Advertising and promotion week III AIM By the

Advertising and promotion week III

AIM By the end of the lesson students should have a basic understanding of the laws and regulations that govern advertising communication. They should also be in a position to start drafting the first assignment.

OVERVIEW In the UK no one act covers advertising and promotion; there are 150 acts of parliament that regulate this marketing element. There also bodies such as ASA and OFCOM that monitor this marketing element. Other umbrella acts such as Data protection act 1989, Sale of goods act, trade description act amongst other legislation form the laws for advertising and promotion.

ASA The Advertising Standards Authority is the UK’s independent regulator of advertising across all media.

THE ROLE OF THE ASA The Advertising Standards Authority was established in 1962 to monitor & regulate UK advertising The ASA steps in when information in an ad appears to be dishonest or misleading, or when the attempt to entertain has gone too far & become offensive The ASA code covers all mediums of advertising, including banner ads, internet pop-ups, SMS adverts & moving image posters as well as more traditional forms When challenged, advertisers must prove their claims are true. If they cannot prove it, they cannot claim it

THE HISTORY OF THE ASA 1961: Advertising Association establishes self-regulatory system for non-broadcast advertising 1962: ASA established as the independent adjudicator to supervise the working of the new self-regulatory system in the public interest Early 1970 s: sales promotion rules introduced 1975: Asbof levy introduced 1990: use of data for direct marketing purposes rules introduced 1988: Control of Misleading Advertisements Regulations implemented 2004: ASA/CAP system assumes responsibility for regulation of TV and radio ads 2008: CPRs and BPRs implemented 2011: The ASA’s digital remit is extended to cover websites

COMMITTEES OF ADVERTISING PRACTICE The Committees of Advertising Practice (CAP) write and maintain the UK Advertising Codes, which are administered by the Advertising Standards Authority. They also offer the industry authoritative advice and guidance on how to create campaigns that comply with the rules.

THE ASA AND CAP ASA Broadcast Regulates TV and radio ads under contract from Ofcom Independently administers and enforces rules laid out in the Advertising Codes Two separate industry bodies that write and help enforce the Advertising Codes ASA Non-broadcast Nearly 50 years of operation; independent from Ofcom Writes and helps enforce the UK Code of Broadcast Advertising Writes and helps enforce the UK Code of Non. Broadcast Advertising, Sales Promotion and Direct Marketing

ADVANTAGES OF SELF REGULATION Stake holders gain trust in advertising Good for business and consumers Corporate social responsibility – Industry has a stake in its own rules Fast Quicker than the courts Responsive to technological and social change

ADVERTISING CODES All ads must be legal, decent, honest and truthful Prepared with a sense of responsibility Must not mislead, harm or offend Advertisers / broadcasters must hold evidence to support all claims Special rules, e. g. : Alcohol Children Environmental claims Health and beauty

BANNED ADVERTS

http: //www. youtube. com/watch? v=94 eo. Xg 3 l Ezc http: //www. metro. co. uk/metrolife/815766 -top- 5 -banned-tv-adverts

The advertising watch dog has banned Virgin Media's multimillionpound TV campaign featuring Usain Bolt, ruling that the cable firm could not deliver on a promise relating to superfast broadband.

BANNED ADVERTS � Mars pulled a Snickers UK TV ad after US complaints that it was offensive to gay people even though it was never shown on TV in the US � The Advertising Standards Authority of the UK received just two complaints and did not investigate the commercial for a possible breach of the advertising code � However, the ad caused a storm in the United States. The Human Rights Campaign criticised Mars for perpetuating "the notion that the gay, lesbian, bisexual and transgender community is a group of second class citizens and that violence against GLBT people is not only acceptable, but humorous” � Mars said that the ad was meant to be "fun", and that it never intended to cause offence

CODE OF ADVERTISING PRACTICE (CAP) The main principles of the advertising standards codes are that adverts should not mislead, cause harm, or offend Particular care should be taken to avoid causing offence on the grounds of race, religion, sex, sexual orientation or disability There are specific rules for certain products and marketing techniques. These include rules for alcoholic drinks, health and beauty, children, motoring, environmental claims, gambling, direct marketing and prize promotions

