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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
A real-world introduction to advertising design and art direction, updated and revised for today's industry
The newly revised Fourth Edition of Advertising by Design: Generating and Designing Creative Ideas Across Media delivers an invigorating and cutting-edge take on concept generation, art direction, design, and media channels for advertising. The book offers principles, theories, step-by-step instructions, and advice from esteemed experts to guide you through the fundamentals of advertising design and the creative process.
With a fresh focus on building a coherent brand campaign through storytelling across all media channels, Advertising by Design shows you how to conceive ideas based on strategy, build brands with compelling advertising, and encourage social media participation. You'll also get insights from guest essays and interviews with world-leading creatives in the advertising industry.
The book is filled with practical case studies that show real-world applications. You’ll also benefit from coverage of
- A quick start guide to advertising
- A thorough introduction to what advertising is, including its purpose, categories, forms, media channels, social media listening, and its creators
- Creative thinking strategies and how to generate ideas based on creative briefs
- Utilizing brand archetypes and creating unique branded content
- Composition by design, including the parts of an ad, the relationship between images and copy, basic design principles, and points of view
- How to build a brand narrative in the digital age
- Copywriting how-to's for art directors and designers
- Experiential advertising
- An examination of digital design, including subsections on the basics of mobile and desktop website design, motion, digital branding, and social media design
Perfect for students and instructors of advertising design, art direction, graphic design, communication design, and copywriting, Advertising by Design also will earn a place in the libraries of business owners, executives, managers, and employees whose work requires them to understand and execute on branding initiatives, advertising campaigns, and other customer-facing content.
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Seitenzahl: 640
Veröffentlichungsjahr: 2021
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Table of Contents
COVER
TITLE PAGE
COPYRIGHT
DEDICATION
PREFACE
NEW TO THIS EDITION
FEATURES
ORGANIZATION AND FIGURES
ACKNOWLEDGMENTS
1 ADVERTISING IS…
THE PURPOSE OF ADVERTISING
WHAT PEOPLE EXPECT FROM ADVERTISING
BROAD ADVERTISING CATEGORIES
ADVERTISING TAKES MANY FORMS
MEDIA CHANNELS: PAID, OWNED, AND EARNED
WHO CREATES ADVERTISING
ADVERTISING MEDIA CHANNELS
THE AD AGENCY
CAREER COMPETENCIES AND EXPECTATIONS
QUICKSTART: WHAT YOU NEED TO KNOW TO BEGIN
SAMPLE CREATIVE BRIEF
CRITIQUE YOUR OWN SOLUTIONS
SOCIAL RESPONSIBILITY
CASE STUDY: Liberty Hall 360: Revolutionary Wedding
INTERVIEW with NiRey Reynolds, The One Club for Creativity
INTERVIEW with Justin Moore, FCB West
2 COMPOSITION BY DESIGN
PARTS OF AN AD
IMAGE–COPY RELATIONSHIP CONSTRUCTIONS
BASIC DESIGN PRINCIPLES
DIRECTING THE VIEWER’S GAZE THROUGH A COMPOSITION
RULE OF THIRDS, Z-PATTERN, CORNER TO CORNER, DOMINANT MOVEMENT
POINT OF VIEW
ILLUSION OF SPATIAL DEPTH
THE ILLUSION OF MOVEMENT
CAMPAIGNS BY DESIGN: TRIPLETS VERSUS COUSINS
INTEGRATED MEDIA CAMPAIGNS
WHAT MAKES A GOOD INTEGRATED CAMPAIGN?
UNIFYING THE TOUCHPOINTS THROUGHOUT A CAMPAIGN
CASE STUDY: Domtar PAPERbecause
ESSAY: Zombies, Aliens, English Soccer, and the Story of Integrated Advertising by Greg Braun
INTERVIEW with Charlene Chandrasekaran, Droga5 London
NOTE
3 ART DIRECTION
ART DIRECTOR’S ROLE
ART DIRECTION CHECKLIST
TYPE BY DESIGN
CLARITY OF VISUAL COMMUNICATION
SELECTING A TYPEFACE FOR IDEA, CONTENT, AND AUDIENCE
IMAGE BY DESIGN
IMAGERY
VISUALIZING FORM
INTEGRATING TYPE AND IMAGE
CASE STUDY: Matchabar “Hustle”
INTERVIEW with Bernice Chao, R/GA California
4 BUILDING A BRAND NARRATIVE AND BRAND EXPERIENCES
BRAND AS PROMISE
TARGET AUDIENCE
STRATEGIC THINKING UNDERPINNING THE BRAND STORY
AD IDEA AND ON-BRAND ALIGNMENT
POSITIONING
BRAND STORY CONSIDERATIONS
STRATEGIC APPROACHES
ARCHETYPES
THE BIGGER BRAND STORY
CASE STUDY: Dunkin' Rebrand
CASE STUDY: HSBC: “Bank Cab” Program
INTERVIEW with Renato Fernandez, TBWA\Chiat\Day Los Angeles
NOTES
5 THE AD IDEA
CREATIVE IDEAS
INSIGHTS
IDEAS
N.A.R.C.: WHAT AN IDEA HAS TO DO
TOOLS FOR CONDUCTING RESEARCH
IDEA-GENERATION PROCESS
MORE POINTS OF DEPARTURE FOR IDEATION
CASE STUDY: Burger King UK: “Meltdown”
CASE STUDY: Oscar Mayer: “Wake Up & Smell the Bacon”
CASE STUDY: Samsung 5G Fan Experience
INTERVIEW with José Mollá, the community
NOTES
6 STORYBUILDING AND CONTENT CREATION
STORYBUILDING IN THE DIGITAL AGE
THE CORE BRAND NARRATIVE: THE STORY ECOSYSTEM
TELLING A SHAREWORTHY STORY
BRAND AS ACTIVIST: EMBEDDING SOCIAL PURPOSE
STORY ARCHETYPES
STORY BASICS
ESSAY: The Power of Story by Alan Robbins
INTERVIEW with Emlyn Allen, Grey New York
NOTES
7 DECONSTRUCTING MODEL FORMATS
THE APPEAL OF TRANSFORMATION
CONVEYING THE ADVERTISING MESSAGE
BASIC FORMATS
CASE STUDY: Jordan Brand: “The Last Shot”
INTERVIEW with Sophia Lindholm, Forsman & Bodenfors Sweden
NOTES
8 COPYWRITING
PURPOSE
THE CRAFT OF WRITING HEADLINES: ONE DOZEN GUIDELINES
THE HEADLINE AND IMAGE RELATIONSHIP
TAGLINES
THE WRITING PROCESS
CASE STUDY: The Art of Shaving: Evolution Campaign
INTERVIEW with Julia Neumann, TBWA\Chiat\Day New York
9 THINKING CREATIVELY
TOOLS THAT STIMULATE CREATIVE THINKING
CREATIVITY THROUGH MAKING
CASE STUDY: The Art of Shaving Barber Spa
INTERVIEW with Jayanta Jenkins, Disney+ and Saturday Morning
NOTES
10 TV COMMERCIALS AND SOCIAL VIDEOS
STORYTELLING INTIME-BASED MEDIA
STORYBOARD
HOW A COMMERCIAL OR VIDEO LOOKS: ART DIRECTION ESSENTIALS
COMMERCIALS AND SOCIAL VIDEOS
STRATEGY, IDEA, BENEFIT, AND CHANNEL
CASE STUDY: Thinkthin Integrated Campaign
INTERVIEW with Erin Evon, R/GA New York
11 WEBSITE, MOBILE, SOCIAL, EXPERIENTIAL, AND IMMERSIVE ADVERTISING
GET THE AUDIENCE’S ATTENTION
EXPERIENCE FOCUSED AND MEDIA AGNOSTIC
WEBSITE BASICS
BRANDING
DESKTOP WEBSITE DESIGN
WEBSITE DEVELOPMENT
MOBILE BY DESIGN
SOCIAL BY DESIGN
EXPERIENTIAL AND IMMERSIVE EXPERIENCES BY DESIGN
CASE STUDY: BBC
Civilizations
AR
CASE STUDY: New Orleans Offline Playlist
ESSAY: Adapting for Success by Michael Mierzejwski
INTERVIEW with Gerard Crichlow, Interpublic Group
NOTES
GLOSSARY
INDEX
END USER LICENSE AGREEMENT
List of Illustrations
Chapter 1
FIGURE 1-1 PHOTOGRAPH OF “FEARLESS GIRL FACING THE NEW YORK STOCK ...
