments
Commission and direct production

24. and the client responds…

25. and the client responds…

26. Essentials of copywriting
Headlines should…
Copywriters should…
Use active language
Complement the image
Be part of the story
Push the reader into the body copy
Add meaning to the image
Avoid clichés (and be careful with puns)
Use everyday language that fits the audience and the brand
Talk about the consumer not the brandKeep it as short as possible
Avoid jargon, flowery language, long words
(Burtenshaw, Mahon and Burfoot 2006)

27. Essentials of art direction
Decisions…
What goes where? (We read from top to bottom and left to right)
What usually works…
Photography or illustration? Proportions
Simple, clean layout
Digital manipulation?
Which typeface?
Strong, dominant image
Use of white space
Apt and carefully crafted typography
Logo in bottom right corner
(Burtenshaw, Mahon and Burfoot 2006)

28. The future?
Less use of commercial television
More use of ambient media
Rejection of the hard sell
User generated content
Rapid changes in what’s fashionable
Advertising as entertainment and education
Global campaigns to culturally diverse audiences
More use of targeted direct communications
Combination of ‘old’ and ‘new’ media

29. Content marketing?
Educate
Entertain
Inspire
Convince
Bosomworth, 2016

30. References and reading
Bosomworth, D., (2016) Content Marketing Matrix, SmartInsights
Burtenshaw, K., Mahon, N. and Barfoot, C. (2006). The Fundamentals of
Creative Advertising. Switzerland: AVA Publishing.
Percy, L. and Elliott, R. (2009) Strategic Advertising Management. Oxford, Oxford
University Press.
Shimp, T. (2007) Integrated Marketing Communications in Advertising and
Promotion. USA: Cengage.
Yeshin, T. (2006). Advertising. London, Thomson