S9-P2 06 ABCD3103 Topic 2 ABCD3103

S9-P2 06 ABCD3103 Topic 2 ABCD3103
Creativity and Advertising.

LEARNING OUTCOMES
By the end of the topic, you should be able to: 1. Define creativity in terms of advertising; 2. Explain the effects of advertising and the effects models; 3. Discuss some of the basic creative guidelines; and 4. Identify the creative team and determine the role it plays. ? INTRODUCTION Creative without strategy is called „art‰. Creative with strategy is called „advertising‰. (Ries & Trout, 1986) Advertising agency professionals have long promoted creativity as one of the most important elements in advertising. It is also considered a core business trait where the objective is not to generate solutions, but to fulfil the customerÊs needs and expectations. Some practitioners view creativity as necessary for advertising effectiveness or even that creativity is effectiveness. Media planners, market researchers, copywriters and art directors are all looking for new ideas and creativity is a way of thinking to generate new ideas with the focus on originality, uniqueness and relevance. Some advertising experts believe that creativity is the heart and soul of advertising services, and others consider that the word „creative‰ is the currency with which advertising agencies operate; without it there are no agencies. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 29 ACTIVITY 2.1 The creative concept forms the core foundation of an advertising campaign. It is essentially the story behind the messages presented in an advertisement. It ties together the elements in advertisements to help convey a memorable and effective message that will create the desired behavioural response from the target market. Based on a few samples of advertisements, identify each of their creative concepts and discuss their probable objectives and effectiveness. 2.1 ADVERTISING CREATIVITY Advertising agency professionals see creativity as the best tool for achieving advertising success. They believe that creativity is what really works in advertising. Famous advertising professionals such as Ogilvy (1983) and Bill Bernbach (Dane, 1965; Andrus, 1968) support the notion that what makes advertising effective is creative excellence. Creative excellence and creative thought is so significant that in advertising agencies, entire business structures are sometimes designed around the talents of one „creative genius‰ (as cited by Cummings, 1984). According to Marra (1990) in Advertising Creativity, the term creativity in advertising is referred to as „being new and relevant with your ideas‰. Smith and Yang (2004) believe that creative advertisements are those that are perceived to be divergent and relevant. Leo Burnett defined advertising creativity as „the art of establishing new and meaningful relationships between previously unrelated things in a manner that is relevant, believable, and in good taste, but somehow presents the product in a fresh new light‰ (El-Murad and West, 2004). Many advertising professionals believe that nothing is more efficient than creative advertising. According to them, creative advertising is more memorable, longer lasting and works with less media expenses. Numerous research and studies have found that creative messages get more attention and lead to positive attitudes about the products being marketed. Copyright © Open University Malaysia (OUM)
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30 ? TOPIC 2 CREATIVITY AND ADVERTISING Creative advertising allows advertisers to communicate a salient message about the products or services to a large group of consumers faster than any other form of communication. It allows them to connect with their consumer. Creative advertising gives the advertisers an opportunity to develop an ongoing relationship between the consumer and a brand. Creativity makes advertisements popular and attractive among the consumers and this motivates them to use the advertised product or services. The advertising message is received well by the target audience for follow-up action. Creativity increases the brand value. There is enough evidence that value for a brand will be formed through creativity. A successful and great creative idea can give brands the required thrust to explore new heights. This suggests that creative advertising should be able to create demand for the product especially when it is introduced for the first time. Creativity is considered an important tool in achieving advertising effectiveness. Research indicates that a higher level of creativity has a positive impact on advertising effectiveness (Smith, Chen & Yang, 2008; Dahlen, Rosengren & Törn, 2008). Both industry reports and academic articles clearly tell us that creativity is beneficial for the success of advertisements (Gunn et al., 2010; Smith, Chen & Yang, 2008). Research findings indicate that advertising creativity has a positive effect on purchase intentions and has a direct impact on the financial performance of firms. Research also shows that advertising creativity has a positive impact on brand attitude and interest which indirectly affects firm performance. It has also been shown that consumers are able and willing to assess the creativity of an advertisement and that those assessments have impact on advertising effectiveness. It shows that consumers value humour, craftsmanship and relevance to a higher degree in their assessment of creativity. This gives the advertising industry directions for the planning of creative advertisements. Some researchers and professionals argue that creativity is only there when there is originality, novelty and appropriateness (Ang & Low 2000). El-Murad and West (2004) stated that creativity must have an impact, quality, style and relevance. To be useful as solutions to marketing problems, ideas must be new, unique and relevant to the product and to the target audience. In order to have impact, advertising creativity should embrace three qualifications: newness, uniqueness, relevance. Thus, creativity is present only when an advertisement is new, unique and relevant. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 31 Some practitioners view advertising creativity as advertising which is awarded as creative by specialists in the advertising industry. West, Kover and Caruana (2008) conducted a research by comparing practitioner and consumerÊs definition of creativity. They found out that the definitions given by practitioners are related to relevance, appropriateness and originality. On the other hand, the same study pointed out that public viewerÊs definition of creativity does not respond to criteria of appropriateness and originality but rather they are looking for relevance. It has been found out that consumers perceive advertising according to their needs. They can evaluate an advertisement as creative when creative people do not see it to be so. From these two views, it is clear that both practitioners and public viewers adopt a pragmatic approach. Practitioners view creativity when clients can reach their objectives; while the public consider advertising as creative only if it responds to their own needs. According to West, Kover and Caruana (2008), there are two types of creativity; „Little c‰ creativity and „Big C‰ Creativity. „Little c‰ refers to the public view of creativity when they consider creativity as a solution to everyday problems. But, „big C‰ Creativity relates to how practitioners view creativity which has a strong impact on customers and how they think and feel. Based on this idea, what is creative for consumers is not creative for practitioners and vice versa. It has been discussed that advertising experts may disagree in their definition of creativity. To summarise the different definitions and arguments, here are some of the main factors that lie behind the concept of creativity in advertising. (a) Novelty According to some researchers, novelty should be the primary criterion considered when deciding a productÊs creativeness. Within the field of advertising, most definitions of creativity involve an aspect of newness, unexpectedness or originality. Novelty corresponds to unexpectedness in the sense that advertisements inconsistent with other advertisements of the same product category are considered as novel. An original advertisement comprises elements that are rare or surprising, or that move away from the obvious and commonplace. The focus is on the uniqueness of the ideas, features or attributes contained in the advertisement. Copyright © Open University Malaysia (OUM)
