Transcript advertising

CREATIVE
ADVERTISING
3
CREATIVE STYLES
LEO BURNETT & INHERENT
DRAMA
“Inherent drama is often hard to find
but it is always there, and once found
it is the most interesting and
believable of all advertising appeals.”
Leo Burnett
• In every product and service, there
exists some inherent drama -something inherent in the product,
something that makes people
continue to buy it, something that
made the manufacturer make it, etc. - that makes the product stand out.
And every ad should emphasize it.
• Burnett’s inherent drama ads
mostly callled “social touch” and
the messages are mostly presented
in a warm, emotional way.
• The main aim is to focus on
consumer benefits with an
emphasis on the dramatic element
in expressing them.
• With inherent drama some idols/icons and
mythologic characters were born of America.
• In a career that spanned nearly six decades,
his aptitude for inventing evocative, easily
recognizable corporate identities spawned
the Jolly Green Giant, the Marlboro Man, the
Pillsbury Doughboy and Tony the Tiger,
among other familiar icons of commerce.
• 1928-The Green Giant
• The Green Giant's national ad debut
in 1928 was disappointing and the
creator was Minnesota Valley
Canning Co.
• Minnesota Valley Canning Co.
developed the Giant as a product
trademark, but in his earliest days
he was stooped and scowling, wore
a scruffy bearskin and looked more
like the Incredible Hulk than the
grand old gardener he is today.
• Enter ad agency Erwin, Wasey
& Co. The assignment for the
• Giant's transformation was
tackled by none other than
young Leo Burnett, who
improved the Giant's hunched
posture, turned his scary scowl
into a sunny smile and clothed
him in a light, leafy outfit.
• He also gave the tender tall
guy a new backdrop -- a valley
of crops that highlight the
Giant's height.
• The Giant's early TV appearances, in 1958, however,
were not as stellar. Bob Noel, a writer at Burnett,
once made these comments about the Giant's early
TV appearances: "They tried men painted green," a
puppet figure and animation. The problem is "when
you try to move the Giant around and really show
what he looks like, he comes off a monster. The baby
cries and the dog goes under the bed."
• Mr. Noel devised an ingenious solution: ads that
showed just enough of the Giant to establish his
presence but not too much to send customers
running for cover. The problems that arose
ultimately brought the creative staff to a new
understanding about the big guy. The Giant was
most effective either in silhouette or partial view. To
lighten up the Giant's image, Mr. Noel dreamed up
his signature "Ho, ho, ho" and lilting "Good things
from the garden" song.
• 1951- Tony the Tiger
endorses Frosted Flakes
• PRODUCT: Kellogg's Sugar
Frosted Flakes (later
Frosted Flakes)
• When America started
heading for the health
clubs, Tony also got a
slimmer, more muscular
physique. He's also risen in
stature from a scrawny,
cereal-box size pussycat
who ambled on all fours to
a 6-foot figure with a
towering, upright stance.
• 1955-The Marlboro Man
• In the beginning back in the 1950s,
a time when cigarettes were
accepted in even the politest
society, Burnett created the macho
icon as a way to reposition
Marlboro from a "mild as May"
ladies cigarette to a product with
broader appeal. The original
newspaper ad from Burnett
carried the slogan "delivers the
goods on flavor" and it
immediately sent sales
skyrocketing.
• By the time the Marlboro Man went
national in 1955, sales were at $5 billion, a
3,241% jump over 1954 and light years
ahead of pre-cowboy sales, when the
brand's U.S. share stood at less than 1%.
• Despite his appeal, the cowboy wasn't the
only rough-and-tumble image used to sell
the brand's image. Over the next decade,
Burnett experimented with other manly
types -- ball players, race car drivers and
rugged guys with tattoos (often friends of
the creative team, sporting fake tattoos). All
the pitches worked.
• 1965-The Pillsbury Doughboy
bounces to life
• PRODUCT: Assorted Pillsbury
foods, including refrigerated
dough, bakery mixes and rolls
• Burnett creative director Rudy Perz
was sitting at his kitchen table in
the mid-1960s when he dreamed
up the idea of a plump, dough
figure that would pop out of a tube
of refrigerated rolls.
