VIS251

Advertising Design
Study Guide (5CU)
Course Development Team
Head of Programme : Dr C. K. Peter Chuah

Course Developer : Mr Gene V Lam

Production : Educational Technology & Production Team

© 2022 Singapore University of Social Sciences. All rights reserved.

No part of this material may be reproduced in any form or by any means without
permission in writing from the Educational Technology & Production, Singapore
University of Social Sciences.

Educational Technology & Production

Singapore University of Social Sciences
461 Clementi Road
Singapore 599490

Release V1_0_0
CONTENTS

SECTION 1: COURSE GUIDE

1.1 Introduction .....................................................................................................2

1.2 Course Description and Aims .......................................................................3
1.3 Learning Outcomes ........................................................................................ 3
1.4 Overall Assessment ........................................................................................ 3
1.5 Learning Materials .......................................................................................... 5

SECTION 2: STUDY UNITS

STUDY UNIT 1:
THE ESSENTIALS OF ADVERTISING — AN INTRODUCTION

Learning Outcomes ···················································································· SU1-1

Overview ······································································································ SU1-2

1 What is Advertising? ··············································································· SU1-3

1.1 Brief History of Advertising ····························································· SU1-3
1.2 Role of Advertising ············································································ SU1-8
1.3 Who Creates Advertising? ······························································ SU1-11
1.4 Advertising Media ············································································ SU1-14
1.5 Drivers of Advertising ····································································· SU1-16
1.6 Advertising Ethics ············································································ SU1-20
1.7 Advertising Project Process····························································· SU1-22

Review Questions ····················································································· SU1-24

Solutions ····································································································· SU1-25
References ·································································································· SU1-26

STUDY UNIT 2:
OVERVIEW & STRATEGY — FORMULATING THE ADVERTISING
MESSAGE

Learning Outcomes ···················································································· SU2-1

Overview ······································································································ SU2-2
 2 Phase 1 — Overview ··············································································· SU2-3
2.1 Overview Phase ·················································································· SU2-3
2.2 The Brand Idea ···················································································· SU2-3
2.3 The Client Brief ················································································· SU2-11

3 Phase 2 — Strategy ················································································ SU2-13

3.1 Strategy Phase ··················································································· SU2-13
3.2 The Advertising Message ································································ SU2-15
3.3 The Creative Brief ············································································· SU2-20

Review Questions ····················································································· SU2-24

Solutions ····································································································· SU2-25
References ·································································································· SU2-26

STUDY UNIT 3:
IDEAS — CONVEYING THE ADVERTISING MESSAGE

Learning Outcomes ···················································································· SU3-1

Overview ······································································································ SU3-2

4 Phase 3 — Ideas························································································ SU3-3

4.1 Ideas Phase ·························································································· SU3-3
4.2 Creative Thinking ··············································································· SU3-6
4.3 Tools that Stimulate Creative Thinking ·········································· SU3-7
4.4 Concept-Generation ········································································· SU3-19

5 Creative Approaches ············································································· SU3-24

5.1 Creative Approaches ········································································ SU3-24

6 Storytelling and Campaigns ································································· SU3-30

6.1 Campaigns ························································································· SU3-30
6.2 Storytelling and Campaign Structures ·········································· SU3-33

Review Questions ····················································································· SU3-37

Solutions ····································································································· SU3-38
References ·································································································· SU3-40
STUDY UNIT 4:
DESIGN — CREATING ART AND COPY

Learning Outcomes ···················································································· SU4-1

Overview ······································································································ SU4-2

7 Phase 4 — Design····················································································· SU4-3

7.1 Design Phase ······················································································· SU4-3

8 Art ·············································································································· SU4-7

8.1 Visualisation ························································································ SU4-7
8.2 Composition ······················································································ SU4-11
8.3 Typography ······················································································· SU4-18

9 Copy ········································································································· SU4-22

9.1 Copywriting ······················································································ SU4-22

Review Questions ····················································································· SU4-28

Solutions ····································································································· SU4-29
References ·································································································· SU4-31

STUDY UNIT 5:
DESIGN — DESIGNING ACROSS MEDIA

Learning Outcomes ···················································································· SU5-1

Overview ······································································································ SU5-2

10 Beyond Print Design·············································································· SU5-3

10.1 Designing for Screen-Based Media –
Motion for Broadcast and Broadband ············································· SU5-3
10.2 Designing for Website ········································································ SU5-7
10.3 Designing for Mobile Advertising ················································· SU5-10
10.4 Designing for Social Media ····························································· SU5-11

11 Designing for Unconventional Advertising ···································· SU5-12

11.1 Designing for Unconventional Advertising ································· SU5-12
11.2 Amplification Effect ········································································· SU5-25

Review Questions ····················································································· SU5-27

Solutions ····································································································· SU5-28
STUDY UNIT 6:
PRODUCTION AND IMPLEMENTATION — EXECUTING THE IDEAS

Learning Outcomes ···················································································· SU6-1

Overview ······································································································ SU6-2

12 Phase 5 — Production ··········································································· SU6-3

12.1 Production Phase ················································································ SU6-3

13 Phase 6 — Implementation··································································· SU6-4

13.1 Implementation Phase ······································································· SU6-4
13.2 Measuring the Success ······································································· SU6-4

Review Questions ······················································································· SU6-6

Solutions ······································································································· SU6-7
 VIS251 COURSE GUIDE

VIS251
Advertising Design

COURSE GUIDE

1
 VIS251 COURSE GUIDE

SECTION 1: COURSE GUIDE

1.1 Introduction

(Access video via iStudyGuide)

Welcome to your study of VIS251, Advertising Design, a 5 credit unit (CU) course.

This Study Guide is divided into two sections – the Course Guide and Study Units.

The Course Guide provides a structure for the entire course. As the phrase implies,
the Course Guide aims to guide you through the learning experience. In other
words, it may be seen as a roadmap through which you are introduced to the
different topics within the broader subject. This Guide has been prepared to help
you understand the aims and learning outcomes of the course. In addition, it
explains how the various materials and resources are organised and how they may
be used, how your learning will be assessed, and how to get help if you need it.

Course Schedule
To help monitor your study progress, you should pay special attention to your
Course Schedule. It contains study unit related activities including Assignment,
self-evaluations, and examinations. Please refer to the Course Timetable in the
Student Portal for the updated Course Schedule.

NOTE: You should always make it a point to check the Student Portal for any
announcements and latest updates.

You need to ensure you fully understand the contents of each Study Unit listed in
the Course Schedule. You are expected to complete the suggested activities
independently and/or in groups. It is imperative that you read through your
Assignment questions and submission instructions before embarking on your
Assignment. It is also important you comprehend the Overall Assessment
Weighting of your course. This is listed in Section 1.4 of this Guide.

Manage your time well so you can meet given deadlines and do regular revisions
after completing each unit of study. They will help you retain the knowledge
garnered and prepare you for any required formal assessment. If your course
requires an end-of-semester examination, do look through the Specimen or Past
Year Exam Paper which is available on Learning Management System.

Although flexible learning – learning at your own pace, space and time – is a
hallmark at SUSS, you are encouraged to engage your instructor and fellow
students in online discussion forums. A sharing of ideas through meaningful
debates will help broaden your learning and crystallise your thinking.

2
 VIS251 COURSE GUIDE

1.2 Course Description and Aims

This module is designed to equip students with the knowledge and skills to
communicate effective advertising by design. Students will learn substantially the
fundamentals of the advertising profession such as formulating creative ideas,
creating art and copy, and will examine design in advertising across different
available media. The essential training will enable students to create and design
creative integrated advertising campaigns that challenge and redefine strategies for
the ever-evolving advertising industry.

1.3 Learning Outcomes

Knowledge & Understanding (Theory Component)

• Discuss the evolution of advertising, the role of advertising and the essentials of
advertising - people who create advertising, advertising media, drivers of
advertising, and advertising ethics.
• Describe the six phases of an advertising project process.
• Examine the brand idea, its role and function, and components.
• Analyse the role and function of a campaign and its various applications.
• Comment on art and copy, their roles, applications, and components.

Key Skills (Practical Component)

• Execute an effective client brief or/and creative brief for an advertising campaign.
• Appraise the advertising message with insights from the brand and target
audience.
• Review the big idea with demonstration of tools that stimulate creative thinking
through the concept-generation process.
• Outline the use of creative approaches for an advertising campaign.
• Illustrate a campaign through the use of storytelling and campaign structures.
• Demonstrate designs across various media.
• Develop unconventional advertising with its impact through the amplification
effect.
• Contrast the use of various methods to measure the success of an advertising
campaign.

3
 VIS251 COURSE GUIDE

1.4 Overall Assessment

The overall assessment weighting for this course is as follows:

Assessment Description Weight Allocation

Assignment 1 Online Quiz 20%

Assignment 2 Group-Based Assignment 30%

Project End-of-Course Assessment 50%

TOTAL 100%

SUSS’s assessment strategy consists of two components, Overall Continuous

Assessment (OCAS) and Overall Examinable Component (OES) that make up the
overall course assessment score. Both components are equally weighted 50:50.

(a) OCAS: Assignment 1 comprises one online quiz weighted at 40%. Assignment 2
is a Case Study (group-based) weighted 60%. Both Assignment 1 and 2 combined
will constitute 100% of OCAS.

(b) OES: The Examination is 100% of this component.

To be sure of a pass result, you need to achieve scores of at least 40% in each
component. Your overall rank score is the weighted average of both components.

4
 VIS251 COURSE GUIDE

1.5 Learning Materials

The following is a list of the required learning materials to complete this course.

Required Textbook

Author Title Year Publisher

Last name, First name
Landa, Robin. Advertising by Design: 2022 John Wiley
Generating and Designing & Sons, Inc.
Creative Ideas Across Media
(Fourth Edition).

Other recommended study material (Optional)

The following learning materials are required in order to complete the learning
activities:

1 Reference Books Burtenshaw, K., Nik, M., & Barfoot,

Caroline. (2011). The Fundamentals of
Creative Advertising. AVA Publishing,
Switzerland.

Himpe, Tom. (2006). Advertising is Dead,

Long live Advertising. Thames & Hudson,
High Holborn, London.

Sawyer, Robert. (2006). Kiss & Sell: Writing

for Advertising Redesigned and Rekissed.
AVA Publishing, Switzerland.

2 Website Ads of the World: Creative Advertising

Archive & Community. Retrieved from
[Link]

5
VIS251
Advertising Design

STUDY UNIT 1
The Essentials of Advertising
An Introduction
 VIS251 STUDY UNIT 1

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Evolution of Advertising
• Discuss the developments and advancements of advertising through looking at
historical milestones.

The Role of Advertising

• Explain the role of advertising.
• Describe the purpose of advertising.
• Define and explain major categories of advertising.

Who Creates Advertising

• Describe various types of advertising agency.
• Describe the basic structure of an advertising agency.
• Describe the function of each department in an advertising agency.
• Describe the work process of an advertising agency.
• Describe and explain the roles of people who are involved in a creative team.

Advertising Media
• Describe the function of advertising media.
• Define conventional and unconventional advertising media.
• Compare and contrast conventional and unconventional advertising media.
• Identify and describe various forms of conventional and unconventional
advertising media.

Drivers of Advertising
• Identify the four drivers of advertising.
• Explain and describe the functions of the four drivers of advertising and their
intention in advertising.

Advertising Ethics
• Explain advertising ethics.
• Describe the dos of advertising ethics.

Advertising Project Process

• List the six phases of an advertising project process.
• Briefly describe each phase of the advertising project process.

SU1-1
 VIS251 STUDY UNIT 1

OVERVIEW

This study unit provides students with an overview of advertising. It will look into
the areas of how advertising has evolved through the years, the role of advertising,
advertising agency, media for advertising, drivers of advertising, advertising ethics,
and the advertising project process.

SU1-2
 VIS251 STUDY UNIT 1

1 WHAT IS ADVERTISING?

1.1 Brief History of Advertising

Advertising is ever-changing. Looking at the brief history of advertising will help

us to understand the effect of various historical milestones that have affected the
development and evolution of advertising through the years; from the past, till
today and for the better of advertising in the future.

The Beginning

3000BC. The Babylonians introduced the first forms of advertising.

First forms of They were store signs that were painted on walls and
advertising in pitchmen (later known as town-criers) who were employed
ancient times. by merchants to praise their goods or to announce important
news.

The Babylonians had also invented 'sponsorships' that

allowed their Kings to stencil their names onto the temples
that they had constructed.

In Ancient Egypt, Greece, and Rome, the people had used

papyrus to create sales messages, lost-and-found notices,
and wall posters. Examples of these were also found in
Pompeii and Carthage.

1450. It was the invention of Johannes Gutenberg in 1450 that had

Invention of changed the face of advertising and redeveloped
printing. communication into a more modern, sophisticated and
feasible practice. This invention was a moveable-type
printing press that had made the mass distribution of
posters and circulars possible.

1472. In England, the first advertisement was printed in English in

First print the form of a handbill. It was primarily an announcement of
advertisement. a sale of a prayer book.

1650. It was two hundred years later, that the first newspaper
First newspaper advertisement was published. The advertisement offered a
advertisement. reward for the return of 12 stolen horses.

By the 17th century, classified advertisements were

appearing frequently in England’s newsweeklies. These
advertisements featured simple descriptions of products and
their prices.

SU1-3
 VIS251 STUDY UNIT 1

It was in the late 19th century that colour and illustrations

started to appear in advertisements.

1835. The birth of automobile led to the rise of billboard

Rise of billboard advertisements in the United States and then to the rest of
advertisements. the world.

In New York, a large outdoor billboard poster of more than

50 square feet was printed by Jared Bell for the circus.

It was in 1900, that standardised billboard structures were

created. Big advertisers such as Palmolive, Kellogg, and
Coca-Cola began mass-producing billboards for the national
market. By 1912, standardised outdoor service was at the
disposal of national advertisers in nearly every major urban
centre.

1873. The first product placement occurred when transport and

First product shipping companies were mentioned in Jules Verne's novel -
placement. Around the World in 80 Days.

1841. In 1841, Volney B. Palmer set up the first advertising agency

First advertising in Boston. He had then introduced the commission system to
agency. the business by offering a discount of 25% on advertising
space in newspapers. This move marked the formal
beginning of space selling.

It was in 1869 that N.W. Ayer & Son became the first full-
service agency.

Propaganda and Mechanisation

1814. During World War I, advertising became a medium for

World War l. propaganda. Governments had then used advertising to
persuade their citizens to join the military. This period also
saw an increase in the mechanisation of the industry,
therefore making advertisements more costly.

The Emergence of New Mass Media

1882. In 1882, an electric sign was constructed and displayed by

First electric sign. W. J. Hammer in London. This practice soon spread wildly
throughout the world.

New York then had blinking electric signs in the Times

Square. The state had one advertisement that featured a

SU1-4
 VIS251 STUDY UNIT 1

chariot race made out of 20,000 light bulbs that flashed

2,500 times per minute.

1890. One of the earliest highly successful advertising campaigns

Early celebrity was launched by Pears Soap. In the late 19th century,
endorsements. Thomas Barratt, whom many considered the father of
modern advertising, launched a series of advertisements
that featured a beautiful actress named Lily Langtry. These
advertisements had her endorsing Pears Soap with her
personal testimonial, "Since using Pears Soap, I have
discarded all others." This was believed to be the very first
early celebrity endorsement on a large scale.

1892. Direct marketing was born when Sears sent out 8,000
First direct handwritten postcards. With that, they had received 2,000
marketing. orders for their products.

1920. Frank Conard founded KDKA, the world's first

First commercial commercial radio station in his garage, in the outskirts of
radio station. Pittsburg.

1922. The first radio commercial was credited to WEAF in New

First radio York on August 28. The ten-minute live commercial was
commercial. voiced by H.M. Blackwell, a representative of Queensboro
real estate corporation.

1923. John Logie Baird (Scottish engineer) was the inventor of

First working the world's first working television system in Hastings,
television system. England. A public demonstration subsequently took place
in Selfridges (a departmental store), London, in March
1925. The system was successful enough to become
commercialised, and the British Broadcasting Corporation
(BBC) began the world's first regular television broadcasts
in January 1929, using Baird's system.

1926. It was titled "Have You Tried Wheaties". It was first sung
First jingle. over the air on Christmas Eve of 1926 in the Minneapolis,
St. Paul radio market for General Mils.

1941. The first television advertisement was broadcasted in the

First TV commercial. United States (US) on July 1. At that time, Bulova Watch
Company only paid US$9 to the National Broadcasting
Company (NBC) affiliate WNBT (now WNBC) for a 20-
seconds spot that was aired before a baseball game
between the Brooklyn Dodgers and Philadelphia Phillies. It
simply displayed a Bulova watch over the map of the US,
with a voiceover of the company's slogan "America runs on

SU1-5
 VIS251 STUDY UNIT 1

Bulova time".

1955. The world's first multiple-site computer network that

The birth of ARPnet. eventually grew into the internet. Subsequently it was in
1993 that the first web banner advertisement was launched.
This was followed by pop-ups and pop-unders in 2001.
They peaked in 2003, at 8.7% of all online advertisements,
earning 13 times more clicks than banners.

1970. This took place in San Diego, selling homes. Infomercials

Birth of the were also known as paid programming or teleshopping in
Infomercial. Europe. They were normally shown outside of peak hours,
such as daytime or late night.

1971. The first email was sent in 1971.

First email was sent.

1980s. It was popularised by the 'Buy Me a Drink' club girls.

Birth of guerrilla These girls appeared in clubs and would ask consumers to
advertising. buy them a drink while telling them how good the drink was.

1997. A Finnish news provider offered free news headlines via

Launch of first SMS.
mobile advertisement.

2004. Facebook introduced the concept of behaviour-based

Birth of Facebook. advertising by specially targeting users' social interactions.

2006. YouTube was launched and we saw the birth of video

Birth of YouTube advertising that includes in-video advertisements,
and Twitter. participatory video advertisements, and many more.

In the same year, Twitter's real-time, global community

made vial marketing / advertising fast and free.