CAP GUIDELINES Detailed guidance is offered to advertisers about what is acceptable, though the ASA claim they review each advert in context according to its medium, intended message & suitability for target audience. Like TV programmes, adverts may only be suitable for broadcast after the 9 pm watershed Categories include: fear & distress, safety, violence & anti-social behaviour, & comparisons with competitors

ASA AIMS Protect consumers Reflect the public Be responsible Keep competitive claims in check Embrace new challenges posed by new media forms

ADVERTISING TO CHILDREN On 1 st July 2007 the Committee of Advertising Practice (CAP) brought into force new rules for food and soft drink product advertisements to children to help protect children’s health and recognise and respond to public concern about rising levels of childhood obesity. In summary, the new rules state that advertisements for food or soft drink products should not: Condone or encourage poor nutritional habits or an unhealthy lifestyle in children Encourage excessive consumption of food or drink products Use promotional offers in an irresponsible way Use “high pressure” or “hard sell” techniques Use licensed characters or celebrities popular with children if targeted directly at pre-school or primary school children Give a misleading impression of the nutritional health

ADVERTISING TO CHILDREN The rules provide for fresh fruit or fresh vegetables to be advertised using techniques restricted for other food or drink products The new rules protect all children (defined as persons under 16) In recognition of the Government’s concern to target regulatory measures at primary school children, CAP has placed tougher restrictions on food or drink product ads that are directly targeted at primary school or pre-school children through their content

THE BCAP TELEVISION ADVERTISING CODE Food and soft drink advertising and children: Diet and lifestyle Advertisements must avoid anything likely to encourage poor nutritional habits or an unhealthy lifestyle in children. 

Notes: (1) This rule does not preclude responsible advertising for any products including those that should be eaten only in moderation. (2) In particular, advertisements should not encourage excessive consumption of any food or drink, frequent eating between meals or eating immediately before going to bed. (3) It is important to avoid encouraging or condoning attitudes associated with poor diets, for example, a dislike of green vegetables. (4) Portion sizes or quantities of food shown should be responsible and relevant to the scene depicted, especially if children are involved. No advertisement should suggest that a portion intended for more than one person is to be consumed by a single individual or an adult’s portion, by a small child. (5) Advertisements for food should not suggest that an inactive or sedentary lifestyle is preferable to physical activity.

OFCOM The Office of Communications commonly known as Ofcom, is the government-approved regulatory and competition authority for the broadcasting, telecommunications and postal industries of the United Kingdom. Ofcom was initially established by the Office of Communications Act 2002 and received its full authority from the Communications Act 2003. Ofcom has wide-ranging powers across the television, radio, telecoms and postal sectors. It has a statutory duty to represent the interests of citizens and consumers by promoting competition and protecting the public from what might be considered harmful or offensive material some of the main areas Ofcom presides over are licensing, research, codes and policies, complaints, competition and protecting the radio spectrum from abuse.

CREATEING AN ADVERT

Assignment You work for a well known advertising agency and have just been promoted to a managerial position. As a result of your new role your responsibilities have also expanded therefore you have been given sole responsibility to develop an advertising campaign proposal for one of your major client who’s business is international and they are about to launch a new product to add to their portfolio.

You are to choose one of the products/services contained within the table attached to this brief and compose a proposed promotional campaign for this product/service. You are required to investigate and choose a minimum of 3 methods of promotion/advertising but at least 1 must be a type of internet advertising. You are to research your chosen methods and discuss and justify their relevance to your product and effectiveness evaluating the advantages and disadvantages of these methods. Within your proposal you must include at least 2 models’s of the communication process and discuss theory surrounding these models. Your proposal should conclude and recommend a defined integrated promotional strategy and throughout should demonstrate how advertising can be designed to differentiate, remind inform and persuade.

EFFECTIVE ADVERTISING Examines breakthrough advertising, and how creative are developing messages people want to watch and read. Advertising creatives must be innovative and use ideational thinking and processes, in spite of constraints and political pressures from clients.