FIGURE 1-2 DOCUMENTARY FILM POSTER:
FOR THE LOVE OF MUSIC
FIGURE 1-3 PROMOTIONAL DESIGN: “WE SENT THEIR BRIEFS BACK”
FIGURE 1-4 HOOHA: THE WORLD'S FIRST SMART TAMPON DISPENSER
FIGURE 1-5 PRINT AD FROM AN INTEGRATED CAMPAIGN: “LOVE HAS NO LABELS”...
Chapter 2
DIAGRAM 2-1 COPY-DRIVEN, IMAGE-DRIVEN, AND EMBLEMATIC CONSTRUCTIONS
DIAGRAM 2-2 MARGINS
DIAGRAM 2-3 TYPES OF BALANCE
DIAGRAM 2-4 LAWS OF PERCEPTUAL ORGANIZATION
DIAGRAM 2-5
DIAGRAM 2-6 PLANE
FIGURE 2-1 PRINT: “SLEEPING BUGS”
FIGURE 2-2 PRINT: “NOAH’S ARK” (1968)
FIGURE 2-3 PRINT: “GOOD. CLEAN. FUN.”
FIGURE 2-4 CAMPAIGN: “EXHALE: CONNECTING THE BODY WITH THE MIND”...
FIGURE 2-5 CAMPAIGN: “DEAD TABLES”
FIGURE 2-6 PRINT: “CLOCK”
FIGURE 2-7 PRINT: “WEDDING”
FIGURE 2-8 CAMPAIGN: “CARTOONISTS”
FIGURE 2-9 POSTERS: “STAGES”
FIGURE 2-10 CAMPAIGN: “CROSSROADS COMMUNITY SERVICES: STOPPING PEOPLE IN THE...
FIGURE 2-11 INTEGRATED CAMPAIGN: “KEEPING SKIN AMAZING”...
FIGURE 2-12 PRINT CAMPAIGN: “MORE TURN. LESS BURN” AND “DRIVE LIKE THERE IS ...
FIGURE 2-13 PRINT: “CORPORATE RADIO, ” “ARROGANT, ” and “SELL OUT”
FIGURE 2-14 PRINT CAMPAIGN: “RAISE THEM ON ROBINSONS”...
FIGURE 2-15 PRINT: “CONDIMENT / SPAGHETTI SAUCE”...
FIGURE 2-16 PRINT: “THINK SMALL” (1960)
FIGURE 2-17 “HAMMER-BRUSH 1, 2, 3”
FIGURE 2-18 PRINT: “COUCH” and “RESUME”...
FIGURE 2-19 PRINT: “LEGENDS” and “SEX”
FIGURE 2-20 PRINT: “SALMON” and “APPLE”...
FIGURE 2-21 PRINT CAMPAIGN: “CORK,” “HARDWARE STORE,” and “REALLY GOOD CHEES...
FIGURE 2-22 POSTER CAMPAIGN: “FOOTY FANS”
FIGURE 2-23 CAMPAIGN: “LAST ONES LEFT”
FIGURE 2-24 INTEGRATED CAMPAIGN FOR CISCO: “TOMORROW STARTS HERE”...
Chapter 3
DIAGRAM 3-1 TYPEFACE COMPARISONS
DIAGRAM 3-2 THREE BASIC CLASSIFICATIONS OF DEPICTION
FIGURE 3-1 POSTER CAMPAIGN: PENGUIN AUDIO BOOKS “MIC”...
FIGURE 3-2 PRINT: “ALL SIX OF THEM”...
FIGURE 3-3 PSA: “THAT’S NOT COOL”...
FIGURE 3-4 GE PREDICTIVITY TRADE
FIGURE 3-5 PRINT: “PASSION” AND “BEAUTY”...
FIGURE 3-6 IBEU “FLAGS”
FIGURE 3-7 PRINT: “LET’S TALK ABOUT SOMETHING BESIDES MONEY FOR A MOMENT”...
FIGURE 3-8 PRINT: “RABISCOS”
FIGURE 3-9 AMBIENT INSTALLATION X 3: “KINGS AND QUEENS OF THE COURT”...
FIGURE 3-10 CAMPAIGN: “ARMING WOMEN FOR THE BATTLE AGAINST HEART DISEASE”...
FIGURE 3-11 PRINT: ENDING HUNGER “SPOONS 1 IN 7”...
FIGURE 3-12 PRINT: “WE HAVE A SUGGESTION FOR WHOEVER SUGGESTED IT”...
FIGURE 3-13 PRINT: “MOUNTAIN LAKE” AND “RAIN FOREST”...
FIGURE 3-14 PRINT: “TRAIL SIGN” AND “DRIVE-IN THEATER”...
FIGURE 3-15 POSTERS: “TURN AROUND”
Chapter 4
FIGURE 4-1 COCA-COLA'S “PUT ON A SMILE:
THE WEARABLE MOVIE
”...
FIGURE 4-2 TV: “PRIORITY: YOU” CAMPAIGN
FIGURE 4-3 PRINT: “BOOT” AND “SHIRT”...
FIGURE 4-4 GAME: KFC: THE DATING SIMULATOR...
FIGURE 4-5 TV: “GO FORTH: AMERICA”
FIGURE 4-6 PRINT: “CHECK IN. CHECK OUT”
Chapter 5
DIAGRAM 5-1 FACT VERSUS OPINION MAPPING
DIAGRAM 5-2 TOOL: PERSUASION MAPPING
FIGURE 5-1 PSA FILM:
THE GREATEST ACTION MOVIE EVER (G.A.M.E)
FIGURE 5-2 “As part of the on-going, iconic KITKAT ‘Have a break’ campaign, ...
FIGURE 5-3 END HUNGER STORY: OUT OF HOME: CORONAVIRUS...
FIGURE 5-4 HBO
HIS DARK MATERIALS
– “PERSONAL DAEMONS”
FIGURE 5-5 CAMPAIGN: “FOOTIFYFM”...
FIGURE 5-6 PRINT: “THINK SMALL” (1960)
FIGURE 5-7 PRINT: “BIG TRUCK”
FIGURE 5-8 PRINT: “TESTICLE” AND “BREASTS”...
FIGURE 5-9 THE #UNIGNORABLE TOWER...
FIGURE 5-10 PROJECT: “CHALKBOT” AND “CHALKBOT” FILMS
Chapter 6
FIGURE 6-1 “By contributing to these conversations, the brand hopes to touch...