2007. Advertisers took advantage of producing applications

Birth of iPhone and (apps) and banners to bring their brand closer to their
Android phones. consumers.

2010. Viral advertising overtook traditional modes as an

Viral advertising advertising campaign with the Old Spice Guy received 30
overtakes traditional million views. It was the most successful of the year.
media.

SU1-6
 VIS251 STUDY UNIT 1

The Future of Advertising

It is difficult to predict what form advertising will take in the future as it evolves
with inventions and innovations. But one thing for sure is that it will continue to
improve and strive to become more useful to businesses and their consumers.

READ:
[Link]
on History of Advertising.

SU1-7
 VIS251 STUDY UNIT 1

1.2 Role of Advertising

Advertising is a form of communication that intends to persuade, promote, inform,

motivate, or provoke an audience on behalf of a brand.

It consists of a specific message that differentiates the brand that ultimately sells the
product or service and at the end, encourages the audience to take some action. For
advertising to be communicated to the audience, it needs to be presented through
media channels.

MEDIA

MESSAGE
BRAND • PERSUADE • PROMOTE • INFORM• MOTIVATE • PROVOKE•

Figure 1.1: Advertising communication process.

The following are some of the reasons for using advertising:

• Create and maintain a brand.

• Introduce a new product or service.
• Communicate a change in the existing product or service line.
• Increase the buzz-value of the brand, product, or service.
• Increase the sales of the product or service.

Forms of Advertising
Advertising can be communicated to the audience as an advertisement (or ad),
advertising campaign, or an integrated advertising campaign.

Advertisement. It contains a specific message that is constructed to persuade,

promote, inform, motivate or provoke an audience.

Advertising campaign. It is a series of coordinated print advertisements that is

based on an overall strategy. They are connected by consistent use of tone of voice,
style, imagery, and tagline. Each individual advertisement in the campaign can also
stand on its own.

Integrated advertising campaign. This involves various media channels that are
based on an overall strategy. Media channels can include a combination of print,
screen-based media, interactive, out of home, or unconventional media.

SU1-8
 VIS251 STUDY UNIT 1

Advertising Categories
Advertising comes in various categories. Most commonly, they can be classified
into public service advertising, case advertising, and commercial advertising.

Public Service Advertising (PSA). It is advertising that seeks to further the common
good that is initiated by non-profit organisations and government agencies. (Are you
obsessed with the right things? Agency: DDB Singapore, Client: Singapore Breast Cancer
Foundation, Year: 2011. Image retrieved from [Link]
_foundation_bad_hair_day)

The objectives of public service advertisements are to create awareness for a

significant social issue and educate the audience. They try to change the audience's
attitudes and behaviours to stimulate positive and social change.

In most countries, PSAs are considered a service to the community, and therefore
media owners usually charge very little or at no cost (as a sponsor) when running
the advertisements on print, television, radio, or other media channels.

In order to have more control over the placement of PSAs, some non-profit
organisations and government agencies have begun to purchase advertising space
and time.

Cause Advertising. It is advertising that seeks to raise funds for non-profit

organisations. It is used to promote the organisation through raising awareness on
a social issue that it is affiliated with. Unlike PSAs, case advertising runs on paid
media channels and has no commercial affiliation.

Commercial Advertising. It is advertising that promotes a brand (individuals,

organisations, or groups) and its commodities by informing its audience.
Commercial advertising can take many forms; from single print advertisements, to
sponsorships, and to branded utilities (a free product that is created by a brand that
is useful to the consumer).

Within the commercial advertising category, there are subcategories such as

business to business (B2B) advertising, trade advertising, consumer advertising,
and covert advertising.

Business to Business It is advertising that is directed towards other businesses. It

(B2B) Advertising. is used to promote specialised products or services that
have been designed for a business by a brand to another.

Trade Advertising. It is advertising that is used by a manufacturer that is

directed towards the wholesaler or retailer to purchase
their products or services for resale to their respective
consumers. The primary objective of trade advertising is to
promote greater distribution of the manufacturer's
product. An example would be a Coca-Cola advertisement

SU1-9
 VIS251 STUDY UNIT 1

that is placed in trade magazines such as Progressive

Grocer to promote Coca-Cola to food store managers.

Consumer It is advertising that is directed towards the users of a

Advertising. product or service (The Nikon S60. Detects up to 12 faces.
Agency: Euro RSCG Singapore, Client: Nikon, Year: 2009.
Image retrieved from [Link]
forest). It may take the form of a tactical advertisement that is
usually a newspaper advertisement that has the product
with simple descriptions and price. Sometimes, consumer
advertising is directed towards a purchaser of a product or
service who will then pass that product or service to the
ultimate end user, as in the case of a pet food advertisement.

Covert Advertising. It is advertising that promotes a brand that has been

incorporated into entertainment media channels. This form
of advertising is also known as brand placement. The
brand is usually subtly showcased in movies, television
shows, games, and sports programmes.

READ:
Pages 1 – 8 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU1-10
 VIS251 STUDY UNIT 1

1.3 Who Creates Advertising?

The Advertising Agency

An advertising agency (or ad agency) is a business dedicated in providing clients
with marketing and creative services. These services include planning, creative
ideation, design, production, implementation, and media planning and buying.

In the late 1980s, many prominent advertising agencies have merged into
conglomerates. Today, there are several major conglomerates such as the Omnicom
Group, Interpublic Group, and WPP Group.

Throughout the world, there are many independent agencies available as well. An
independent agency is a single agency owned and operated by individuals that is
not part of a conglomerate.

Full-service It offers a broad range of business and creative services that are
Agency. related to the advertising project process. These include planning,
creative ideation, design, production, implementation, and media
planning and buying. Clients usually choose full-service agencies
because these organisations are able to handle any aspect of a
client’s marketing needs.

Some full-service agencies can be in partnerships with other

companies within the same group that provide marketing
communication services such as public relations, promotional
design, interactive advertising, and direct marketing.

Interactive Its focus is only on interactive screen-based media. Due to this,

Agency. this type of agency may work together with other agencies that
serve as the creative leads. Today, the situation has changed and
many interactive agencies have become the lead agency for clients.

Independent This type of agency is privately owned. It is usually smaller in size

Agency. and often attracts clients who prefer to work directly with the
main people of an agency.

In-house It is a team that focuses on the goal in selling a company's

Agency. products or services. The team is expected to handle all aspects of
the brand of the company; from branding, advertising, direct
marketing, to promotional design. It is believed by these
companies that in having their own in-house agency, they will be
able to save cost as compared to be charged by a full-service or
independent agency.

SU1-11
 VIS251 STUDY UNIT 1

The Agency Structure

MANAGEMENT
• CHAIRMAN • MANAGING DIRECTOR • GENERAL MANAGER •

ACCOUNT ACCOUNT MEDIA CREATIVE PRODUCTION

PLANNING MANAGEMENT PLANNING • •
• • & BUYING CREATIVE STUDIO
STRATEGIC ACCOUNT • DIRECTOR MANAGER
ACCOUNT DIRECTOR MEDIA • •
DIRECTOR • DIRECTOR ART PRODUCTION
• ACCOUNT • DIRECTOR MANAGER
ACCOUNT MANAGER MEDIA • •
PLANNER • MANAGER COPYWRITER • DESIGNER / ARTIST
• ACCOUNT • • •
EXECUTIVE MEDIA
• EXECUTIVE
•

An advertising agency is usually structured around five key departments that are
headed by the management that consists of the chairman, managing director, or
general manager. The five key departments are account management, account
planning, media buying and planning, creative, and production (Figure 1.2).

Figure 1.2: A basic agency structure.

Planning involves having a clear understanding and

profile of the audience and their potential relationship with
the brand. Therefore, it is important for the department to
understand the audience's perspective, habits, needs and
buying behaviour in order to develop a strong strategic
plan. They will make use of various methods of qualitative
market research such as focus groups and interviews.

Eventually the Planner together with the Account

Executive and Creative Director will work closely on the
development of the creative brief.

This department manages the relationship between the

agency and the client. During the advertising project
Account Planning. process, the Account Executive will liaise with the client on
a regular basis and project manages the other departments.
They are also responsible for pursuing and securing new
businesses for the agency.

This department consists of media specialists who will

plan the most efficient and cost-effective way of delivering
the advertising to the audience. They will negotiate for the
best spaces, venues, and prices in the various media
channels. Each individual specialist can be extremely

SU1-12
 VIS251 STUDY UNIT 1

creative as well, in finding new and exciting media

opportunities to expose the advertising message.
Account
Management. This department consists of creative teams that are made
up of the Art Director and Copywriter, who work under
the guidance of the Creative Director (CD). These teams
are responsible for creating the ideas after the creative brief
is being supplied. Once the client gives approval to the
idea, the creative team follows through to the
Media Planning & implementation of the entire advertising project process.
Buying.
Once the visual for the advertisement is approved, the
production department will turn it into reality in the
formats required.

The Production Manager not only uses design specialists

from his own agency but will often use specialised
Creative. companies such as print specialists, postproduction
companies, and contractors as well.

This department will also work closely with the Art

Director to make sure that their interpretation of the
advertisement is right and that it looks exactly as it is
meant to be.

Production.

READ:
Pages 8 – 14 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU1-13
 VIS251 STUDY UNIT 1

1.4 Advertising Media

A media can be in the form of an object (newspaper, magazines, or television) or

space (locations or venues). It is used as a tool to communicate the message of the
advertisement to the audience (Figure 1.3).

Each media possesses unique characteristics that can help in achieving the required
coverage and number of exposures specifically for a certain audience. Therefore,
choosing the right media can be a time-consuming process that requires the media
specialist or creative team to balance the pros and cons of each option for the
success of the advertisement.

Conventional Media

Broadcast • Television • Radio

Print • Newspapers • Direct mail

• Magazines

Screen-Based Media • Websites / Micro websites • Video sharing Web sites

And Applications • Branded utilities • Photo sharing Web sites
• Web films • Widgets
• Webisodes • Video e-mail
• Web commercials • Banners and floaters
• Mobile advertising • Blogs / Vlogs (video blogs)
• Social networking applications

Out of Home (OOH) • Billboards • Transit

• Street furniture • Posters

Sponsorship and • Event / Exhibition • Product placement in

Branded Entertainment • Television program television programs, music
videos, films, or books.

Unconventional Media

• Ambient • Guerrilla media

Figure 1.3: List of conventional and unconventional media.

Media Classification
Gone are the days when there is limited number of media that are available to the
agency's media specialists. Today, they need to be well versed in a wide range of
old, new, and undiscovered media channels. This growing number of media
channels increases with the advancement of new technology. Media channels can
be classified into conventional media and unconventional media.

SU1-14
 VIS251 STUDY UNIT 1

Conventional Media. Everyday in average, we are bombarded by 2000 - 3000

advertisements in the city. There advertisements are presented through
conventional media that have been established and made known to us many times
(Figure 1.3).

Unconventional Media. Many advertisers are using the same conventional media
channels to reach the same audience at the same time. As a result, they have
bombarded the audience with too much information that can cause them to lose
interest and block out messages that are intended for them. Taking advantage of
this situation, many agencies have taken on in developing advertising message
with unconventional media channels so that audience will notice them.

Unconventional media are guerrilla. It means that these channels are different, not
common and unexpected options that are created for the audience (Figure 1.3).
These alternative routes can lead brands into new spectrum of possibilities that is
capable of reaching audience in more relevant, more surprising and more
appropriate ways. More about unconventional media can be found in Unit 5.

READ:
Page 10 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

ACTIVITY 1.1:

Favourite Advertisement

Share your experience of the role media plays in your favourite

advertising.

• Find out how the idea has played in the importance of the
advertising.
• Discuss some changing factors that can affect the way the
advertisement can be communicated.

SU1-15
 VIS251 STUDY UNIT 1

1.5 Drivers of Advertising

There are four driving factors in which a brand can use to identify a media channel
to connect with its audience. They are proximity, exclusivity, invisibility and
unpredictability (Figure 1.4).

PROXIMITY

UNPREDICTABILITY EXCLUSIVITY

INVISIBILITY

Figure 1.4: Four drivers of advertising.

Proximity — Getting Up Close and Personal.

One of the important motivating factors in the relationship between a brand and its
audience is the desire for proximity. Brands want to get as close as possible to their
audience from the point of purchase, to their natural lifestyle environment, and
even into their inner circle in order to catch their attention and communicate the
intended advertising message.

Proximity To go where the audience are. A brand has to go to where the

Tactics audience are rather than waiting for them to come to it.
Therefore, it is important that the brand is mobile and follows
the footsteps of its audience so that it can penetrate into places
where it has access to.

Walking billboards on the streets or trade events are part of

this attempt. It makes use of promotion staff that are equipped
with printed posters or free give-aways as tools to interact with
the audience. These staff members are then deployed to
specific locations that have been identified to be frequented by
audience of the brand.

To be inviting and transparent. A brand can be inviting and

transparent to encourage its audience to step into its world.

SU1-16
 VIS251 STUDY UNIT 1

The internet is an important media that can be used in this area

as it reaches the audience directly, allowing them to interact
with the brand on their own terms. Audience can retrieve
information about the brand, its products, or services whenever
and wherever it suits them.

Creating an experience for the audience of a brand. This is

another discipline that can bring a brand and its audience
through invitation and transparency. It can be achieved
through a staged event in a public space to expose the brand to
its audience through an unforgettable experience.

Exclusivity — Going where the Competition is not.

A brand is always on a continuous look out to have some private time to spend
with its audience, without the need to compete with other competitors. The less the
brand has to share the attention of its audience with others, the more power it can
exert over its audience.

Exclusivity Sponsorship. Many companies pay vast sums of money to

Tactics become exclusive sponsors of big events. These are kind of
drastic measures that they have to take financially if they want
special time alone with their audience. This will eventually lead
to a stronger connection between the brand and the experience
sponsored.

Brand experience in a space. The search for exclusivity

explains the increased importance given to designing retail and
staged environments for a specific brand. This has allowed
brands to create environments where they are in full control of
the experience.

It was, therefore, logical behind IKEA's decision to use an entire

train as a brand experience space in Kansai, Japan. In doing so,
the company had made the strategic decision to go where the
competition had not and booked some time alone with its
audience. (From the place to sleep to home to enjoy. Agency: ADK
Tokyo, Japan / DRILL Tokyo, Japan. Image retrieved from
[Link]
home_furnishing_liner)

Working with another brand. While exclusivity is a powerful

factor in choosing a media, there are exceptions to the rule. At
times, it will be worthwhile for two brands to work hand in
hand together as long as both parties gain from the
collaboration. If a brand makes another look younger, cooler,
classier, more contemporary, more complement, or in any other
kind of preferred association, it is always beneficial. This

SU1-17
 VIS251 STUDY UNIT 1

collaboration can either be for long term or on a particular

cause.

In the example of Mercedes and Ritz-Carlton, the car company

had turned the hotel company into an exclusive channel for its
'Key to Luxury' campaign. Guests of any Ritz-Carlton hotels
were offered the use of a Mercedes CLS500 with unlimited
mileage and a full tank of petrol for each morning and
overnight valet parking during their stay. According to
Mercedes, dozens of guests had decided to buy a new
Mercedes after their novel test-drives. If Mercedes had been
forced to share the experience with another hotel brand, it was
unlikely the same impact would be achieved.

Invisibility — Moving the Brand to the Background.

Invisibility is about a brand acting like a chameleon and subtly blending into the
environment of its audience.

In today's world, it proves more effective to be invisible, as small, and as humble as

possible. The less pushy and the less dominant the nature of the advertising
message, the more chance it will attach the audience. A brand cannot simply force
its way into the lives of its audience.

Invisibility Be subtle and blend in seamlessly. Invisibility is all about

Tactics blending in seamlessly with real events or real life, to the extent
that it is not possible to tell that it is advertising.

When a brand acts as a benefactor in the environment,

recognition or attribution can be assured through a subtle
signature, or by telling a number of selected people who will
then spread the word. It is this kind of humbleness that will
harness a greater effect on the audience in the long term.

Hewlett-Packard (HP) had developed the HYPE Gallery project

that subtly referred to the brand's name without ever
mentioning it overtly. The gallery had been created for young
artists where they could print and exhibit their works using HP
printers and projectors.

In the gallery, HP had opted for a more indirect and less visible
approach rather than plastering HP's name all over the place.
This could be seen in the titles of artistic films that had been
inspired by words beginning with 'H' and 'P'. This had resulted
in film titles such as HoresPlay, Hairy Pooches, and Hedonistic
Penguin. There were also no HP logos that were present in the
gallery, except on the technology itself.

SU1-18
 VIS251 STUDY UNIT 1

The exit interviews that were conducted had shown that 19 out
of 20 artists and audiences had realised the HP connection to
the HYPE gallery. (HYPE Gallery. Agency: Publicis, United
Kingdom, Client: Hewlett-Packard, Year: 2004. Image retrieve from
[Link]
5641805/file/[Link])

Unpredictability — Catching Audience Off Guard.

We have recognised different types of advertising formats that have been subject to
very little change for decades, hence, losing the surprise element for the audience.
With unpredictability, it can create a new element of surprise and interest.

Unpredictability makes use of various media options that lead to the 'A-ha' effect.
The essence of unpredictability is that the brand cannot announce itself beforehand.
It is like a surprise party that will only be successful if the person it is intended for
is unaware of the situation.

Unpredictability The 'A-ha' effect. The more unpredictable a campaign, the

Tactics more chance it has of gaining people's honest and immediate
attention. In addition, a brand should fit in with the
unpredictable behaviour of its audience and not the audience to
fit into the categories predefined by the brand.

At the launch of Virgin Coke, Richard Branson drove a World

War II tank through the streets of Manhattan to announce its
launch. This was an unpredictable move that was not expected.
It was not something that an audience sees everyday. At the
same time, this act had well captured the personality and
values of Virgin Coke.

READ:
Pages 11 – 15 of Himpe, T., & Collin, W. (2006). Advertising is Dead,
Long live Advertising! Thames & Hudson.

