Chp.

Creative Strategy

Planning and Development

Advertising creativity
 Advertising creativity
• Is the ability to generate fresh unique appropriate and
relevant ideas that can be used as solution to
communication problems.
• 2 determinants
- Divergence: refers to the extent to which an ad contains
elements that are novel, different or unusual. (originality,
flexibility, elaboration, synthesis and artistic value)

- Relevance: Degree to which the various elements of the ad are

meaningful, useful or valuable to consumer.
The big idea/power idea
The perpetual debate
 The creative process- J Young
Get
Getraw
rawmaterial
materialand
anddata,
data,and
andimmerse
immerse
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Immersion yourself
yourselfin
in the
theproblem
problem

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withititin
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evaluateit,
it,reshape
reshapeititfor
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practicalusefulness
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Wallas – creative process

Verification Preparation
Refining Gathering
the idea Information

The
Creative
Process

Illumination Incubation
Seeing the Setting Problem
Solution Aside
 Getting creative input
Use the product to
Read anything become familiar Listen to what
related to the with it! people are talking
product or market! about!

Conduct studies of Ask everyone

product, service, Work in and learn involved for
audience! about the client’s information!
business!
 Input Verification and Revision
Evaluate
Evaluateideas
ideas

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Rejectthe
theinappropriate
inappropriate
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Objective
Refine
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theremaining
remaining

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ideasfinal
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expression

Directed
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focusgroups
groups

Message
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communicationstudies
studies
Techniques
Techniques
Portfolio
Portfoliotests
tests

Viewer
Viewerreaction
reactionprofiles
profiles
 Creative strategy

Creative
Creative Strategy
Strategy

Major
Majorselling
selling
Target
Target Basic
Basic problem,
problem, Any
Any
idea
ideaor
or
audience
audience issue,
issue, supportive
supportive
key
key
identity
identity opportunity
opportunity information
information
benefit
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 Creative brief
• Basic problem or issue the advertising must
address
• Advertising and communications objectives
• Target audience
• Major selling idea or key benefits
to communicate
• Creative strategy statement
• Supporting information and requirements
Implementation and Development
 DESIGNING THE COMMUNICATION

MESSAGE STRATEGY –Marketers seek POD

• What to say ? ( Message Content Or

Advertising Appeals )
• How to say it ( Execution style )
• How to say it logically? ( Message Structure )

• How to say it symbolically? ( Message Format )

• Who should say it? ( Message Source )

 Appeals and Execution styles
The
Theapproach
approach used
usedto
toattract
attractthe
the
attention
attention of
ofconsumers
consumers
Advertising
Advertising
Appeals
Appeals
To
Toinfluence
influenceconsumer
consumerfeelings
feelingstoward
toward
aaproduct,
product,
service
serviceor
orcause
cause

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way anan appeal
appealisisturned
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intoan
an
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advertisingmessage
message
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way the
themessage
messageisispresented
presentedto
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 BENEFIT PROMISE VS APPEAL

• Benefit Promise Or Unique Selling Proposition

• Should Be Believable, Desirable And Exclusive And Supported By
A Reason Why
• Benefit Promise Is Strategic In Nature And Should Not Change
unless Change In Product Formulation, Marketing Strategy, Or
Changing Consumer Needs / Wants.
• APPEALS MAY CHANGE TO INDICATE THE SAME BENEFIT
PROMISE
 DESIGNING THE COMMUNICATION APPEAL
/CONTENT

• What to say ? ( Message Content )

-Message appeals may be
1) Informational/rational( comparative vs Competitive) ) Vs
Emotional or Transfomational appeals(sensory ,social, ego
satisfaction)Vs Moral appeals
2) Negative appeals(guilt, shame, fear) vs positive
appeals(humour, pride,love,joy).
3) One of 3 appeals in context of product-in- use ,results of use
or incidental to use experience.
4)Borrowed interest technique like babies, puppies,
celebrity, popular music, provocative sex appeals.
 DESIGNING THE COMMUNICATION EXECUTION
STYLE

• How to say it logically? ( Message Structure )

1) -order of presentation(strongest first or last)
2) one sided or two sided,
3) Conclusion Drawing

