Term
| LECTURE Where does a good ad start? |
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Definition
| a concept w/ an unexpected, engaging, relevant visual for headline |
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Term
| LECTURE product in use "when you turn the light on, does it turn you on?" example of? |
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Definition
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Term
| LECTURE 3 purposes of layouts |
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Definition
| (1) get idea on paper (2) communicate your concept (3) different layouts for different audiences |
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Term
| LECTURE 3 ways audiences differ |
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Definition
| (1) ability to visualize beyond the layout (2) trust in the creative team to be able to "clean up" a layout (3) need to be sold on your credibility and your ads |
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Term
| LECTURE difference b/t tight and loose |
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Definition
| tight looks like finished ad, loose is scrawled words |
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Term
| LECTURE stages of layouts |
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Definition
| (1) thumbnails (2) roughs (3) comp[rehensive] |
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Term
| LECTURE audience of thumbnails? |
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Definition
| just AD and CW (who make them) |
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Term
| LECTURE loosest stage of layouts |
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Definition
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Term
| LECTURE -not actual size-roughly indicate placement of elements-just communicating concept-store a ton of raw ideas (might spark future idea)-very "loose" |
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Definition
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Term
| LECTURE why thumbnails? 3 |
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Definition
| (1) lots of ideas in little time (2) team can talk about it, build from them (3) team can visualize end result |
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Term
| LECTURE who is audience for roughs? |
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Definition
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Term
| LECTURE who decide which roughs work and go on to become comps? |
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Definition
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Term
| LECTURE one to a page, bigger, pretty loose but not loosest |
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Definition
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Term
| LECTURE how many roughs shown to CD? |
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Definition
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Term
| LECTURE CD good at judging roughs because.. (3) |
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Definition
| (1) has trust in the creative team to clean up ads and (2) can visualize something from very loose (3) can provide input at early stage |
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Term
| LECTURE who do you show roughs after CD? |
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Definition
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Term
| LECTURE what do second stage roughs looks like (4) and who are they shown to? |
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Definition
| account management team, (1) done to finished size, (2) headline approximates typeface, (3) art is tighter, (4) body copy indicated to approx. length & size w/ greek type |
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Term
| LECTURE why do roughs shown to account management team need to be tighter (3)? |
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Definition
| account management team (AE in particular) have harder time visualizing, allows AE's input early, and sells idea w/i agency |
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Term
| LECTURE who is the audience in a comprehensive? |
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Definition
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Term
| LECTURE why are comps done? |
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Definition
| client can't visualize loosely (especially at high levels) |
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Term
| LECTURE artist draws visual or photograph is scanned, typeface set to size, expensive & time consuming |
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Definition
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Term
| LECTURE new campaigns and new business pitches are sold through..? |
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Definition
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Term
| LECTURE why do some clients get roughs instead of comps? 4 |
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Definition
| (1) tight budget (2) ability to visualize (3) extending a certain campaign (4) some clients are more likely to change elements |
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Term
| LECTURE +'s of using layouts 3 |
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Definition
| (1) can look at many options early (2) changes are inexpensive in early stages (3) can be looser w/ people who can visualize (saves time and money) |
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Term
| LECTURE how many looks in each layout format? |
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Definition
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Term
| LECTURE definition of design |
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Definition
| plan and fashion artistically or skillfully |
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Term
| LECTURE in adv, design must (3) |
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Definition
| (1) communicate concept (2) deliver info set (3) be aesthetically pleasing |
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Term
| LECTURE 7 elements to consider in design |
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Definition
| headlines, copy blocks, photos, images, works of art, logos, borders |
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Term
| LECTURE 5 characteristics of design |
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Definition
| (1) balance (2) contrast (3) harmony (4) proportion (5) movement |
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Term
| LECTURE formal vs informal balance |
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Definition
| symmetrical, static, easy to follow, vertical down center vs asymmetrical balance, = elements on both sides, more freedom for original concepts |
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Term
| LECTURE elements that "weigh more" in informal balance? 6 |
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Definition
| color, dark, odd, big, further from axis, primary colors |
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Term
| LECTURE how can contrast help? |
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Definition
| decide main element, make it bigger, bolder, and more colorful, and move away from clutter |
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Term
| LECTURE turn eye away from ad, where does it go? example of? |
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Definition
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Term
