Реферат: Art of adviting

Only the first two of these will be relevant to message objectives; time period and amount of change are more relevant for the media and promotions areas. Although the objectives here will just be concerned with the target and task, it is still necessary to achieve a high level of precision in the objective statement. It will also be useful (and should be required) to justify each of the component parts .

It is often said that objectives and strategies are the enemies of creativity, that objectives and strategies stifle, restrict, and confine, that strategies should only provide guidelines.These statements almost always come from writers or artists and show a lack of concern for the business of the client and for the ultimate need to influence behavior.

Of course, the complaints are accurate. Objectives and strategies do stifle, restrict and confine. That is their purpose. Given the level of competition in most product classes and the perceptual defenses put up by most consumers, it is important to direct creativity. It is important that the creative work be on the mark so that it accomplishes the proper task on the proper target market. This doesn't stifle real creativity. Real creativity leads to the development of a unique, memorable, forceful message that is also consistent with the campaign objectives. Remember, it's not creative unless it sells.

As David Ogilvy wrote, "What you have to say is more important than how you say it. Your most important job is to decide what you are going to say about your product, what benefit you are going to promise."

Ed Meyer, head of Grey Advertising, says, "The stimulation of creative advertising starts with the clear articulation of its objectives."

And Dick Rowan of Marschalk Advertising says, "The trouble with most advertising is that few people ever stop to think through the marketing problem and objectives first."

The rigor imposed by objectives, positioning statements, and strategies is designed to focus rather than constrict creativity. It permits the total creative effort to be directed toward execution rather than toward a search for directions and, ultimately, allows for a measurement of the success of the messages in accomplishing their goals. A nicely written defense of strategies was prepared a by Howard Shank of Leo Burnett; as it appears below:

A few words about creative strategy

It seems to be in the nature of creative people to chafe at those little pieces of paper entitled "Creative Strategy."

To watch a lot of creative people react, you'd think those documents were really headed, "Arsenic. Take full strength. Do not dilute."

There is, to be sure, some reason for this revulsion. It is not unheard of for writers and art directors to be asked to execute something that should really be called an "un creative strategy."

The authors of these papers have been known to be neither creative nor strategic in their thinking and to mask a certified non-idea behind formularized words. If you execute such a non-idea, what you are bound to have is a noncompelling advertisement. No matter how cleverly you write and visualize.

Basic truth, you folks: the highest form of creativity in advertising is the setting of real creative strategies.

We must never forget it.

It's what buid this business.

It's where your future and my future lie.

It's where at least half the joy in our business is found.

It's also where the hardest work is found, I'll admit. But don't forget, you always love hard work.

If you're still with me, I'd like to tell you what a real creative strategy is.

But first, I'll suggest to you some of the things it is not. .

It Is not just a sentence that says, "The advertising will convince people that ourproduct is the (tastiest) (freshest) (mildest) (hardest-working) (classiest) (fastest) product in the store.

It is not the product of logic and analysis alone—although they're part of how you get there. It is not the province of the client or the account man—although they should be heavily involved.

It is not a jail for creative execution. Rather, if you've got a real creative strategy, it will inspire you to write and visualize at the height of your powers.

It is not aimed at robots but at human beings with hearts and guts as well as brains.

The last sentence is the crux of the matter.

The real creative strategy is the one that relates product to yearnings. Formula to life style.

If you can look at a thinner cigarette andsee not only as a special cigarette for women but also as a symbol of equality for women, you can create real creative strategies.

If you can look at a bar of soap with pumice in it and see not only an efficienthand washer but also the solution to the problem of "Public Dirt," you can create real creative strategies.

If you can look at a glass of chokolate milk and see it not as just a yummy thirst-quencher or a hunger fighter but as a cure to kid’s whimsicalities, you can create real creative strategies.