• How to say it symbolically? ( Message Format )

A. PLACEMENT OF ELEMENTS, color, shape, size, texture,scent,bodylanguage.
B. TONE – positive, humour
C. WORDS
D. FORMAT – placement of elements, typography (press) background, colour, arresting key frame (TV).
E. EXECUTION STYLES

• Who should say it? ( Message Source )

Celebrity, or Expert, or Common man.
Expertise, trustworthiness(honesty and objectivity), likeability(congruity principle).
Ad execution Techniques /style
• The way the promotional appeal is presented
– Can be executed in any of the multiple ways as below
or combination
• Straight sell • Slice of life
• Technical expertise • Life style
• Animation
• Scientific Evidence
• Personality symbol
• Demonstration • Fantasy
• Comparison • Dramatization
– Direct or indirect • Mood or Image/Imagery
• Testimonial • Musical
– Authority, celebrity, peer • Mystery /teaser
Advertising appeals- Informational/Rational
appeal
• Focus on the consumer’s practical, functional, or
utilitarian need for using the product or service.
• messages emphasize the features of the product or
services and/or benefits or reasons for owning or using a
particular brand.
• content of the rational appeal message emphasizes facts,
learning, and the logic of persuasion.
• They tend to be informative in nature and attempt to
convince the consumer to use the brand because it is the
best available or does a better job of meeting their
needs.
 Types of ads using rational appeals
• Focus on dominant traits of the product
• Informative ads and give product attributes that will lead to
Feature appeal favorable attitudes
• can be used for rational purchase decision. Eg technical /high
involvement products

Competitive • The advt makes direct/indirect comparison to another brand

advantage appeal
• Tells about the price offer.Makes price offer the dominant point
Price appeal • Used for sales, discounts, EDLP. Eg fast food restaurants

News appeal • Used for news/announcement for brand, company

Product/service • Stress the popularity of product- no of users, no of

switchers ,recommendations, expertise position etc
popularity
 Emotional appeal
• Emotional appeals relate to the customers’
social and/or psychological need to purchase
a product or service.
• Many feelings or needs can serve as the bases
for these appeals, including psychological
states or feelings directed to the self
 Emotional appeal
Safety Stimulation
Sorrow, Grief
Security Pride
Fear Achievement
Love, Affection Accomplishment
Self-esteem
Happiness, Joy Embarrassment
Nostalgia Actualization
Sentiment Pleasure
Ambition
Excitement Comfort
Arousal
 Approval
Approval Affiliation
Affiliation

Acceptance
Acceptance Embarrass-
Embarrass-
ment
ment

Status
Status Social-Based
Social-Based Belonging
Belonging
Feelings
Feelings

Respect
Respect Involvement
Involvement

Rejection
Rejection Recognition
Recognition
 Transformational ads
• Transformational ads are defined as those which associate the experience
of using the advertised brand with a unique set of psychological
characteristics not typically associated with the brand experience, or to
the same degree without exposure to the advertisement.
• Transformational ads create feelings, images, and beliefs about the product
or service that may be activated when consumers use it.

• A transformational ad has two characteristics:

1. It must make the experience of using the product richer, warmer, more exciting,
and/or more enjoyable
than that obtained from a general description of the advertised brand.
2. It must connect the experience of the ad so tightly with the experience of using the
brand that the consumer cannot remember the brand without recalling the
experience generated by the advertisement.
 Emotional bonding
• Consumers Develop Three Levels Of Relationships With Brands,
• The McCann Erickson Worldwide advertising agency developed a
proprietary research technique known as emotional bonding that is
used to assess how consumers feel about brands and the nature of any
emotional rapport they may have them.
• The three levels of relationships consumer have with brands are
based on:
– Product benefits – how consumers think about brands with respect to
product benefits. This occurs through a rational learning process.
– Personality – the consumer assigns a personality to the brand (aggressive,
adventurous, timid, etc.). This personality is determined on the basis of cues
found in advertising.
– Emotions – the strongest relationship between brand and consumer and is
based on feelings and emotional attachment to the brand.
 Teaser advertising
• Advertisers introducing a new product often use
teaser ads, which is designed to build curiosity,
interest, and/or excitement by talking about the
new product, but not actually showing it.