FIGURE 6-2 NIKE
RISE
CAMPAIGN: NIKE+ “YOUR YEAR: HOUSE OF MAMBA”
FIGURE 6-3 GRAPHIC NOVEL: “PLAY FANTA: SAVING THE SOURCE”...
Chapter 7
FIGURE 7-1 SOCIAL MEDIA: “#MAMMING”
FIGURE 7-2 INSTALLATION: NOKIA “SUPERNOVA”Production Company: HUSH / Brookly...
FIGURE 7-3 PRINT: “BUNNIES” AND “WORM”...
FIGURE 7-4 INTERACTIVE LIVESTREAM WEB EXPERIENCE: “MELBOURNE REMOTE CONTROL ...
FIGURE 7-5 INSTALLATION: “FOUNTAIN OF ELECTROLYTENMENT”...
FIGURE 7-6 PRINT CAMPAIGN: “INTERESTING, SÍ?”...
FIGURE 7-7 TV COMMERCIAL: “VIDEOGAME”
FIGURE 7-8 THE AUSTRALIA POST VIDEO STAMP...
FIGURE 7-9 PRINT: “ROLLER,”“STAPLER,” AND “ICE CUBE”...
Chapter 8
FIGURE 8-1 PRINT: “THINK SMALL” (1960)
FIGURE 8-2 PRINT: JOHNSON & JOHNSON “EVERYDAY CARE” CAMPAIGN...
FIGURE 8-3 PRINT: “PORCUPINE ON LIGHT RAIL” AND “BEAR IN MUSIC STORE”...
FIGURE 8-4 PRINT: “ENJOY”
FIGURE 8-5 PRINT CAMPAIGN: WOLFSCHIMDT VODKA, 1960...
FIGURE 8-6 PRINT CAMPAIGN: “SMILE/HISTORY” AGENCY: DDB BRAZIL...
FIGURE 8-7 PRINT CAMPAIGN
Chapter 9
DIAGRAM 9-1 GRAPHIC ORGANIZER
DIAGRAM 9-2 VARIOUS GRAPHIC ORGANIZERS
Chapter 10
DIAGRAM 10-1 RULE OF THIRDS
FIGURE 10-1 TV COMMERCIAL: “MORE LUCK FOR YOUR BUC...
FIGURE 10-2 FILM: NIKE+ “YOUR YEAR”....
FIGURE 10-3 VIDEO: ALWAYS #LIKEAGIRL...
FIGURE 10-4 ANIMATION: FDA: THE REAL COST “LITTLE LUNGS”
FIGURE 10-5 “THE HIRE” POSTER AND BMW INTERACTIVE FILMS
Chapter 11
DIAGRAM 11-1 GRID ANATOMY
DIAGRAM 11-2 MOBILE, TABLET, DESKTOP WEBSITE BASIC WIREFRAME EXAMPLES
FIGURE 11-1 “THE TV FOR THE SERIOUS WATCHER” PLATFORM: THE LG B&BINGE...
FIGURE 11-2 WEBSITE: VOICES AGAINST VIOLENCE
FIGURE 11-3 WEBSITE: “MAKE YOUR MONEY MATTER,” WWW.MAKEYOURMONEYMATTER.ORG...
FIGURE 11-4 PROJECT: “UNIVERSAL TYPEFACE EXPERIMENT”...
FIGURE 11-5 MOBILE: “A MINUTE OF SILENCE”
FIGURE 11-6 E.L.F. COSMETICS – TIKTOK
FIGURE 11-7 TWITTER: “THE OREO BLACKOUT” TWEET
FIGURE 11-8 IMMERSIVE EXPERIENCE: CLOSING RECEPTION AT THE MOLSON COORS DISTRIBU...
FIGURE 11-9 DOWNLOADABLE GAME: XBOX & FDA: “ONE LEAVES”
FIGURE 11-10 EXPERIENTIAL: SAMSUNG DEVELOPER CONFERENCE (SDC)
Guide
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ADVERTISING BY DESIGN
GENERATING AND DESIGNING CREATIVE IDEAS ACROSS MEDIA
4TH EDITION
ROBIN LANDA
Front Cover design and Cover concept: James Taylor, Creative Director, Jones Knowles RitchieCourtney Perets, Senior Designer, Jones Knowles Ritchie
This book is printed on acid-free paper.
Copyright © 2022 by Robin Landa. All rights reserved.
Published by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions.
Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best eff orts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifi cally disclaim any implied warranties of merchantability or fi tness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.
For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002.
Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.
Library of Congress CIP data available upon request
For my students. It is my joy and privilege to share my life with you. (And thank you for laughing at my jokes.)
PREFACE
When I asked Jayanta Jenkins, EVP, Head of Marketing, Disney+ and co-founder, SATURDAY MORNING, What do you look for in a junior's portfolio?
He replied: “I look for a point of view, someone who genuinely has a voice and a way of looking at the world that makes me think, Wow, I never thought of it that way!”
I hope by using this new edition of Advertising by Design people will think that same way about your work.
This book is a comprehensive examination of strategic and creative idea generation and art direction and designing for advertising across media channels. Its content and features make it a highly effective resource for instructors, students, or any reader interested in the creative side of advertising. In Advertising by Design, the approach is to conceive and design advertising that will resonate with audiences, that people will want to participate in and share, to generate ideas that benefit people, to art direct and design those ideas to grab and keep people's attention, and to build brand sirens and communities.
NEW TO THIS EDITION
This new edition of Advertising by Design focuses on:
Conceiving strategic and creative advertising ideas
Designing and art directing ad ideas for print, screen, and time-based media
Creative thinking methods
Discovering insights into the target audience
Knowing brand strategy
Constructing shareworthy fresh branded content
How to write headlines and taglines
The fourth edition offers the following brand new content:
Quickstart guide to conceiving and designing ads
What advertising is and how it is evolving
Treatise on social responsibility
Critique guide
Content on art direction and the responsibilities of an art director
Art direction checklist
Content on designing integrated media campaigns
Checklist for unifying a campaign across media
Content on brand strategy and building brand communities
Ad idea and on-brand alignment tool
Content on the strategic roles a brand assumes
Content on building a brand narrative
Content on story and brand archetypes
Content on how to write headlines and taglines
Content on experiential and immersive advertising
Examples and case studies
Interviews with top creative officers
Guest essays
Updated content and enhancements:
Complete update of all chapters
Typographic basics and principles for print and screen
Integrating copy and image for print, screen, and motion
Approaches to type and image constructions and integration
Additional guiding principles for advertising storytelling
Additional theory, design, and art direction essentials for TV commercials and social videos
Conceiving and designing for web and mobile
Additional information on idea generation for integrated campaigns
Deconstructing model frameworks
Additional content on storytelling
Additional content on conceiving advertising ideas
Model formats
Additional information on the skills required of a junior art director
FEATURES
Comprehensive examination of conceiving, designing, and art directing integrated media campaigns
Art directing and designing with type and image across media
Utilizing archetypes for brand strategy and storytelling
Complete guide to advertising model formats
Approaches to constructing brand narratives and constructs
Basic guide to writing headlines and taglines
Award-winning examples of classic and contemporary advertising across media channels
Interviews with esteemed advertising creatives
Case studies
Essays
Exercises and projects to jump-start creative thinking and work
Supplemental instructional materials online
Resources for Instructors
Online instructor materials include:
12-week syllabus
15-week syllabus
Additional exercises and projects
Notes on how to teach the creative side of advertising
Grading rubric
Test questions for every chapter
Checklists
Quickstart AD guide
Articles
ORGANIZATION AND FIGURES
In order to create advertising, you need to understand the audience and brand, conceive ideas, art direct, and design. Certainly, use the chapters in any order you prefer. I suggest it works best if you read Chapters 1 through 5 right off so that you can ideate and design asap. It would be even better if you read Chapters 1 through 7 right away.