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32 ? TOPIC 2 CREATIVITY AND ADVERTISING (b) Meaningfulness Novelty is generally regarded a necessary but not a sufficient criterion for an advertisement to be considered creative. Consumers have certain expectations for advertisements within a particular category, for example, what visuals a detergent or an automobile advertisement should have. The more an advertisement deviates from expectations, the more consumers will evaluate the advertisement as novel. At the same time, unless the creative element conveys some meaning about the advertised product, unexpectedness does not necessarily mean creativity. According to many researchers of advertising creativity, the novel element must also be meaningful for the advertisement to qualify as creative. (c) Relevance The combination of novelty and meaningfulness is referred to as „relevance‰, „appropriateness‰ and „usefulness‰. The creativity needed in advertising is a problem-solving creativity, based on the factors such as marketing objectives, competition and the organisational approval hierarchy. Some researchers introduce „connectedness‰ as a creativity variable in that not only must the advertising information be relevant to the product (meaningfulness), it must also be relevant to its target audience. In line with this reasoning, they also separate relevance from appropriateness. Relevance to the target audience is important, but it must also be regarded as part of meaningfulness. Connectedness also involves empathetic qualities of an advertisement, that is, to what extent it is able to connect with its audience, for example, in terms of comprehension or feelings aroused. (d) Value-added Meaningfulness should be central for advertisements to add value. Divergent thinking, according to some experts, yields a kind of highly- valued product or idea. This suggests that creativity must provide value- added features. (e) Craftmanship A number of studies find that craftsmanship, craftiness or artistry contributes to advertising creativity. The reason could be that craftsmanship, craftiness and artistry might be connected to creativity as artists are associated with creative ability. Thus, a more well-crafted advertisement is more Iikely to be associated with higher levels of creativity. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 33 (f) Humour There is some support for the inclusion of humour as a factor of advertising creativity. Research suggests that humour can raise the evaluation of advertisements. However, the connection between humour and creativity is relatively new and unconventional in the field of advertising probably because of the focus on the assessments by advertising professionals. Consumers, on the other hand, have no personal interest in watching advertising and thus humour might be considered as a way of offering value or meaning to the audience. This is how it connects with creativity. (g) Positiveness As several researchers suggest, novelty should be a core factor of creativity. But to what extent will consumers accept novel advertisements? Therefore, positiveness should play a role in the acceptance of novel advertising execution. In this sense, positiveness is not conceptualised as a measure of effectiveness, but rather as a factor complementary to novelty. (h) Flexibility An advertisement scoring high on flexibility links the product to a range of different uses or ideas. For example, a commercial for a certain brand shows a man facing various domestic challenges (such as washing dishes, sewing a button on a jacket, dicing an onion and making a bed) while a group of women are seen enjoying a cup of coffee together. It is clear that there must be an element of creativity in advertising. This creativity involves creating something unique, original and appealing to the consumers. At the same time, it must be relevant, meaningful, well-crafted, provides value-added features, positive and flexible. In fact, advertising itself, especially advertising production, is a creative process. It is the outcome of long- term planning and hard work of the creative team who prepares and shapes the final product of advertising. Copyright © Open University Malaysia (OUM)
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34 ? TOPIC 2 CREATIVITY AND ADVERTISING ACTIVITY 2.2 1. Discuss the concept of advertising creativity and creative advertising. (a) Define each concept. (b) Identify the similarities and differences between the two ideas. 2. Is creative advertising more effective in inspiring people to buy products than advertising that simply catalogues product attributes or benefits? How? 3. It has been found that consumers perceive advertising according to their needs. They can evaluate an advertisement as creative even when a creative person does not see it to be so. From these two views, it is clear that both practitioners and public viewers adopt a pragmatic approach. Practitioners view creativity when clients can reach their objectives; while the public consider advertising as creative only if it responds to their own needs. 4. According to West, Kover and Caruana (2008), there are two types of creativity: „Little c‰ creativity and „Big C‰ Creativity. „Little c‰ refers to the public view of creativity when they consider creativity as a solution to every day problems. But, „big C‰ Creativity relates to how practitioners view creativity which has a strong impact on customers and how they think and feel. Based on this idea: (a) Give your own idea of creativity. (b) What is creative to consumers which is not creative to practitioners and vice versa? 5. Numerous studies have found that creative messages get more attention and lead to positive attitudes about the products being marketed. However, there is no firm evidence that shows how those messages influence purchase behaviour. Similarly, there is little empirical research that ties creative messaging to actual sales revenues. Discuss your ideas on this issue. 6. Some people view creativity as necessary for advertising effectiveness or even that creativity is effectiveness. To what extent can creativity be equated to creativeness? Discuss. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 35 ACTIVITY 2.3 Industry awards such as the Clio (www.clioawards.com) and One Show (www.oneclub.org) support the notion that what makes advertising effective is creative excellence. Go to the website of any of the two Advertising Awards Organisers and then answer the following questions (You may need to register with the website in order to get access to the documents): 1. Choose two latest winning advertisements featured in the website and study the visual design and contents. Explain the graphic elements and content used. 2. From the archive in the website of Clio, compare two advertisements, one from the current years and the other from five decades ago. Compare the two on their design and content. 3. The Gunn Report and the lPA Effectiveness Report in 2010 mentioned that advertising campaigns which are awarded for creativity are on average 11 times more efficient compared to nonawarded campaigns. Make a comparison between an award- winning print advertisement (from Clio website) and a nonaward- winning print advertisement (from any magazine) by looking at the creativity of the advertisement design and content. 4. Some experts believe that the only relevant way to measure an advertisement as creative or not is to focus on audience reaction. Thus, the expert opinion is excluded since it is not from the target audience. On the other hand, certain people used advertising that had been judged creative by the conventional standards of the industry; creative advertising was the advertising that had won creative awards. Discuss your position on this issue. 5. The Gunn Report and the lPA Effectiveness Report mention that the advertising campaigns awarded for creativity are on average eleven times more efficient compared to nonawarded campaigns (Gunn & Durkin 2010). Analyse. Copyright © Open University Malaysia (OUM)