• Teaser ads, also called mystery ads, are also

used for new movies or TV shows. They are
especially popular among automotive
advertisers for introducing a new model or
announcing significant changes in a vehicle.
 Straight sell/factual message
• a straightforward presentation of information
about a product or service.
• often used with informational/rational appeals,
where the focus of the message is the product or
service and its specific attributes and/or benefits.
Scientific/technical information
• Cite the scientific/lab studies, endorsements to
support the advt claims
 Demonstration
• is designed to illustrate the key advantages of a
product or service by showing it in actual use
or in some staged situation.
• TV is particularly well suited for
demonstration executions, because the
benefits or advantages of the product can be
shown right on the screen.
 Comparison
• Direct way of communicating a brands
particular advantage over its competitors or
positioning a lesser known brand against
leaders
• Use competitive advantage appeal
 Testimonial Vs. Celebrity endorsement

• In testimonial, a person praises the product on

basis of his personal experience
• Have ordinary satisfied customers discuss the
own experience with their brand and their
benefits of using it
• Effective when TA can identify
• Must be based on actual usage of product and
spokesperson should be credible
• Celebrity endorsement means just lending
your name
 Slice of life
• is a widely used advertising format, especially for packaged-goods products,
and is generally based on a problem/solution approach.
• Portrays a problem a consumer faces and how the product helps to
resolve it
• Are often criticized for being unrealistic and irritating to watch because
they remind consumers of a personal nature, such as dandruff, bad breath,
body odor, and laundry problems. These ads often come across to consumers
are contrived, silly, phony, or even offensive.
• However, any advertisers still prefer this style because they believe it is
effective as presenting a situation to which most consumers can relate.
• With a slice-of-death advertising, the slice-of-life ad is used in conjunction
with a fear appeal. The focus is on the negative consequences that result
from not using the product or service.
• Execution is critical: dramatization required, TA relatability
 Animation
• Using animated characters, cartoons, puppets
etc.
• Used in products for children
• E.g. Vodafone zoozoos
 Personality symbol
• Develops a central character or personality
symbol that can deliver the advt message
and with which the product/service can be
identified
• Raymonds the complete man
 Imagery
• Almost entirely visual ad.
• Encourages consumers to identify with pics,
symbols and then associate with the brand.
• Used for emotional appeal
• Usage imagery: brand in use. Eg SUV
• User imagery
 Dramatization
• Used in TV
• Draw viewer into action
by showing brand as the
star
• Uses slice of life to be
told in 30 sec
• Execution is the key
• eg Fair and lovely ,tide
 CREATIVE TACTICS

Print advertising
 Elements of print advert

1.Layout 2.Headline 3.Visual

4.Body 5.Brand
copy logo
The Art of Creating Print Ads

Design
How the art director and graphic artist
choose and structure the artistic elements of the ad

Layout
How chosen ad format elements are arranged

Visuals, headline,
subheads, body copy, slogan,
seal, logo, signature
 1.Layout
• Art directors counterpart of a blueprint/map to
roughly lay position and size of various print
elements like headlines, visuals,copy and logo
• gives a broad idea of the final output and
needs to be client approved
• Diff types of layouts
 Which Layout Works Best?
Also called
poster-style. A
single, large
visual occupies
about two-
thirds of the ad

Vertical and
horizontal lines
and shapes in
a grid give
Picture Window geometric Mondrian Grid
proportion
 Which Layout Works Best?
Filled with
multiple
illustrations,
oversized type,
reverse blocks,
etc. to bring
the ad alive

Copy
surrounded by
the visual, or
Circus visual Picture Frame
surrounded by
copy
 Which Layout Works Best?
When you
have a lot to
say and
visuals won’t
say it
Similar to
circus. Uses
multiple
illustrations to
make a single
Copy-Heavy composition Montage
Which Layout Works Best?