The examples in this edition include a few classics from the 1960s, the creative revolution. But most are contemporary, chosen to be timeless. This isn't a periodical, therefore I selected outstanding work that would stand up to the test of a few years. I selected work from award-winning agencies, creative directors, art directors, copywriters, and advertising designers. You can visit agencies online to see new work, as well as visit the archives of the One Show, the Clio Awards, DandAD, Cannes Lions, Favourite Website Awards (FWA), the ANDYs, and other respected award archives.
There are more instructional resources available to you on the John Wiley & Sons website: www.wiley.com.
Best wishes for success!
ACKNOWLEDGMENTS
For the creative professionals in the industry, one goal is to create advertising that is as artful or impactful as any content being produced. The work by the brilliant creatives whose advertising appears in this edition exemplifies advertising as an art.
Thank you to all the contributors, the agency folks and their generous clients who made this happen: Austin Berg, Agency EA; Ellie Bristow, Wunderman Thompson; Margot Byrne, FCB NY; CC Canzius, United Way of Greater Toronto; Camilla Ciappina, Publicis New York; Alexandre Collares, Rick Cosgrove, Agency EA; Jeanne Detallante, Omar Emera, Pascale Fabery de Jonge, Unit nl; Ellyn Fisher, Ad Council; Christine Greeley, Feeding America; Lorna Hanks, Hudson Rouge; Asheden Hill, TBWA Chiat; Evan Horowitz, Movers+Shakers; Sabreen Jafry, W+K New York; Alex Jenkins, Nexus Studios; Prof. Ed Johnston, Courtney Kaczak, 360i; Billie Jean King, Tim Loyld, Rachel Ptak, Jones Knowles Ritchie; Steph Loffredo, Huge; Stesha Moore, TBWA\Chiat\Day; Yukino Moore, W+K; Michael Reagan, Jones Knowles Ritchie; Paola Reynoso, the community; Stuart Schorr, Land Rover; Maru Sokolowski, the community; Kara Stockton, W+K Portland; Ken Surritte, WATERisLIFE; and Sophia Whitehead, Nexus Studios. My gratitude to all the contributors from past editions whose work and wisdom continues to grace these pages.
For sharing their wisdom, huge thanks to Emlyn Allen, Grey; Greg Braun, Charlene Chandrasekaran, Droga5 London; Bernice Chao, R/GA; Gerard Crichlow, Interpublic Group; Erin Evon, R/GA; Renato Fernandez, TBWA\Chiat\Day; Jayanta Jenkins, Disney+ and SATURDAY MORNING; Sophia Lindholm, Forsman & Bodenfors Sweden; Michael Mierzejwski, Bokksu; Justin Moore, FCB West; Julia Neumann, TBWA\Chiat\Day; José Mollá, the community; NiRey Reynolds, The One Club; and Alan Robbins.
I am indebted to James Taylor, creative director, and Courtney Perets, senior designer, at Jones Knowles Ritchie for their excellent front cover design and incredible generosity. Great thanks to Rachel Ptak, brand manager, and Michael Reagan, account manager, at Jones Knowles Ritchie for their support through this process.
Thanks to the people at John Wiley & Sons who made this happen—Margaret Cummins, Todd Green, Kalli Schultea, and Amy Odum.
Thank you to my colleagues and the administration at Kean University for supporting my research: Dr. Lamont Repollet, president; Dr. Jeffrey Toney, provost; Dr. Suzanne Bousquet, vice president, Academic Affairs; Karen Smith, vice president of university relations; David Mohney, dean; Rose Gonnella, associate dean; Professor Linda O'Shea, Susan Gannon and the Office of Research and Sponsored Programs; and to Melissa Tito and Maria Dominguez for their design solutions. Shout out to Hayley Gruenspan, Prof. Deborah Ceballos, Prof. Camille Sherrod, and Prof. Kelly Walker for their contributions to the social responsibility treatise.
My gratitude to my husband, Dr. Harry Gruenpan, and our beautiful daughter, Hayley.
1ADVERTISING IS…
A 250-pound statue of a girl who faced down a bull on Wall Street to draw attention to “the power of women in leadership”
A Whopper turning moldy before our eyes because it’s free of artificial preservatives
A database to ensure the future of voice technology includes people with Down syndrome
A tourism campaign for gamers with “Visit Xbox” to travel inside the crafted worlds of games
In honor of International Women’s Day, McCann New York partnered with State Street Global Advisors “to introduce the Fearless Girl to the world – a statue of a daring young girl, standing strong on Wall Street. Why? Because companies with women in leadership perform better. The Fearless Girl was dropped on Wall Street in the middle of the night and became a global phenomenon within 24 hours,” states McCann New York. People loved “Fearless Girl” so much that New York City found a permanent home for her facing the New York Stock Exchange (figure 1-1).
Everywhere you turn, advertising vies for your attention. It competes not only with other advertising for your consideration but also with the best entertainment and information available on your mobile phone, online, in print, on television and radio, and in your environment.
Are you on two or more screens simultaneously? It’s a real challenge to grab people’s attention. To effectively reach the right audience, to reach you where you spend the most time and where you might value brand experiences, advertising has to be relevant, engaging, and worthy of you.
What can advertising do for you? Inform you about products and services. Entertain you. Do some social good while promoting. And serve you – offer some utility, such as a free app or game. This is all in the hope you will become a customer or donate in the short- or long-term.
What are the goals of advertising? Most advertisers want to promote their products and services, enhance their image or reputation so you’ll buy into what they’re selling, demonstrate their capabilities, or establish their style or culture, hoping to align themselves with yours.
For advertising to work, it has to be based on an insight into you, its audience, and it has to be authentic and engaging. Advertising has to start meaningful conversations with people, fire connections, fuel communities, and be shareworthy.
Advertising is …
Based on an insight into what people think, want, and hope for
An idea expressed through visual communication
Providing entertainment and information that pull people in and resonate
Starting stories people will coauthor and participate in
Doing something to benefit society, not just selling more products
Companies and brands that exhibit values and back it up with actions
Building brand communities and brand sirens
Sourcing data to create individualized experiences, and to inform useful brand apps and platforms
Social campaigning that maps back to the brand proposition, how a brand defines itself, the benefit it commits to delivering to you, what it promises – because
a brand is a promise
FIGURE 1-1 PHOTOGRAPH OF “FEARLESS GIRL FACING THE NEW YORK STOCK EXCHANGE”
PHOTOGRAPHER: OMAR EMERA https://www.omaremera.com/
THE PURPOSE OF ADVERTISING
Although advertising channels have multiplied, advertising still serves the same purpose. In a free-market system, advertising promotes one brand or entity over another; raises awareness about social issues and causes, individuals, and organizations; and calls people to action for charitable or nonprofit organizations.
Though most brands in a category are comparable, advertising can persuade people that one brand is preferable to another. Most competing brands are of equal quality and have equivalent defining features – that is, they are parity goods or services. For example, most toothpaste brands in the same price category (perhaps even across price categories) use similar ingredients and provide equivalent results. An ad campaign for a toothpaste brand might convince you that its use would leave your teeth cleaner, brighter, and healthier or your mouth more refreshed than any other. For any advertising to affect you, to call you to action, it has to be relevant to you, and it has to be presented on media channels that will reach you.