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36 ? TOPIC 2 CREATIVITY AND ADVERTISING SELF-CHECK 2.1 Explain the following factors in relationship to advertising creativity. You may refer to the text for your answers. Concept Original Meaningful Connected Positive Flexible Valued Crafty 2.2 EFFECTS OF ADVERTISING Advertising is a form of promotion which is one of the four pillars of marketing along with product, place and price. Promotion encompasses the variety of techniques an advertiser uses to communicate with current and potential consumers. Advertisers create advertisements with a variety of objectives in mind. Here are the main categories of advertising purposes as restated by Glowa (2002): (a) To Prompt Action Direct response or direct action advertising is designed to motivate people to take action. It involves advertisements that try to persuade people to visit a store, make a purchase, call a phone number and mail or fax an order form. These include many of the common advertisements consumers see in the mass media as well as through in-store and package advertising. (b) To Relate Product To Needs In a less direct form of advertising, this category includes those advertisements that draw a link in the consumersÊ minds between the product and their needs as a consumer. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 37 (c) To Encourage Information Search Sometimes it cannot be assumed that a consumer is ready to make an immediate purchase based solely on advertising. In these cases, consumers need more information, proof or justification such as a test drive or a product demonstration before making up their minds. (d) To Prompt a Repurchase Ads of this nature are designed to conjure memories of past satisfaction and get customers to purchase a product again. (e) To Reinforce Attitudes The final category of advertising objectives seeks to reinforce attitudes that customers already have towards a product. Market leaders (such as Coke or McDonaldÊs) often use this to maintain their market share and volume. (f) To Modify Attitudes One of the more challenging objectives facing advertisers is to modify attitudes towards a product. This is often appropriate when a firmÊs product has received a bad reputation for one reason or another or if a firm is attempting to recapture customers they lost to a competitor. Based on these purposes, the effects of advertising on consumers range from creating an awareness of the product or service to modifying attitudes and influencing a buying decision. Advertising can create a shift in consumersÊ thinking and this may take different forms. For example, after looking at an advertisement, a consumer may decide that the usual product he or she uses either seems better or worse than the one being advertised, without knowing exactly why. A strong informational aspect of an advertisement may create a more conscious shift in consumersÊ thought processes. Advertising that provides facts may be able to convince a consumer to change his or her mind to switch brands. For example, if the manufacturers of a food product that most children love announce that the food now has a full serving of fresh or healthy ingredients in each portion, this can affect many parentsÊ decisions to switch brands. These brand awareness effects will not likely influence consumers to buy the product immediately. However, the product may be on the parentsÊ minds to purchase. Copyright © Open University Malaysia (OUM)
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38 ? TOPIC 2 CREATIVITY AND ADVERTISING Some advertisements are designed to achieve an objective of creating a sense of urgency such as to order the advertised products immediately. These advertisements are presented with convincing and compelling effects such as by using demonstrations with an enthusiastic-sounding announcer pointing out unique product benefits and adding incentives for acting immediately. Some common ordering incentives include receiving free products or even two sets of products for the price of one. Persuasive effects of advertising are especially effective on children. Although parents ultimately are the ones who make the buying decisions, children watching such advertisements will push products that grab their interest. They will typically ask a parent to buy the items. Most of the mentioned advertising objectives seek the raising of sale of particular goods or services. According to Yeshin (2006), the reason advertising always seems as an aid to sales are presented as follows: (a) Creates awareness; (b) Provides essential information; (c) Helps to build a relevant brand image; and (d) Acts as a regular reminder to try, buy or use the brand. While there are many challenges in producing good and effective promotional campaigns, and advertisers continue to find out how advertising works, the potential and the promise of advertising itself is considered to be great. 2.2.1 Advertising Effects Models Advertisers are constantly trying to define and model how advertising works, and from these models or theories, they often try to pick meaningful communication objectives. Various researchers and advertising practitioners have found that understanding consumer behaviour is the most important prerequisite for setting advertisement objectives. Studies in understanding their attitude, involvement, responses and hence persuasion have been done resulting in various models explaining each of them. None of the models are, however, foolproof. All of them, to a large extent, makes consumer understanding and analysis easy and thus facilitates communication and sales objective setting. Some of these models are as follows: Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 39 (a) Hierarchy of Effects Model Hierarchy of Effects is the model which studies the response mechanisms of the audience and the factors on which their response depend. It is a model that has different names such as the sales funnel, the demand funnel, the purchase process or AIDA Model. The Hierarchy of Effects is the natural process of marketing and promotion where marketers begin with the total, unaware potential market for their brand, progress through a series of stages, including awareness, preference and purchase and ideally end up in a state of loyalty. The Hierarchy of Effects Model was created in 1961 by Patti, Blasko, Lavidge and Steiner. This model suggests that there are six steps from viewing a product advertisement to product purchase. The job of the advertiser is to encourage the customer to go through the six steps and purchase the product. This model is known as a „hierarchy‰ because the number of consumers moving from one stage to the next reduces as they move through the model. There may be a lot of consumers that see the product advertisement but not everyone will make a purchase. It takes a lot of work to take a consumer from awareness to the final stage of purchase, so companies or businesses need to ensure that they try their utmost to get customers from conviction to complete the final stage of purchase. The six steps are as follows: (i) Awareness The customer becomes aware of the product through advertising. This is a challenging step as there is no guarantee that the customer will be aware of the product brand after they view the advert. Customers see many adverts each day but will only remember the brand of a tiny fraction of products. (ii) Knowledge The customer begins to gain knowledge about the product for example through the Internet, retail advisors and product packaging. In todayÊs digital world, this step has become more important as consumers expect to gather product knowledge at the click of a button. Consumers will quickly move to competitor brands if they do not get the information they want. The advertiserÊs job is to ensure product information is easily available. (iii) Liking As the title states, this step is about ensuring that the customer likes your product. As an advertiser what features can you promote to encourage the customer to like your product? Copyright © Open University Malaysia (OUM)