Combining two
or more
elements to
make an ad
more
interesting

Combo
 Commonly Used Software
Page Layout QuarkXPress,
FrameMaker, InDesign

Painting / Drawing CorelDRAW, Macromedia

Freehand, Adobe Illustrator

Image Manipulation Adobe Photoshop,

Corel Paint Shop Pro

Web Design Macromedia FLASH

Word Processing Microsoft Word,

Corel WordPerfect
 Layout design principles
Order of elements Visual path White space Contrast
• Elements organized • Eye scrutinizes the • Blank space/areas of • Sudden/unexpected
in some kind of elements in a visual layout which aren’t change in visual
preference, size or path for study concealed by element to attract
pattern • Process elements visual/copy attention.
• Makes it easier to from top to bottom, • Used correctly helps • Black/white elements
process left to right etc to highlight and to separate print
• Most common maintain exclusivity elements
pattern of eye of the product
movement “S,C,Z” or
in reverse
• Most prominent
elements placed in
the optical centre- a
spot slightly above
and to the left of the
actual centre of the
layout
 Layout design principles

Unity of Gestalt Other

Focal point Balance
elements principles elements
• Combines • Mind • Dominant • Overall visual • Proportion,
elements of organizes element weight of the • rhythm and
ad to and which the composition simplification
accent perceives advt wants • Otherwise
similiarities form and you to see leads to
and shape first lopsidedness
produce a • Closure,
cohesive similarity ,P
look roximity ,co
ntinuity etc
 2.Headlines
• Is the words in the leading position of the ad—the words
that will be read first or are positioned to draw the most
attention.
• Are usually set in larger type and are often set apart from
the body copy or text portion of the ad to give them
prominence.
• The most important part of a print ad.- Responsible for
attracting the readers attention and keeping them interested
 Types of headlines
The type used depends on several factors, including the creative strategy, the
particular advertising situation(e.g., product type, media vehicle(s) being used,
timeliness), and its relationship to other components of the ad, such as the
illustration or body copy.
Direct headlines: are straightforward and informative in terms of the
message they are presenting and the target audience they are directed
toward. Common types of direct headlines include those offering a specific
benefit, making a promise, or announcing a reason the reader should be
interested in the product or service.
Indirect headlines are not straightforward about identifying the product or
service or getting to the point. often more effective at attracting readers’
attention and interest because they provoke curiosity and lure readers into
the body copy to learn an answer or get an explanation.
Techniques for writing indirect head- lines include using questions,
provocations, how-to statements, and challenges
 Types of headlines (Contd)
• News
• Guarantee
• Benefit
• Reason why
• How to
• Question
• Testimonial
• Command
 Functions of headlines
• Grab readers attention
• Summarize the USP
• Select the prime prospect
• Offer benefit
• Emphasize the brand
• Encourage the readership of the body copy
• Synergize with a visual
• Strike an emotional chord
• Subheads-one or more secondary heads, or
subheads.
• Sub- heads are usually smaller than the main
headline but larger than the body copy.
• They may appear above or below the main
headline or within the body copy.
• Used to enhance the readability of the message
by breaking large amounts of copy and
highlighting key selling points
 3. Body copy
• Main text portion of the print ad
• Heart of advt message- getting audience to read
is difficult
• Not too long or short
• Should flow from the headline
• Copy style should be chosen according to appeal
eg rational appeal- straight sell copy ,emotional
appeal- narrative copy
 Copywriting approaches-

• Customary approach
• Mini essay building on the headline
• Links the headline, details, benefits and wraps the
idea
• Gives call to action
• A std body copy
• Story approach
• Narrative in first/third person
• Tale with characters
• Message driven home as an inference
 Copywriting approaches

• Dialogue approach
• Dialogue format like TV/radio
• Conversational
• Bulleted approach
• Used to detail product advantages and
features
• Lot of points- technical product
• Poetic approach
• Use of lyrics and fantasy
 Slogans/taglines
• Catchy memorable phrases used to conclude and wrap up an idea.
• Used to register the key message in the minds of the TA.
For eg
- Make it memorable: Amul butter, Kitkat
- Incl the brand name: Axe it, Paytm karo
- State the prime benefit : Amaron ( for worry free journey)
- Differentiate the brand: Duracell ( 10 X better)
- Convey the brand personality. Eg Raymonds The complete man
- Communicate the business strategy -we r no 2,so we try harder