SU1-19
 VIS251 STUDY UNIT 1

1.6 Advertising Ethics

Ethics in advertising is a set of well-defined moral principles that govern the ways
of communication that should take place between a brand and its audience. These
rules of conduct can be different in each country, with respect to the rightness and
wrongness of actions and motives through their culture and religious beliefs.

“We are given a voice, and we have to be responsible in how we use that
voice.” John Butler, Creative director of Butler, Shine and Stern & Partners,
Sausalito, California.

The above statement reminds advertising professionals that there is no exit from
social responsibility and that anyone who is involved in the advertising project is
accountable to ethical standards. When clients and agency professionals are aware
of what is unethical and keep to the standards of fair practice and social
responsibility, then it is considered as ethical advertising.

Advertising forms such as the PSA and case advertising help the society. They are
considered as the greatest contribution by the advertising agency to the general
good.

The List of Do's

What is unethical is easier to identify than what is ethical. The following is an
obvious list of dos’:

• Treat the audience with respect. Respect people’s religion, race, gender, age,
and ethnicity.
• Be truthful.
• Be responsible.

Protecting the Society

There are professional groups all over the world that ensure ethical behaviour in
the advertising profession. From America, they have the American Institute of
Graphic Arts (AIGA), the Art Directors Club and the One Club. And from England,
there is D&AD.

Advertising Standards Authority of Singapore (ASAS). In Singapore, the ASAS

was set up since 1976 ([Link]/[Link]). Since then it had
produced the Singapore Code of Advertising Practice (SCAP) to promote and
ensure ethical advertising in the areas of product and service industries.

The basic premise of SCAP is that all advertisements should be legal, decent, honest
and truthful. This code has been formulated against the background of national
law, international law and practice, including the International Code of Advertising
Practice that has been published by the International Chamber of Commerce.

SU1-20
 VIS251 STUDY UNIT 1

Overseas. Organisation like the Advertising Women of New York (AWNY) in New
York ensures ethical behaviour with an award programme called – The Good, the
Bad, and the Ugly. This programme examines the good as well as bad images of
women in advertising.

Beyond self-policing in various countries, there are also watchdog groups such as
Adbusters, Mediawatch-UK, Commercial Alert, the Advertising Standards
Authority, Guerrilla Girls, as well as individual critics such as Jean Kilbourne that
contribute to ethical advertising.

ACTIVITY 1.2:

Trends and Issues

Examine the trends and issues described so far.

• Discuss whether these are relevant to the Singapore

advertising industry.
• Are there specific issues that are unique to Singapore?
• Are there emerging trends that can affect the way advertising
is planned, managed, and operated in the future?

SU1-21
 VIS251 STUDY UNIT 1

1.7 Advertising Project Process

Figure 1.5 shows the process for any advertising project. More details and
information for each phase can be found from Unit 2 to Unit 6 in this study guide.

PHASE 1
OVERVIEW

PHASE 2
STRATEGY

PHASE 3
IDEAS

PHASE 4
DESIGN

PHASE 5
PRODUCTION

PHASE 6
IMPLEMENTATION

Figure 1.5: Advertising project process.

Phase 1 — Overview
This phase is also known as the orientation phase of the advertising project process.
It starts off with an initial meeting with the client. During this meeting, the client
will present his brief on the requirements for the project. This brief will address the
project goals, business goals, role of the project, target audience, competition,
budget, schedule, and deadlines.

After the initial meeting with the client, the agency will conduct its own internal
planning meeting. This meeting will further define the project with the information
and knowledge that has been collected from the initial meeting. Sometimes this
phase will involve material gathering and market research as well.

Phase 2 — Strategy
The direction that is the solution for the problem will be developed in the form of a
creative brief. The strategy is considered the development of the brand’s

SU1-22
 VIS251 STUDY UNIT 1

positioning that will solve the problem in the marketplace to achieve

differentiation, relevance, and resonance. Moreover, it is also a conceptual plan that
acts as a contract and guidelines for both the client and agency.

Phase 3 — Ideas
In this phase, the idea will be formulated according to the strategy. This idea will
communicate the advertising message to the audience that is being expressed
through design and copy.

Phase 4 — Design
During this phase, the idea is being articulated in visual forms. Several options will
then be presented to the client.

Phase 5 — Production
The various advertising formats for the design will be executed. These are
produced depending on the type of formats that will be used for the advertising
project.

Phase 6 — Implementation
In this final phase, all formats are being deployed and put into effect. After the
project has ended, the client and agency may conduct a debrief session to review
the overall strategy, idea, its consequences, and success.

READ:
Pages 15 – 17 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

The Essentials of Advertising - An Introduction

(Access video via iStudyGuide)

SU1-23
 VIS251 STUDY UNIT 1

REVIEW QUESTIONS

1. What is an advertisement?

2. What is cause advertising?

3. What is an advertising agency?

4. Name the general categories of media where advertising is aired or run.

5. What is an advertising agency?

6. Name some ways to practise ethical advertising.

7. What are the six phases of any advertising project?

SU1-24
 VIS251 STUDY UNIT 1

SOLUTIONS

1. What is an advertisement?

An advertisement is a specific message constructed to inform, persuade,

promote, provoke, or motivate people on behalf of a brand.

2. What is cause advertising?

Cause advertising is used to raise funds for nonprofit organisations and is run
in paid media.

3. What is an advertising agency?

An advertising agency is a business that provides clients with creative,

marketing, and other business services related to planning, creating,
producing, and placing advertisements.

4. Name the general categories of media where advertising is aired or run.

The general categories of media include conventional and unconventional

media. Under conventional media there are print, broadcast, broadband and
interactive.

5. What is an advertising agency?

An advertising agency is a business that provides clients with creative,

marketing, and other business services related to planning, creating,
producing, and placing advertisements.

6. Name some ways to practise ethical advertising.

Ways to practise ethical advertising include, treat the audience with respect
(respect people’s religion, race, gender, age and ethnicity), being truthful, and
being responsible.

7. What are the six phases of any advertising project?

The six phases are – Overview, Strategy, Ideas, Design, Production, and
Implementation.

SU1-25
 VIS251 STUDY UNIT 1

REFERENCES

Websites

Ads of the World: Creative Advertising Archive & Community. Retrieved from
[Link]

Coloribus: Creative Advertising Archive. Retrieved from [Link]

SU1-26
VIS251
Advertising Design

STUDY UNIT 2
Overview & Strategy
Formulating the Advertising Message
 VIS251 STUDY UNIT 2

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Overview Phase
• Explain the purpose of the overview phase.
• Discuss the relationship of the client and agency in the overview phase.

The Brand Idea

• Discuss and explain the importance of branding.
• Discuss the attributes, functional benefits and emotional benefits of branding.
• Describe and identify the various branding construction approaches that can be
considered for a brand.
• Define and describe the role of the target audience for a brand.
• Define and describe the role of the competitor for a brand.
• Define and describe the role of applying our senses for a brand.
• Explain and discuss the function and application of branding for the
development of the client brief.

The Client Brief

• Explain the purpose of the client brief and its importance.
• Describe and discuss various key issues that are required to be addressed in the
client brief.
• Construct and develop a client brief.

Strategy Phase
• Explain the purpose of the strategy phase.
• Identify the people who are involved in the strategy phase.

The Advertising Message

• Define and discuss the importance of brand and consumer insights for the
development of the advertising message.
• Discuss and demonstrate the use of various tools that will help in finding an
insight for a brand.
• Describe and demonstrate the formulation of the advertising message
(proposition) with the aid of brand and consumer insights.
• Discuss the function and application of insights and proposition for the
development of the creative brief.

The Creative Brief

• Explain the purpose of the creative brief.
• Describe and discuss various key issues that are required to be addressed in the
creative brief.
• Construct and develop a creative brief.

SU2-1
 VIS251 STUDY UNIT 2

OVERVIEW

Phase 1 — Overview. This section explains the first phase of the advertising project
process — overview. It will provide students with the knowledge in the areas of the
relationship between the client and agency, and the client brief.

Phase 2 — Strategy. This section explains the second phase of the advertising
project process — strategy. It will provide students with knowledge and tools for
the development of a creative brief and formulation of the advertising message
(proposition).

SU2-2
 VIS251 STUDY UNIT 2

2 PHASE 1 — OVERVIEW

2.1 Overview Phase

Phase 1, the overview phase of an advertising project process, is also known as the
Orientation. It includes the initial meeting with the client and then the agency's
internal planning meeting thereafter.

The initial meeting and internal meetings only involve the client and the directors
or managers from the various departments in the agency.

Initial meeting with the client. During the initial meeting, the client will present a
brief on the project. This brief, which is called the client brief, should provide the
agency with as much information and guidance as possible to help them formulate
the best solution for the project.

The client brief should clearly introduce the company, state the objectives of the
project that is based on a thorough analysis of the current status of the brand and
its marketplace, role of project that clearly states the problem that needs to be
solved, the target audience, competition, budget, schedule and deadlines.

The agency needs to listen carefully to the information the client offers as they may
gain useful insights to formulate the advertising message. Listen to what the client
has to say about the problem, audience, and marketplace, as they are the experts
about their business.

Agency's internal meeting. This meeting occurs after the agency's initial meeting
with the client. This meeting will further define the brand and project from their
understanding from the client brief. Sometimes this phase will involve market
research, material gathering, follow-up meetings, and setting the design and
production schedule as well.

2.2 The Brand Idea

The brand idea — also known as “brand promise” or “brand essence” (Hollis, 2008,
p. 15) — is an idea that instils a brand with character and personality that is unique.
Just think of Apple, Coca-Cola, or McDonald's and you will realise how crucial
effective brand idea is to success. Certainly, there are other factors that contribute to
a brand’s success. These include the quality of its product or service, public
perception, relevance to people’s lives, and the time period and culture.

The brand idea is based on several factors:

• The nature of the brand.

• A strategic brand personality.

SU2-3
 VIS251 STUDY UNIT 2

• Positioning.
• The goals of differentiation and distinction.
• The target audience.
• Things that are important to the target audience.

Benefits of Brand Idea

1. Identify and distinguish the brand. The brand idea can identify and
distinguish a brand; the company, product, service, commodity, or an
individual from his competitors in an overcrowded competitive
marketplace.

2. Build brand equity. The brand idea will also build equity that is the value
of the brand. Very few products or services belonging to a brand are unique.
Most are parity products that offer similar or identical functions and
qualities that are to those of their competitors. Branding and advertising can
differentiate this parity in a crowded marketplace.

3. Build relationship between brand and audience. Eventually, the brand

idea will aid in building a relationship with its audience when the audience
experience the brand.

Brand Construction
We can think of a brand construction as developing a personality for a brand. It
also helps the agency in determining if the strategy is “on brand” (in step with the
brand’s identity and positioning) or “off brand” (not in sync with the brand’s
identity). Advertising that is off brand is a potential hazard (Figure 2.1).

CONSTRUCTION
INDICATORS

THE
BRAND
IDEA

CONSTRUCTION CONSTRUCTION
FACTORS APPROACH

Figure 2.1: Brand construction diagram.

1. Construction Indicators. Whether the brand idea is determined before the

agency comes on board or being developed with or by the agency, the

SU2-4
 VIS251 STUDY UNIT 2

following construction indicators must be identified for the brand (Figure

2.2).

Attribute. Functional Benefit.

It is a defining property or characteristic of The practical or useful characteristics of
the brand. It is formally defined as a set of the brand.
human characteristics that highlights the
physical and personality aspects of the brand.
For example, Marlboro is associated as a
"masculine' brand while Virginia Slims is
seen as 'feminine'. For Apple, it is known as
'innovative', 'stylish', 'cool', and 'easy-going'.

BRAND

Emotional Benefit. Value.

The positive response from the audience In the end, what a person wants from the
as a result of using the brand. This may brand. An example is, how much more a
derive from personal significance, or the consumer is willing to pay for a coffee at
reward and the desire to feel good. Starbucks as opposed to a coffee found at a
Emotional benefit is not based on a coffee-shop.
tangible characteristic of the brand but
rather on subjective experience.

Figure 2.2: Brand construction indicators.

2. Construction Factors. The following are factors that you will need to
consider when developing an effective brand construction:

Differentiation. Differentiation is what distinguishes one brand from

the rest. A brand differentiates itself from how it is
being characterised, how its visual and verbal identity
are being expressed in every communication.

Ownership. Part of what differentiates a brand is to own the

attitude, functional benefit, emotional benefit, or any
other characteristics that can contribute to create a
distinct brand construction.

Relevance. The brand idea should be based on an insight into the

audience. It must exemplify something that is either
tangible or intangible. Something that the audience
can find compellingly relevant to their lives (value of
the brand).

Useful Branded One way to make a brand relevant is to create a useful

Utility. utility for the audience's life, so that it can appeal to
and earn their attention. This utility has to be based on
the audience's special interests or needs. In doing so,
the audience will feel more confident on the

SU2-5
 VIS251 STUDY UNIT 2

relationship with the brand and that it will continue to

be part of their life.

Branded utilities encompass a wide variety of

applications, from print to mobile, and from web sites
to environmental installations. The Michelin Guide is
an excellent example of a branded utility (The Michelin
Guide, New York City Restaurants 2010. Image from
Landa, Robin, Advertising by Design (2010), Pg 52, Figure
4-3). It is a series of annual pocketsize books that
contain useful information on travel, hotel, and
restaurant for over a dozen countries. According to
Michelin, the Michelin Guide has been developed to
encourage people to drive, and along the way, enjoy
the journey.

Another successful branded utility is the Samsung

Mobile Charging Stations that can be found at the
airports. These stations offer travellers the
convenience of free recharging of their mobile phones,
laptops, and other personal electronic devices.

People are engaged by compelling narratives. When a

brand has a story to tell, it will create more
dimensional as the audience get to experience the
entire brand story through visual and verbal
communications that are presented in different media
channels.

Storytelling. If the story hits a nerve, the brand moves from being a
product or service to becoming an influencer with a
set of values.

An example will be when Dove took itself from being

a bar of beauty soap to a powerful brand story. It has
challenged beauty stereotypes and help women feel
more positive about their own individual beauty.
(Dove, Grey/Gorgeous, [Link].
Agency: Ogilvy & Mather, United Kingdom, Client: Dove,
Year: 2011. Image retrieved from
[Link]

Related to storytelling is the theme. The theme is a

distinct concept or topic-based element that may be
derived from nature, society, politics, religion,
freedom, poverty, or empowerment. Variations on a
theme can also work as a platform for idea generation.

SU2-6
 VIS251 STUDY UNIT 2

Unity. Unity has to be imposed across all media channels

that are selected so as to have a consistent brand idea
that is put across all visual and verbal
communications.

Common A brand has to connect with its audience through

Experience. different media channels with common experiences so
that they will remember and recall the brand's
construction.

3. Construction Approaches. Successful brands are based on concepts. There

are many possible conceptual approaches as there are creative solutions to
any problem. The following shows how a brand construction can be cast as:

A brand that connotes something. It can suggest honesty, stability,

authenticity, style, originality, safety, reliability, good health, luxury,
prosperity, down-home goodness, shared values, mindfulness, or self-
improvement.

A brand that embodies something. It can be about ethics, humanitarianism,

preservation, coolness, fun, family values, respectability, excitement, energy,
novelty, inventiveness, cutting-edge research, healthful living, or an active
lifestyle.

Following are some of the possible approaches for a focus of a brand

construction:

The Gold This approach positions a brand as a model for

Standard excellence, the benchmark of quality in its category and
builds confidence and trust with its audience.

The Authority It establishes a brand as the authority that has been

endowed with power over its competitors and builds
acceptance with its audience.

Origin It focuses on the country that the brand comes from.

This adds authenticity to the brand. For example,
chocolate from Belgium may be seen as more appealing
than chocolate from another country that is not known
for this treat.

Original It is about being first in a category. It suggests that the

brand is a unique entity or a trendsetter, from which
imitations or alternative versions would follow after. If
the brand is perceived to be the first or the original
(even though it is not), people will always view it as
superior.

SU2-7
 VIS251 STUDY UNIT 2

Spirit A brand can characterise a vital force, a sense of self,

enthusiasm, energy, or state of mind to inspire its
audience. It can also create a feeling in someone of
belonging to a group, cause, or country.

Irony The underlying approach is that the audience know

that the brand is trying to sell them something. In this,
advertising professionals have found value in reaching
the audience without any pretence and no hard sell.
When communicating to the audience, the advertising
is laid out in a fun and interesting manner.

In 2007, Singapore was first introduced to two drinks ‒

Anything and Whatever. These drinks had unique
packaging concept such that every beverage had a
generic design, with no way of telling what flavour was
contained in the can until the consumer drank from it.
In addition, the designs on the vending machines that
sold the drinks, carried fun and interesting situations.
(You never know what you are going to get. Agency: JWT
Sydney, Australia, Client: Out of the Box, Singapore, Year:
2008. Image retrieved from
[Link]
_soft_drinks_farm)

Attitude Many audiences are responsive to brands with attitude,

whether it is arrogant, mannered, wry, irreverent,
tongue-in-cheek, chic, cool, or cheeky.

Exclusive Club At times, a brand can take on a personality that makes

it feel special and exclusive. This also includes owning
or using certain brands or to belong to a certain
charitable group that offers an insider pass to certain
lifestyles or communities.

Wholesomeness A brand may be suitable for taking a route that

suggests clean living, common sense, and a virtuous
lifestyle.

Family Family as an approach evokes and celebrates family

traditions and life.

Rebellion and It is not difficult to imagine the use of rebellion and

Nonconformity nonconformity in an advertisement. An approach that
signifies defiance or nonconformity can be relevant to
some brands and certain audience.

SU2-8
 VIS251 STUDY UNIT 2

Values When a brand has values that people respect, they can
be expressed in the brand idea as an advantage. For
example, a brand that is concerned with environmental
issues may base its approach in that viewpoint.

