Научная Петербургская Академия

Реферат: Art of adviting

Реферат: Art of adviting

1. The art of advertising 3

2. Message strategies 3

A few words about creative strategy 10

Some final thoughts about the message strategy 15

Dictionary. 17

Inputs to message strategies

1. The art of advertising

Nowadays market economy is widespread all over the world. Any company,

working in this conditions face a lot of different questions such as

arranging marketing system, arranging management system and so on. And the

problem of advertising the product is practically at the top of this list.

Some people think that to advertise means to let the customers know about

your product. Maybe it was so many years ago. Today, in times of severe

competition, a function of advertising is much more complex. You should not

only let people know you should make them buy. In different forms, in

different words you should convince everybody that your product is the best.

So when such a problem appeared, advertising was transformed into a science.

It was a mixture of management, marketing and psychology. But the large

amount of ads all around began to aggravate people. And then the science was

developed into the art of advertising. It became creative. Today exist even

special institutes where people learn to advertise and to do it

professionally.

2. Message strategies

It is not creative unless it sells. This is the stated philosophy of

Benton&Bowles and the unwritten philosophy of most other major advertising

agencies, and it should be everyone’s guiding star in advertising. Creativity

is essential, but for its own sake it is insufficient; it must be used to show

the unique benefit of the product in a memorable way. And all the process can

come to a full stop when creativity is misguided and doesn’t show a benefit or

implies a wrong product. But how can we get to know what is creative and what

is not? The only way to find this out is through the philosophy that guides

Benton&Bowles. They worked out the main formula of creativity: It’s not

creative unless it sells.

So any advertisement usually consists of an image and some text. The text

part deals with message strategy. What should be said to consumers so that

the objectives set earlier can be met? Liberal doses of art and science must

be combined to answer this question. The science of research gives insights

into the appropriate attributes, benefits, position, and target market;

verbal, visual, and musical arts translate this dry, sterile data into a

compelling message.

In addition, the message strategy must fit into the decision sequence framework.

Much of the information gathered in the situation analysis will be used here to

give insight to the writers and artists who ultimately create the message.

Also, the message must help the advertiser to meet its objective (relevant

issues here are the task of the message in terms of movement along the

hierarchy of effects and the target market to be pursued) and to meet

its position (the unique meaningful benefit of the brand). Finally, the

message must be consistent with constraints imposed by the media and promotions

strategies that are being developed simultaneously. The message strategy part

will be divided according to the following topics:

1. The relevance of issues derived earlier from the situation analysis and

objectives and positioning These issues are generally broken down to

include the product, the consumer, and the competition. The writers and

artists must immerse themselves in all available information before they can

create a message of relevance. In this section the key issues are reviewed from

the perspective of their relevance to message design.

2. Legal constraints Many laws govern advertising. Most of them

constrain the type and presentation of information in the message. Current

regulations, primarily from the Federal Trade Commission, are presented here.

3. Creativity This is an elusive concept and is certainly not the

exclusive domain of writers and artists. It is most appropriately discussed as

part of message strategy because it is here that the most visible creativity

takes place in terms of the creation of the message.

4. Broad and specific classes of message appeals and execution styles

Appeals can be product oriented or consumer oriented and they tend to locate

somewhere on a continuum of rationality and emotion. Styles include humor,

fear, sex, slice of life, documentary, and many more.

5. Copy and layout Copy deals with the verbal aspects of the message,

layout deals with the visual aspects. It is in the areas of copy and

layout that the creative translation of dry fact to interesting visual and

verbal art takes place. While copy and layout are terms specific to print, the

concepts of verbal and visual message components also hold for broadcast.

6. Production After each message has been created and put on paper in

rough form it must be produced in its appropriate medium. An understanding of

production issues is necessary to help contain costs.

7. Advertising research Although extensive research has occurred in the

situation analysis, a special class of advertising research must be discussed

as part of message strategy. This research deals with the measurement of the

message's impact and can take place at several levels ranging from a test of an

early creative concept to a test of a finished commercial that is being shown

on television. Dependent variables range from awareness through behavior

depending on the nature of the objectives.

The goal of the message strategy is to develop a message or a series of

messages that will be informative and persuasive in their

compelling presentation or relevant issues to the target

audience. This concept can be broken down so that its components can be

examined.

¨ A message or series of messages. The message can

be in print or broadcast media. There can be one message or a number of

messages working together. In many cases it is preferable to have several

messages coordinated over time as a campaign.

¨ Informative and persuasive. All advertising has

elements that are either informative or persuasive. Some is geared to be more

of one or the other, but all messages have some of each component. Bu nature,

all advertising tries to persuade the consumer to purchase a particular brand

and at the same time they tries to be minimally informative.

¨ Compelling presentation. In order for the

informative and persuasive dimensions to have an impact, the message must be

presented in a way that stops the consumer and holds attention. The world’s

best product will go unnoticed if it is not presented in an interesting way.

¨ Relevant issues. A compelling presentation is

necessary to stop the consumer, but relevant issues are necessary to hold the

consumer. The wonderfully entertaining but totally irrelevant messages will

also hold the consumer attention, but they don’t necessarily sells the product.