• Since then, Pillsbury has used
Poppin' Fresh in more than 600
commercials for more than 50 of its
products.
•
Leo Burnet has created those icons by inherent
drama and those icons were in the list of “TOP 10
ADVERTISING ICONS OF THE CENTURY”
1.
2.
3.
4.
5.
The Marlboro Man- Marlboro cigarettes
Ronald McDonald- McDonald's restaurants
The Green Giant- Green Giant vegetables
Betty Crocker- Betty Crocker food products
The Energizer Bunny - Eveready Energizer
batteries
The Pillsbury Doughboy - Assorted Pillsbury
foods
Aunt Jemima - Aunt Jemima pancake mixes and
syrup
The Michelin Man - Michelin tires
Tony the Tiger- Kellogg's Sugar Frosted Flakes
Elsie - Borden dairy products
6.
7.
8.
9.
10.
BERNBACH’S EXECUTION
EMPHASIS
• In the early 1950s, William Bernbach-one of
the founders of the Doyle Dane Bernbach
agency- created “the execution emphasis”
strategy which based on the execution’s
importance.
• Differently than the most of other strategies
Bernbach strategy believed that the
execution- “the how to say it” component –
of message strategy could become content
in and of itself.
• According to Bernbach; if the execution
is satisfactory than it could be more
importnant than what you have said. A
healthy man can say something with a
tasteful voice can rock the world, but if
the same words have said by an
unhealty man with a thin and
uneffected voice than the ad would be
nonsense.
• http://www.reklamlar.tv/rtv/sin/one/N/P_P
/rv/BHEGX/
• According to the strategy; execution
style was the dominant feature of
advertising, and he believed that the
secret of effective advertising was
taking a problem and turning it into
an advantage with dramatic visuals
and honesty.
• According to the strategy the advertising
must follow 4 basic points:
1. The audience must be respected; ads
should not talk down to the people while
they are trying to reach them.
2. The approach must be clean and direct.
3. Advertisements must stand out from
others, they must have their own
character and style.
4. Humor should not be ignored, it can be
effective in gaining attention and
providing a listening, viewing or reading
award.
• Using humor can be very
effective in emotions based
advertising. Doyle Dane
Bernbach’s "Think Small“
campaign that he made in
1959 for Volkswagen is still
the 20th centurys best
adsvertisement.
• Bernbach foumd the
problem of the product and
he showed the problem an a
humorious way to the
audience. And the strategy
also shows that tha problem
can be differentiated feature
of the advertising and the
product.
VAUGHN’S MODEL OF FCB (FCB
GRID)
• “We may not now, or ever, know
definitively how advertising
works. But we do know it works
in some definable ways well
enough to make more effective
advertising.”
Richard Vaughn
• The advertising industry has long been
challenged to explain how advertising works.
Instead of clarifying whether advertising
works or not, explaining how it works and
why it works has long been the concern for
many.
• In response to a requirement for strategic
discipline and creative stimulation in
advertising planning, Foote, Cone & Belding
explored and developed a comprehensive
communication model.
• With the need for a scientifically-derived model of
advertising for support in strategy planning,
response measurement and sales promotion,
Richard Vaughn presented the FCB model in 1980.
• Vaughn suggested that a requirement existed for
understanding people’s thinking, feeling and
behaviour toward the product and services in
their lives to understand how advertising works.
• Vaughn’s model presents an overview on
understanding of people’s attitudes toward
advertising based on two dimensions:
involvement and think/feel.
• FCB planning grid consists of 4 main
planning grids.
• Every grid connects with a product
and consumer type and every grid
also suggests that what kind of tests,
medias and creative approaches can
be used for the advertising to those
groups.