In many countries, advertising is the one common experience shared by a large, diverse populace. Advertising is a mass media leveler, the pop culture vehicle with which we all come into contact and know – from branded entertainment online to Super Bowl commercials.
An advertisement (or “ad”) is a specific message constructed to inform, persuade, promote, provoke, or motivate people on behalf of a brand, entity, or cause. (Here, “entity” designates commercial companies, government agencies, and nonprofit organizations.) An advertising campaign is a series of coordinated ads, based on an insight into the audience and overarching strategy, connected by voice, design, style, imagery, and tagline (brand catchphrase), where each individual ad in the campaign also can stand on its own. An integrated ad campaign has an overarching strategy and core concept and is conceived and created for audiences using several specific media channels. (See an essay about integrated campaigns by Greg Braun in Chapter 2.) Distribution channels might include broadcast, print, screen-based media, and out-of-home (OOH) and categories such as branded entertainment for social media, ambient advertising, and new or innovative media.
WHAT PEOPLE EXPECT FROM ADVERTISING
Quality unique branded content in the form of entertainment or information (useful and relevant) and often preferably video content.
Personalized ads tailored to their interests yet also data privacy.
Authenticity.
Diversity and inclusion – respect, whether by responding to their tweets or through representation of all communities, groups, and identities.
Brands practicing sustainably.
The age of irrelevant advertising is coming to an end, thanks to both increasing consumer demand for personalization, and access to technology and data that makes it possible.
— Michael Griffin, founder and CEO of Adlucent
BROAD ADVERTISING CATEGORIES
Public service advertising serves the public interest and is for the common good. According to the Advertising Council, an American public service advertising organization (www.adcouncil.org), “The objective of these ads is education and awareness of significant social issues in an effort to change the public’s attitudes and behaviors and stimulate positive social change.”
Advertising agencies donate their ideas, time, and services on a volunteer basis to create public service advertising, commonly called PSAs, to raise awareness about social causes, nonprofit organizations, and government agencies. At times there is a facilitating organization, such as the Ad Council. According to its website, the Ad Council is
the largest producer of public service advertising. We represent a unique collaboration between the advertising, media, and business communities … Our mission is to identify a select number of significant public issues and stimulate action on those issues through communications programs that make a measurable difference in our society. To that end, the Ad Council marshals volunteer talent from the advertising and communications industries, the facilities of the media, and the resources of the business and non-profit communities to create awareness, foster understanding and motivate action.
In most countries, media outlets consider PSAs a public service to the community, and therefore they do not charge to run the PSAs on television, radio, or in print; for example, the Ad Council secures donated media on behalf of its 50-plus campaigns. To have more control over PSA placement, however, some nonprofit organizations and government agencies have begun to pay for media time.
Cause advertising, initiated by commercial concerns, seeks to raise awareness for nonprofit organizations or social issues and runs in paid media channels. It is used in part to promote a corporation’s public image or brand values, unlike public service advertising, which has no commercial affiliation. When brands align themselves with important causes; or support existing charities or causes, such as cancer research or social justice; or partner with organizations to raise awareness, consumers tend to be receptive to those brands. For example, Patagonia’s “Common Threads Partnership” aims to reduce its environmental impact. The Coca-Cola Company partners with the World Wildlife Fund (WWF). According to the WWF website (https://www.worldwildlife.org/partnerships/coca-cola), “Because water is essential to nature, communities, and business, The Coca-Cola Company and WWF have been working together since 2007 to help conserve the world’s freshwater resources.”
Thirty years after Gillette launched their tagline “The Best a Man Can Get,” they launched a campaign “that encourages men to be their best, #TheBestMenCanBe.” According to Gillette’s website, “To help make this a reality, we are distributing $1 Million per year for the next three years to non-profit organizations executing the most interesting and impactful programs designed to help men of all ages achieve their personal best.”
In the early 2000s Dove set out to widen the definition of beauty with a groundbreaking ad campaign. Out of that campaign came the Dove Self-Esteem Project “to help the next generation of women grow up feeling happy and confident about the way they look” (www.dove.us/Our-Mission/Girls-Self-Esteem/Vision/). Dove has continued in that direction with campaigns such as the award-winning “Real Beauty Sketches,” among many others.
TOMS, a company that makes shoes and accessories, incorporates a “One for One” concept in its business model: “With every product you purchase, TOMS will help a person in need.” Warby Parker does the same.
Commercial advertising promotes brands, companies, individuals, and commodities. Aimed at mass audiences, commercial advertising takes many forms, from single-print advertisements to integrated campaigns (which means across media) to sponsorships to branded utilities and entertainment. Within the commercial category, there are several subcategories. Consumer advertising is directed toward targeted segments of the general public and includes many of the ads shown in this book. Other types of commercial advertising include business to business (B2B), which is one company advertising to others, and trade advertising, which is consumer–product advertising intended not for the average consumer but for the various entities and experts who influence consumers (e.g., health care professionals) or advertising aimed at a specific trade or profession (e.g., a publisher’s ad aimed at potential authors).
ADVERTISING TAKES MANY FORMS
During the earliest days of radio and television, advertisers and agencies developed programs for their clients’ brands and brought them to the networks. These programs were often named for the sponsors; for example, the NBC network once offered programs such as The Colgate Comedy Hour, Kraft Television Theatre, and The Philco Television Playhouse. The Texaco Star Theater began as a radio program in the 1930s and moved to television in the 1940s. Soap operas are another example of brand-sponsored programs; for example, Procter & Gamble sponsored the production of CBS’s As the World Turns. Being the sole sponsor of a program is very costly; that’s one reason this model from television’s early years gave way to dividing the sponsorship among many advertisers into 30- or 60-second television commercials.
By sponsoring good television entertainment, brands acquired the cachet of the programming. Product placement, in which brands are embedded into entertainment programming, banks on the same cachet, hoping the viewer associates the brand with the characters on the show or with the likeability of the program itself. Today, branded sponsorship or entertainment also seeks to target a specific audience and to endear itself to them by giving them something they want and enjoy. Branded content or entertainment is the creation, co-creation of, or integration into original content by a brand. By fusing advertising and entertainment, editorial or informational content, a brand can communicate its values or personality to a target audience. Advertisers can distribute content in different ways and via various channels: digital and mobile (websites, social media, applications, and user-generated content), experiential and events (e.g., a themed activity, sponsorship, event, shows, conference, concert, or exhibit), film and video (long and short form, commercials), and games for console, mobile, and web-based games, among other innovative forms. Entertaining people is an intangible added value (an addition to something that makes it more beneficial) without changing the brand product or service.
For example, the VML agency produced For the Love of Music for the Nashville Convention & Visitors Corporation (figure 1-2). Skittles brand merged theater and advertising to create a one-night-only Broadway-style show on Super Bowl Sunday, Skittles Commercial: The Broadway Musical, to benefit Broadway Cares/Equity Fights AIDS in lieu of airing a Super Bowl commercial.
Doritos brand snack food started an impressive conversation with consumers through a strategy of co-creation, sponsoring contests for amateur filmmakers to create commercials. Realizing that the tools to create and share advertising messages are available to the average person and that many people want to co-create, some brands like Doritos have turned to soliciting advertising created by consumers, called consumer-generated content, or user-generated content (UGC). Brands recognize that the public has enormous sway over a brand’s content anyway – through blogging, reviewing, parody videos, social media commentary, takeoffs, and more.