THE TWO SIDES OF ADVERTISING Media and message strategy work together to create effective advertising. Creative activities work in parallel with the media strategy. 12 -5

THE ART AND SCIENCE OF ADVERTISING The advertisement translates the logic of planning decisions into a creative idea that is original, attention getting, and memorable. Ads must persuade people to take action and make a relevant connection with the audience be presenting a selling idea in an unexpected way.

THE ROLE OF CREATIVITY IN ADVERTISING Advertising creativity is a product of teamwork between copywriters, art directors, and even broadcast directors work together to generate concept, word, and picture ideas. In advertising, creativity if both a job description and a goal. Creativity is a special form of problem solving.

MESSAGE PLANNING The creative strategy phase brings together the art and science of advertising. Creative strategy/message strategy Ad ideas must be creative (original, different, novel, unexpected) and strategic (right for the product and target; meets advertising objectives. What the ad says Execution How it is said

CREATIVE BRIEF Spells out the creative strategy and key execution details Prepared by the account planner to summarize the basic marketing and advertising strategy Provides direction to the creative team to develop a creative concept

KEY POINTS IN A CREATIVE BRIEF Problem that can be solved by communication. Target audience and key insights into their attitudes and behavior. Brand position and other branding decisions, such as personality and image. Communication objectives that specify the desired response to the message by the target audience. Proposition or selling idea that will motivate the target to respond. Media considerations about where and when the message should be delivered Creative direction that provides suggestions on how to stimulate the desired consumer response. These aren’t creative ideas but may touch on such execution or stylistic direction as the ad’s tone of voice.

The Road Crew Campaign Social marketing campaign to get young men in Wisconsin small towns who drink and drive to use a ride service. Visit the Site Prentice Hall, © 2009 12 -11

THE ROAD CREW CREATIVE BRIEF Why are we advertising at all? To create awareness for an evening alternative ride service. What is the advertising trying to do? Make the new ride service appealing to men in order to reduce the number of alcohol-related crashes. What are their current attitudes and perceptions? “My car is here right now. Why wait? There are few options available anyway. I want to keep the fun going all night long. ” What is the main promise we need to communicate? It’s more fun when you don’t have to worry about driving. What is the key moment that we tie to? “Bam! The fun stops when I need to think about getting to the next bar or getting home. ” What tone of voice should we use? The brand character is rugged, cool, and genuine. We need to be a “straight shooter” buddy on the barstool next to the target. They do not want to be preached to or told what to do. We need to communicate in a language they can relate to. (Words like “program” may cause him to tune out. ”)

FACETS MODEL Shows the effectiveness of ads that means the how the market gets attracted and makes general opinion about them. It consists of six components.

Message Objectives Based on Facets Model See/hear—create attention, awareness, interest, recognition Feel—touch emotions and create feelings Think/learn—deliver information, aid understanding, create recall Believe—change attitudes, create conviction and preference Connect—establish brand identity and associations, transform a product into a brand with distinctive personality and image Act—stimulate trial, purchase, repurchase or some other form of action.

Goal and Objectives of Road Crew Campaign Goal—reduce alcohol related crashes by 5% Objectives Create awareness of the ride service program and positive attitudes toward it Establish a cost-efficient level of rides in the first year of operations, which involved fund-raising, soliciting volunteers, and other community support Address the gap between awareness (don’t drink and drive), attitudes (risky, scary, potentially dangerous), and behavior Encourage a behavior change consistent with new attitudes and awareness (get

TARGETING Target decisions are very important to message strategy. Target audience for Road Crew Campaign 21 - to 34 -year old single men with a high-school education and a blue-collar jobs They are responsible for most alcohol-related crashes; most likely to kill or be killed Consumer insight Tended to worry about driving home drunk and this worry took the edge off an otherwise delightful evening

BRANDING Brand positions and brand images are built through message strategies and brought to life through advertising executions. Advertising creates brand salience. The brand is visible, has a presence in the marketplace, consumers are aware of it, and the brand is important to its target market, Brand icons reinforce lend personality, emotion, and stories to their brands. Burger King’s “creepy” BK King Video Snippet Aflac’s agency reveals how they came up with the duck as an icon.