Emotional Components for Brand Idea

Developing the brand idea through the brand indicator and approaches
components are not enough to create an overall experience. The brand idea does
not only pertain to sight but it has to be multi sensory as well. That means that the
entire brand idea can be built through our five senses; sight, sound, touch, taste,
and smell to create a unique experience for the audience.

1. Sight. Visual communications of the brand appeal to the eye through

display, light, shapes, colours, graphics, typefaces, and movements. The use
of the different types of appeals communicates different characteristics
about the brand personality and intended advertising message.

2. Smell. Paying attention to smell can be an important strategy in creating an

environmental experience for a brand. Some of these environments can use
both real and artificial smells to influence the behaviour of their audience. A
smell, when used correctly in association with the brand, can trigger
emotional responses in the audience. This can cause them to relax, energise,
and reminisce. The unique smell can in turn bring about brand recall
whenever the audience comes across the scent anywhere. Moreover, by
using a specific smell, a brand can also achieve a stronger and more
differentiating brand.

3. Sound. Sound is used in the form of music or noise that generates mood
that creates feelings and emotions in the audience. The music can be used to
strengthen the emotional part of the brand and to give an environment a
desired ambience.

4. Taste. The brand experience becomes more relaxing when audiences are
able to eat and drink. Taste can be stimulated in many other different ways.
An example would be of promoters giving demonstrations on cookeries that
allow consumers to taste the food after the demonstration and even an offer
of a drink for the consumers while browsing through a store.

5. Touch. It can be the touching of the products, the materials that are used for
the visual communications, and even the right temperature to create the
right mood for an environment. The touching of a product enables the
consumer to experience the pleasure of holding and playing with
something. At the same time, it allows the consumer to have the enjoyment
of imagining that the product belongs to him before he decides to buy it.

SU2-9
 VIS251 STUDY UNIT 2

The materials used for the visual communications of a brand can also evoke its
personality. An example is that of using softer materials like fabric and wood that
will tell of a brand as a friendly and warm personality.

READ:
Pages 94 – 95 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

ACTIVITY 2.1:

Brand Construction Approaches

The following is a list of possible approaches for brand

construction. Identify a brand that fits into each of the approach:

• The Gold Standard.

• The Authority.
• Origin.
• Original.
• Spirit.
• Irony.
• Attitude.
• Exclusive Club.
• Rugged Individualism.
• Wholesomeness.
• Family.
• Rebel / Anti-authority.
• Values.

In a paragraph, explain why with reference to their advertising.

In addition, based on the construct, try to identify construction
indicators as well.

SU2-10
 VIS251 STUDY UNIT 2

2.3 The Client Brief

Every advertising project starts off with the brief from the client. This brief is an
important document that provides the agency with necessary information that will
help them to understand the brand and help in the development of the advertising
strategy and ideas in Phases 2 and 3 respectively.

Sections of the Client Brief

The client brief should address the following key issues:

The Business. An introduction to the company. It covers what the business is

all about and the products and services it provides.

The Brand. It is important for the agency to learn as much as possible about
the company's brand. It should include the brand's identity, attributes, values,
functional benefit, and emotional benefit.

Previous Learning. Past materials that have been created can be useful to the
agency, as they will help in the analysis of what is workable and what is not to
reach the audience.

Project Objectives. A definition of the client's objectives for the campaign.

These can be an increase in sales, create awareness or a shift in the audience’s
perception of the brand. Knowing what the client aims to achieve will help the
agency to create a more targeted campaign.

Initiatives. This will include details of any on-going initiatives being

undertaken at the same time by the client's marketing department to achieve
the mentioned objectives. This will ensure that any new campaign created by
the agency can be fully integrated into other marketing activities if required.

The Audience. This element of the brief will be the most influential on the
direction of the strategy, ideas, design, and the media chosen to communicate
the message. The clients need to tell the agency as much as possible about
their audience and potential audience. These may include who they are, why
they buy, may buy, or currently do not buy from the brand.

Competitive Analysis. The client should also detail the current position of the
brand, product, or service in terms of sales, market share, distribution and
consumer attitudes. They have to be completely honest about their brand and
present its strengths as well as weaknesses. In addition, the brief has to also
recognise any threats that are posted by its competitors as well as any
opportunities that are yet to be exploited.

SU2-11
 VIS251 STUDY UNIT 2

The client will usually make use of a SWOT (strengths, weaknesses,

opportunities and threats) analysis to display the brand in the context of the
marketplace in which it operates in (Figure 2.3).

STRENGTHS WEAKNESSES
Examples of the brand’s Problems that the brand
strong points in the marketplace. is facing. These may include
These are often compared to issues such as consumers who
competitors, or the market no longer find the brand
leader. relevant or the fact that the
brand is not offering the same
benefits as its competitors.

OPPORTUNITIES THREATS
These may include the A threat may come from a new
opportunity to market the brand competitor entering the
to a new target audience or marketplace or a change in
technological advances. legislation that may limit the
marketing opportunities for
the brand.

Figure 2.3: SWOT diagram.

Deadline & Schedule. Details that are related to the management of the
project that includes a timeline and deadlines for specific project milestones.

The Budget. An estimated budget for the project. This will allow the agency to
develop a solution that will not go over the budget.

Mandatories. Specifies any elements such as the logo and graphic elements
that have to be included in the materials of the project.

Approvals. A list of people from the client who are responsible for approvals.

SU2-12
 VIS251 STUDY UNIT 2

3 PHASE 2 — STRATEGY

3.1 Strategy Phase

Once Phase 1 is completed, the next focus is on the strategy. The agency's account
management and account planning teams will transform the client brief into a
creative brief. Together with the CD, they will examine, assess, discover, and plan
accordingly with the information gathered from Phase 1.

Development of the strategy — the creative brief. During the strategy phase, there
should not be any conceptualising or designing. The strategy is considered as an
approach — the solution and direction that will be developed based on market
research and insights to achieve differentiation, relevance, and resonance in the
marketplace. Moreover, the strategy provides guidelines for the client, agency and
most importantly the creative professionals for all visual communication
applications in the creative brief.

While the strategy is being developed, the media planning team will be considering
the most appropriate media for the target audience. Advertising can only be
effective if it researches the audience that it is intended to reach. The best
advertising strategy in the world will be ineffective if the right target audience is
not exposed to the right media channels.

Information gathering. Sometimes, the information provided by the client in the

client brief may not be sufficient for the agency to begin their work on the strategy
phase. Therefore, it may need to be supplemented. When this happens, the agency's
account planning team will step in. They are responsible for getting under the skin
on the brand and target audience:

The brand. The account planning team needs to learn as much as

possible about the uniqueness, attributes, values,
functional benefits, and emotional benefits of the brand.
Following that, a comparison between the brand and its
competition.

The target audience. The account planning team has to empathise with the
target audience to a degree that they begin to think in the
same way as the target audience. They are required to
discover what the target audience really thinks about the
brand. In addition, how and why these target audience buy
it. The information will be vital to the development of the
strategy that will lead to the message, idea and design solutions.

The creative brief. Each type of agency, being a small advertising agency,
interactive studio, or design studio can handle the brief differently. A brief can be
written collaboratively by the client and agency, or the client can write it by

SU2-13
 VIS251 STUDY UNIT 2

themselves and give it to the agency. In smaller agencies, the team of Art Director
and Copywriter may have the opportunity to work on the creative brief.

With new and emerging media, an integrated team is also critical to the
development of the creative brief, as they will provide a broader strategic thinking
and multiple perspectives for the advertising project. Hence, professionals from
other fields can be assembled for the purpose of constructing the creative brief.
These could include information technology (IT) professionals, architects, interior
designers, industrial designers, and among others.

Client review(s) during Phase 2. During certain parts of the process in Phase 2, the
client should review, offer input, and approve decisions made thus far. Asking a
client to review and sign off on what has been discussed and determined can help
avoid misunderstandings throughout the project.

SU2-14
 VIS251 STUDY UNIT 2

3.2 The Advertising Message

Effective advertising is driven by an underlying advertising message. It is

determined by what will be said and how it will be designed on all advertising
communications.

"By combining consumer and brand insight, one can attain an advertising
'sweet spot' — the most effective place to hit the audience with your
marketing messages." Fortini-Campbell. Hitting the Sweet Spot: How Consumer
Insights Can Inspire Better Marketing and Advertising (2001).

Consumer and Brand Insights

The development of an effective advertising message relies on the account planners
really getting to know the target audience and discovering some consumer insights
that will help them to engage them. The consumer insight is a relevant insight into
how people think, what they need or desire, and how they act. This is important for
idea generation. That consumer insight should be brought together with an insight
into the brand (Figure 3.1).

CONSUMER
INSIGHT

THE
ADVERTISING
MESSAGE

BRAND
INSIGHT

Figure 3.1: The advertising process diagram.

SU2-15
 VIS251 STUDY UNIT 2

Seeking a Consumer insight does not come from sitting and thinking
Consumer Insight about the target audience. It is important to become
immersed into their world by talking to them, observing
them, read what they read, watch and listen to the same
things. This is where research comes in and sometimes,
account planners are required to sit in focus groups,
interview consumers and spend time observing their
behaviour.

Pen portraits. It is an informal description of a person or

group of people. It may cover age and other 'hard'
variables, but will focus on softer dimensions such as
attitudes, appearance and lifestyle. The pen portrait may
include the following:

Name
Age
Location
Occupation
Marital Status
Number of Children
Cars
Pets
Hobbies
Views
Media consumption
Where they shop
What brands they buy
Celebrities that they like/don't like
Online activities
Holidays
Favourite magazine / food / celebrity / film / book / music
Attitudes to health / politics / environment

Seeking a Sometimes during research, a sample of the target

Brand Insight audience will be asked to complete a diary to show their
patterns of behaviour. This can then be used to supplement
the pen portrait and guide the account planner to a better
understanding of a day or a week in the life of the people
that they are trying to connect with.

During the first two phases of the advertising project

process, an insight for the brand might be identified and
defined in the creative brief. If not, you may need to
conduct your own research, especially research that

SU2-16
 VIS251 STUDY UNIT 2

considers the audience's point of view on the brand. A

thorough appraisal of the brand, product, or service you
are advertising will help find a brand insight.

The following are some techniques that can be used to find

out an insight for a brand:

Fact vs. Opinion

TOPIC

FACTS OPINIONS
• •
• •
• •
• •
• •
• •

ASSESSMENT
•
•
•
•
•
•

INSIGHT

Figure 3.2: Fact vs. Opinion Mapping.

• Write your topic or brand at the top of a page.

• Divide the page into two columns.
• In the left-hand column, list the facts.
• In the right-hand column, list the opinions.
• Add details to each column.
• In the bottom column, assess and analyse the brand
to find an insight.

SU2-17
 VIS251 STUDY UNIT 2

Persuasion Mapping

GOAL

REASON REASON REASON

FACTS FACTS FACTS

• • •
• • •
• • •
• • •
• • •

BENEFITS BENEFITS BENEFITS

• • •
• • •
• • •
• • •
• • •

INSIGHT

Figure 3.3: Persuasion Mapping.

• In the first box, write out the goal of the advertising

project.
• In the next set of three boxes, write a different reason
for the goal as written.
• List facts and examples in the boxes that branch from
the reason boxes.
• List functional and emotional benefits and examples
in the boxes that branch from the reason boxes.
• In the bottom column, assess and analyse to find an
insight.

SU2-18
 VIS251 STUDY UNIT 2

From Benefits to Insight

TOPIC

FUNCTIONAL BENEFIT(S)
•
•
•
•
•
•

EMOTIONAL BENEFIT
•

INSIGHT

Figure 3.4: Benefits to Insight Mapping.

• Write your topic or brand at the top of a page.

• Identify the functional benefit(s).
• List how the benefit(s) can best be explained.
• Identify any unique selling point (USP).
• If there is no functional USP, is there anything that
this brand does differently from the competition
that could be highlighted?
• Distinguish the emotional benefit in order to
discover the relationship between the product and
the consumer.
• Couple the functional and emotional benefits to
find an insight.

READ:
Pages 120 – 123 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU2-19
 VIS251 STUDY UNIT 2

3.3 The Creative Brief

A creative brief is a written document that outlines and states the strategic plan for
an advertising project. It is also called a design brief or a creative work plan.

A good creative brief should be written in a way that stimulates creativity and
promotes original ideas. Some briefs suggest routes that the creative team may
wish to explore while others contain snippets of information that may trigger the
imaginative minds of the creative team. The creative brief also allows the agency to
check and assess whether their ideas have achieved all of the requirements as
outlined in the client brief.

Key Criteria of a Creative Brief

When the creative brief is constructed, it should aim to achieve the following key
criteria:

An Opening Dialogue. The creative brief is where the strategic process ends (from
the client brief and any supplement research) and the creative process begins. As
such, it should open up a dialogue with the creative team that will provide
important background information, and also lend itself to further explore and
discover new ideas.

A Point of Focus. A thoughtful and clear brief can foster focused, critical thinking
and lead to creative concept formulation. The creative brief should answer two key
questions. They are: what does the project want to say, and who does it want to say
it to. These answers will help the creative team to anchor their ideas and prevent
their concepts from drifting off the brief.

The brief should also not be written in a way that is restrictive so that it could
constrain creativity. It should help to guide it in the right direction.

A Contract. The creative brief serves as a statement of intent. It provides both the
client and agency with a common reference point of what has been agreed in terms
of the advertising objectives, the message, audience, the tone of voice, the various
form of media and budget. The client will be expected to approve the brief before
the creative work commences.

A Checklist. The creative brief should clarify the campaign's objectives and
deliverables (outcomes). In doing so, the client and creative professionals can go
back to the brief for guidance, or the agency can use it to demonstrate and support
their ideas during presentations.

Sections of the Creative Brief

The creative brief should be written in simple terms. Although the format of the
brief can vary from one agency to another, the general content should include the
following key sections:

SU2-20
 VIS251 STUDY UNIT 2

The Background. This section provides the fundamental need-to-know

information about the company and its brand. It may include details of past
and present perceptions of the brand, competitors, market conditions, and
advertising communications. It should also outline the advertising problem
that establishes a reason for the advertising project.

The Objectives. It is also referred to as the role of advertising. This section

outlines what needs to be achieved through the advertising project. It could be
to grow awareness of the brand, to inform people of an issue, to encourage a
shift in behaviour for the brand, or to prompt an increase in sales. Whatever
the objectives are, it is important that they are expressed in a clear way so that
everyone has a common understanding of what they are and what need to be
achieved.

The Target Audience. The agency defines the target audience that they are
addressing with in the advertising project with help from the client brief and
supplementary research. The brief should include information that provides
insights into the behaviour and personality of the target audience such as their
lifestyles, interests, pursuits, beliefs, jobs, expectations, and how they
generally tend to act or think. These are essential for the creative team so that
they can have a clearer idea of who these target audience are to develop their
ideas. If the audience is too diverse in nature, it will be difficult for them to
develop ideas to reach them.

The Proposition. This is the advertising message (Figure 2.7). Many agencies
define this as the single most important thing the brand wants people to
remember when they see the advertising project. The proposition should be
single minded and focused. It should provide the target audience with the
reason why they should buy the product or service.

In society where the average person is exposed to thousands of

advertisements a day, the advertising message has to be cut through a great
deal of virtual noise. People are more likely to recall a single strong reason to
buy a product than a full list of all other things the product can do or offer
them. Therefore, it is very important that the agency decides which of these is
the most important and the most likely to interest the target audience.

Substantiation (to support). This is the part of the brief that provides the
reasons why the target audience should believe the proposition. These
evidences may include facts and figures about the brand such as its
performance, popularity, or comparison with its competition. The creative
team will be responsible for expressing this information in an original and
memorable way to make the advertising proposition believable.

Tone of Voice. The tone of voice refers to the overall mood projected

SU2-21
 VIS251 STUDY UNIT 2

throughout all advertising communications. There are many different tones of

voice that the creative team can use. This will provide the team with
opportunities to emphasise a particular aspect of the brand or make a
connection with the target audience.

Requirements. This section of the brief lists the specific media choices and
sizes that are needed to communicate the proposition to the target audience.
These may include newspapers, magazines, posters, television commercials,
internet banners or locations. This section will also provide details on the
value measurement of the media.

Reaction from Target Audience. This information may or may not be

included. It outlines how the agency wants the target audience to react to the
advertising project and what they want the audience to think or do after they
have seen the advertisement. This is especially useful to describe the value of
unconventional media.

Mandatories. The last section of the brief will cover the mandatories also
known as the executional considerations. It will specify any elements that
have to be included in the all advertising communications. Typically, these
may include items such as the logo, slogan, website address, telephone
number, other contact details, or any legally required information. The client's
corporate identity style will also have to be considered. The use of certain
typestyles, colours, images, and style of the advertising may be stipulated to
its corporate brand guidelines.

READ:
Pages 17 – 18 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

ACTIVITY 2.2:

Creative Brief

Choose a favourite brand:

• Identify the main audience.

• List the physical or functional attributes (parts, characteristics
properties, qualities, or design elements) of the brand under
examination. List as many attributes as you possibly can.
• Identify any functional or emotional benefits of the brand.
• Write a creative brief for that brand.

SU2-22
 VIS251 STUDY UNIT 2

Overview & Strategy - Formulating the Advertising Message

(Access video via iStudyGuide)

SU2-23
 VIS251 STUDY UNIT 2

REVIEW QUESTIONS

1. In advertising, what does the term audience mean?

2. What is the brand idea?

3. What is a brand construct?

4. How is an advertising idea expressed?

5. Which two insights should you be looking for when you are formulating
strategy and ideas?

6. What is a creative brief?

SU2-24
 VIS251 STUDY UNIT 2

SOLUTIONS

1. In advertising, what does the term audience mean?

The audience is the targeted, specified group of people at whom the

advertisement is aiming the advertising message, design, and solution. The
audience is the main group who would purchase this brand or utilise this
information, service, product, or patronise this entity.

2. What is the brand idea?

The brand idea is the idea that imbues a brand with character that
differentiates it with competitors, and builds a relationship with the audience.