FIGURE 1-2 DOCUMENTARY FILM POSTER: FOR THE LOVE OF MUSIC
© Nashville Convention & Visitors Corporation
Agency: VML agency / Kansas City, MO
Client: Nashville Convention & Visitors Corporation
“Most tourists thought Nashville, Tennessee, was only for country music fans. But in reality, Nashville had evolved into the most diverse music scene in the world. A must-see destination for all music fans. Our challenge was to change perceptions and inspire people to plan a visit. Problem was, Nashville had a low production budget and absolutely no media budget.
So when we realized that some of the biggest rock stars in the world had actually moved to Nashville, we knew if we could get them to help us tell the story of the town’s transformation, we would not only have compelling content, but could leverage their huge social followings to promote it.
The Black Keys, Kings of Leon, Ben Folds, The Civil Wars, and 20 other famous artists signed on to be part of the project. Not as paid spokespeople, but simply for the love of the city they call home. The result was a one-hour documentary, For the Love of Music.
We tapped into the musicians’ 24 million social followers by creating social kits with custom bonus content that the artists posted on their sites, driving people to view the film.
Music sites and blogs took notice, and as the buzz spread, ABC took an interest and offered to air the documentary. What was essentially a 60-minute commercial for the city of Nashville ran as pure entertainment on one of the biggest television networks in the world.
To make it easy for viewers to actually plan a trip to Nashville, we launched a second-screen app to accompany the broadcast premier. The app connected the stories in the film to actual places in Nashville, letting viewers create custom tours of the city inspired by the musicians’ favorite restaurants, venues, and hangouts. Then, once in Nashville, it became a personal tour guide, directing them around the city.
For the Love of Music far surpassed any previous marketing efforts by the Nashville Convention & Visitors Bureau. Twenty-four of the biggest names in music starred in and promoted the film to their more than 20 million social followers, for free. It aired on some of the biggest television networks in the world, including ABC, Foxtel, Palladia, and CMT. The film even gave ABC a 38 percent bump in ratings in its on-air debut. It has been talked about in magazines, featured on music blogs, news sites, and even Southwest Airlines’ company blog. Since the film debuted, visits to visitmusiccity.com have increased 787 percent and hotel bookings are up 18 percent. Nashville has credited the film with helping spark the biggest tourism boom in the city’s history, all without traditional advertising or a dime spent on media.” —VML
In-game advertising – whether product placement; live billboard feeds; or stories, characters, or ads embedded into games – is often well-received by appropriately targeted gamer audiences. Research indicates that young male gamers think product placement enhances the reality of the content and game experience. Fortnite, a popular game, regularly partners with brand marketers. Creatives seek ways to interweave their brands into video game environments as a way of targeting the enthusiastic audiences and varied demographics. Almost 700 million people worldwide are gamers.
According to agency VMLY&R, when “Fortnite announced a new game mode called Food Fight, pitting Team Burger against Team Pizza, Wendy’s found an organic way in.” Because Wendy’s doesn’t use frozen beef, “VMLY&R picked up a controller, but instead of killing other players, they killed freezers. Again and again. And they streamed it all on Twitch, where hundreds of thousands of gamers watched them wage war on Fortnite’s frozen beef.”
A branded utility is a product created by a brand or sponsor that is ostensibly useful to the audience and generally (but not always) offered free of charge. The branded utility or product should provide a useful or pleasant experience for the user. For example, ColorSnap from Sherwin-Williams enables people to take real-world colors and turn them into paint-color swatches on their smartphones and more. The tradition of branded utilities dates back to the first Michelin guide for French motorists to facilitate their travels.
MEDIA CHANNELS: PAID, OWNED, AND EARNED
There are many advertising channels of distribution, from cable television to mobile web and apps to desktop web.
Paid media includes channels where advertisers must buy space and time. This includes TV, radio, print, cinema, outdoor, direct mail, in-store placement, sponsorships, product placement, banners, paid search, paid ads on social media and blogs, seeded blog posts, and miscellaneous premiums. Even some unconventional media, such as building projections, tear-away postings, and “wild” postings are paid media made to appear as guerrilla marketing (unpaid ads that catch you unexpectedly).
Owned media includes brand-owned media: websites and microsites, proprietary platforms, mobile apps, social media apps, branded retail environments, branded events, unique branded content, games, branded utilities, street and marketing stunts, brand installations, experiential (see the Case Study of the Emmy-nominated project “Liberty Hall 360” at the end of this chapter), and more.
Earned media includes word-of-mouth, fan pages, news and other TV coverage, blog coverage, social media discussions and shares, Twitter mentions, fan works, fan videos, mentions in song lyrics or celebrity mentions, and fan forums.
People are consuming their media through many channels – handheld, wearables, desktop, public screens, besides the traditional ones such as TV and print. Media is distributed everywhere – all the time. What this means is that advertising can pull people in or push itself at audiences. Advertising is pushed at people through conventional channels—television network programming is free because advertising pays for it. Online, we can opt-in to advertising that we find compelling; branded content or owned media usually pulls people in. Here are some successful examples of pull marketing:
“Who will save the OREOS?” asked a concerned fan on Twitter. OREO went on a mission to save the OREO cookie from the impact of Asteroid 2018VP1 on November 2, 2020 by building the Global OREO Vault, placed down the road from Svalbard Global Seed Vault in Norway. (NASA tweeted that Asteroid 2018VP1 posed no threat to Earth.) “This cross-agency, integrated campaign jumped on a world-wide event by generating social buzz and taking swift and measured action to protect OREO cookies at any length, all the while inviting fans and other brands to get in on the fun,” explains agencies the community and 360i.
The New York Public Library said they “joined forces with the independent advertising and creative agency Mother in New York to create ‘Insta Novels,’ a revolutionary new program that will bring digital novels to Instagram and make some of the world’s most classic pieces of literature more accessible.” Art director Lauren van Aswegen explained that they wanted to “meet the users where they are—and that is on Instagram.”
Drew Neisser, president and CEO of Renegade, advocates “marketing as service.” In their ideal form, branded utilities provide something useful to people for free. The Kraft Heinz Company offers one such example of this:
Country Time wants to legalize lemonade stands across the country by giving parents and kids the tools to start changing the laws in their state. Simply go to www.countrytimelegalade.com to learn if lemonade stands are legal in your state without a permit. If they aren’t, Country Time is helping you start the process by giving you the information to contact your local state representative and providing a downloadable Legal-Ade support yard sign.
Environmental branded utilities are useful services that become part of the common environment, such as sponsored spaces. Examples include clean bathrooms in Times Square (sponsored by Charmin), laundries for people affected by disaster (“Loads of Hope,” sponsored by Tide), or free charging stations sponsored by a brand. These could even be sponsored events, such as those created by Red Bull. A website can be a branded utility, too—for example, BabyCenter.com offers information for parents from Johnson & Johnson.
WHO CREATES ADVERTISING
In an advertising agency, a creative team generates ad ideas together. An advertising idea the creative reasoning or intention underlying advertising communication. Typically a creative team is led by two people: a copywriter, who is responsible for the written advertising components in the form of a tagline, headline, and body copy, and an art director who directs the artistic features of an advertising solution and is responsible for the ad’s design, art direction (selecting and creating imagery [photographs, illustrations, diagrams, or any graphic elements]), and general visual style. This model was Bill Bernbach’s brainchild. Bernbach, of Doyle Dane Bernbach (DDB), paired copywriters with art directors. His vision, along with that of his creative teams, produced seminal work during advertising’s “Creative Revolution,” of the 1950s and 1960s.
