Реферат: Art of adviting
Реферат: Art of adviting
The
art of advertising 3
Message
strategies 4
A
few words about creative strategy 10
Some
final thoughts about the message strategy 15
Dictionary. 17
Inputs to
message strategies
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.
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:
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:
Describe
the audience as precisely as possible in relation to demographics,
geographics and psychographics
What
the problem that the brand will solve. for consumers.
In
terms of the task:
Describe
the task in terms of the stage of the hierarchy of effects.
Describe
the task in terms of audience involved.
Describe
the task in terms of the brands benefits.
Describe
the task in relation to the competition.
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:
Attention
getting..
It must attract and hold the receiver.
Understandable.
It must use symbols that are common to both the sender and the
receiver.
Relevant.
It must arouse basic needs and suggest the way to satisfy them.
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.
Accomplish
|
выполнять
|
Advertise
|
рекламировать
|
Advertisement
|
реклама
|
Affirmative
|
утвердительный
|
aid
|
помощь
|
aim
|
цель
|
appeal
|
обращение
|
appropriate
|
соответствующий
|
approval
|
оправдание
|
audience
|
аудитория
|
awareness
|
осведомленность
|
benefit
|
выгода
|
bias
toward
|
склоняться
к
|
brand
|
марка
|
captivating
|
увлекательный
|
commercial
|
реклама
|
compelling
|
убедительный
|
competition
|
конкуренция
|
conceive
|
постигать
|
conductive
|
способствующий
|
connotation
|
дополнительное
значение
|
constrain
|
сдерживать
|
constrict
|
сократить
|
controvertial
|
спорный
|
conventional
|
обычный
|
conсise
|
сжатый
|
copy
|
рекламный
текст
|
core
|
суть
|
creative
|
творческий
|
creativity
|
творческий
подход
|
customer
|
покупатель
|
degrade
|
приходить
в упадок
|
department
|
отдел
|
derive
|
происходить
|
dimension
|
направление
|
disparage
|
относиться
с пренебрежением
|
dominant
|
доминант
|
elicit
|
извлекать
|
emphasise
|
подчеркивать
|
enlarge
|
развивать
|
evident
|
очевидный
|
execution
|
исполнение
|
expose
|
подвергать
|
extol
|
превозносить
|
fragile
|
хрупкий
|
gasp
|
замирать
|
generic
|
общий
|
goal
|
задача
|
guideline
|
руководство
|
hamper
|
мешать
|
hierarchy
|
иерархия
|
immerse
|
погружать
|
impact
|
воздействие
|
implicitly
|
косвенным
образом
|
innovative
|
изобретательный
|
invention
|
изобретение
|
involve
|
вовлекать
|
justify
|
определять
|
layout
|
формат
|
life
cycle
|
жизненный
цикл
|
management
|
управление
|
market
|
рынок
|
marketing
|
маркетинг
|
mediocre
|
посредственный
|
merit
|
достоинство
|
misperceive
|
неправильно
понимать
|
niche
|
ниша
|
nonconformity
|
несоответствие
|
objective
|
задача
|
on
behalf
|
в
пользу
|
parity
|
соответствие
|
particular
|
определенный
|
perceptual
|
восприимчивый
|
persuasive
|
убедительный
|
positioning
|
позиционирование
|
precede
|
предшествовать
|
promotion
|
продвижение
|
province
|
область
|
prudent
|
предусмотрительный
|
purchase
|
покупка
|
pursue
|
преследовать
|
quantifiable
|
исчислимый
|
rational
|
рациональный
|
regulation
|
ограничение
|
reject
|
отвергать
|
relevant
|
актуальный
|
represent
|
предсавлять
|
rigor
|
оцепенение
|
share
|
доля
|
solely
|
единственно
|
solution
|
решение
|
stem
|
происходить
|
stifle
|
сдерживать
|
stint
|
ограничивать
|
stray
|
блуждать
|
stumble
across
|
натыкаться
|
subcontious
|
подсознательный
|
superb
|
превосходящий
|
superiority
|
превосходство
|
tangible
|
осязаемый
|
target
market
|
целевой
рынок
|
tradeoff
|
торги
|
trigger
|
спусковой
крючок
|
vendor
|
продавец
|
virtue
|
достоинство
|
visual
|
визуальный
|
19