3. What is a brand construct?

We can think of a brand construct as a developed brand personality, a

strategic concept incorporating a positioning platform based on the brand
with insights into the brand itself and prospective audience. It is both an
armature and point of departure for differentiating and connecting with the
audience.

4. How is an advertising idea expressed?

An ad idea is visually and verbally expressed through the creation, selection,

combination, manipulation, and arrangement of visual and verbal elements
and the written copy.

5. Which two insights should you be looking for when you are formulating
strategy and ideas?

You should find an insight into the audience and another into the brand.

6. What is a creative brief?

A creative brief is a strategic plan that both the client and advertising agency
agree upon. It is also a written document outlining and strategising an
advertising project.

SU2-25
 VIS251 STUDY UNIT 2

REFERENCES

Book (Supplementary)

Hollis, N. (2008). The Global Brand: How to Create and Develop Lasting Brand
Value in the World Market. St. Martin’s Press.

Website

Ads of the World: Creative Advertising Archive & Community. Retrieved from
[Link]

SU2-26
VIS251
Advertising Design

STUDY UNIT 3
Ideas
Conveying the Advertising Message
 VIS251 STUDY UNIT 3

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Ideas Phase – The Big Idea

• Explain the purpose of the ideas phase.
• Identify the people who are involved in the ideas phase.
• Explain the definition of the big idea in advertising.

Creative Thinking
• Explain what creative thinking is and its role in advertising.

Tools that Stimulate Creative Thinking

• Describe and demonstrate the various tools that can help in stimulating creative
thinking.

Concept-Generation
• Describe the concept-generation process in relation to ideation.
• Describe and demonstrate the use of various methods available for ideation.

Creative Approaches
• Explain and discuss the differences between lecture, drama and participation
when conveying the advertising message.
• Explain and demonstrate the various approaches of lecture, drama and
participation that can be used in a campaign.

Campaigns
• Explain the purpose of a campaign.
• Discuss the criteria for judging the efficacy of a campaign.
• Discuss what constitutes an integrated campaign.

Storytelling and Campaign Structures

• Explain the role of storytelling for a campaign.
• Demonstrate and describe how a campaign story can be constructed.
• Describe methods that can be used to grab attention in a story.
• Identify and describe the four main campaign constructions.
• Discuss and describe each of the campaign constructions.
• Construct a campaign based on one of the four campaign constructions.

SU3-1
 VIS251 STUDY UNIT 3

OVERVIEW

Phase 3 — Ideas. This section explains the third phase of the advertising project
process – ideas. It will provide students with knowledge and tools to help them to
brainstorm and think creatively.

Creative Approaches. This section explains the various approaches that can be
used in a campaign.

Storytelling & Campaigns. This section explains the role of a campaign and what
makes it effective.

SU3-2
 VIS251 STUDY UNIT 3

4 PHASE 3 ‒ IDEAS

4.1 Ideas Phase

The Big Idea

Idea generation is the most challenging stage in the advertising project process.
Creative advertising requires the communication of the meaningful advertising
message to the audience through a concept that is expressed through the visual
design and copy (creative expression).

The big idea sets the framework and reasoning for all design decisions on how it
will be created visually (expressed through the creation, selection, combination,
manipulation, and arrangement of visual elements) and verbally (through the
written copy) in accordance with the advertising message developed during
strategy phase (Figure 4.1)

CONSUMER
INSIGHT

THE
ADVERTISING ADVERTISING
MESSAGE IDEA

BRAND
INSIGHT

Figure 4.1: The Big Idea process diagram.

Formulating this idea requires research, analysis, interpretation, inference,

reflective, and creative thinking. And it is the agency's creative team who is
responsible for the origination of the creative expression from the creative brief that
has been developed during the strategy phase. For any project, the team must
generate several viable concepts to present to their client.

Finally, the big idea also needs to be flexible enough to be used effectively across all
media channels selected for a period of time.

SU3-3
 VIS251 STUDY UNIT 3

The Creative Team

In the 1960s, Bill Bernbach of Doyle Dane Bernbach (DDB) introduced the concept
of the creative team that was made up of an Art Director and a Copywriter. When a
creative team works well, the division of labour might overlap. Being that, the Art
Director should be able to write copy, and the Copywriter should be able to think
visually. This model constructed by Bernbach had then produced some of the most
iconic advertising works during the advertising's "Creative Revolution” in the
1950s and 1960s. (Think Small. Agency: DDB, New York, Client: Volkswagen, Year:
1960. Image from Landa, Robin, Advertising by Design (2010), Pg 11, Figure 1-6)

The creative team will work under the guidance of the Creative Director in
generating ideas for the advertising campaign. The Creative Director makes the
final creative decisions on the idea, approach, art direction, and copywriting. He
will also supervise the creative team before the work is being presented to the
client.

Once the client has chosen the idea, the Art Director is then responsible for the art
direction (the overall look and feel, the visual style, and the selection of
photographer or illustrator), visualisation, and design. On the other hand, the
Copywriter is responsible for the writing.

In today's advertising agency, the structure created by Bernbach is still commonly

practised. The team also has to solve the client's advertising problems by having a
thorough understanding of the consumer behaviour and the many media channels
available to create better and new ideas.

Besides the traditional creative team of an Art Director and Copywriter, advertising
also depends upon other professionals as well. This can include the planners,
account executives, media executives and designers from the agency.

When dealing with screen-based media, there can be involvement with producers,
production, postproduction companies, talents (actor, musicians, photographers,
and illustrators), casting directors, location scouts, and many others.

READ:
Pages 114 – 117 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU3-4
 VIS251 STUDY UNIT 3

ACTIVITY 3.1:

Legendary Advertising Creative Professionals

Research two of the following legendary advertising creative

professionals. Summarise their advertising philosophy with
reference to their works:

• Leo Burnett • Bob Gage

• David Ogilvy • Amil Gargano
• Bill Bernbach • Ralph Ammirati
• Helmut Krone • Tom McElligott
• Rosser Reeves • Jay Chiat
• Bernice Fitz-Gibbon • Lee Clow
• Claude Hopkins • Roy Grace
• Bob Levenson • Hal Riney
• James Webb Young • Lee Clow

SU3-5
 VIS251 STUDY UNIT 3

4.2 Creative Thinking

Creative thinking is the process that we use when we need to come up with new
ideas for an advertising problem. It is a way of looking at the advertising problem
from a fresh perspective and to suggest unorthodox solutions thereafter. Creative
thinking enables a person to have the ability to stretch beyond the ordinary, to be
original, innovative, and flexible. It can happen in two ways ‒ accidentally and
deliberately.

Accidentally. This type of creative thinking can happen in any situations

unexpectedly. With your problem in mind, an idea can come out of nowhere or it
can be from your observations and reflections of your experience and surroundings.

Deliberately. This is achieved with the help of tools or techniques developed for
creative thinking. There are several hundred tools published in books by Michael
Michalko, Andy Van Gundy, James Higgins, Dilip Mukerjea, and many others. In
this section of the study guide, we will be looking at some selected tools that can
help you in solving the advertising problem identified.

READ:
Page 192 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU3-6
 VIS251 STUDY UNIT 3

4.3 Tools that Stimulate Creative Thinking

The following are tools that you can use to help in the creative thinking process:

Brainstorming
The objective of brainstorming is to generate as many possible solutions for the
advertising message or an advertising problem that has been identified. It is usually
conducted in a group of people, so that one contributor’s thought can help to build
on a solution or to trigger another’s.

How to Facilitate a Group Brainstorming Session

• Define the problem clearly, be specific, and concise.

• Appoint two people:
(1) An effective facilitator who will be responsible for running the
session and to help enforce the following guidelines:
> Every idea is accepted and recorded.
> Encourage people to build on the ideas of others.
> Encourage way-out and odd ideas.
(2) A good note taker.
• Include participants with different expertise. Encourage all participants
to contribute freely.
• Stay focused on the problem under discussion.
• Do not judge any contributed ideas during the session. Creativity
should not be stifled, no matter how hare-brained an idea may seem to
be in that moment.
• Notes should be evaluated at the conclusion of the session.
• Schedule a second round of brainstorming that will build on the ideas
that have been suggested in the first round.
• The average time taken for each round should be between 30 and 45
minutes.

Osborn’s Checklist
Alex F. Osborn was an advertising practitioner who became famous for pioneering
brainstorming techniques. He had created a checklist of questions that were
designed specifically for brainstorming sessions.

The aim of the Osborn’s checklist is to generate new ideas from existing ones. Each
of these questions can be used, one after the other, to push that idea further. The
checklist is flexible as it allows you to apply it to a product, a design of an
advertisement, a media that you will be using, or to answer the advertising message.

SU3-7
 VIS251 STUDY UNIT 3

The Osborn’s Checklist

Use. Can it be put to other uses? Determine if it can either be as it

is or it can be modified further.

Adapt. Can it be adapted in any way? Determine if it serves the

same purpose as other things. Suggest other ideas from
current or the past, or if it can be copied in any other ways.

Modify. Can it be modified? Determine if its meaning can be changed

through shape, colour, smell, motion, angle, or even with an
addition of a new twist.

Magnify. Can it be magnified? Determine if it can be made larger,

longer, taller, have something added to, or be multiplied.

Minify. Can it be minified? Determine if it can be made smaller,

shorter, have something removed, or reduced.

Substitute. Can it be substituted? Determine if it can be used in place of

other material, someone else, other processes, other
approaches, other places, or another tone of voice.

Rearrange. Can it be rearranged? Determine if its pattern, layout, or

sequence can be rearranged or change in its pace.

Reverse. Can it be reversed? Determine if it can be turned back-to-

front, inside out, roles reversed or turned into an opposite.

Combine. Can it be combined with something else? Determine its

purpose, form, or some other aspect of it that can be
combined with another.

Mapping
Mapping is a brainstorming and visual diagramming tool that is used to develop an
idea, represent thoughts, words, information, tasks, or images in a specific
diagrammatic arrangement. It is also known as word mapping, idea mapping,
mind mapping, word clustering, or spider diagramming.

The resulting visual map of a mapping is called a mind map. It consists of a central
key word or thought. Stemming out from the central key word are all other words,
visuals, or thoughts that are related and linked to it.

SU3-8
 VIS251 STUDY UNIT 3

How to Create a Mind Map

Since the nature of the drawing process maximises spontaneous mapping,

doing it by hand offers more outcomes. Drawing your own map is likely to
increase personalisation and to encourage a natural flow of thoughts. A mind
map can be created in the following manner:

• Position an extra-large sheet of paper in the landscape position.

• Write the advertising message or problem at the centre of the page.
• Starting from the centre, draw out branches using lines in all
directions, making as many associations as possible. Do not be
judgemental. You should try to write or draw freely.
• Each subtopic should branch from the major central message or
problem. Then, each sub-subtopic or image should branch out from the
subtopic and so on, and so forth. Seek relationships and generate as
many items as possible. Feel free to repeat items and cross-link items.

TOPIC

Figure 4.2: Mind Mapping diagram.

Graphic Organiser
A graphic organiser is a pictorial way to illustrate the relationships among facts or
ideas, similar in the purpose of a mind map. It is a visual way to display
information, making it easier to see previously unrealised and significant
connections. Usually, a graphic organiser is a segmented structural configuration
with blank areas to be filled with related possible ideas and information that can be
written or drawn. There are various structured organisers for different purposes:

Spider Map. It is used to describe a central idea and its supports as

(how they function, their characteristics) a thing, (example

SU3-9
 VIS251 STUDY UNIT 3

a product such as shampoo), a service (such as cancer

screenings or roofing), a process (such as grinding glass for
lenses or learning to read), a concept (bravery), or a
proposition (education should be available to every citizen)
(Figure 4.3).

___________ __________
___________ ____________

TOPIC

___________ ____________
___________ ____________

Figure 4.3: Spider Map diagram.

Timeline. It is used to represent significant events, ages, or

chronology (Figure 4.4).

2 3
INITIAL END
EVENT EVENT
1 4
Figure 4.4: Time Line diagram.

Series of Chain It is used to delineate the consecutive steps in a process on

Events. how each step leads to one another (such as how to bake
bread), the stages of something (such as the cycle of a
disease), or a sequence of events (such as how dropping
out of school leads to difficulties in life and work) (Figure
4.5).

SU3-10
 VIS251 STUDY UNIT 3

INITIAL
EVENT
1

EVENT
2

EVENT
2

Figure 4.5: Series of Chain Events diagram.

Continuum Scale. It is used to illustrate the degrees of something (noise),

degrees of value (agreement to disagreement), or ratings
(popularity) (Figure 4.6).

LOW HIGH

Figure 4.6: Continuum Scale diagram.

Cycle. It is used to illustrate a sequence of events that are

repeated to demonstrate relationships, key events in the
cycle, or perpetuation (such as growth cycles or laundry
cycles) (Figure 4.7).

SU3-11
 VIS251 STUDY UNIT 3

EVENT
4

EVENT EVENT
1 3

EVENT
1

Figure 4.7: Cycle diagram.

Compare / Contrast It is used to point out attributes of likenesses and

Matrix. differences between things, such as between two objects
{kettle and drum), between processes {constructing a
building and designing a page), or between ideas, places, and
candidates (Figure 4.8).

ATTRIBUTES BRAND 1 BRAND 2

Figure 4.8: Compare / Contrast Matrix diagram.

Tree Structure. It is used to illustrate the relationship of subordinate levels

or categories stemming from a central element in a
hierarchy (such as the types of tools or levels of
government) (Figure 4.9).

SU3-12
 VIS251 STUDY UNIT 3

TOPIC

Figure 4.9: Tree Structure diagram.

Problem and It is a top-down diagram that is used to represent a

Solution Ladder. problem that is stated at the top of the ladder, attempted
solutions are listed on the next rung(s), and finally the end
results at the last rung (Figure 4.10).

PROBLEM

WHO

WHAT

WHY

HOW

WHERE

ATTEMPTED SOLUTION RESULTS

END RESULT(S)

Figure 4.10: Problem and Solution Ladder diagram.

Morphological Method
The morphological method is based on analysis and synthesis. You will need to
analyse the advertising message by defining all its important factors. After that,
you synthesise to combine the factors and alternative solutions to develop potential
solutions.

SU3-13
 VIS251 STUDY UNIT 3

How to use the Morphological Method

• Using the morphological structure (Figure 4.11), state the advertising

message clearly, be specific, and concise.
• List the important factors (Example: material, size, weight, or style).
• Below each factor, write or sketch as many alternative solutions you
can think of.
• Scrutinise all the solutions in the box for efficacy in solving the
problem.
• Make as many random runs through the alternatives, pick up a
different one from each column and assemble the combinations into
entirely new forms of your original subject.

ADVERTISING MESSAGE

FACTORS

MATERIAL SIZE WEIGHT STYLE

Make as many random runs through the alternatives, pick up a different one from each
column and assemble the combinations into entirely new forms of your original subject.

SOLUTION(S)

Figure 4.11: Morphological Method.

Framing
Frames can be thought of as conceptual structures that determine meaning. It can
be the meaning of an argument or the meaning of a situation. Frames offer meaning
in context, and they help us understand our world and quickly assess what is going
on in it. We can use a frame to examine a brand and to look for insights on the
advertising message.

Take a school, for example. The frame elements of a school will include elements
such as the teachers, dry erase boards, erasers, books, desks, chairs, and so on.

SU3-14
 VIS251 STUDY UNIT 3

Going further, a scenario in a school can tell us what is happening in the frame, that
can include a teacher reading from a book in front of a class of children or a boy
writing at his desk.

How to Frame a Scenario

• Determine the scenario.

• Determine the setting.
• Determine the people present.
• Determine the people's point of view around the scenario.
• Determine their goals.
• Determine their assumptions and perceptions.
• Discuss if there are any conflicts or cooperation.
• Discuss the outcomes.

Changing the Frame. Sometimes, frames may inhibit creative thinking as they
are based on common expectations that are derived from
shared experience. As such, a change of frame can be
useful. Changing a frame allows you to explore
possibilities, to imagine what a brand can be beyond its
current personality or how it is commonly perceived. You
will need to set aside preconceived notions and explore
alternatives.

The As-If Frame. Many times, we go with things that are familiar to us. The
same goes for ideas. We tend to apply ideas that have been
developed before and adapt them to the advertising
message. Therefore, we need to make use of the “as-if”
method so as to make ourselves believe that our constructs
are real.

If you are to approach a problem with an as-if frame, you

can create a scenario differently, and may gain a fresh
perspective or transformative perspective by exploring
different novel possibilities within that frame.

Reversal. Seeing a situation from a different perspective (reversal)

can help stimulate ideas. You can use reversal to reframe a
problem to stimulate ideas or to see it from a different
viewpoint.

SU3-15
 VIS251 STUDY UNIT 3

How to use Reversal

• Select a topic.
• Select an aspect (elements, characteristics,
components, or principles) of that advertising
message, and then reverse it. For example,
when dieting, one can eat whatever one likes.
When running, one must do it lying down.
• Any level of absurdity is welcome. Consider
opposite perspectives, look at a situation or
activity sideways, backwards, or from outside in.

Attribute Listing
It is a great technique to ensure that all possible aspects of an advertising message
have been examined. Attribute listing is breaking the topic down into smaller parts
and then examine them individually. In doing so, you may find a characteristic that
may lead to an idea. For example, if the item under examination is a laptop
computer, you can break it down into the screen, keyboard, and motherboard. Or if
the topic in question is a tax preparation service, you can break it down into the
online operation, the brick-and-mortar storefront, the name, the staff, the
environment, the proprietary preparation process, and so on.

How to use Attribute Listing

• Select an object, person, place, character, product, or service of the

advertising message for examination.
• List the physical or functional attributes (parts, characteristics,
properties, qualities, or design elements) of the object.
• List as many attributes as you possibly can.
• Separately list into its unique or unusual attributes.
• List the psychological or emotional attributes, if applicable.
• Think about the value, purpose, and benefits of each attribute.
Consider the positive versus negative value of each attribute.
• Examine ways that the attributes can be modified to increase positive
values or to create new values.
• Examine for potential leads for a design concept.