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40 ? TOPIC 2 CREATIVITY AND ADVERTISING (iv) Preference Consumers may like more than one product brand and could end up buying any one of them. At this stage, advertisers will want the consumer to disconnect from rival products and focus on their particular product. Advertisers will want to highlight their brandÊs benefits and unique selling points so that the consumer can differentiate it from competitor brands. (v) Conviction This stage is about creating the customerÊs desire to purchase the product. Advertisers may encourage conviction by allowing consumers to test or sample the product. Examples of this are inviting consumers to take a car for a test drive or offering consumers a free sample of a food product. This reassures consumers that the purchase will be a safe one. (vi) Purchase Having proceeded through the above stages, the advertiser wants the customer to purchase their product. This stage needs to be simple and easy. Otherwise the customer will get fed up and walk away without a purchase. For example, a variety of payment options encourages purchase whilst a complicated and slow website discourages purchases. (b) The AIDA Model Models of effects help advertisers to set marketing or advertising goals, structure objectives and analyse message impact in a series of steps called the Hierarchy of Effects. One classic approach is the AIDA model. This model describes the impact on consumers as beginning with attention or awareness, then moving to interest, desire and finally action as shown in Figure 2.1. AIDA is an acronym for attention, interest, desire and action. These are the four phases of the psychological process people pass through as they decide whether or not to buy something. In later versions of this model, which has been around since the late the 1800s, a fifth element, „permanent satisfaction‰ was sometimes added to the list, as it looks to the importance of repeating sales with prior customers. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 41 Figure 2.1: The AIDA Model The AIDA model stresses that advertisers or advertising agencies should know how to draw the attention of a buyer to get the customer interested by exhibiting its advantages, benefits and features. Interest is followed by desire. It is advertising agencyÊs duty to create a desire in a buyer to buy a specific product. All steps of the AIDA policy will help you to stimulate the action towards the purchase of a product. Based on AIDA, numerous models have been developed. All of these models consider Action (Purchase) to be the singular goal of advertising. This similarity is a key issue in understanding the development of the Hierarchy of Effects theory. The fundamental focus on sales is indicative of a general consensus about the role of advertising within a marketing framework. Copyright © Open University Malaysia (OUM)
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42 ? TOPIC 2 CREATIVITY AND ADVERTISING Variants of AIDA model are mentioned in Table 2.1: Table 2.1: Variants of AIDA Model Acronym AIDA Model ICAA Interest, Conviction, Attention, Action AIDAS Attention, Interest, Desire, Action, Satisfaction AICCA Attention, Interest, Confidence, Conviction, Action AIDCA Attention, Interest, Desire, Conviction, Action AIDMA Attention, Interest, Desire, Memory, Action AISAS Attention, Interest, Search, Action, Sharing (c) DAGMAR Model DAGMAR is a descendant of the AIDA advertising formula and is considered to be more popular and comprehensive than AIDA. DAGMAR is an acronym for defining advertising goals and measuring advertising results. Each of these words stands for goals that are of the utmost importance to a business attempting to reach and make an impression on their target audience. The model specifies five phases that potential customers pass through as they are made aware of the advertised product; Unaware, Aware, Comprehension, Conviction and Action (refer to Table 2.2). Ideally, when the theory of the model is used, the target audience moves smoothly through the five phases, which are based in psychology and common decision-making patterns when deciding whether or not to buy something. Table 2.2: DAGMAR Model Stage Consumer Promotion Unaware Does not know us Use the media to inform Aware Knows something of us Build the media presence Comprehension Recognises us Introduce product information Conviction Prefers us Reinforce via advertising Action Purchases Personal selling Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 43 Table 2.3 elaborates the DAGMAR Model in detail. Table 2.3: Application of the DAGMAR Model DAGMAR Model Description Awareness To test for awareness, you might ask: Have you heard of our product? If your target market is in a state of „unawareness‰ of your product or service, then the first order of marketing priority is to achieve awareness within your target market. Knowledge To test for knowledge, you might ask: „Do you know what our product does for you?‰ Awareness can answer the question of whether or not a prospect knows of your product. They may not know the context in which they heard your product name and thus cannot accurately describe what you do or what you sell, nor can they determine whether or not they would ever do business with you. Liking To test for liking, you might ask: „What is your overall perception of our product?‰ When a prospect knows what your product does they begin to form opinions about your product. Perhaps, due to their awareness, they now seem to see you in the media. They are forming an opinion of whether or not they like you. Preference To test for preference, you might ask: „What criteria will you use to make your decision about XYZ?‰ Marketers also gauge interest through trials, surveys and other means to better understand the customer at this stage of the buying cycle. The preference stage is where we begin to see the real value of the Hierarchy of Effects displaying its power. When in the preference stage, a prospect has a clear definition of why they would want to do business with your firm, if they were to purchase a product or service in the category you serve. Conviction Testing for conviction is a matter of moving the conversation to purchase. However, in long sales cycles, maintaining conviction is also important. Any lead nurturing activities that you have in progress should not cease once you believe you have reached the conviction stage. At the stage of conviction, the prospect is already in a state of being convinced that you are the right choice for whatever problem that they need you to solve. They believe, through your credible demonstration of capability, that you are the right fit and you have done everything right to this point. Copyright © Open University Malaysia (OUM)
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44 ? TOPIC 2 CREATIVITY AND ADVERTISING Action The work to move the prospect through the hierarchy will result in their purchasing your offering. However, beware of the purchase or signaling to purchase from the customer who has not exhibited going through the various stages. Nor should you try to induce a customer purchase without recognising the aforementioned stages. A customer purchase without the rigour of having them traverse the Hierarchy of Effects can lead to post-purchase dissonance. Source: Heuve, D. VanDen. (2009). Hierarchy of effects . Retrieved from www.marketingsavant.com 2.2.2 The FCB Grid Model The FCB grid was developed by Richard Vaughn, the Senior Vice President of Foote, Cone and Belding Advertising. This model helps direct advertisingÊs creative strategy as it clarifies how consumers approach the buying process for different products. The process is driven by the type of product. Products in Quadrant One of the FCB Grid are products that are of high importance to the buyer. These products are generally more expensive and are decided on rationally. Before making a buying decision, the buyer will normally research competing products and will want a lot of information. Table 2.4: The FCB Grid FCB Grid Model Description High Involvement Quadrant 1 Quadrant 2 ? High Importance ? High Importance ? Expensive ? Expensive ? Rational Decision ? Emotional Decision ? Example: New House ? Example: Designer Clothes Low Involvement Quadrant 3 Quadrant 4 ? Low Importance ? Low Importance ? Less Expensive ? Less Expensive ? Rational Decision ? Emotional Decision ? Example: Detergent ? Example: Chocolate bar Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 45 The grid divides advertising strategy into two dimensions based on thinking versus feeling, and low involvement versus high involvement. The model accommodates different versions of the learn-feel-do sequence and suggests different advertising strategies for each of the four quadrants. The grid suggests a different advertising strategy based on the level of thinking, feeling and