Typical job skills required for an advertising art director:
creative thinker capable of idea generation
critical thinker capable of strategic thinking
visual thinker capable of realizing ideas in visual form
a solid understanding of design (typography, color theory, composition, etc.)
leadership and communication skills
understanding of the capabilities of media channels
in-depth knowledge of Adobe Photoshop, Illustrator, InDesign, After Effects (animation), and UI/UX
Graphic designers and art directors communicate visually, and many of their concerns overlap, for example, understanding their audience, interpreting a brief, strategizing, and being able to communicate an idea visually. There are many graphic design disciplines, such as branding and identity design, editorial design (the interior of books, magazines, and newspapers), promotional design, and information design. If someone is designing a brand identity, the designer has to consider it a long-term design – viable for ten to fifteen years. The design of a book cover or interior may have a longer or shorter life span.
Advertising requires starting conversations with people in the moment and needs to be contemporary. An advertising art director must constantly be on the front foot, be reactive, and connect to contemporary culture.
Many ad agencies house design departments. To showcase the talents of their designers, the agency TBWA\Hunt\Lascaris created intricate pieces of paper art out of client briefs (figure 1-3).
In some ad agencies, the preferred creative team model is an interdisciplinary team whose members have different expertise, which might include visual designers, developers and other technology experts, interactive/digital designers, mobile and social media designers, a marketing expert, a brand strategist, and brand experience designers. Depending upon the kind of project, there may be several creative leads, including perhaps a UI/UX lead. It is best practice to start collaborating at the ground floor to make sure everyone is on the same page with the same marketing goals.
A creative director (CD) or associate creative director supervises the creative team and often makes the final creative decisions about the concept, approach, copywriting, and art direction before the work is presented to the agency’s executive creative director (ECD), who sets and implements the overarching creative direction and vision for their accounts and teams as well as providing leadership to the agency and client.
Teams generate ideas. Once the creative team, creative director, or ECD settles on an idea, the art director is responsible for the art direction (overall visual style, and the selection of a photographer or illustrator) and the design (perhaps in conjunction with a visual designer or graphic designer). The copywriter is responsible for the writing (headlines, taglines, and calls to action as well as long-form website or print). When a creative team works well, the division of labor might overlap. Any good art director should be able to write headlines or calls to action, and any good copywriter should be able to think visually. Art directors might collaborate with graphic designers, brand designers, web designers, mobile designers, and more.
FIGURE 1-3 PROMOTIONAL DESIGN: “WE SENT THEIR BRIEFS BACK”
Agency: TBWA\Hunt\Lascaris
Executive Creative Directors: Matthew Brink / Adam Livesey
Creative Directors: Sacha Traest / Mike Groenewald
Art Director: Jade Manning
Copywriter: Vincent Osmond
Design: Sacha Traest / Leigh-Anne Salonika / Katleho Mofolo / Graeme Van Jaarsveld / Ilze Venter / Jason Fieldgate
Typographer: Hazel Buchan
Photographers: Graeme Borchers / Des Ellis
Account Manager: Vanessa Maselwa
Director: Brett de Vos
Sound: Cut and Paste, Opus
Production: Craig Walker / Simone Allem / Ingrid Shellard / Gillian Humphris
“Although TBWA\Hunt\Lascaris is well established as an above-the-line agency, our clients were yet to be introduced to the wealth of talent that TBWA\Design has to offer. So, to get our clients’ attention, we intercepted existing above-the-line briefs and used the physical advertising brief as our canvas. Instead of answering the brief in a traditional manner, we conceptualized various designs that captured the essence of the brands, then brought them to life using only the cardboard job bags and the briefs that were attached to them.
We created intricate pieces of paper art, transforming our client’s briefs into multidimensional design pieces. We then sent our clients’ briefs back to them, proving that TBWA\Design can do amazing things with their briefs. Our campaign was a huge success. The design studio received their first new brief from our client just five days later. Even more notably, new design work in the system rose by 450 percent within the first six weeks.” —TBWA\Hunt\Lascaris
Besides the creative and tech team experts, advertising depends upon other professionals, including talent (actors, musicians, photographers, and illustrators), media planners, strategic planners, account and marketing managers, and programmers. Some traditional agencies collaborate with dedicated interactive/digital, mobile, or social media agencies. When dealing with branded programming content, social media films, and TV commercials, there are also commercial directors, producers, production and postproduction agencies, talent, casting directors, and location scouts, among others.
ADVERTISING MEDIA CHANNELS
CONVENTIONAL MEDIA
Broadcast
Television commercials
Network
Cable
Radio commercials
Network
Satellite
Local
Print advertisements and campaigns
Magazines
Newspapers
Branded utilities in print (maps, guides, books, etc.)
Direct mail (printed advertising mailed directly to people)
SCREEN-BASED MEDIA CHANNELS AND FORMS
Websites and micro websites
Web platforms and other owned digital media
Branded digital utilities
Web films and commercials, social films
Unique content and entertainment
Mobile advertising
Mobile apps
Mobile branded content entertainment
Social media apps
Social media campaigns
Videos made for video sharing websites, such as YouTube, and social media
Campaigns made for photo-sharing websites, such as Instagram
Widgets
Video e-mail
Banners and floaters
Blogs (from web logs)
Vlogs (video blogs)
MoBlogs (mobile blogs)
Ads embedded in video and online games
Digital outdoor/public screens
Digital kiosks
BRAND ACTIVATIONS / EXPERIENTIAL ADVERTISING
Brand or company-sponsored events, e.g., an escape room experience or Mother’s Day event
Concert, musical, or play
Branded display or exhibit
Branded adventure or utility, e.g., in France, Ikea built a climbing wall made out of their furniture
Branded environments and conferences, e.g., KitKat’s Free No WiFi Zone in Amsterdam
In-game branded content
SPONSORSHIP, PARTNERSHIPS, AND BRANDED ENTERTAINMENT
Event sponsorship (live shows, concerts, festivals, sporting events, etc.)
Exhibit sponsorship
Competitions and promotional games
Site sponsorship
Television program sponsorship (including Public Television)
Product placement in television programs, music videos, films, books, ads, or products embedded in video games or any form of branded entertainment
Sponsored promotions, such as supporting businesses, students, communities
Branded utilities
SUPPORT MEDIA
Out-of-home (OOH) (billboards, transit, bus shelters, street furniture, ads in arenas and stadiums, shopping malls, the cinema, etc.)
Posters
Vending machines
In-store
Kiosks
Installations
Live-feed boards
UNCONVENTIONAL
Ambient
Unconventional or guerrilla media projections on buildings, mobile truck signs, taxi toppers, tear-away wild postings, food truck marketing, influencer marketing, street art performance, nightlife marketing, etc.
Street teams
MISCELLANEOUS
Customer in-store experience
Premiums, novelties (such as pens or caps) and other incentives (giveaways)
Logo apparel
In the past, brand agencies and the brand companies themselves controlled almost all messaging about or for a brand. Now technology (digital devices, hardware and software, and sharing platforms) makes it possible for any of us to create advertising in ways previously available only to advertising professionals. Technology has shifted much of a brand’s power to consumers.
THE AD AGENCY
An advertising agency is a company that provides creative, marketing, and other business services related to planning, creating, producing, and placing advertisements in media for clients. In the late 1980s many prominent advertising agencies merged into holding companies. There are several major holding companies, such as the Omnicom Group, Interpublic Group, WPP Group, Havas, Publicis Groupe, and Dentsu. An independent agency is a single agency privately owned and operated and not part of a conglomerate.
Beyond simply creating advertising, some agencies incubate, develop (figure 1-4), and invest in new ideas, tech, and products.