SU3-16
 VIS251 STUDY UNIT 3

Storyboarding
Stories are a way for people to communicate and relate. In the course of a day, each
of us tells stories to connect with others, to work things out, as a way of explaining
what has happened, or what we are thinking and feeling.

Conventionally, a storyboard is used to plot out the key scenes that are intended to
be filmed for a motion picture, television programme, animation, or commercial.
However, a storyboard format can also be used for thinking through a topic, to
explore the situation and outcome. It can also be used to see how an idea plays out
and how a story can be shaped by an idea.

How to use Storyboarding

• On consecutive panels, sketch key scenes of the story.

• Your storyboard can have as few as four panels and as many as
twenty (more than twenty might be too difficult to manage).
• Consider the brand and the kind of story that will best help you
explore the ideas or explain them.
• Choose from among conventional conflicts: person against person,
person against society, person against himself or herself, or person
against machine.
• Once the conflict is determined, determine the message, characters, and
plot.
• Consider telling a story where the brand plays a pivotal role in the
story. Or at least a role where the characters are involved with or use
the brand.
• List down how this story unfolds over time. Make sure it is coherent.
• An alternative route is to find an existing story and see how your
brand fits into it.

READ:
Pages 192 – 199 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU3-17
 VIS251 STUDY UNIT 3

ACTIVITY 3.2:

The Osborn’s Checklist

Take a photograph and apply the Osborn’s Checklist to it:

• Use.
• Adapt.
• Modify.
• Magnify.
• Minify.
• Substitute.
• Rearrange.
• Reverse.
• Combine.

SU3-18
 VIS251 STUDY UNIT 3

4.4 Concept-Generation

In 1926, Graham Wallas, an English political scientist and psychologist created a

concept generation process model that contained four steps ‒ preparation,
incubation, illumination, and verification. This model can be used to explain the
process taken to produce advertising ideas (Figure 4.12).

STEP 1 STEP 2 STEP 3 STEP 4

PREPARATION INCUBATION ILLUMINATION VERIFICATION

Figure 4.12: Concept generation process by Graham Wallas.

Step 1 Defining the advertising message and exploring its scope

Preparation. and boundaries.

• Research and examine materials and look for insights

and solutions connected to the message.
• Write any insights or observations on an index card, in
a notebook, or in a digital file.
• Finally, decide whether to accept, modify, or drop any
thoughts developed.

Step 2 Internalising the advertising message into the unconscious

Incubation. mind in preparation for idea generation.

• Once all the materials have been examined, it is time to

allow all you have learned to simmer in your mind.
• Take a break from the assignment and turn the concept
generation process over to your subconscious mind.
• Often during this step, many creative professionals turn
to other arts such as watching an art film, attending
music concert, or art exhibitions in the hope that these
will help to engage their conscious minds, stimulate
emotional responses, and encourage the subconscious.
Some may even prefer semiconscious behaviours such
as doodling, or daydreaming.

Step 3 Generating creative ideas, bringing into the consciousness.

Illumination.
• This is the period when possible solutions to the
message are generated and selected from the
subconscious to the conscious thoughts ‒ the moment
when solutions start to emerge to set the framework for

SU3-19
 VIS251 STUDY UNIT 3

all your design decisions.

Step 4 Verifying, elaborating, and applying the idea.

Verification.
• Once an advertising idea has been generated, you need
to evaluate it, assess it, and to test it for functionality.
• Most ideas require refinement to strengthen them and
to ensure they will work in practice.

Methods of Generating Ideas

However, if incubation has not worked for you, there are other methods to ignite
conceptual development. Listed here are some of the many ways to develop ideas.
Some of these are visually oriented and others are more strategic. Each of the
following methods can be thought of as a visual jump start or as a theoretical
starter.

Words. Try making word lists, word associations, word maps, or word mergers
that are related to the problem.

No Copy. Think in single iconic images, or cartoons that tell a story.

Connections. Connect ideas and images to make a point or to express a function or

emotion. In a campaign for the Society for the Prevention of Cruelty of Animals
(SPCA), Singapore, it has used the idea of a dog being a best friend in time of need
in an emotional situation. (There’s no better friend. Adopt a dog. Agency: Saatchi &
Saatchi, Singapore, Client: SPCA, Singapore, Year: 2009. Image retrieved from
[Link]

Merge. Combine two related or unrelated objects together to form a unique whole.
In a campaign for La Cucina Italiana, it cleverly illustrates the idea of merging an
office supply with a kitchen appliance to distinguish the magazine’s content from
others. (The Magazine with the kitchen in its office. Agency: D’adda, Lorenzini, Vigorelli,
BBDO, Milan and Rome, Client: La Cucina Italiana, Year: 2002. Image from Landa, Robin,
Advertising by Design (2010), Pg 75, Figure 5-2)

Synthesis. Combine more than two separate elements to form a new and more
complex whole. The method of synthesising is being used in the 3M lint roller
advertisement shows the integration of a 3M lint roller and a cat to tell a story. (3M
Lint Roller, Cat. Agency: Grey, Singapore, Client: 3M, Year: 2012. Image retrieved from
[Link]

Juxtaposition. Place two visuals side by side for contrast or comparison.

Literary and Rhetorical Devices. Use metaphor, simile, onomatopoeia,

personification, pleonasm, metonymy, or other rhetorical device as a concept
platform.

SU3-20
 VIS251 STUDY UNIT 3

Visual Analogy. A visual analogy is a comparison based on similar or parallel

qualities. Visual analogies are used to clarify, to make it easier to understand. For
example, a motorcycle and a jet are both types of transportation, and we may infer
that they are parallel in their ability to rapidly accelerate.

In a Sony video player advertisement, it depicts a one-button shirt as an analogy to

the functional benefits of a single-button Sony video player ‒ that it can be
programmed easily, with only one button. (Button. Agency: Saatchi & Saatchi,
Madrid, Client: Sony España, Year: 2000. Image from Landa, Robin, Advertising by Design
(2010), Pg 77, Figure 5-4)

Visual Metaphor. It is the representation of an object that is used to identify

another, especially that suggests a particular attribute in association or similarity of
that object. Metaphor can be used to act as a more attractive representation of an
idea when the actual product or service might be off-putting.

Drawing Life Experience. Ideas can be based on the ordinary things we do. From
how we drink milk, how we drive a car, to how we put our clothes on. When a
brand draws on common experiences experienced by its audience, they will usually
relate to the brand. The brand's reality is the audience's reality. Therefore, the
audience will be able to feel a kinship with the brand advertised.

In a campaign for Ayotte custom drums, the advertisements amusingly illustrate

what the people who are holding out for this brand will do while waiting. That is to
drum on anything and everything. (Still holding out for Ayotte drums? Agency:
Rethink Advertising, Vancouver, British Columbia, Client: Ayotte. Image from Landa,
Robin, Advertising by Design (2010), Pg 81, Figure 5-8)

Observations. In the process of examining how we interact, function, and behave in

various situations, you may find a way to sell a brand. Being an observer of human
behaviour, animal behaviour, interpersonal dynamics, and other life mysteries can
yield ideas that people might relate to. Basing ideas on personal life experience or
observing others can help make your advertisements relevant to the lives of others.

Change Perspective or Point-of-view. Looking at objects, or at life, from odd

angles (below, above, askew, and at an extreme angle), will literally and
conceptually provide a great start to generating ideas.

Look at things • A fly with compound eyes.

as if you are: • An alien from another planet.
• A child from inside.
• A one thousand year old person.

Look at things • From a giraffe's perspective.

from odd views • As if you have a partial view.
or angles: • As if you are looking from behind a ceiling fan.
• As if you have multiple simultaneous vantage points.

SU3-21
 VIS251 STUDY UNIT 3

• From upside down.

Look at things • Water.

through: • Fog.
• Frosted or tinted glass.
• Smoke.

The Problem is the Solution. At times there are products with features that may be
perceived as disadvantageous.

In the 1960s, when the Volkswagen Beetle appeared on the American market as a
small and atypically shaped car, it was viewed negatively by the people. This was
compared to the cars of leading American brands that were large, graceful, and
grand. The now-famous advertisement created by Bill Bernbach and his creative
team at DDB had changed our thinking about car size by creatively convincing us
to 'think small'.

A Darned Good Reason. When you give the consumer a reasonable rationale, the
consumer may just agree with it. Providing a rationale for a functional benefit can
turn consumers into believers.

From the Canadian Cancer Society, they send the message of ‘keeping your body
parts’ is being a good reason to get check-ups through breast or testicular self-
examinations. (Testicle and Breasts. Agency: Rethink Advertising, Vancouver, British
Columbia, Client: Canadian Cancer Society. Image from Landa, Robin. Advertising by
Design (2010), Pg 85, Figure 5-11)

Exaggeration. Making an overstatement or enlarging the truth beyond bounds can

express just how terrific the brand is. Overemphasising a product's quality drives
home a selling point quickly. When using exaggeration, it must be a situation that is
to be seen as being extreme that the audience do not believe the actual events
depicted in the advertisement, but must be able to understand the message.

In the advertisement by The Best Behavior, it shows that the brand of the designer
handbag is so desirable that a thief will not want the contents of the handbag that
they are thrown away. (Stolen Handbag ll. Agency: Leo Burnett, Denmark, Client: Best
Behavior, Year: 2001. Image from Landa, Robin. Advertising by Design (2010), Pg 88.
Figure 5-15)

Motivation and Inspiration. Many people love motivational speakers, preachers,

self-help books, and talk shows. When this is used in an advertisement, it becomes
a motivational coach, a stimulus for people to achieve more, giving them that push
to go after their personal best.

Just the Facts. Shocking, interesting, or little-known facts can be the basis of an idea
that is informative. This is where good research can be helpful. These facts could
compel the audience to change behaviours, support a cause, act, or buy a brand.

SU3-22
 VIS251 STUDY UNIT 3

In the campaign by the Singapore Customs, they have used monetary facts to
discourage people from illegal cigarette activities. (Don’t get burnt. Agency: OG8
Asia, Singapore, Client: Singapore Customs, Year: 2010. Image retrieved from
[Link]
mpaign)

READ:
Pages 124 – 128 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU3-23
 VIS251 STUDY UNIT 3

5 CREATIVE APPROACHES

5.1 Creative Approaches

A creative approach is a master generic structure that can be used as a framework

to express the advertising message. In advertising, there are three broad categories
of means of delivering an advertising message. They are lecture, drama, and
participation.

Lecture. In a lecture, the brand, product or service is featured through a

presentation. It is presented in any type of media, and is hosted by a presenter who
announces, describes, highlights, declares, states, offers, or provides information.
The presenter can be either a real or fictional character.

The lecture format is 'straight sell'. This means that it is a transparent sales pitch
that immediately alerts the audience that they are about to receive a commercial
message. Many times, this may cause audiences to raise their guard.

Drama. Drama takes form in an advertisement that tells a story through crafted
scenarios. Unlike lecture, the drama format often does not acknowledge and avoid
addressing the audience directly. It is represented through action and dialogue,
which the story is told and unfolds through scenarios that are interesting, tense,
humorous, or emotionally involving. Here, the sales pitch is woven into the drama,
with the hope that the audience will not focus on the persuasive intent.

The drama format tends to disarm, dropping the level of scepticism as compared to
lectures. Lectures and dramas can be combined into one format, where the drama is
interrupted by a mini lecture or vice versa.

Participation. Since the development of interactive media, audiences are taking a

more active role in experiencing the message through participation. It turns
audience into users, where they are given some control over the outcome of the
message. If a participatory experience is immersive and engaging, it gives the
audience the reason to invest in the experience, pulls them into the message and
leaves a positive mark on them.

Other Frameworks
Within the broad categories of lecture, drama and participation, there are more
specific frameworks that provide a general sense of how advertising can be
structured. The following approaches can overlap one another and/or be used in
conjunction with each other. Understanding them will help you to innovate.

SU3-24
 VIS251 STUDY UNIT 3

Demonstration. A demonstration is a display of how the product or service

works or functions. It usually provides evidence or proof
of the brand's soundness and emphasises on the functional
benefit of the product or service. It appeals to the
audience's rational mind and practical needs and not their
desires. A demonstration offers useful information since
the audience get to observe a product or service in action,
see the product, and most likely see its packaging as well.

In a Sony camera advertisement, it illustrates a functional

benefit of the Sony camera – that it is so small that it cannot be
seen behind a hand. (Hand. Agency: Saarchi & Saatchi, Madrid,
Client: Sony España, Year: 2000. Image from Landa, Robin.
Advertising by Design (2010), Pg 111)

Comparison. A comparison format compares and contrasts one brand

with another competing brand, or with the entire product
or service category. This is done by displaying the
differences between brands and ultimately claiming that
the brand advertised is more superior.

Most often, two brands are compared for their functional

benefits or attributes. Famous brand comparisons include
the "Pepsi Challenge" that asks consumers to take a taste
test between Coke and Pepsi.

A brand can also be compared with the entire category. An

example would be the 'Mac vs. PC' campaigns, created by
TBWA/Chiat/Day, which Apple contrasts itself with PCs
(personal computers).

A brand can also compare its new or improved self with its
former self. The print advertisement for the Nature
Conservancy shows a visual comparison between different
periods of time at the same place, making a point about the
organisation's conservation mission. (Mountain Lake.
Agency: Eisner Communications, Baltimore, Client: The Nature
Conservancy, Year: 2000. Image from Landa, Robin. Advertising
by Design (2010), Pg 113)

Spokesperson. A spokesperson is an individual who positively represents

the brand, product, or service. It can be any actor, model,
or even an average person. If the role is a recurring one,
that individual becomes the face and voice of the brand.

Brand Icons and Sometimes, brand icons or mascots are used when a brand
Mascots (Fictional wants to put a friendly or trustworthy face on its faceless

SU3-25
 VIS251 STUDY UNIT 3

Spokes-characters). brand. Each of these characters embraces the brand image

and personality.

Brand Icon. A brand icon is a recurring character that is

used to represent a brand. It can be an actor, a proprietary
illustrated character, or a cartoon. An example would be
Tony the Tiger who represents Kellogg's Frosted Flakes.

Mascot. It is also known, as a fictional spokes-character

who is a recurring invented persona or character used to
represent a brand.

Endorsement. An endorser can be a celebrity, politician, organisation, or

any supporter of the brand, product, or service. An
endorsement is when the endorser certifies a brand's claim
or gives testimony to the brand’s quality. This includes
verbal statements or depictions of the name, signature,
likeness, or other identifying personal characteristics of the
endorser. Through projection and association, the brand
acquires the cachet of the endorser, borrowing his regard,
social status, or expertise in the field to deliver the message
to its intended audience.

In the last twenty years, celebrity endorsers included

Michael Jordan and Tiger Woods for Nike, Madonna and
Michael Jackson for Pepsi, and Justin Timberlake for
McDonald's. As in the case of Michael Jordan for Nike, the
celebrity was the endorser and the brand spokesperson as
well.

In the case of non-profit organisations, many celebrities

endorse charities and causes that they believe in or have
been affected by. Celebrities draw attention to causes, and
they can be instrumental for social or political marketing.

Testimonial. A testimonial is a favourable message delivered by an

expert, a celebrity, or an average person reflecting his or
her opinions, beliefs, findings, or experiences in support of
the advertiser. The expert's testimony can engender trust in
the audience.

When people read or hear a celebrity's testimony, the

celebrity's cachet will add value, even if that individual
does not have related expertise. In the case of a testimonial
by an average person, the brand hopes that the audience
will relate to that individual's opinion or experience.

SU3-26
 VIS251 STUDY UNIT 3

Problem/Solution. The problem/solution approach is sometimes used when

the brand, product, or service successfully solves an actual
problem for someone or the greater community.

Examples of problem/solution are campaigns that are

directed at minor afflictions such as bad breath, acne,
dandruff, or household nuisances such as resistant stains
on clothing.

Slice of Life In advertising, slice-of-life format is a drama that shows a

realistic portrayal of life. It features everyday situations
that an average person can readily relate to. Often, a real-
life problem such as a headache or being overweight is
dramatically depicted. (Their pain is your pain - Thumb.
Agency: Ogilvy & Mather, Singapore, Client: Panadol, Year:
2010. Image retrieve from [Link]
childrens_panadol_their_pain_is_your_pain_thumb)

Storytelling. Storytelling is a narrative format in which a tale is told by

someone to an audience. It utilises voice, gesture, and/or
imagery. A classic example of storytelling is the television
commercial or radio advertisement.

When a storytelling involves a two-way interaction

between the storyteller and listeners, the format then
becomes interactive. This will allow the audience to
become a co-creator for the story.

Cartoon. A cartoon in advertising is either a single panel pictorial

sketch or a sequence of drawings (also known as a cartoon
strip) that tells a short story.

In a single panel cartoon, there is a cooperative action

between drawing and caption, such as those found in
newspapers. Whereas in a contemporary comic strip, most
often it contains elements such as panels, dialogue
balloons, and visual iconography. Most cartoons are used
for the purpose of advertising that are humorous, in the
hope of being engaging and entertaining to the audience.

Related to this, is the format of an animated cartoon or

animation, which is a film that consists of a series of
drawn, painted, or modelled scenes and characters that are
used to tell a story.

Musical. In advertising, a musical is a narrative or play that is

music-based and where music, singing, and/or dancing are

SU3-27
 VIS251 STUDY UNIT 3

the main components for telling the story.

Misdirection. Misdirection advertisement starts out one way and then

suddenly changes direction. And it can work for a variety
of reasons. One main reason is the element of surprise that
the audience is being led one way but are surprised to find
themselves taken somewhere else. Certainly, there is a risk
with this type of approach, that is, once the audience has
seen the advertisement, they would already know the
surprise ending. Of course, if the idea and execution are
excellent, then they might not mind seeing it again.