involvement associated with each of the four quadrants. The line separating the quadrants is just a guideline. It is not to be considered as a black and white distinction between thinking and feeling or high involvement and low involvement. Table 2.5 explains the characteristics of low and high involvement. Table 2.5: Characteristics of Low and High Involvement Low-Involvement High Involvement ? No thinking about or conscious ? Conscious processing of information. choosing of products. ? Emotional „reflection‰ before ? Purchase occurs on habit. purchase. ? Effectiveness of communication ? Traditional hierarchy of effects still message depends on the frequency of applies. exposure not actual content. ? It is assumed that the consumer is ? Conditioning of consumers needed. seeking and processing information. ? Through repetition that the message ? Attitude precedes behaviour. will be absorbed into long-term ? More information and longer messages memory. are appropriate. (a) Quadrant One: High involvement or Thinking (Informative) This quadrant implies that a large amount of information is necessary because of the importance of the product. Many major purchases qualify (cars, homes, electronic equipment) and these are likely to include almost any product which needs to convey what it is, its function, price and availability. The basic strategy model is to adopt the learn-feel-do sequence where information is designed to build attitudinal acceptance and subsequent purchase. Vaughn (1980) suggests, „/ consumers may be thought of as thinkers. Creatively, specific information and demonstration are possibilities. Long copy format and reflective, involving media may be necessary to get through with key points of consumer interest‰. Copyright © Open University Malaysia (OUM)
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46 ? TOPIC 2 CREATIVITY AND ADVERTISING (b) Quadrant Two: High involvement or Feeling (Affective) This product decision has high involvement but requires less specific information, therefore and attitude or feeling towards the product is more important. This is a psychological model, because the importance of the product is connected to the consumersÊ self-esteem. Perfume, expensive watches and sports cars are product examples that might fall into this quadrant. The advertising strategy requires emotional involvement on the part of the consumers so that they become connected with the product being advertised and subsequently become „feelers‰. Therefore, the proposed model is feel- learn-do. Vaughn (1980) suggests „Creatively, executional impact is a possible goal, while media considerations suggest dramatic print exposure or ÂimageÊ broadcast specials‰. (c) Quadrant Three: Low involvement or Thinking (Doer) Products in this category (including many common household items such as razors, insect repellant and household cleaners) involve little thought and a tendency to form buying habits for convenience. The hierarchy model is a do -learn-feel pattern suggesting that simply inducing trial (through coupons or samples) can often generate subsequent purchases more efficiently than „undifferenting copy points‰, leading in turn to increased brand loyalty. According to Vaughn (1980), the most effective creative strategy is to stimulate a reminder for the product. (d) Quadrant 4 Low involvement or Feeling (Self-satisfaction) This product decision is emotional but requires little involvement, and is reserved for those products that satisfy personal taste (for example, cigarettes, candy, beer or snack food). This is a do-feel-learn model where imagery and quick satisfaction are involved and the consumer is considered a reactor whose interest will be hard to hold. Vaughn (1980) argues that the creative objective is to get attention with some sort of consistency, and suitable methods may include billboards, point-of-sale or newspaper advertising. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 47 ACTIVITY 2.4 1. The AIDA model, presented in 1898 by St. Elmo Lewis attempted to explain how personal selling works. It laid out a set of stair-step stages which described the process a salesperson must lead a potential customer through in order to achieve a sale. (a) Identify the process and explain each stage. (b) Identify the variants of AIDA and discuss similarities and differences. (c) Among the variants, which one do you think is the best to explain how advertising works? 2. What do you understand by FCB Grid Model? How does this framework help direct advertisingÊs creative strategy? SELF-CHECK 2.2 Basic Advertising Strategy as Concept Examples of Products suggested by Vaughn Quadrant 1: Quadrant 2: Quadrant 3: Quadrant 4: Copyright © Open University Malaysia (OUM)
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48 ? TOPIC 2 CREATIVITY AND ADVERTISING 2.3 CREATIVE GUIDELINES Research indicates that the rewards for adopting a creative approach in advertising are substantial and longer lasting. Once it takes effect, creativity is believed to be a significant factor in advertising effectiveness. Unlike non- creative advertising, results increase rather than diminish over time and it is a platform to build on, rather than to continually reinvent. However, creativity in advertising is not confined to the creative ideas of a specific area or element of advertising. It extends across the whole advertising process as explained next: (a) Planning and Strategy Development Planning is taking the knowledge and foresight that we have gathered in the creative stage and using it to figure out our best response to each of the likely scenarios created. Planning becomes more effective when we include our brand and our strategy. This is a creative process because we are taking several diverse pieces of information and using them to decide the best course of action. What makes a creative idea and how it is created is even harder. (b) Message Decisions A message is considered to be the foundation of advertising. It needs to be strong or our campaign efforts will fall apart. A message strategy consists of a positioning statement and support points. The positioning statement addresses the target marketÊs most pressing problem by stating a benefit. It needs creativity to keep advertising message focused, singular and clear. (c) Media Decisions Customers are exposed to advertising messages throughout the day in many different ways. How can we ensure that our campaign will be a memorable part of their media experience? It is important that media be selected and used effectively. The creative use of media may be able to enhance message appeal. When we employ a central message in all media and sales channels, every contact a prospect has with our campaign reinforces that message and drives it home. Exposure in multiple forms of media is important but a successful campaign capitalises on the strengths of individual media so we need to select a mix of the best forms. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 49 (d) Target Audience Decisions Choosing the right target audience is a critical part of the advertising strategy. The target audience should be the best match for the advertising message, thus helping to maximise the efficiency and effectiveness of its marketing efforts. We have to be creative to define the target market customers and consumers and to look beyond them to identify audiences who influence the market. Whether market segments and target markets are selected on the basis of intuition, marketing research or a combination of the two, they are the basis for creating an effective marketing mix. Defining creativity is difficult and working out what makes a creative idea and how it is created is even harder. It is suggested that nobody can tell you how to create an advertisement. As Bert Manning, CEO of J. Walter Thompson says (cited in Pickton, 2005): How do creative people create? Nobody really knows. Nobody really knows where ideas are born; where an unforgettable bar of music comes from; why a felicitous phrase pops into someoneÊs head. No one really knows how some people can put words and pictures and sounds and ideas together in ways that can move millions of other people to think and feel and act. A copywriter, Hank Sneidden (cited in Pickton & Broderick, 2005) comments: Rules ... stifle creativity, inspiration, initiatives and progress. The only hard and fast rule that I know of ... is that there are no rules. No formulas. No right way. Given a same problem, a dozen creative talents would solve it a dozen different ways. If rules should not be applied to creativity, the best that can be offered is perhaps some form of guideline to be considered during the creative process. Pickton (2005) suggested a creative guideline for advertising although it can also be used broadly where appropriate. There are, in fact, many such guidelines and when looking at them, it is easy to see why some creative people are so opposed to rules. While there is some logical advice, for every suggestion there are examples of where the basic guideline is broken with good effect. Some considered that the fact that rules are broken is a creative trait itself. Sometimes this is acceptable, but sometimes it is the opposite. The use of unusual and shocking images in some advertisements is an example of rule breaking which creates memorable and effective advertising. Copyright © Open University Malaysia (OUM)