• Try the rule of three-word length

• Watch for meaning ( Electrolux)
 Visuals
• First element that the reader notices in a print ad
• Performs functions: attention, demonstration , differentiate etc
• Types of visuals
- Snapshot of the product
- Product in use
- Close up of critical part of the product
- Target group
- Benefit of using the product
- Drawback of not using the product
- Before/after
- Metaphor ( lady with multiple hands )
- Comparison
- Only visual eg David off
 Art Design and Production
Thumbnail Rough Layout Comprehensive

Small, rapidly Drawn to actual

Facsimile of the
produced drawing size, art sketched
finished ad
for visualization in, body copy lines

Mechanical Dummy

Text and visuals Presents look

in exact position, and feel of
ready for camera brochures
TV and Radio

CREATIVE EXECUTION IN
BROADCAST MEDIA
 Radio- Imagery transfer
• Highly visual medium- vividly engages imagination
• Voices, sounds, music should evoke pics and create scenes that
can transport people to places where scriptwriter wants to take
them.
• Theater of the mind
• Brain first processes pics, then sound ,and then written word
• More comprehended than the written word.
• Imagery transfer is the process by which visual elements of tv are
transmitted into the listeners mind using a similar audio track or
script in the radio equivalent
• Can help to sync b/w radio and tv
• help to create a multisensory impact on a low budget
 Radio script
• A script is a blueprint comprising of dialogues,
sounds, music ,tone of voice instructions for a
commercial
• It guides artists/directors involved in recording
 Structure for a radio commercial
1. One voice
2. Dialogue
3. Multivoice
4. Celebrity
5. Continuing character
6. Audio demo
7. sounds/music
8. Interviews
9. Vignette
10. Case history
 Writing a good radio spot
Start with a bang
• Grab attention quickly using drama

Make one point

• Promote one single idea

Identify the brand

• Mention repeated brand names (client name 3 /30 s)

Simple message
• No extra info

Keep away from nos

• Ability to retain info is limited

Make it personal

Conversational

Use sound effects discreetly

Choose spot and time wisely,refresh spots

Call to action

Unify the campaign, customize if necessary

Use humor prudently

Radio ad productions
Script Proofing

Casting

SFX & Music

Mixing

Taping & Copying

Distribution to Local Stations

 Elements of TV
• Sight, sound, motion, emotion, progression

• Larger than life

• Audio
– Voices, sound effects, music

• Video-Visuals
• Text
Process of making a TV commercial
Revie
w the
• Consider the big idea and the communication objective
creati
ve
brief
• Think in terms of images to tell the story and use words as natural consequence of
Think the image
pictu • Think visuals over words
res

Use
• Write a story and take it to conclusion
narra
tive

• a blueprint comprising of dialogues, sounds,music ,tone of voice instructions for a

Write commercial
a • MVO,FVO,SFX
script
Process of making a TV commercial
• Tells the story through illustrations or images
• Graphic organizer of a series of actions depicted sequentially frame by frame
Prepa combined with AV elements
re a • Pre visualises the commercial ,6-8 frames
story • Moodboard, photoboard
board

• Actual filming
Prod • Inhouse production houses/outbound
uctio
• Agency passes the storyboard with detail like idea, strategy, casting
n of
com preferences,choice of location/wardrobe, special effects etc
merci
al

Post • Editing, rushes interlock

prod
uctio
n
 Costumes
& Props
Makeup
Casting Art

Length Lighting

Setting Pacing

Camera
Scenes & Production
Shots &
Shots Decisions
Moves
 How to make a good TV commercial
• Use movie language: Make it intimate,
Television must entertain
• Balance audio/video and words: Images are
more important than words and text
• Music: should be supporting. Eg titan
• Audio or video alone should help convey the
message- synergistic commercial
• Consistency
• Key Frames and Zeigernik effect
Source, message and channel factors
• Analyse the major variables in
communication system: the source,
message and the channel
• Message structure, type of appeal
• Factors related to channel
Promotional planning through Persuasion matrix