| LECTURE consistency of shape, size, color, texture... also can be created w/ borders or white space |
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Definition
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Term
| LECTURE proportion rule is divide ad into ___ to do what? |
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Definition
| 1/5s to add unequal dimensions and distances, arranges so viewer does not see mathematical relationships |
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Term
| LECTURE there should be an order to which you want reader to go through ad describes which element? |
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Definition
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Term
| LECTURE what two examples lead the eye? |
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Definition
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Term
| LECTURE how does AD obtain images (to obtain images develop a relationship where you don't have to explain everything)? 3 |
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Definition
| (1) informal relationships w/ local talent, (2) work through a sales rep where people sell work, (3) through a source book/CD/website |
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Term
| LECTURE choose illustrators based on ___, choose photographers based on ____ |
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Definition
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Term
| LECTURE concept of touchpoints |
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Definition
| list all the ways and places your brand interacts w/ and makes an impression on your customers, channel partners, employees, and all other critical partners |
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Term
| LECTURE 2 touchpoints questions |
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Definition
| (1) what is your core brand promise? (2) what are you building your brand equity around? need to constantly reinforce it |
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Term
| LECTURE 4 stages of leveraging touchpoints |
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Definition
| (1) ID them all (2) assess how you are performing on them (3) prioritize which are high impact (4) implement and manage the high impact touchpoints |
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Term
| LECTURE opportunities to create touchpoint content 3 |
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Definition
| (1) post purchase experience (2) pre-purchase experience (3) purchase experience |
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Term
| LECTURE touchpoints are ____ driven, rather than consumer driven |
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Definition
| marketing (where are we interacting?) |
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Term
| LECTURE touchpoints when approaches from consumer standpoint... what should you ask? 3 |
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Definition
| (1) are we missing potentially powerful touchpoints? (2) moments when consumers are not open to our brand message? (3) is media placement as strong as the message? |
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Term
| LECTURE what do OOH (out of home) media have in common? 3 |
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Definition
| (1) graphic (2) few words (3) simple as possible |
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Term
| LECTURE what is OOH good for? 4 |
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Definition
| (1) reminder of brand/campaign/copy (2) reinforce image (3) geographic targeting (4) high frequency |
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Term
| LECTURE 5 main types of OOH |
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Definition
| (1) outdoor boards (2) spectaculars (3) station posters (4) transit adv (5) mobile boards |
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Term
| LECTURE which types of OOH board has highest recall? |
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Definition
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Term
| LECTURE +'s of outdoor boards 2 |
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Definition
| electronic (3-6 ads/min), easy to add extensions |
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Term
| LECTURE 8 tips for creating OOH boards |
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Definition
| (1) think big (2) humor and puns work well in OOH (3) the stronger= better (4) fewer words= better (5) no addresses, phone #s (6) max color contrast (7) tie OOH w/ existing ads (8) take advantage of where people will see message |
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Term
| LECTURE one of few forms of adv that aims high up on hierarchy of effects |
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Definition
| direct marketing, objective to get someone to act |
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Term
| LECTURE definition of direct marketing |
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Definition
| planned series of contacts to produce a lead or an order |
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Term
| LECTURE coupons, free samples, sweepstakes, telemarketing, email, direct mail, infomercials forms of.. |
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Definition
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Term
| LECTURE largest part of direct marketing is? |
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Definition
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Term
| LECTURE about how much of all ad spending in US is on direct marketing? |
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Definition
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Term
| LECTURE 3 most popular kinds of direct marketing and one that is becoming more popular |
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Definition
| (1) mail (2) newspapers (3) TV (*4*) internet |
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Term
| LECTURE ROI of direct marketing per dollars versus NDM |
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Definition
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Term
| LECTURE 5 reasons to use direct marketing |
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Definition
| (1) increasing media outlets (2) segmented targets b/c more media options (3) infomercials relatively inexpensive (4) acceptability of debt (5) results are measurable |
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Term
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Definition
| (1) decide your message & offer (2) track response rate (3) create & track diff combos of offer |
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Term
| LECTURE formula used to evaluate DM |
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Definition
| RFM recency, frequency, and monetary value |
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Term
| LECTURE direct marketing challenges 2 |
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Definition
| (1) data overload (2) new media (social media & mobile media) |
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Term
| LECTURE why DM is so popular w/ DM-ers 5 |
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Definition
| (1) little competition for attention (2) ability to pinpoint prospects (3) can personalize message (4) ability to control delivery (5) flexibility in format |
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Term
| LECTURE ten tips to improve ROI |