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50 ? TOPIC 2 CREATIVITY AND ADVERTISING Steve Henry, creative director of the agency HHCL (cited in Pickton & Broderick, 2005) has offered a simple piece of advice: If you want to make a difference, make it different. Find out what everybody else is doing in your marketplace. Then do something different. Table 2.6 explains some of the guidelines for advertising creatively. Table 2.6: Creative Advertising Guidelines Guidelines Description General ? Every ad should embody a clear, straightforward proposition guidelines ? Say what you have to say in as few words as possible ? Use humour with caution ? Give the target audience credit for some intelligence ? Be original Guidelines for ? Music is critical film ? Quick cuts are readily understood ? Get the brand name in early and often ? The consumer likes to identify with the commercial ? Television is ideal for demonstration ? Television is extremely expensive ? Cinema commercial must entertain Guidelines for ? Put „key‰ words in headlines print ? Put the promise in the headline ? Keep the headline short ? Lay the advertisement logically ? Reversed copy looks good but beware of its use ? Double-page spreads look good but beware of its use ? Only a single page will do sometimes ? Photographs are better than illustration: pictures are better than words Guidelines for ? Remember it is not television radio ? Radio means repetition Source: Pickton, D., & Broderick, A. (2005). Integrated marketing communications . Harlow, London: Prentice Hall. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 51 SELF-CHECK 2.3 1. In what ways might creative thinking be applied to: (a) Media planning; (b) Message decisions; and (c) Target market decisions. 2. Some people consider that the fact that rules are broken is a creative trait itself. But some disagree. Discuss the opposing statement and offer your own ideas. 2.4 CHARACTERISTICS OF GREAT ADVERTISING Many people have their own opinion on advertising and many advertising experts have suggested various criteria of great advertising. Several organisations, especially advertising professional bodies, have formulated their criteria and give awards to advertising they consider as successful and excellent based on that criteria. According to Werner and Peter (2013), great advertising must be able to grab attention, be memorable, entertaining and be able to target the audience effectively. (a) Grabbing Attention No matter how good an advertisement may be, it will have no effect if no one sees it. A great advertisement needs to engage the interest of the audience with an attention-grabbing design. Getting the attention of those potential customers is essential, so it pays to test several different designs and choose the one that is the most eye-catching. Copyright © Open University Malaysia (OUM)
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52 ? TOPIC 2 CREATIVITY AND ADVERTISING (b) Memorable A great advertisement has to be memorable for the viewer. If the viewer does not remember the advertisement after viewing it, the company sponsoring the advertisement is wasting resources. With an effective advertisement, the viewer should be able to clearly recall what happened during the course of the advertisement, and more importantly, which product is being advertised. That recall is the hallmark of an effective advertisement. (c) Entertaining A great advertisement informs the consumer about the product or service offered, but that advertisement also needs to entertain the potential buyer. Capturing the attention of the consumer is essential for an effective advertisement and the more entertaining we can make that advertisement, the more effective it can be. Many advertisements try to incorporate an element of humour since humour helps to capture and hold the attention of the audience. (d) Effective Targeting A big part of developing an effective advertising campaign is to know exactly who the target audience is. In many cases, the product or service offered will not appeal to everyone, so it is important to identify the segment of the population that is most likely to need what is offered. Identifying the target audience effectively helps us in deciding which media venues are likely to be the most effective. Ellis Paul Torrance, an American psychologist, developed the Torrance Tests of Creative Thinking (TTCT). This is a measure to assess individualsÊ capacity for divergent thinking in the business world and in education. In the early 2000s TorranceÊs measures were adapted for advertising by Indiana University communications researcher Robert Smith and his colleagues. They adjusted the definition of creativity to refer to „the extent to which an advertisement contains brand or executional elements that are different, novel, unusual, original, unique, etc. Their goal was to measure creativity using only those factors most relevant to an advertising context. They came up with five dimensions of advertising creativity: Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 53 (a) Originality An original advertisement comprises elements that move away from the obvious and commonplace. The focus is on the uniqueness of the ideas or features contained in the advertisement. (b) Flexibility An ad scoring high on flexibility smoothly links the product to a range of different uses or ideas. For example, a commercial for the Kraft Foods coffee brand Jacobs Krönung, showed a man facing various domestic challenges while a group of women enjoyed a cup of coffee together. (c) Elaboration Many advertisements contain unexpected details or extend simple ideas so that they become more intricate and complicated. One example is an ad for a fruit yogurt in which a woman eating yogurt licks her lips to reveal that her tongue looks just like a strawberry, considerably deepening the idea of fruitiness in yogurt. (d) Synthesis This dimension of creativity is about blending or connecting normally unrelated objects or ideas. In synthesis, a commercial combines unrelated objects to create a divergent story line. (e) Artistic value Advertisements with a high level of artistic creativity will be viewed by the audience as a piece of art, rather than a sales pitch. With an artistic value, an advertisement may contain aesthetically appealing verbal, visual or sound elements with a high production of quality, clever dialogue, original colour palette or memorable music. Copyright © Open University Malaysia (OUM)