• For an effective advertising and promotional campaign, a firm must select

the right spokesperson to deliver a compelling message through
appropriate channels or media.
• Source, message, and channel factors are controllable elements in the
communications model.
• The persuasion matrix helps marketers see how each controllable element
interacts with the consumer’s response process.
• The matrix has two sets of variables.
• Independent variables are the controllable components of the
communication process
• Dependent variables are the steps a receiver goes through in being
persuaded
 Persuasion matrix

• Marketers - choose the person or source who delivers the message, the type
of message appeal used, and the channel or medium.
• And although they can’t control 100% the ultimate effect of message that
receiver gets ( his perceptions , feelings , attitude ) , they can select their
target audience.
• The destination variable is included because the initial message recipient
may pass on information to others, such as friends or associates, through
WOM.
• Promotional planners need to know how decisions about each independent
variable influence the stages of the response hierarchy so that they don’t
enhance one stage at the expense of another.
• For eg :A humorous message may gain attention but result in decreased
comprehension if consumers fail to process its content.
Persuasion matrix
 Persuasion matrix
• Channel/presentation: Which media will increase presentation?. For eg:
Hello6e-promoted to 3,772,583 readers and circulation of 200000.captive
audience in uncluttered environment. to reach an exclusive group of affluent and
highly educated managers, owners, professionals and executives.(cost:3l-9.5l).
Femina: promote -592,530 readers. -the circulation 197,510,targets women
(managers, professionals,executives) (1l-6l).CNBC tv18 (Cost per 10 s: 1000-
2500)

• Source/attention: Who will be effective in getting consumers’ attention? Need to

break through the clutter. use sources who will attract the target audience’s
attention—actors, athletes, rock stars, or attractive models.
• Receiver/comprehension: Can the receiver comprehend the ad? Marketers - know
their target market to make their messages clear , understandable. A less educated
person may have more difficulty interpreting a complicated message. Jargon may be
unfamiliar to some receivers. The more marketers know about the target market,
the more they see which words, symbols, and expressions their customers
understand.

• Message/yielding: What type of message will create favorable attitudes or feelings?

try to create agreeable messages that lead to positive feelings toward the product or
service.
Humorous messages - put consumers in good mood and evoke positive feelings that may
become associated with the brand being advertised. Music adds emotion that makes
consumers more receptive to the message. Some marketers compare their brands to the
competition.
 Source factors

• Source: A person involved in communicating a message

directly/indirectly
• A direct source is a spokesperson who delivers a message
and/or endorses a product or service.
• An indirect source means that there is no spokesperson in the
ad that actually delivers a message, but the ad creation draws
attention to important message and/or enhances the appearance
of the ad.
• Some ads use neither a direct nor an indirect source.
Source Attributes — Receiver Processing Modes
 Source attributes

• shows the various categories of source attributes, and the receiver processing
mode associated with each.
– Credibility – the extent to which the recipient sees the source as having relevant
knowledge skill or experience and trusts the source to give unbiased, objective
information. 2 dimensions: expertise: more persuasive ,trustworthiness:
honest,ethical,believable.
• Internalization – the process by which a receiver adopts the position advocated by the
source because it is perceived as accurate and makes it part of his or her belief system
– Attractiveness – refers to the similarity, familiarity, and/or likeability of the source
• Identification – the process by which an individual is motivated to seek some type of
relationship with the source and thus adopts similar beliefs, attitudes, or behaviors.
– Power – refers to the ability (real or perceived) of the source to administer rewards
or punishment to the receiver
• Compliance – the process by which the receiver accepts the position advocated by the
source to receive rewards or avoid punishment.
Source Credibility
 Expertise

• Marketers want to use sources with high credibility

• Chosen for knowledge, experience and expertise in particular
product/service area
 Trustworthiness

• TA should find the source believable.