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Definition
| (1) choose right list (2) timing important (3) define campaign (4) include offer & CTA (5) give multiple ways to respond (6) testimonials powerful (7) test, test, test (8) manage expectations (9) call to follow up (10) track results, calculate ROI |
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Term
| LECTURE how radio adapted to arrival of TV |
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Definition
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Term
| LECTURE what adv can achieve through radio? 3 |
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Definition
| (1) remind, no big campaign (2) consumer loyalty (3) geographic targeting |
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Term
| LECTURE ____ crucial in radio |
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Definition
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Term
| LECTURE bad side of having DJ read script |
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Definition
| don't use range, use their own voice |
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Term
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Definition
| radio-- script reader from agency reads your script w/o any direction |
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Term
| LECTURE radio lecture, a little goes a long way w/... |
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Definition
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Term
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Definition
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Term
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Definition
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Term
| LECTURE ways to get music |
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Definition
| (1) DIY music house (expensive, match format), (2) adapt existing (must buy rights, (3) public domain (4) steal (5) library music |
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Term
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Definition
| short phrase embedded in someone's brain |
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Term
| LECTURE needle drop, recording studio pays flat fee, generic background function, low cost, can run into exclusivity issues |
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Definition
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Term
| LECTURE types of radio spots 4 |
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Definition
| (1) the pitch (2) the situation (3) the song (4) combo |
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Term
| LECTURE 5 creative considerations of radio |
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Definition
| (1) first 5 secs (2) one main point (3) mentioning name & address SIMPLY (4) timing (5) know script format |
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Term
| LECTURE what age group is watching MORE tv? |
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Definition
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Term
| LECTURE __ has ability to capture audience like no other medium |
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Definition
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Term
| LECTURE 4 strengths of TV |
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Definition
| (1) ability to integrate values and audio (2) ability to demonstrate (3) establish & maintain characters & themes (4) special effects, including animation |
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Term
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Definition
| (1) storyboards (2) scripts (3) shooting boards (4) production notes |
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Term
| LECTURE on a TV storyboard, keep # of frames to __, __ is perfect |
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Definition
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Term
| LECTURE uses of storyboards (4) |
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Definition
| (1) sell idea in agency (2) sell idea to client (3) bid out job to production house (4) know the conventions (camera moves, angles, etc) |
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Term
| LECTURE go hand in hand w/ storyboards, easier to read and memorize from |
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Definition
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Term
| LECTURE tv document done by director |
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Definition
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Term
| LECTURE tv document more elaborate than storyboard, how long is each shot going to take |
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Definition
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Term
| LECTURE how many panels for shooting boards? |
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Definition
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Term
| LECTURE shot by shot blueprint for actual shot, director can edit |
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Definition
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Term
| LECTURE production notes (tv) done by |
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Definition
| agency (not production) producer |
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Term
| LECTURE agency producers role in producing commercial? |
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Definition
| organizer/enabler/ person who makes it happen |
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Term
| LECTURE only person from agency allowed to talk to director on commercial shoot? |
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Definition
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Term
| LECTURE what does agency producer do for commercials? |
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Definition
| joins before spot is sold to client, bids spot out, gathers resources, budget issues, makes logistical arrangements, go-to person on set |
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Term
| LECTURE production notes contain... |
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Definition
| every piece of info you need to shoot the spot perfectly, story board and script |
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Term
| LECTURE hints for creating good TV spots 5 |
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Definition
| (1) make single point (2) start w/ simple idea (3) get attention immediately, thru audio or visual (4) let the visual do most the work (5) pay it off in end w/ final twist |
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Term
| LECTURE creativity in a state of ___ |
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Definition
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Term
| LECTURE last 3-5 years, there has been a change toward a more dynamic, interconnect, transmedia, ____ way of thinking |
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Definition
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Term
| LECTURE "if you don't live digital, you can't ___ digital" |
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Definition
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Term
| LECTURE digital media may be able to work ____ on the hierarchy of effects |
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Definition
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Term
| LECTURE average click thru rate of banner ad |
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Definition
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Term