Adoption. It is the adoption or appropriating of another form and

style of artistic work, such as fine art for use in an
advertisement. The choice of work elected has to be of
relevance to the advertisement. (River. Agency: M&C
Saatchi, Singapore, Client: Performance Motors BMW. Image from
Landa, Robin. Advertising by Design (2010), Pg 124, Figure 7-
13)

Documentary. A documentary is a presentation of facts and information

that is usually about a social, historical, or political cause.
In advertising, a documentary-style format is most often
used for public service advertising.

Mockumentary. A mockumentary (that is, a mock documentary) is a spoof

created or shot in the style of a documentary. One
successful mockumentary film is The Blair Witch Project
(1999) that was directed by Daniel Myrick and Eduardo
Sanchez. It was about a trio of film students who
disappeared when searching the woods for the Blair Witch.
Before the film release, it also had mockumentary movie
trailers and posters.

Montage. Montage is the assembling of various short clips or images

into a sequence that is usually married by the look and feel,
theme, music, or voice-over narration. The montage is
carefully cut and edited together to create a unique and
new piece of work. In advertising, a montage is usually
used to highlight advantageously a single subject or brand
or to quickly differentiate aspects or clips.

Other forms that are similar to montage include

assemblage (a work created by combining and composing
a collection of different objects) and photomontage (a
technique of combining a number of photographs to form a
composite whole).

SU3-28
 VIS251 STUDY UNIT 3

Animation. Animation is a moving image that consists of a series of

drawn, painted, or modelled scenes. In advertising,
animation can be thought of as a method or technique for
visualising an idea.

READ:
Pages 158 – 171 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU3-29
 VIS251 STUDY UNIT 3

6 STORYTELLING AND CAMPAIGNS

6.1 Campaigns

There are two types of classifications for advertising campaigns. They are
advertising campaign and integrated media advertising campaign.

The lifespan of a campaign can run for a short (months) or long period of time
(years). The creative team needs to create and maintain a visual look so that the
audience will recognise each advertisement within the campaign and make
connections with the overall advertising message. For this reason, many clients and
creative teams prefer advertisements across different media formats to have an
identical or near identical layout, look, and tone of voice.

Advertising Campaign. It is a series of coordinated print advertisements that are

based on an overall advertising message. They are connected by the consistent
voice, tone, style, imagery, and tagline created. Each individual advertisement in
the campaign can also stand on its own.

Integrated Media Advertising Campaign. It involves various media channels that

are based on an overall advertising message that may include print, broadcast,
interactive, out of home and unconventional media.

Components of a Campaign
Carried through any campaign, there must be an overall advertising message, a
distinct idea, or story. The idea is communicated through the visual and verbal
relationship in a campaign with different media channels where a part of the brand
story is told in each medium. This idea must also be flexible enough to sustain a
campaign, where every point of contact becomes a compelling experience. To
achieve this, the campaign should consist of the following components:

Idea. Each advertisement is based on the idea and has a main visual component
plus a verbal component that work cooperatively.

Brand Identity. Any campaign must work with the visual and verbal brand
identity. It should relate to the brand's visual identity. This means that the
characteristics of the imagery, typefaces, and colour palette that are used should be
appropriate for the brand.

Media. The media channels have to be carefully selected to delivery the message to
the target audience.

Style. The style is the visual look and feel of the campaign. It consists of elements
such as images, typefaces, colour palette, or graphic elements that are used to
contribute to the overall appearance of the campaign. For example, if photography
is used in one aspect of the campaign, then it should be used throughout.

SU3-30
 VIS251 STUDY UNIT 3

Furthermore, if the photography has dramatic light-dark relationships, that has to

be maintained as well.

The style that is determined for a campaign should be appropriate for the brand
and the advertising message. For the audience, it can differentiate the campaign
from other competitions and add freshness in its outcome. With that being said, just
because a brand has a look and feel, it should not prevent you from experimenting
with various styles.

Messages (Unity and Variety). A campaign needs to have an overarching story or

theme. This overarching story has a duality with each advertisement connected or
unified with one another with a common tagline, and yet each offering some
variety so that people are curious enough to receive the next message. Different
parts of the brand story can be told in different media and in each individual
advertisement, yet they can still lead up to a larger, broader brand story and
experience through a brand construction.

Design (Unity and Variety). A campaign must have visual impact. It can be a
visual surprise, graphic interest, visual drama, or a breakthrough appearance. A
creative approach in advertising must be appropriate for the product or service,
and it must communicate and enhance the advertising message.

The design form of the campaign should be appropriate for the advertising
message, idea, and the story. In other words, the visual and copy should be in sync
with the message that it is trying to inform the audience. For example, if your idea
has a soft, sentimental tone, then the visualisation should not be hard-edged or
rough in appearance.

The choice of images and typefaces should contribute to the audience's

understanding, recognition, and memory of the brand and campaign. Too much
variety in images, colour palette, and typefaces may result in the loss of coherence
in the campaign. Each advertisement should look like it belongs to one another
other.

Brand Experience. Each advertisement should create a brand experience, such as

providing entertainment, enlightenment, utility, or any other engaging experience
for the audience. It can also be something that the audience want from the brand.

SU3-31
 VIS251 STUDY UNIT 3

Criteria for Judging the Efficacy of a Campaign

The Brand. • It is consistent with the brand idea.

• It is distinctive to the brand.
• It differentiates the brand.

The Idea. • It makes sense for the brand.

• It is elastic enough to create many
advertisements based on the original theme.
• Each individual advertisement will grab the
audience's attention.
• It is flexible enough to work specifically and
effectively across different media formats.
• It can run (almost) forever.
• Other creative professionals are wishing they
have thought of it.

The Audience. • It starts a dialogue between the brand and

the audience.
• It strikes a chord in its target audience.
• Audience will remember the campaign.

The Society. • It endears the brand to the public.

• People will notice it.
People will remember the campaign.
• It will surprise people.
• It will start a conversation in pop culture.

READ:
Pages 48 ‒ 54 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU3-32
 VIS251 STUDY UNIT 3

6.2 Storytelling and Campaign Structures

In advertising, storytelling for a brand is used to communicate the advertising

message over a period of time. It will eventually help the brand to distinguish and
differentiate itself from its competitors, reflect positively, being memorable, and
influence its audience.

From the advertising message formulated in the strategy phase, you will need to
conceive a central theme that forms the basis of the claim. This theme should be
based on an insight from the brand and the audience.

Constructing a Brand Story

A brand story could be constructed on a combination of the brand and audience
insights. To find an insight into the brand, product, or service category, try any of
the creative exercises in Unit 2.

Your story should illuminate something about the nature of a person, subject, or
situation. The story starts with a problem or conflict and should demonstrate the
ability to understand and find a solution to the advertising message. To look for the
insight, we start by mining for something common to us all in human nature. Those
are our needs, hopes, aspirations, and desires.

If you are struggling with developing your story, heed the words of Mark Twain.
That is 'when in doubt, tell the truth'. In the process of examining how we interact,
function, and behave in various situations, you may find a way to sell a brand or
promote awareness for a social cause. Being an ardent observer of human
behaviour, animal behaviour, interpersonal dynamics, and other everyday life
dramas can help to yield ideas. Basing ideas on personal life experience or
observing others can help make your ideas relevant to others' lives. People should
be able to relate to the story and feel a kinship with the brand being advertised.

A story has to address the brand and make it the "hero" of the story. All good brand
stories have a conflict. To generate an appropriate conflict for your brand story,
think about change, choices, and 'what if':

Change. • What kind of change do people want?

• How things change?
• Why things change?
• How you can affect change yourself?

Choices. • How people make choices?

• What are the consequences of those choices?
• How the brand can change those choices or consequences?
• Feel free to pose the most absurd possibilities or
inspired questions related to your brand.

SU3-33
 VIS251 STUDY UNIT 3

What if. • What if you could invent a new way to communicate

with another person?

The follow-up These questions would usually provide the story's premise:
questions. • What can your brand do?
• What will your brand do?

Campaign Structures
Any story can be broken up into separate stories that address separate groups of
people at different moments in time through different media channels. This
fragmented and brick-building view of campaigning can be constructed through
four main campaign constructions. They are elite campaign that privileges specific
groups of people; micro campaign that relays different stories to different groups of
people; curtain campaign that tells the story little by little; and mystery campaign
that spreads fragmented, unfinished messages.

Elite Campaign. This type of campaign provides a limited number of

people with special treatment, with the clear intention of
spreading buzz to a larger group of people. It is designed
to make this group of people feel special, make them feel
that the brand is speaking directly to them and nobody else.

It is essential to work out and define who the elites are –

the people who are best suited to function as ambassadors
for the brand or deserve the special treatment. You will
need to find out who they are, their characteristics, where
they live, or hang out. After that, start a campaign that will
make these people feel as if they truly are elite. There are
two ways to accomplish this:

Information before others. The brand can provide its elites

with information before others or by providing them with
more information than others. These people have the
power to spread the word quickly or have an influence on
others. They can be trendsetters, connectors, or innovators.
It can take the form of events that are invitation-only,
backstage performances, or product launch for a selected
group of people.

Targeting the loyal customers. A brand can give these

people special and exclusive attention so as to create and
enhance brand ambassadorship. For example, if a company
is about to launch a new product, it can be beneficial to
inform its most loyal customers first. With this, an elite
campaign can be constructed to target at loyal customers
who are bloggers by sending them the product or
important information. By doing this, the bloggers will

SU3-34
 VIS251 STUDY UNIT 3

spread this news within the community and can positively

influence others with their opinions.

Micro Campaign. While an elite campaign privileges one specific group of

people, micro campaign addresses a series of different
target groups, each in a different way. A brand message
has various meanings for different people dependent on
their age, social status, gender, profession, and so on.
Therefore, a brand needs to act like chameleons to adapt to
specific environment of its different groups of audiences.

Instead of producing the one advertisement that is

plastered everywhere, a campaign can have a sum of
endless stories and executions so as to have a much greater
chance of reaching people in the most effective and
relevant way.

Instead of selling washing powder to the nation on prime-

time television, a brand can communicate the product to a
number of relevant target groups. These can include
corporate events for businesses, installations in trendy
shopping outlets for teenage girls, or house parties for
housewives. Through these, people will feel that the brand
has addressed them in a more personal way and is making
an effort to connect with their specific situation and
lifestyle. Due to the level of personalisation, micro
campaign tends to be more demanding and labour-
intensive

Curtain Campaign. Curtain campaign deliberately spreads pieces of

information to the audience, little by little, and not
revealing the complete story until the very last moment ‒
like a curtain slowly exposing a stage. It consciously
chooses to reveal the story part by part to keep its audience
hungry for more and could make them interact with the
story while it is being built.

In film marketing, the teaser-trailer process is a typical

example of a curtain campaign. This two-step process is an
effective way to build up tension gradually before the
launch of a movie. The teaser needs to grab our attention
and can be mysterious and vague to arouse enough
curiosity to make people long for what follows next. The
trailer needs to fill in the blanks and provide more
information to fulfil the expectations that are raised by the
teaser.
The Blair Witch Project had been the most famous example

SU3-35
 VIS251 STUDY UNIT 3

of a curtain campaign. It began its first subtle marketing

efforts two years before the launch of the movie. It was the
slow build-up that made it one of the most successful and
talked about curtain campaigns in recent history.

Mystery Campaign. Unlike curtain campaign, mystery campaign consists of a

string of separate, seemingly unrelated components, with
no overtly logical build-up or storyline. The main purpose
to engage in mystery campaign construction is to tease the
audience, to interest them by communicating a story
without a clear resolution. In this case, audience are
required to do the work, to slowly decode the advertising
message behind the campaign.

ACTIVITY 3.3:

Campaign Structure for Mini Cooper S Coupé

Make use of two campaign structures and devise a campaign to

promote the Mini Cooper S Coupé.

Ideas - Conveying the Advertising Message

(Access video via iStudyGuide)

SU3-36
 VIS251 STUDY UNIT 3

REVIEW QUESTIONS

1. What does idea generation necessitate on the part of the team?

2. What is the objective of brainstorming?

3. What is the morphological method?

4. What is the purpose of framing a problem differently?

5. What is attribute listing and what are its goals?

6. What is the format called a lecture in advertising?

7. What is the purpose of using comparison in advertising?

8. When used in marketing, what is storytelling?

SU3-37
 VIS251 STUDY UNIT 3

SOLUTIONS

1. What does idea generation necessitate on the part of the team?

Formulating an idea necessitates research, analysis, interpretation,

inference, and reflective and creative thinking.

2. What is the objective of brainstorming?

The objective of brainstorming is to generate ideas that could be solutions to

advertising problems; the notion is that an uninhibited atmosphere would
cultivate the flow of creative thinking.

3. What is the morphological method?

Morphological method is based on analysis and synthesis. You need to

analyse a problem by defining all of the important factors, or parameters, as
well as options.

4. What is the purpose of framing a problem differently?

The purpose is to gain a fresh perspective that may spark an idea. If you are
to construe the world differently, then you might gain a fresh perspective or
a transformative perspective.

5. What is attribute listing and what are its goals?

Attribute listing is a method for analysing and separating data through

observing and identifying various qualities that might have otherwise been
overlooked. It is a diagrammed list of attributes.

By focusing on the attributes of an object, person, place, character,

topic/theme, product, or service, you can find a characteristic that might
lead to an idea.

6. What is the format called a lecture in advertising?

In a lecture, a product or service is featured by discussing it. A brand is

presented for your consideration, typified with a presentation by a talking
head, where the presenter talks at/to the viewer, announces, describes,
highlights, declares, states offers, or provides information, still or in motion
in any media. It is also called presentation, show and tell.

SU3-38
 VIS251 STUDY UNIT 3

7. What is the purpose of using comparison in advertising?

A comparison format compares and contrasts one brand either in relation to

a competing brand (or two brands) or to the entire product or service
category in order to discover the differences between them, and ultimately
claim that the brand being advertised is superior.

8. When used in marketing, what is storytelling?

In marketing, we use storytelling about a brand or group to communicate

related messages that, over a period of time, will distinguish, differentiate,
reflect positively, construct or contribute to its brand personality, be
memorable (stick), resonate, and influence the audience.

SU3-39
 VIS251 STUDY UNIT 3

REFERENCES

Website

Ads of the World: Creative Advertising Archive & Community. Retrieved from
[Link]

SU3-40
VIS251
Advertising Design

STUDY UNIT 4
Design
Creating Art and Copy
 VIS251 STUDY UNIT 4

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Design Phase
• Explain the purpose of the design phase.
• Identify the people who are involved in the design phase.
• Describe various steps taken in the work process during this phase.
• Explain the cooperative relationship between art and copy in advertising.
• Differentiate and describe the different relationship modes between art and copy
in advertising.

Visualisation
• Describe the role of visualisation in advertising.
• Discuss and describe the basics of visualising forms in advertising.
• Discuss and describe methods of image depiction.
• Discuss and describe methods of image making.

Composition
• Explain the purpose of composition in advertising.
• Describe and discuss the three basic compositional structures (type-driven,
image-driven and verbal-visual synergistic).
• Describe and demonstrate the use of the five basic design principles for a
composition.
• Explain and discuss various methods that can be used to direct an audience
through a composition.
• Discuss various design considerations for designing a print advertisement.
• Discuss the importance of a grid in advertising design.

Typography
• Describe the role of typography in advertising.
• Discuss the basic principles of designing with type for a campaign.
• Discuss the five general criteria that are used to consider when selecting a
typeface for advertising.
• Discuss and describe the general rule of mixing typefaces.

Copywriting
• Explain the role of copywriting in advertising.
• Describe the work process of a copywriter.
• Explain the roles of the headline, body copy, tagline, and campaign slogan.
• Explain the importance of writing for a specific audience in a campaign.

SU4-1
 VIS251 STUDY UNIT 4

OVERVIEW

Design Phase. This section explains the fourth phase of the advertising project
process — design.

Art. This section provides students with the knowledge of art direction in
advertising. This is achieved through helping them explain the various visual
modes; image making for visualisation, design principles and grid for composition,
and designing with typography.

Copy. This section provides students with knowledge of copywriting in

advertising. This is achieved by helping students explain copy through its role,
relationship with art, necessary components that are needed, and work process.

SU4-2
 VIS251 STUDY UNIT 4

7 PHASE 4 — DESIGN

7.1 Design Phase

In this phase, the idea is articulated in visual form (images and words). In every
project, the agency has to conceive, design, and present several creative solutions.
Till today, most designers always start working by thinking with a pencil in hand
creating thumbnail sketches to visualise ideas and to compose.

“The difference between bad and good creatives is that they both come up
with the same pedestrian solutions, but the bad creative stops there and
the good creative keeps working towards a more unique and interesting
solution.” Jose Molla, founder and Creative Director of La Comunidad in Miami,
Florida.

Steps in Design Visualisation

STEP 1 STEP 2 STEP 3

THUMBNAIL ROUGHS COMPREHENSIVES
SKETCHES

Figure 7.1: Steps taken for Design Visualisation.

Step 1 Thumbnail sketches are preliminary, quick, small, and

Thumbnail Sketches. unrefined drawings of ideas. You will need to generate as
many different sketch ideas as possible. Best practice
dictates that one to use traditional image-making
techniques such as sketching rather than using the digital media.

When one starts with the digital media, he will surf for
images and restrict himself of creativity. Whereas, when
one sketches, the process will allow him to think visually,
experiment, explore, make discoveries, and to stay open to
possibilities during the image-making process.

Step 2 Roughs are larger and more refined drawings as compared

Roughs. to thumbnail sketches. They should be done to scale, in the
proportion of the final media format.

The purpose of this stage is to narrow down to a few of

your best ideas, to explore each of these designs and decide
how they can be best expressed in a composition through
visual and type creation, selection, and manipulation.
These may include collage, photomontage, printmaking,

SU4-3
 VIS251 STUDY UNIT 4

drawing, or any handmade techniques to best express the

idea.

Step 3 A comprehensive is also referred to as a comp. It is a

Comprehensives. detailed representation of how the advertising will look
like when produced in any media channels. The final comp
must be well crafted and therefore all types, illustrations,
photographs, and layout are rendered closely enough to
the finished design to convey an accurate impression of the
final advertisement.