MESSAGE STRATEGIES Based on objectives, the goals are translated into strategies A creative strategy is an approach that makes the most sense given the brand’s marketing situation and the target audience’s needs and interests.

CREATIVE STRATEGY APPROACHES Head and Heart Head: uses more rational, cognitive (thinking) objectives Heart: uses more emotional, affective (feeling) objectives Hard Sell and Soft Sell Hard sell: uses an informational message that touches the mind and creates a response Soft sell: uses emotional appeals or images to create a response based on attitudes, moods, and feelings

CREATIVE STRATEGY APPROACHES Frazer’s Six Creative Strategies Six creative strategies that address various types of advertising situations; identify common approaches to advertising strategy. Taylor’s Six-Segment Strategy Wheel Divides strategies into the Transmission view (“head” strategies and the Ritual view (“heart” strategies). Each view is divided into three segments: Rational, Acute Need, and Routine on the Transmission side; and Ego, Social, and Sensory on the Ritual side.

Table 12. 1 Frazer’s Six Creative Strategies Strategy Description Uses Preemptive Uses a common attribute or benefit but brand gets there first–forces competition into me-too positions. Used for categories with little differentiation or new product categories. Unique Selling Proposition Uses a distinct difference in Used for categories with high attributes that creates a meaningful levels of technological consumer benefit. improvement and innovations. Brand Image Uses a claim of superiority distinction based on extrinsic factors differences in differentiation. the minds of consumers. Used with homogeneous lowtech goods with little such as psychological Positioning Establishes a place in the consumer’s mind relative to the competition. Used by new entries or small brands that want to challenge the market leader. Resonance Uses situations, lifestyles, and emotions with which the target audience can identify. Used in highly competitive, undifferentiated product categories. Affective/ Anomalous Uses an emotional, sometimes even ambiguous message, to break through indifference. Used where competitors are playing it straight and informative.

Table 12. 3 Taylor’s Six-Segment Strategy Wheel The wheel divides message strategy into two general views—the Transmission view and the Ritual view. These are roughly equivalent to our “head” and “heart” strategies.

STRATEGIC FORMATS AND FORMULAS Lectures A series of instructions given verbally Speaker presents evidence to persuade the audience Lectures are inexpensive, compact, and efficient A “talking head” delivers a lecture about a product Dramas Funny or serious stories about how the world works Characters speak to each other and audience infers

STRATEGIC FORMATS AND FORMULAS Rational Customer-focused Strategies • • Benefit—what the product does for the user; benefit Promise—what benefit the user will get in the future Reason—why you should buy this “because” Unique selling proposition—a benefit unique to the product and important to the user

STRATEGIC FORMATS AND FORMULAS Message Formulas Straightforward Demonstration Comparison Problem solution /problem avoidance Humor Slice of life Spokesperson Teasers

STRATEGIC FORMATS AND FORMULAS Matching Messages to Objectives Get attention Create interest Resonate Create believability Are remembered Slogans Taglines Key visual Principle: To get attention, ad ad must have stopping power, which comes from originality, relevance or intrusiveness—an idea that is novel or surprising.

STRATEGIC FORMATS AND FORMULAS Matching Messages to Objectives (cont. ) Touch emotions Inform Teach Persuade Principle: When advertising gives consumers permission to believe in a product, it establishes the platform for conviction. Create brand association Principle: Drive action Not only does advertising have to stop (get attention) and pull (create interest), it also has to stick (in memory).

TANGIBLE AND INTANGIBLE FEATURES Prentice Hall, © 2009 12 -29

WHAT IS A CREATIVE CONCEPT? It’s an idea—a thought or concept formed by mentally combining pieces and fragments into something meaningful. Concepting—the process of coming up with a new advertising idea. James Webb Young defines an idea as a new or unexpected combination of

ADVERTISING BIG IDEAS The point of focus for communicating the message. A theme or central concept (creative concept). The “Road Crew” name helped define the campaign’s big idea. The “Beats driving” slogan supported the Big Idea and communicated a benefit.