| LECTURE digital media is not one thing, its _____ |
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Definition
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Term
| LECTURE what is changing in media? 2 |
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Definition
| (1) where we connect w/ consumer (2) the role of the consumer |
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Term
| LECTURE only __% of consumers are not active consumers (just read content) |
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Definition
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Term
| LECTURE different types of digital audiences 3 |
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Definition
| internet based (facebook), task based (wikis, p2p review sites), vocation based (linked in) |
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Term
| LECTURE problem w/ partnerships in sponsoring gaming: loyalty is to game, not brand, so... |
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Definition
| create games around brand |
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Term
| LECTURE Facebook works to |
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Definition
| get users to buy, continue using one brand, more likely to recommend product, feel connection to brand |
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Term
| LECTURE how does facebook sell banner ads? |
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Definition
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Term
| LECTURE tips to use facebook effectively 4 |
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Definition
| (1) know WHY you're using it (2) put fans to work (3) be realistic (4) listen to fans and respond |
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Term
| LECTURE brands still live in a ___ universe, brands can serve as ____, and can ____ from it and serve as ___ hubs |
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Definition
| fragmented, the anchor, curate social content, advocacy |
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Term
| LECTURE 3 reasons for the growth of non-traditional advertising |
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Definition
| (1) TV #1 but only 55% pay close attention to ads (2) adv full of young people anxious to find find innovative solutions (3) consumers becoming increasingly reliant on tech that assists w/ viral efforts |
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Term
| LECTURE 2 benefits of non-traditional ads |
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Definition
| (1) can be less expensive (2) fewer limitations |
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Term
| LECTURE challenges of non traditional media 2 |
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Definition
| (1) effects difficult to measure (2) clients hesitant to break away from familiar |
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Term
| LECTURE alternative media driven by 4 forces... |
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Definition
| (1) proximity to point of purchase and consumer's environment (2) exclusivity, going where competition is not (3) invisibility, don't push brand let consumer connect (4) unpredictability, Wow moment |
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Term
| LECTURE methods of alternative media 6 |
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Definition
| (1) intrusion, (2) transformation, (3) illusion, (4) infiltration, (5) sensation, (6) stunts |
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Term
| LECTURE amplification effect relates to... |
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Definition
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Term
| LECTURE kind of alternative media where you can change size, shape, color, location, matter |
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Definition
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Term
| LECTURE illusions include...3 |
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Definition
| false stories, false perception, optical illusions |
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Term
| LECTURE ilfiltration uses... |
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Definition
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Term
| LECTURE performing difficult, dangerous, or unusual feat for adv |
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Definition
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Term
| LECTURE how many ads in portfolio? |
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Definition
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Term
| LECTURE what do i need for portfolio? 4 |
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Definition
| (1) 15-25 ads, strategy based, (2) mostly print (some non-traditional), (3) mostly campaigns (few one shots), (4) quick read |
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Term
| LECTURE 4 categories of brands to pick for portfolio |
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Definition
| (1) need but don't want (2) want but don't need (3) don't buy 1+ year (4) parity |
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Term
| LECTURE stay away from which products in book? 2 |
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Definition
| (1) already successful (2) emotion built in |
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Term
| LECTURE how to carry ads around? 3 |
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Definition
| (1) portfolio (2) minibook (3) website |
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Term
| LECTURE 4 pet peeves of people who may hire you |
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Definition
| (1) proof your work and have someone else proof it too (2) know something about agency (3) have interest elsewhere (4) come w/ questions |
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Term
| LECTURE do need (2) and don't need (3) |
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Definition
| do: portfolio and good personality, don't: high GPA, membership in ad clubs, published work |
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Term
| LECTURE where to (4) and not to find job openings (2) |
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Definition
| yes: newspaper, red book, networking, CDs and ADs, no: ad week/ad age, personal directors & human resources |
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Term
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Definition
| (1) show up FIVE mins early (2) nice to receptionist (3) questions about agency ready (4) seek feedback & don't be defensive (5) ask if they know other places to interview (6) leave behind multiple copies of resume (7) thank you note (8) email once a month for 3 months |
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Term
| LECTURE goal in interview process |
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Definition
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Term
| LECTURE which two types of agencies pay less |
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Definition
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Term
| LECTURE should you take job to get in the door? |
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Definition
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Term
| LECTURE what recruiters look for (3) |
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Definition
(1) intelligent ads w/ variety
(2) human truth behind products
(3) quick & fun |
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