¨ Relevant audience. Target market is an issue

throughout the development of the campaign.

Very important moment in creating the ad and especially in choosing the

message is to clearly and correctly set the objectives. The objective has

four components:

§ Target market

§ Task of advertising

§ Time period within which to accomplish task

§ Amount of change to achieve within target

Only the first two of these will be relevant to message objectives; time

period and amount of change are more relevant for the media and promotions

areas. Although the objectives here will just be concerned with the target

and task, it is still necessary to achieve a high level of precision in the

objective statement. It will also be useful (and should be required) to

justify each of the component parts .

It is often said that objectives and strategies are the enemies of

creativity, that objectives and strategies stifle, restrict, and confine,

that strategies should only provide guidelines. These statements almost

always come from writers or artists and show a lack of concern for the

business of the client and for the ultimate need to influence behavior.

Of course, the complaints are accurate. Objectives and strategies do

stifle, restrict and confine. That is their purpose. Given the level of

competition in most product classes and the perceptual defenses put up by most

consumers, it is important to direct creativity. It is important that the

creative work be on the mark so that it accomplishes the proper task on the

proper target market. This doesn't stifle real creativity. Real

creativity leads to the development of a unique, memorable, forceful message

that is also consistent with the campaign objectives. Remember, it's

not creative unless it sells.

As David Ogilvy wrote, "What you have to say is more important than how you

say it. Your most important job is to decide what you are going to say about

your product, what benefit you are going to promise."

Ed Meyer, head of Grey Advertising, says, "The stimulation of creative

advertising starts with the clear articulation of its objectives."

And Dick Rowan of Marschalk Advertising says, "The trouble with most

advertising is that few people ever stop to think through the marketing

problem and objectives first. "

The rigor imposed by objectives, positioning statements, and strategies is

designed to focus rather than constrict creativity. It permits the total

creative effort to be directed toward execution rather than toward a search

for directions and, ultimately, allows for a measurement of the success of

the messages in accomplishing their goals. A nicely written defense of

strategies was prepared a by Howard Shank of Leo Burnett; as it appears

below:

A few words about creative strategy

It seems to be in the nature of creative people to chafe at those little

pieces of paper entitled "Creative Strategy."

To watch a lot of creative people react, you'd think those documents were

really headed, "Arsenic. Take full strength. Do not dilute."

There is, to be sure, some reason for this revulsion. It is not unheard of for

writers and art directors to be asked to execute something that should really

be called an "un creative strategy."

The authors of these papers have been known to be neither creative nor

strategic in their thinking and to mask a certified non-idea behind

formularized words. If you execute such a non-idea, what you are bound to

have is a noncompelling advertisement. No matter how cleverly you write and

visualize.

Basic truth, you folks: the highest form of creativity in advertising is the

setting of real creative strategies.

We must never forget it.

It's what buid this business.

It's where your future and my future lie.

It's where at least half the joy in our business is found.

It's also where the hardest work is found, I'll admit. But don't forget, you

always love hard work.

If you're still with me, I'd like to tell you what a real creative strategy is.

But first, I'll suggest to you some of the things it is not. .

It Is not just a sentence that says, "The advertising will convince people

that our product is the (tastiest) (freshest) (mildest) (hardest-working)

(classiest) (fastest) product in the store.

It is not the product of logic and analysis alone—although they're part of

how you get there. It is not the province of the client or the account

man—although they should be heavily involved.

It is not a jail for creative execution. Rather, if you've got a real

creative strategy, it will inspire you to write and visualize at the height

of your powers.

It is not aimed at robots but at human beings with hearts and guts as well as

brains.

The last sentence is the crux of the matter.

The real creative strategy is the one that relates product to yearnings.

Formula to life style.

If you can look at a thinner cigarette and see not only as a special

cigarette for women but also as a symbol of equality for women, you can

create real creative strategies.

If you can look at a bar of soap with pumice in it and see not only an

efficient hand washer but also the solution to the problem of "Public Dirt,"

you can create real creative strategies.

If you can look at a glass of chokolate milk and see it not as just a yummy

thirst-quencher or a hunger fighter but as a cure to kid’s whimsicalities,

you can create real creative strategies.

In all truth, the process that leads to real creative strategies is the

process that leads to inventions.

It involves the seeing of old facts in new relationships.

It involves the discovery of needs and wants in people that even the people may

not have discovered in themselves. (Hardly anyone knew he needed a telephone

until A. G. Bell came along.)

It also involves hard work. As I said before.

When you have a creative strategy problem on your plate, you are confronted

by a need to know everything you can get your hands on. About the product

itself. About competitive products. About the market: its habits, its

attitudes, its demographics. About the advertising history of the category.

You need to study all the research you can get your hands on.

You need to ask questions until people hate to see you.

You need, in short, to dig, dig, dig.

The dismal truth is that your chances of finding a compelling creative

strategy are in direct proportion to how much information you stuff your head

with.

If you are working on a new coffee, say, you will wind up knowing more about

coffee than you ever thought you wanted to know.

There is a very good reason why you must do this human sponge act if you are

to invent real creative strategies.