• Difficult to find celebrities with trust worthy images
• Use various techniques to increase this perception. Eg hidden cameras,disguised
brands,PR..
• Bias with influencers and advocates being paid for a favorable review.
• Use companys CEO- to show commitment to quality and service, to enhance
image.
• problems of overshadowing ,vulnerability etc
Limitations of Credible sources

• Several studies have shown that a high-credibility source is not

always an asset, nor is a low-credibility source always a liability.
High- and low-credibility sources are equally effective when they
are arguing for a position opposing their own best interest.
• A low-credibility source may be as effective as a high-credibility
sources due to the sleeper effect, whereby the persuasiveness of
the message increases with the passage of time.
• With time, the association of the message with the source
diminishes and the receiver’s attention focuses more on favorable
information in the message.
 Source Attractiveness

Familiarity

Similarity Likability

Attractiveness
leads to
persuasion
through process
of Identification

Receiver motivated for a relationship with source and adopts similar beliefs, attitudes,
preferences & behavior
 Similarity

– resemblance between the source and the recipient of the message.

– Marketers recognize - people are more likely to be influenced by a
message coming from someone with whom they feel a sense of
similarity (e.g. similar needs, goals, interests, lifestyles).
– Used to generate feelings of empathy
– Use Slice of life advt, use regular average people to advt
 Familiarity

– knowledge of the source through exposure. Familiarity is enhanced

through repeated or prolonged exposure.
 Likeability

– affection for the source as a result of physical

appearance, behavior, or other personal traits.
– Use well known celebrity endorser
– CE – stopping power, draw attention in clutter,
favorably influence the product
– Consumers can admire physical appearance, talent,
and/or personality even if the source is not well
known or a celebrity.
 Risks of using celebrity endorser

Overshadowing • advertisers should select a celebrity spokesperson who will

attract attention and enhance the sales message, but not
the product overshadow the brand

• consumers can become skeptical when a celebrity endorses

Overexposure too many products or companies and becomes overexposed.

Target audiences • How well the individual matches with and is received by the
advt TA
receptivity
• the advertiser needs to select an endorser who will not
Risk to the advt embarrass the company. Researching the celebrity’s personal
life and background to reduce this risk is becoming common.
Choosing a Celebrity Endorser
Applying Likability: Decorative Models

• Advertisers often draw attention to their ads by featuring a physically attractive

person who serves as a passive or decorative model, rather than as an active
communication.
• Research shows that physically attractive communicators generally generate
more favorable evaluations of both ads and products than less attractive models.
• Recent studies, however, show that some women experience negative feelings
when comparing themselves with beautiful models used in ads and the images
of physical perfection they represent.
• In response, some companies have developed advertising campaigns that tell
women, as well as young girls, that they’re beautiful just the way they are.
This ad for Dove’s Firming lotion, cream, and body wash, features “real
women.” Unilever’s Dove brand has long eschewed the use of supermodels,
preferring to use everyday women and girls who resemble its typical consumers
 Source power

• A source has power when he or she can actually administer rewards/punishments to

the receiver and can Induce a person to respond to the request/position source is
advocating.
• Source power depends on several factors:
1. The source must be perceived as being able to administer positive or negative
sanctions to the receiver (perceived control)
2. The receiver must think the source cares about whether or not the receiver
conforms (perceived concern).
3. The receiver’s estimate of the source’s ability to observe conformity is also
important (perceived scrutiny).
• When a receiver perceives a source as having power, influence occurs through a
process known as compliance. The receiver accepts the persuasive influence of the
source and acquiesces to his or her position in hopes of obtaining a favorable
reaction or avoiding punishment.
• Difficult to use this in advt- indirect way of using power – using an individual with
an authoritative personality as a spokesperson
 Message factors
• Presentation of communication msgs
determine their effectiveness
• Content, information structure and message
appeal is important
 Message structure
• Order of presentation
• Conclusion drawing
• Message sidedness
• Refutation
• Verbal vs visual message characteristics
 Order of presentation

• Basic consideration in message design

• Research on learning and memory indicate that
items presented first and last are remembered
better than those presented in the middle.
• The strongest arguments should be placed at the
beginning or end of the message, never in the
middle.
• Presenting the strongest arguments at the
beginning of the message assumes a primacy
effect is operating, whereby information
presented first is most effective.
• Putting the strong points at the end assumes a
recency effect, whereby the last arguments are
most persuasive.
 Conclusion drawing