FIGURE 1-4 HOOHA: THE WORLD'S FIRST SMART TAMPON DISPENSER
Agency: Huge
Inventor / Associate Director, Social: Steph Loffredo
Chief Creative Officer: Jason Musante
Executive Creative Director: Mick Sutter
Executive Creative Director: Rich Bloom
Sr. Creative Technologist: Zach Saale
Experience Lead: Alex Safchuk
Associate Creative Director, Copy: Gari Cruze
Associate Creative Director, Art: Kristen Giuliano
Project Manager: Arista Ware
Senior Copywriter: Sarah Holcombe
Copywriter: Scott Muska
Senior Visual Designer: Irina Moiseenko
Senior Visual Designer: Shannon Stull
Visual Designer: Richee Chang
Associate Visual Designer: Stephanie Hatchett
Steph Loffredo, an employee of Huge, needed a tampon at SXSW. “Every tampon machine at the conference was either empty or broken. The machines weren’t unlike any of the other defective machines she had seen before, but their appearance at the tech event revealed a sad, stark truth – that amid the greatest technological advancements across every other industry, women’s basic needs were being left behind.
To call attention to this inequality, she secured a fellowship at Huge to build a better solution. Over the next several months, her team built Hooha, a smart tampon dispenser you can simply text for a free tampon. Fittingly, the machine launched one year later at SXSW on International Women’s Day.
So, why incorporate texting to dispense tampons? Because tampons should be free in public restrooms – just like toilet paper, hand soap, and dryers. And no one wants to download an app and upload their credit card information when they’re about to bleed through their shorts. The team discovered that texting was the quickest way to dispense a tampon and also offered a way to control the amount of free product they distributed. The phone number allowed the team to timebox users so one user couldn’t completely exhaust the machine’s supply. Hooha doesn’t store personal data, and the phone numbers are wiped at the end of each day.
In addition, Hooha features a window, which allows you to see that it’s stocked with product – a feature notably absent from the design of its predecessors. It also contains two sets of smart sensors: The first set detects low stock levels and notifies the facility manager to refill the machine, while the second set prevents jams.” —Steph Loffredo
Types of Agencies
Full-service agencies offer a broad range of business and creative services related to the advertising process, including strategic planning, creative ideation and design, production, implementation, and placement. Some full-service agencies also handle marketing communication, such as public relations, promotional design, interactive advertising, and direct marketing, and media buying, or are in partnerships with companies that provide those services. Clients choose full-service agencies because these organizations are able to handle any aspect of a client’s marketing and communications needs.
Digital agencies focus on screen media. In the past, these media specialists worked with other agencies that served as the creative leads. Now, many interactive agencies are the lead agencies for brands. Almost all ad agencies have interactive and branded content expertise. Social agencies create advertising forms for social media platforms, including developing overall social media strategies, influencer campaigns, conversation platforms, advocacy programs, community building and management, social applications, conversation response, and reputation management. Mobile and tablet agencies create strategic mobile advertising plans and create native advertising (made specifically for those media), and cross-device, spanning media channels and platforms.
Some companies and organizations prefer to produce part or all of their advertising, branding, direct marketing, and promotional design themselves, keeping their advertising in-house.
EXERCISE: A DIFFERENT LENS
When focused on being creative to promote a brand, some creatives neglect to check how their idea would communicate to or affect different groups of people. Even when we’re targeting only a segment of the public, the messaging is out there and impacts society.
Select an existing ad or ad campaign you think is creative.
Analyze its use of language, visualization, style, and tone in order to identify any subtexts, allusions, signs, or symbolism. Ask what the ad tells us about the human condition or examine the ad’s assumptions about ability, gender, race, socioeconomic class, age, or ethnicity.
Could you classify the ad’s stance as feminist, Marxist, postcolonial, postmodern, psychoanalytic, or structuralist?
Redo the ad, interpreting it through a different lens.
At times, we discriminate unintentionally, which is called implicit bias. Check for any kind of bias in advertising. Bias perpetuates bias and impacts how people live, find jobs and housing, and obtain medical attention. Advertising can perpetuate bias if it goes unexamined, but it can also help dispel bias. For the Ad Council, agency R/GA created a diversity and inclusion campaign, “Love Has No Labels,” that “encourages everyone to reconsider the biases that we don’t even know we have.” The campaign suggests people visit lovehasnolabels.com to find ways to challenge bias in themselves and others.
At an Advertising Week seminar, Barry Wacksman, EVP and global chief strategy officer of R/GA, discussed the origin of the campaign. He explained that Wendy Clark, president of marketing for Coca-Cola, had approached the Ad Council with the idea of having major brands come together to create a spot about love and diversity with the intention of reaching a wide audience.
THINKING WITHOUT A PLAYBOOK
What if you did not have an advertising playbook? No conventions or rules? Thinking without a playbook frees you from conventional thinking.
When I interviewed PJ Pereira, Founder and Creative Chairman of Pereira & O’Dell, for my book, Nimble: Thinking Creatively in the Digital Age, about his agency’s guiding principle, Pereira replied, “We ask ourselves, ‘What if advertising had no history? What if advertising were invented today, the day we got the assignment?’ That approach frees our thinking; it frees us to use our tools to defy conventional categories.” Pereira & O’Dell’s ground-breaking work certainly proves his thesis, winning innumerable awards and honors. Pereira’s agency is credited with the creation of the first-ever social film (“The Inside Experience”) for Intel and Toshiba, which combined Hollywood talent content and social media participation. The film surpassed the triple Cannes Grand Prix winner “The Beauty Inside,” also for Intel and Toshiba, which is now being turned into a major feature film starring Emilia Clarke. “The Beauty Inside” was the first piece of advertising to win an Emmy against regular TV programming. (https://pereiraodell.com/)
How can you think without a playbook? Ask “What if. . .” questions. What if advertising could be anything?
What if advertising could be a museum exhibit? If French artist Marcel Duchamp turned an everyday object into art, Goodby Silverstein & Partners believed they could elevate a snack into art. Goodby Silverstein created the Cheetos Museum, “featuring real Cheetos found by real people that look like real things,” explains the agency. Then they challenged Americans to curate the exhibit by submitting the most surprising Cheetos shapes they could find.
What if you could create a first-of-its-kind augmented reality simulation app experience to celebrate the 50th anniversary of the first Moon landing and U.S. President Kennedy’s vision that launched the effort? “JFK Moonshot is the first-ever full-scale augmented reality simulation of the Saturn V Rocket launch; it takes users on the five-day journey from the Earth to the Moon,” explains agency Digitas. For the John F. Kennedy Presidential Library and Museum, Digitas, the Connected Marketing agency, teamed up with UNIT9, a global production partner, to create the app.
Leo Burnett Israel’s campaign for Holocaust Remembrance Day shows us what it might have been like if a girl had Instagram during the Holocaust. The Leo Burnett agency explains, “This campaign is based on a true story and adapted from the diary Eva Heyman left behind in 1944. A fictional Instagram account was created to document Eva’s life during the Holocaust in a first-hand way to more directly engage with the post-Millennial generation—a demographic less connected to Holocaust Remembrance Day and what it commemorates. The campaign meets its audience on-screen—where they spend their time—and educates them directly on social media.” (https://leoburnett.com/articles/work/leo-burnett-israel-brings-eva-heymans-diary-to-life-in-honor-of-holocaust-remembrance-day/)
On one Valentine’s Day in Santa Monica, California, the Ad Council and R/GA set up a huge public X-ray screen where the audience who gathered saw images of skeletons embracing or dancing. Rather