THE ROI OF CREATIVITY According to DDB agency, an effective ad is relevant (means something to target audience), original (novel, fresh, unexpected, unusual), and has impact (makes an impression) Principle: An idea can be creative for you if you have never thought of it before, but to be truly creative it has to be one that no one else has thought of before.

THE CREATIVE LEAP Divergent, right-brain thinking explores possibilities rather than using rational thinking “Thinking outside the box” Taking creative risks Principle: To get a creative idea, you must leap beyond the mundane language of the strategy statement and see the problem in a novel and unexpected way.

DIALING UP YOUR CREATIVITY Characteristics of creative people Assertive, self-sufficient, persistent, self-disciplined. High tolerance for ambiguity and powerful egos; risk takers who are internally driven. Don’t care much about group standards and opinions; typically have inborn skepticism and strong curiosity. Key characteristics of advertising creatives Problem solving The ability to visualize Openness to new experiences Conceptual thinking Principle: Emphasize concepts. Worry about execution later.

The Creative Process: How to Get an Idea It is hard work; usually involves a series of steps: 1. Immersion—read, research, learn about problem 2. Ideation—look at the problem from every angle; generate as many ideas as possible 3. Brainfog—you may hit a wall and want to quit 4. Incubation—let your subconscious work on it 5. Illumination—the idea often comes when you’re relaxed and doing something else 6. Evaluation—Does it work? Is it on strategy?

BRAINSTORMING Get a group of 6– 10 people together to come up with ideas. People and ideas play off of each other and stimulate more ideas than one could alone. Stay positive, don’t judge, don’t criticize. No distractions or interruptions. Write everything down. Only after all ideas have been expressed and every avenue exhausted, you start picking through and evaluating the ideas.

HOW TO CREATE ORIGINAL IDEAS What If? An unexpected association free association Dramatize the obvious Catchy phrasing An unexpected twist A play on words Analogy and metaphor Familiar and strange A twisted cliché Twist the obvious To prevent unoriginal ideas, avoid “the look-alike” and the tasteless.

DISCUSSION QUESTION 1 Find an ad in this book that you think is the most creative. What is its Big Idea? How and why does it work? Analyze the ad in terms of the ROI formula for evaluating effective, creative advertising. Re-create the creative brief that would summarize the ad’s message strategy.

DISCUSSION QUESTION 2 Divide the class into groups of 6 to 10 people and discuss this problem: Your community wants to encourage people to get rid of their cars and use alternative forms of transportation. Brainstorm for 15 minutes as a group, accumulating every possible idea. How many ideas are generated? Here’s how to run this brainstorming group? Appoint one member to be the recorder who lists ideas as they are mentioned. Appoint another member to be the moderator and suggest techniques described in this chapter as idea starters. Identify a cheerleader to keep the discussion positive and find gentle ways to discourage critical or

DISCUSSION QUESTION 2 (CONT. ) Identify a cheerleader to keep the discussion positive and find gentle ways to discourage critical or negative comments. Work for 15 minutes throwing out as many different creative concepts as your team can come up with, regardless of how crazy or dumb they might initially sound. Go back through the list as a group and put an asterisk next to the 5 to 10 ideas that seem to have the most promise When all the groups reconvene in class, each recorder should list the groups best ideas on the blackboard. As a class, pick out the three ideas that seem to have the most potential. Analyze the experience of participating in a brainstorming group and compare the experiences of the different teams.

DISCUSSION QUESTION 3 Three-minute debate: Here’s the topic: Is entertainment a useful objective for an advertising campaign? This is an issue that advertising experts debate because, although entertainment may get and keep attention, some experts believe the focus should be on selling products not entertaining consumers. Build a case for your side—either pro or con on the effectiveness of entertaining ads. In class, organize into small teams with pairs of teams taking one side or the other. Set up a series of three-minute debates with each side having half that time to argue its position. Every team of debaters has to present new points not covered in the previous teams’ presentations until there are not more arguments left to present. Then the class votes on the most compelling argument.