Your subconscious mind—where a very important part of the invention process

goes on—needs a richly-stocked data bank to do its best work.

The job of your subconscious is to review and re-review everything you know

about a subject. It searches, even during your sleep, for new relationships

between people and products; searches, as I suggested earlier, for new

combinations of old Ideas; searches for the new insight that can give even a

very old product the right to ask for new attention in the market.

If you stint your subconscious on the input side, it will surely stint

you on the output.

Creative strategy goes around in the world under several pseudonyms: basic

concept, basic selling idea, product positioning, basic selling proposition.

But whatever the name, the purpose of real creative strategizing is simple

and vital: the invention of a big idea.

I said earlier that this kind of creative strategy work is the

highest form of creativity in advertising.

I believe it wholeheartedly. I also believe wholeheartedly in the power of

brilliant execution.

What I believe in most of all is the synergism you create when you couple a

big idea with brilliant words and pictures.

When you can do that regularly, you can't help getting rich and famous. Not

to mention happy in your work.

Responsibility for developing objectives and strategy lies at the agency, but

before execution can be initiated there must be approval from the client. The

statement of objectives and strategies should be complete but concise and

should show justifications for decisions that emerge from the situation

analysis.

Tightly defined strategies also give freedom to copywriters because they know

that their work should be judged solely against these preexisting guidelines.

This direction should, therefore, be cherished. From another perspective,

Norman Berry of Oglivy & Mather says "There is nothing, in my view,

so stupid, or so wasteful of time, talent and money, as to produce a whole lot

of work saying one thing brilliantly, when in fact one should have been saying

something else in the first place."

To set accurate message objectives, a quick revue of relevant issues will be

useful.

In terms of target market:

1. Describe the audience as precisely as possible in

relation to demographics, geographics and psychographics

2. What the problem that the brand will solve. for consumers.

In terms of the task:

3. Describe the task in terms of the stage of the hierarchy of effects.

4. Describe the task in terms of audience involved.

5. Describe the task in terms of the brands benefits.

6. Describe the task in relation to the competition.

7. Describe the desired tone of advertising

Some final thoughts about the message strategy

The statement of message tasks must cover four specific areas:

§ Whom to sell

§ What to sell

§ Support of selling idea

§ Tone of selling idea

For a message to be effective in accomplishing its tasks it must be:

1. Attention getting.. It must attract and hold the receiver.

2. Understandable. It must use symbols that are common

to both the sender and the receiver.

3. Relevant. It must arouse basic needs and suggest

the way to satisfy them.

4. Acceptable. It must suggest the solution that is

compatible with the receiver.

In developing objectives and tasks, the manager must develop a coordinated

campaign, not just one or a series of messages. There must ultimately be

continuity across all messages so that consumers can learn more easily.

Dictionary.

Accomplishвыполнять
Advertiseрекламировать
Advertisementреклама
Affirmativeутвердительный
aidпомощь
aimцель
appealобращение
appropriateсоответствующий
approvalоправдание
audienceаудитория
awarenessосведомленность
benefitвыгода
bias towardсклоняться к
brandмарка
captivatingувлекательный
commercialреклама
compellingубедительный
competitionконкуренция
conceiveпостигать
conductiveспособствующий
connotationдополнительное значение
constrainсдерживать
constrictсократить
controvertialспорный
conventionalобычный
conсiseсжатый
copyрекламный текст
coreсуть
creativeтворческий
creativityтворческий подход
customerпокупатель
degradeприходить в упадок
departmentотдел
deriveпроисходить
dimensionнаправление
disparageотноситься с пренебрежением
dominantдоминант
elicitизвлекать
emphasiseподчеркивать
enlargeразвивать
evidentочевидный
executionисполнение
exposeподвергать
extolпревозносить
fragileхрупкий
gaspзамирать
genericобщий
goalзадача
guidelineруководство
hamperмешать
hierarchyиерархия
immerseпогружать
impactвоздействие
implicitlyкосвенным образом
innovativeизобретательный
inventionизобретение
involveвовлекать
justifyопределять
layoutформат
life cycleжизненный цикл
managementуправление
marketрынок
marketingмаркетинг
mediocreпосредственный
meritдостоинство
misperceiveнеправильно понимать
nicheниша
nonconformityнесоответствие
objectiveзадача
on behalfв пользу
parityсоответствие
particularопределенный
perceptualвосприимчивый
persuasiveубедительный
positioningпозиционирование
precedeпредшествовать
promotionпродвижение
provinceобласть
prudentпредусмотрительный
purchaseпокупка
pursueпреследовать
quantifiableисчислимый
rationalрациональный
regulationограничение
rejectотвергать
relevantактуальный
representпредсавлять
rigorоцепенение
shareдоля
solelyединственно
solutionрешение
stemпроисходить
stifleсдерживать
stintограничивать
strayблуждать
stumble acrossнатыкаться
subcontiousподсознательный
superbпревосходящий
superiorityпревосходство
tangibleосязаемый
target marketцелевой рынок
tradeoffторги
triggerспусковой крючок
vendorпродавец
virtueдостоинство
visualвизуальный



(C) 2009