• Marketing communicators must decide whether their messages should draw a firm
conclusion or allow receivers to draw their own conclusions.
• messages with explicit conclusions are more easily understood and effective in influencing
attitudes.
• however, this effectiveness can depend on the target audience, the type of issue or topic, and
the nature of the situation.
• highly educated people prefer to draw their own conclusions (can get annoyed) , can do so
for less educated
• High involvement products-recepients want to make up their own minds, need definite
conclusion in complex,less knowledgeable products.
• Generally TA should draw their own conclusions use open ended message
 Message one sidedness

• One sided message: positive attributes and

benefits,effective when TA holds a favorable opinion
abt the topic,works well with less educated audience.
• Two sided message: both good and bad points.More
effective when TA holds opposing views or is highly
educated. TA feels both sides of arguments- enhances
credibility of the source,less biased and more
objective.
 Refutation

• Refutation appeal: Two sided message, the

communicator presents both sides of an issue and
then refutes the opposing viewpoint.
• are more effective than one-sided messages
because they tend to “inoculate” the target
audience against a competitor’s counterclaims.
• Useful when mkters wish to build attitudes that
resists change and defend against attacks against
their company
 Verbal vs Visual messages
• Pictures – used to convey information,reinforce copy
or message claims.should support the verbal appeal
• Use of pics improved immediate and delayed recall
of product attributes
• Other advertisers design ads in which the visual
portion is incongruent with, or contradicts, the verbal
information presented. The logic behind this strategy
is that the use of an unexpected picture or visual will
grab consumers’ attention and get them to engage in
a more effortful or elaborative processing.
 Message appeal

• One of the advertiser’s most important creative strategy

decisions involves the choice of an appropriate appeal.
• There are two broad categories of message appeals:
– Rational – focus on consumer’s practical, functional, or
utilitarian needs
– Emotional – focus on consumer’s social and/or psychological
needs or feelings
• Many believe that the most effective advertising
combines the practical reasons for purchasing a product
with emotional values.
Message appeal: Comparative advt
• directly or indirectly naming competitors in an ad and
comparing one or more specific attributes. Characteristics of
comparative advertising include:
– FTC (US) advocated this type of advertising in 1972 to give
consumers a more rational basis for making purchase decisions.
– Helps get new brands into the evoked set of the consumer
share,used by new brands to position themselves vis a vis
established competitors
– Often used for brands with small market –compare with established
mkt leader for creating an association and tapping into their mkt
– Used to differentiate brands in highly competitive mkt space
– Used frequently for political advertising
 Message appeals- Fear appeals
• 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 (illegal drugs) or social
rejection (mouthwash, deodorant)
– Has both facilitating and inhibiting effects
 Message appeal- humor

• 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
Humor appeal
Channel factors
Differences in information processing

• There are basic differences in the manner and rate at which information from
various forms of media is transmitted and can be processed. The two broad
classifications of media are:
– Self-paced – readers/viewers process the ad at their own rate. Self-paced media include
print media such as newspapers, magazines, and direct mail as well as the Internet.
– Externally-paced – the transmission rate is controlled by the medium. Externally- paced
media include radio and television.
• Some implications for advertisers are that self-paced media make it easier for the
message recipient to process long, complex messages. Advertisers can use print
media or the Internet to present a detailed message with a lot of information.
• Externally-paced media are more effective for shorter message and are good for
getting attention and then directing consumers to specific print media or the
Internet where more detailed information can be presented.
 Clutter

• Clutter is the amount of advertising in a medium. For television, clutter includes all
the nonprogram material that appears in the broadcast environment… commercials,
promotional messages for shows, public service announcements (PSAs), and the like.
• Clutter is of increasing concern to advertisers because there are so many messages
competing for the consumer’s attention. On average, one fourth of a broadcast hour on
TV is devoted to commercials; radio stations carry an average of 10-12 minutes of
commercials per hour.
• And, commercials have dropped in length from 60 seconds, to 30 seconds, to 15
seconds. That means many more commercials are now being shown. A viewer
watching three hours of prime-time programming on the major networks could be
subjected to as many as 100 commercial messages.
• The problem is not likely to go away, which means advertisers must continue to
look for ways to break through the clutter, such as using humor, celebrity
spokespeople, or novel, creative approaches