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54 ? TOPIC 2 CREATIVITY AND ADVERTISING Table 2.7 lists some examples of the test for advertising creativity. Table 2.7: Test for Advertising Creativity Test Example of Questions Originality ? Is the advertisement out of the ordinary? ? Does it depart from stereotypical thinking? ? Is it unique? Flexibility ? Does the ad contain ideas that move from one subject to another? ? Does it contain different ideas? ? Does it shift from one idea to another? Elaboration ? Does the advertisement contain numerous details? ? Does it extend basic ideas and make them more intricate? ? Does it contain more details than expected? Synthesis ? Does the advertisement connect objects that are usually unrelated? ? Does it contain unusual connections? ? Does it bring unusual items together? Artistic value ? Are verbal, visual, or sound elements aesthetically appealing? ? Is production quality high? ? Is dialogue clever? ? Is colour palette original? ? Is music memorable? Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 55 ACTIVITY 2.5 To what extent do the following features contribute to great advertising? Explain. Criteria Explanation A provocative image Connects with its audience Is memorable and easily recalled Provides information quickly Calls the viewer to action Make viewers hunt for pertinent information Catchy, snappy tagline Familiar advertising phrase Exaggerating the truth Repetition 2.5 CREATIVE TEAM Creative advertisements result from the skills of a creative person who normally works in a team. These individuals primarily coordinate and create the advertising copy and the artwork for various media, including television, radio, Internet, magazine and newspaper advertisements. They also develop direct-mail campaigns which usually consist of sales letters, brochures and order forms. A creative team includes employees with various job titles. The job descriptions of these employees vary but they all have the same objectives. Copyright © Open University Malaysia (OUM)
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56 ? TOPIC 2 CREATIVITY AND ADVERTISING The creative department of an advertising agency is responsible for developing the ideas, images and words that make up commercials and advertisements. While many people in the agency contribute to the process, the invention and production of advertising is mainly the responsibility of copywriters and art directors. In many agencies, the creative team comprises these two people, one dealing with words (copywriting, script writing) and the other deals with images, visualisation of story boards. These two people of creative team might work together or alone. After working on client briefs communicated by account managers, creative teams work sometimes for many days on the creative brief. The creative team plays a crucial role in delivering good quality service to the client. A creative team is responsible for the quality of their creative output which guarantees success and continuity of the agency. A creative team should be good in generating new and original ideas to a given deadline and should be able to work under pressure. When a creative team is ready with the brief, they present it to account manager who presents it to the customer. A creative team is made up of several key members, starting with a creative director, and including copywriters, editors, graphic designers and artists as well as web developers. In short, it is the group of people that comes up with the advertising ideas and brings those ideas into being. Titles may vary among different organisations. In some agencies, the account managers or executives, who serve as a liaison between the client companies and the agency, also get involved in the creative act. Smaller agencies often have fewer members on their creative teams than larger agencies, and the duties overlap. For example, an advertising manager may also be the creative director and a graphic designer. As a liaison between the client companies and the agency, the account manager is a person who represents clients in the agency and communicates the clientÊs needs and objectives to the agency. The account manager is supposed to have a wide knowledge about the client, and he or she will direct and manage the creative team during the creative development process. Account managers have to work on both the client and agency sides. Thus, the selection of an adequate account manager during the recruitment process is important to an agency. The account manager should be keen in managing the creative team, ensuring effective communication and building a good relationship between the team members. Table 2.8 explains the creative team in detail. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 57 Table 2.8: Creative Team Other Possible Job Title Title Job Description Overall responsibility and accountability for the Chief Creative management of the total creative function of the Director agency. Establishes the „creative tone‰ and pace of the agency. Creative Group Creative Responsible for the quality of all creative work Director Dir.; Exec. produced by the agency for all clients. Maintains Creative Dir. standards of creative excellence. Creative Assoc. Creative Manager; Supervises and guides the total creative effort of Director Creative Group one or more creative groups. Ensures creative Head compliance with clientsÊ goals. Integrates art, copy, and production functions and Creative Art Supervisor; guiding overall creative effort of assigned general Copy Supervisor advertising creative groups on one or more Supervisor accounts. Responsible for generating concepts or ideas and Sr. Copywriter; highly targeted copy on one or more accounts. Copywriter Lead May adapt to changes in format, media and/or Copywriter clientsÊ strategies. Responsible for the visual creation of general Art Director Creative Artist; advertising campaigns on one or more accounts. Sr. Art Director Coordinates the design and reproduction of the copy with the art and production staff. Prepares a variety of illustrations for one or more Illustrator Sr. Illustrator accounts. May design, select layout materials, prepare interpretive drawings from written plans. Source: http://www.aef.com/industry/careers The creative director coordinates the creative team and liaises with the account executives. Copywriters do the actual writing. Editors help ensure the accuracy of advertisements. Artists or graphic designers create the artwork, illustrations and other visual aspects of the advertisements. Web developers upload creative pieces to the Internet. Copyright © Open University Malaysia (OUM)
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58 ? TOPIC 2 CREATIVITY AND ADVERTISING Creative teams usually follow a specific process when completing their work. An advertising agency usually creates a proposal for a client, outlining the key tasks and associated costs. Work commences when the client approves the proposal. Advertising production usually follows, whether it is conducted by an agency or company itself. The first step in the production process is creating a concept. This is a formulation of the general theme or idea of the advertising. Copywriters then compose the script or wording for the advertisements and the artists and graphic designers create any necessary artwork. Subsequently, an editor proofreads the advertisement for errors and submits the final ad copy. An advertising manager, in turn, ensures that the message and content of the advertising is commensurate with the overall marketing strategy. Members of the creative team often test their advertisements before running them on a wide-scale basis. The tests help small companies ensure that their advertising is effective. For example, a small regional company may run advertisements in two of their 10 markets. They may track the number of leads and sales generated by the advertisements. The company may also test certain components of the advertisement, including advertisement and slogan recall. Advertisement recall determines whether consumers remember the advertisements. Slogan recall measures the percentage of people who recall words or phrases from a particular slogan. The creative team may conduct focus groups or phone surveys to obtain consumer feedback for its advertising test. Focus groups are often conducted behind one-way mirrors, as managers listen to feedback from consumers. The creative department of an agency is where the campaign comes together. It is where that great idea or stunning visual is formulated. They take the client brief and work with it to invent ideas to address the brandÊs business problems. From here, they work with media planners or buyers and the production department in order to make those ideas, that have been approved by the client, into a reality. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 59 ACTIVITY 2.6 1. Read the following statement by an advertising agency describing itself and discuss the questions at the end of the statement: We are more than just a typical advertising agency. We have so much more to offer. We have media-buying specialists on staff. We conduct primary and secondary research. We offer total web development and hosting capabilities. We have complete audio and video production studios in-house. Our approach is simple. We monitor consumer trends and the marketplace in great detail to ensure the recommendations we make are well-researched, expertly planned, economically feasible and perfectly executed. And we are not afraid to try something new, but are cautious to make sure it is in the right direction. Our ultimate goal of everything we do is to help our clients find the right direction. (a) List the specific jobs in an agency. (b) List the expertise and explain their nature of work. (c) What do you think is the right direction for a client? 2. Read the following description of two top advertising agencies and discuss how they describe their agency, their mission and their culture. (a) The top advertising agency in the world according to Forbes (2013) is Wieden+Kennedy. It is a full-service, independently owned American advertising agency best known for its work for Nike. Founded by Dan Wieden and David Kennedy, and headquartered in Portland, Oregon, it is one of the largest independently-owned advertising agencies in the world. According to its website, it describes itself as „an independent, creatively driven advertising agency that creates strong and provocative relationships between good companies and their customers. We believe that it doesnÊt matter where, how or in what medium an idea is expressed, you still have to start with a good one‰ (website, at www.wk.com/). Copyright © Open University Malaysia (OUM)
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60 ? TOPIC 2 CREATIVITY AND ADVERTISING (b) Y&R Malaysia (website, at http://www.yr.com) is one of the top Ad Agencies in Malaysia. Based on its website they describe themselves and their philosophy as follows: „We are passionate about our clients. Passionate about our work. We care about each other and the communities in which we live. All of which adds up to a culture that believes ideas should come from everywhere. That every agency should think of themselves as a headquarters charged with being the best in their market. Y&RÊs culture embraces the individuality of our local agencies, while enabling our collaborative, global community. We believe that unity is more powerful than integration. We find that unity of purpose demands working with a diversity of partners anyone and any company who has the ideas, the innovation and the ability to make an impact is welcome at the table. Our values define us. Our passion drives us. Our values drive us, define us, create our culture and differentiate us. Everything we do comes out of the intellect, experience, sensibilities, eccentricities and humanity of our people. So it is not surprising that people come first at Y&R and that passion is what drives us. 3. Visit the websites of top Malaysian Ad Agencies and identify how they describe themselves and discuss their creative philosophy or approach. Some of the agencies you might want to discover are: (a) Advertising.my (b) Leo Burnett Malaysia (c) Y&R Malaysia (d) Mccann-Erickson (e) Naga DDB (f) M&C Saatchi Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 61 ? Advertising agency professionals see creativity as the best tool for achieving advertising success. They believe that creativity is what really works in advertising. Famous advertising professionals support the notion that what makes advertising effective is creative excellence. ? It is clear that there must be an element of creativity in advertising. This creativity is to create something unique, original and appealing to the consumers. At the same time, it must be relevant, meaningful, well-crafted, provides value-added features, positive and flexible. In fact, advertising itself is a creative process. It is the outcome of long-term planning and hard work of the creative team who prepares and shapes the final product of advertising. ? Advertisers are constantly trying to define and model how advertising works, and from these models or theories, they often try to pick meaningful communications objectives. Hierarchy of Effects is the model which studies the response mechanisms of the audience and the factors on which their response depended. The AIDA model stresses that advertisers should know how to draw attention of a buyer to get the customer interested by exhibiting its advantages, benefits and features. The DAGMAR model specifies five phases that potential customers pass through as they are made aware of the advertised product. The FCB grid model helps direct advertisingÊs creative strategy as it clarifies how consumers approach the buying process for different products. ? The creative department of an agency is where the campaign comes together. It is where that great idea is formulated. They take the client brief and work with it to invent ideas to address the brandÊs business problems. From here, they work with media planners or buyers and the production department in order to make those ideas, that have been approved by the client, into a reality. ? Advertisers create advertisements with a variety of objectives and to produce impact. The impact of advertising on consumers range from creating an awareness of the product or service to modifying attitudes and influencing a buying decision. Most of advertising objectives seek the raising of sale of particular goods or services. Copyright © Open University Malaysia (OUM)
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62 ? TOPIC 2 CREATIVITY AND ADVERTISING ? Many people have their own opinion on advertising and many advertising experts have suggested various criteria of great advertising. Several organisations especially advertising professional bodies have formulated their criteria and give awards to advertising they consider as successful and excellent based on that criteria. According to some experts, great advertising must be able to grab attention, be memorable, entertaining and be able to target the audience effectively. Advertising creativity DAGMAR AIDA Hierarchy of Effects Creative team The FCB Grid Cummings, B. A. (1984). The benevolent dictators: Interviews with advertising greats . Chicago, IL: Crain Books. Dahlen, M., Rosengren, S., & Törn, F. (2008). The waste in advertising creativity is the part that matters.Journal of Advertising Research, 48 (3), 2533 El-Murad, J., & West, D. C. (2004). The definition and measurement of creativity: What do we know. Journal of Advertising Research, 44 (2), 188201. Glowa, T. (2002). White paper: Advertising process models . Retrieved from http://www.glowa.ca/Advertising_Process_Models.pdf. Gunn, R., & Durkin, C. (2010). Social entrepreneurship: A skills approach . Bristol, UK: Policy Press. Heuve, D. VanDen. (2009). Hierarchy of effects . Retrieved from www.marketingsavant.com Marra, J. L. (1990). Advertising creativity: Techniques for generating ideas . Englewood Cliffs, NJ: Prentice Hall. Ogilvy, D. (1983). Ogilvy on advertising . New York, NY: Crown. Copyright © Open University Malaysia (OUM)
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TOPIC 2 CREATIVITY AND ADVERTISING ? 63 Patti, C. H., Blasko, V., Lavidge, R. J., & Steiner, G. A. (1961). Budgeting practices of big advertisers . Bridgeport, CT: Markus Wiener, Inc. Pickton, D., & Broderick, A. (2005). Integrated marketing communications . Harlow, London: Prentice Hall. Ries, A., & Trout, J. (1986). Marketing warfare . New York, NY: McGraw-Hill. Smith, R. E., Jiemiao Chen., & Xiaojing Yang. (2004). Toward a general theory of creativity in advertising: Examining the role of divergence. Marketing Theory, 4 (1/2), 3158. Smith, R. E., Jiemiao Chen., & Xiaojing Yang. (2008). The impact of advertising creativity on the hierarchy of effects.Journal of Advertising, 37 (4), 4761. Swee Hoon Ang., & Sharon Y. M. Low. (2000). Exploring the dimensions of ad creativity.Journal of Psychology and Marketing, 17 (10), 835854. Yeshin, T. (2006). Advertising . London, England: Thomson Learning. Vaughn, R. (1980). How advertising works: A planning model. Journal of Advertising Research, 20 (5), 2733. West, D. C., Kover, A. J., & Caruana, A. (2008). Practitioner and customer views of advertising creativity: Same concept, different meaning. Journal of Advertising, 37 (4), 3545. Werner, R., & Peter, S. (June 2013). Creativity in advertising: When it works and when it doesnÊt. Harvard Business Review. Copyright © Open University Malaysia (OUM)

22 June, 2016

S9-P2 06 ABCD3103 Topic 2 ABCD3103

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