FCB Grid
HIGH
INVOLVEMENT
LOW
INVOLVEMENT
THINK
FEEL
1
2
3
4
FCB Grid
THINK
INFORMATIVE
HIGH
INVOLVEMENT (economic)
Learn Feel Do
LOW
INVOLVEMENT
3
FEEL
2
4
FCB Grid
THINK
HIGH
INVOLVEMENT
1
LOW
INVOLVEMENT
3
FEEL
AFFECTIVE
(Psychological)
Feel  Learn Do
4
FCB Grid
HIGH
INVOLVEMENT
THINK
1
HABIT
FORMATION
LOW
INVOLVEMENT (Responsive)
Do  Learn Feel
FEEL
2
4
FCB Grid
HIGH
INVOLVEMENT
LOW
INVOLVEMENT
THINK
1
3
FEEL
2
SELF-SATISFACTION
(Social)
Do  Feel  Learn
FCB Grid
THINK
FEEL
INFORMATIVE
HIGH
INVOLVEMENT (economic)
Learn Feel Do
AFFECTIVE
(Psychological)
Feel  Learn Do
HABIT
SELF-SATISFACTION
FORMATION
(Social)
LOW
(Responsive)
INVOLVEMENT Do  Learn Feel Do  Feel  Learn
• According to Vaughn, this
quadrant represents a large need
of consumers for information
because of the significance of the
product; as a result, more
thinking is required to make a
purchase decision.
• Major purchases such as a car,
house, appliance, insurance,
furnishings, and almost any
expensive new product; those
which make consumers consider
many factors such as function,
price and availability in making
purchase decision, are classified
in this quadrant.
• "Out of four traditional theories of advertising
effectiveness, the Economic model may be appropriate to
this quadrant"
• The Economic model is a theory emphasizing a rational
aspect of consumer who consciously considers functional
cost-utility information in a purchase decision.
• "The basic strategy model is the typical LEARN-FEELDO sequence where functional and salient information is
designed to build consumer attitudinal acceptance and
subsequent purchase.
• Advertising strategy suggested by Vaughn is in long
informative copy format and reflective, demanding that
media literally "gets through" with key points of
consumer interest.
• The purchase decision in
quadrant 2 also has a high
involvement level like quadrant 1;
however, the importance of
specific information is less than
that of an attitude or holistic
feeling toward a product.
• "The affective strategy is for
highly involving and feeling
purchases, those more
psychological products fulfilling
self-esteem, subconscious, and
ego-related impulses requiring
perhaps more emotional
communication"
• Example products are jewelry,
perfume, fashion apparel,
motorcycles, and wine for a
dinner party.
• The Psychological model is appropriate in
this quadrant; that is, an unpredictable
consumer who buys compulsively is
influenced by unconscious thoughts and
indirect emotions. This is FEEL-LEARN-DO
consumer process. "The strategy requires
emotional involvement on the part of the
consumers, basically that they become a
feeler about the product"
• For this type of product, the creative goal is
executional impact and media strategies calls
for dramatic print exposure or image-focused
broadcast advertising.
• In this area, consumers have
minimal thought about the
product and they have a
tendency to form buying habits
for convenience. Therefore,
advertising which can create and
reinforce habits of consumers is
needed.
• "The habitual strategy is for those
low involvement and thinking
products with such routinized
consumer behavior that learning
occurs most often after
exploratory trial buying"
• Product examples are paper
products, household cleaners,
gasoline, most food and staple
packaged goods.
• The Responsive theory - a habitual consumer
conditioned to thoughtlessly buy through rote,
stimulus-response learning - is suitable for this
quadrant.
• The hierarchy model to this quadrant is a DOLEARN-FEEL pattern. The purchase decision in this
area does not require consumer’s consideration
about products. As time passes by, many ordinary
products will be in the mature stage of the product
cycle and progressively descend into this area. ,
• The creative element for this strategy requires
advertising to stimulate a reminder for the product;
therefore, consumers can continuously remember
the habitual need for the product. Implications for
media are small space ads, point of purchase ads and
radio, all with the aim of high frequency.
• This area is for those products
that can be likened with "life’s
little pleasures" those that can
satisfy personal tastes. Products
such as cigarettes, liquor, candy,
movies or the decision to
patronize a fast-food restaurant
all appertain to this quadrant.
• A DO-FEEL-LEARN hierarchy
effect is the consumer process
for this area, and product
experience is a necessary part of
the communication process.
• This area is an application of the traditional
Social theory: a compliant consumer who
continually adjusts purchases to satisfy
cultural and group needs for conformity.
Advertising with imagery and consumer’s
quick satisfaction from products are
requisites. As for creative strategy, consistent
product imagery is needed. Billboards, pointof-sale, and newspapers are recommended by
Vaughn.