For screen-based or unconventional applications, design

and technical development can happen simultaneously.
Visual explorations and design happen at the same time as
prototypes are being made. Testing happens at various
stages, and a good amount of it is required when new
models of on-screen and unconventional media are being
employed.

Reviews during Phase 4

Internal Reviews. The Creative Director will see through every step of each visual
stage, from the thumbnails through the comps for comments or approval. In
addition, there will be internal meetings that will consist of the creative department
and account management team before the ideas are presented to the client.

If any of the visual stage is not approved, the creative team has to go back over the
thumbnail sketches, generate more ideas, or try a new visualisation method. It is
important to generate several workable design ideas so that the team have alternate
solutions. Most clients prefer to select from at least three different ideas and
executions.

Client Review. During the review, the creative team evaluates, refines, and secures
approval from the client. Very often, the comp is used as a visual agreement of the
solution between the agency and the client and as a guide. More often than not,
clients always request changes and refinements.

Types of Advertisement
There are two types of advertisements that we see everyday. They can be classified
as image-driven and copy-driven. In many of these advertisements, the visual and
copy should support one another. Therefore, they must have a synergistic
relationship and work entirely cooperatively to convey the advertising message.

Image-Driven Advertisement. It is an advertisement that makes use of the visual

to capture the audience’s attention. The visual that is used also carries the
advertising message. Sometimes, this type of advertisement does not have any copy
other than a sign-off. (On for life - Hanging. Agency: OgilvyOne, Singapore, Client:

SU4-4
 VIS251 STUDY UNIT 4

Levis, Year: 2006. Image retrieved from [Link]

_jeans_hanging)

Copy-Driven Advertisement. It is an advertisement that makes use of words to

capture the audience's attention. It also conveys the advertising message primarily
through the uses of words, and there may be no visual other than a design with
typography, the logo, or the product shot in the sign-off. (What can you do if you only
have six months to live? Agency: Ogilvy & Mather, Singapore, Client: Singapore Hospice
Council, Year: 2007. Image retrieved from [Link]
hospice_council_care_awareness_six_month)

Which Comes First — The Visual or The Line?

The answer is, it can be either way or, they can be born concurrently. Some people
think in images while others in words. It really does not matter which comes first as
long as both visual and line work synergistically and are based on the idea. Here
are a few common scenarios:

Scenario one. A creative team knocks ideas back and forth, and settles on a couple
of ideas. After this, each team member goes on his separate way; the Art Director
designs and the Copywriter writes. Both need to work on their individual craft
together with the ideas that they have generated earlier.

Scenario two. Either member of the creative team thinks of a visual or a line. At
times, the Copywriter can also generate a visual idea or the Art Director can come
up with a line.

Visual or Words — Which should dominate?

Copy-driven? Or image-driven? Naturally, an Art Director will testify to the power
of visuals while a Copywriter, certainly will argue that words are more powerful.

To best determine whether the visual or words should dominate the advertisement,
the creative team need to ask themselves the following questions:

• Does the audience prefer to read or look at pictures?

• Are the words interesting enough for people to read them?
• Is the visual compelling enough to stop people, grab their attention?
• If there is a need for the advertisement to be used internationally, is it wiser
to have the visual as the 'hero' than it is verbal?
• Are there other useful ways to think of the words as part of the advertising
message?

Visual and Words — How should they work together?

Most creative professionals will agree that when one, either the visual or line is the
'hero' of an advertisement, then the other should take a supporting role. If both
visual and words are competing for the audience’s attention, then it may cause
confusion. The visual and the words should work cooperatively and complement
each other.

SU4-5
 VIS251 STUDY UNIT 4

Here are several useful modes that take advantage of complementing visual and
verbal relationships. This does not mean that the visual and the words have to be
similar; however, it means that one of them has to complete the other in
communicating the advertising message.

The words determine It produces advertisement that is straightforward. The

the visual form. words that are used explain the visual form. (Tupperware
Organise Chaos - Cutlery. Agency: Lowe, Singapore, Client:
Tupperware, Year: 2011. Image retrieved from
[Link]

The words contest The words that are used go against the visual form of the
the visual form, advertising. In a Hema campaign that promoted a push-up
creating contrast or bra that could give a woman 2 cupsizes extra was actually
irony. modelled by Andej Pejic, a man. (A push-up bra that gives
you 2 cupsizes extra. Agency: Doom & Dickson, Amsterdam,
Netherlands, Client: Hema, Year: 2011. Image retrieved from
[Link]
elled_by_andej_pejic_1)

The words are It produces advertisement that can be humorous, odd,

straightforward, and teasing, or shocking. The unexpected visuals in the
the visual is unusual. campaign for Downtown Denver, the visuals used were
delightfully zany and the line was straightforward. (Take a
break from the mountains. Agency: Sukle, Denver, Client:
Downtown Denver. Image from Landa, Robin, Advertising by
Design (2010), Pg 97, Figure 6-4)

The visual is Produces advertisement that can be humorous, odd,

straightforward, and teasing, or shocking. The advertisement for Trimax had
the words are straight visuals but coupled with an amusing line. (Saved by
unusual. Trimax, the ultimate slimming belt - Chopper. Agency: DDB
Worldwide, Singapore, Client: OTO, Year: 2007. Image retrieved
from [Link]
belt_chopper)

READ:
Pages 30 – 32 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU4-6
 VIS251 STUDY UNIT 4

8 ART

8.1 Visualisation

Visualisation is the technique that is used to produce an image or a composition to

communicate the advertising message and idea. Composition is the form that
results from the arrangement of graphic elements to communicate the message.
Someone may generate an idea and then proceed to work through visualisation and
composition while others may use the visualisation process to generate ideas.

Generally, once you generate the idea, you make preliminary decisions about how
you will visualise it based on the content, which are the images and copy. Then you
need to consider the media and methods you will use to create and render the type
and images, keeping in mind how it will be finally be displayed (seen by the
audience). Also, you have to remember to consider your approach to the creation of
the form meaning that how you render and execute the visuals and type, with
emphasis on the qualities and characteristics of the form, must contribute to the
look and feel of the advertising message and idea.

Basics of Visualising Form

When an Art Director visualise an image that is appropriate for an advertisement,
he needs to put into consideration the advertising idea and intended target
audience before he pens down his sketch as a visualisation on a piece of paper.

In visual arts, there are basic ways that are used to describe when visualising a
form for an image. Here are some of the terms of tools that have originated from
the fine art and have been modified for advertising design:

Linear. It is characterised by a predominate use of lines to describe

forms or shapes within a composition.

Painterly. It is characterised by the use of colours and values to

describe shapes and forms. It relies on the visible, broad,
sketchy, or ‘brushy’ description of form rather than the
specificity of lines.

Sharpness. It is characterised by clarity of the form, detail, clean and

clear edges, saturated colour, readable and legible
typography, hard or clear edges, hyperrealism,
photorealism, closed compositions, and limited type
alignment.

Diffusion. It is characterised by blurred forms and boundaries,

transparencies, muted colour palettes, layering, visual
effects of the atmosphere on things seen, and painterliness.

SU4-7
 VIS251 STUDY UNIT 4

Accuracy. Viewers believe an object or subject to be accurately

depicted when it conforms with what they already know
or are familiar with.

Distortion. When an object or subject is twisted, stretched, bent,

warped, buckled, or significantly altered from its normal
appearance.

Economy. An image that is stripped down visually to its fundamental

forms, using as little description and few details as possible
for denotation.

Image Making
Art Directors and designers can make their own images using software, tools, or
professionals such as photographers or illustrators hired to create images
specifically for a project. They can create images using photomontage,
photography, collage, drawing, painting, printmaking, mixed media, sculpture,
and more. By creating an image, you create an original and have control of what is
depicted in terms of the medium, colours, textures, angle, point of view, setting,
and so on. The difference between creating and selecting is critical, as every
component of an image contributes to how the advertising message and idea are
being communicated.

The following are general categories of image making:

Illustration. A unique handmade visual used alone or to accompany or

complement printed, or screen-based media. It clarifies,
enhances, illuminates, or demonstrates the advertising
message and idea.

Each illustrator offers a distinctive perspective and works

in a variety of medium. Therefore, most often, each of them
will have his uniquely identifiable style.

Graphic An elemental visualisation of an object or subject. It usually

Interpretation. employs an economy (stripping down visuals to
fundamental forms) of an image form.

Diagram. A graphic representation of information, statistical data, or

process (the structure or development of something). It can
be presented as:

A chart. A specific type of diagrammatic representation of

facts or data.

A graph. A specific type of diagram used to indicate

relationships between two (or more) variables, often

SU4-8
 VIS251 STUDY UNIT 4

represented on the axes.

A map. A specific type of diagrammatic representation

used to depict a route or geographic area, to show location.

Photography. A visual that is created using a camera to capture an

image. Commercial photographers specialise in various
genres, such as still life, landscape portraiture, sports,
outdoor imagery, fashion, and others.

Collage. A visual that is created by cutting and pasting bits or

pieces of paper, photographs, or any material onto a two-
dimensional surface. The collage technique can be created
by conventional means or on any digital media.

Photomontage. A composite visual that is made up of a number of

photographs or parts of photographs to form a unique
image.

Found Image. It is an existing image or object that is readily found in the

environment.

From public domain. The images include woodcuts, lino-

cuts, etchings, patterns, historical imagery, old postcards,
old letters, or old maps. When using any found images,
you may need to secure necessary intellectual property
rights, if any are required.

From image libraries. Sometimes, when a budget does not

allow for engaging a photographer or an illustrator, the
images will have to be purchased through an image
library. These images are referred to as royalty-free (RF)
and rights managed (RM). RF images can be used in any
application, for as long as one likes and in different
projects but it can be purchased and used by others.
Whereas RM images allow the client to own the images for
a time frame and control how it can be used.

When an Art Director selects from a library of stock

images, he will have far less control, since he will be using
an image that has been conceived, visualised, and
composed by another person. In any case, he can also alter
images with any image making methods, assuming the
stock image provides rights for such alterations.

Motion Graphics. Time-based graphics that integrate images, typography,

and perhaps audio. They are created by using film, video,

SU4-9
 VIS251 STUDY UNIT 4

or computer software that includes animation, television

commercials, promotional, and informational applications
for screen-based media.

Mixed Media. A visual resulting from the use of different mediums. For
example, photography combined with illustration and
graphic interpretation.

READ:
Pages 74 – 78 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU4-10
 VIS251 STUDY UNIT 4

8.2 Composition

In the design process, composition gives form to the advertising idea. Visual
elements (also known as graphic elements) such as line, shape, colour, value, and
texture are used to visualise or create images and type, and principles of design
such as balance, emphasis, unity, rhythm, and proportion are used in the process of
composing – arrangement of the images and type to create a coherent composition.

Once you have generated an advertising idea and perhaps thought out its
visualisation, these should serve as the catalyst for composition. To begin the
process of developing your advertising idea into a composition, you will need to
determine:

What to determine for a composition

• The message (what you want to say).

• The audience (whom you want to say it to).
• The main point of the message.
• Visual elements that can be used to best carry the message.
• Visual elements to be emphasised and de-emphasised.
• Organisation of visual elements to best communicate to the audience
and grab their attention.

Basic Compositional Structures

There are several compositional structures. The focus in this unit will be on type-
driven compositions, image-driven compositions, and verbal-visual synergistic
compositions.

Type-Driven Composition. It emphasises the type and de-emphasises the visuals.

Being that type will be the sole element of a composition.

Image-Driven Composition. It emphasises the image and de-emphasises type. The

image becomes the "hero", where the visual tells the message. An image-driven
composition can be built around a dominant image, to which all other graphic
elements are subordinated. Another consideration for image-driven composition is
whether you want to employ a singular image or to juxtapose images to
communicate the message. The composition may have no headline at all, but with a
call to action at an area of the advertisement. (Help us keep it that way – Tree Rings.
Agency: DDB Worldwide, Singapore, Client: ACRES (Animals Concerns Research &
Education Society), Singapore, Year: 2011. Image retrieved from [Link]
/media/print/acres_animal_concerns_research_education_society_tree_rings)

Visual-Verbal Synergy. This happens when the main image and headline work
together to communicate the message. In such a composition, all other graphic

SU4-11
 VIS251 STUDY UNIT 4

elements are subordinate to the synergistic relationship between the main image
and the headline. (A learning experience beyond the ordinary. Agency: Grey Group,
Singapore, Client: Wildlife Reserves Singapore, Year: 2011. Image retrieved from
[Link]

Basic Design Principles

Here is a primer of basic design principles that can be used to apply to visual
elements to bring them together into one complete composition. How you apply
these principles determines how successful a composition can be:

Balance. A balanced composition tends to be harmonious. It is the stability created

by an even distribution of visual elements on each side of a central axis. A balanced
composition can be symmetrical or asymmetrical.

Symmetry. It is the mirroring of equivalent elements, an equal

distribution of visual elements, on either side of a central
axis. (Types of Balance. Image from Landa, Robin, Advertising
by Design (2010), Pg 159, Figure 9-1, Top)

Approximate symmetry is very close to symmetry, it is an

equal distribution of visual elements on either side of a
central axis. (Types of Balance. Image from Landa, Robin,
Advertising by Design (2010), Pg 159, Figure 9-1, Middle)

Asymmetry. It is an equal distribution of visual elements achieved

through weight and counterweight by balancing one
element with a contrasting element without mirroring
elements on either side of a central axis. (Types of Balance.
Image from Landa, Robin, Advertising by Design (2010), Pg
159, Figure 9-1, Bottom)

To achieve asymmetrical balance, the position, size, value,

colour, shape, and texture of a visual element on the page
must be considered and be weighed against others.

Visual Hierarchy. It is the arrangement of visual elements according to emphasis.

Visual elements are arranged according to importance, stressing some elements
over others, making some dominant and others subordinate. Think of what you
want your audience to see first, then second, third, and so on.

When you determine what to emphasise and what to de-emphasise, you are
establishing a focal point. Position, size, shape, direction, hue, value, saturation,
and texture of a visual element contribute to creating the focal point of your
advertisement.

SU4-12
 VIS251 STUDY UNIT 4

As people do not spend much more than a few seconds glancing at an

advertisement, the principle of visual hierarchy creates order and coherence,
therefore facilitating rapid message communication.

When screens with multi-touch capabilities or gestural interface technology are

used, visual hierarchy becomes dynamic. When designing for these devices, you
will need to consider the distance, the position, and size of what can be seen on the
screen in relation to the viewer.

Unity. To achieve unity, all the visual elements must look as though they belong
together. The Gestalt theory that was developed by Max Wertheimer created a basis
for a good unified composition. The theory states that ‒ the whole is greater than
the sum of its parts. This means that the different elements in a composition may
have its own individual meaning, but the whole composition will have a greater
meaning than these individual elements.

The following are ways to achieve unity through the use of Gestalt theory (Laws of
Perceptual Organisation. Image from Landa, Robin, Advertising by Design (2010), Pg 165,
Figure 9-2):

Proximity. Elements that are physically close to each other are

considered as related and belonging together.

Similarity. Elements that are related should have similar position,

size, colour, shape, or texture.

Continuity. Recurring position, size, colour, and use of a visual

element is perceived as linked, therefore creating an
impression of movement.

Closure. The mind tends to connect individual elements to produce

a completed form, unit, or pattern in order to produce
closure.

Common Fate. Elements are likely to be perceived as related if they move

in the same direction.

Continuing Line. Lines are always perceived as following the simplest path.
If two lines break, the viewer sees the overall movement
rather than the break. This is called implied line.

If you are designing any print advertisements, billboards, or web banners, you will
want to handle the type, shapes, colours, and any other visual elements on all the
applications in a similar way to establish a family resemblance. Not only are
continuity and correspondence critical to each composition, they are critical across
an advertising campaign, where each unit must bear some visual resemblance to
each other so that the audience can relate to them as a whole.

SU4-13
 VIS251 STUDY UNIT 4

Contrast. With contrast, it adds dynamics to a composition to engage the audience.

Contrast is a visual effect created by the use of differences, by creating visual
variety and by comparing with dissimilar elements. This is done so that the
differences enhance the uniqueness of the subject, to show its differences and to
make distinctions.

The following are a list of contrasts put forth by Johannes Itten (an artist, professor,
author, and colour and design theoretician) that you can use in your composition:

• Big vs small.
• Long vs short.
• Straight vs curved.
• Pointed vs blunt.
• A lot vs little.
• Light vs heavy.
• Hard vs soft.

Rhythm. In design composition, the key to establishing rhythm is to understand

the difference between repetition and variation. Repetition occurs when you repeat
one or a few visual elements a number of times. Variation is established by a break
or modification in the pattern or by changing elements, such as the colour, size,
shape, spacing, or position.

Rhythm is also about a sense of movement from one element to another. Vertical,
horizontal, and diagonal movements help structure the composition and thus guide
the viewer. Elements should be arranged in the manner that the audience is led
from one element to another throughout the composition.

Harmony. It is about combining similar related elements to form a harmonious

composition. It begins with the consideration of how each visual element relates to
others.

Proportion. It invokes the relationship between sizes and scale. As in a drawing of

the human figure, proportion can refer to the size of the head compared to the rest
of the body. Proportion can be used to suggest emotions or the status of a subject.

Directing the Viewer through a Composition

A composition should direct a viewer through a composition and facilitate the
viewer's reading. You need to think of your composition as an architectural space
that consists of a focal point, point of view, illusion of spatial depth, or illusion of
movement that the viewer has to walk through.

Focal Point. The viewer seeks a point of entry into a composition. The entry can be
the focal point, the key component that can be established through a dominant
image or arrangement in visual hierarchy.

SU4-14
 VIS251 STUDY UNIT 4

Dominant Image. The image that is used should be the matter in subject so as to
reinforce the advertising message. The image could also be in the form of
typography.

Arrangement. It is the structure of the composition in terms of the position of

where you place the visual elements around the negative space, and how you
facilitate the viewer's reading of the composition through the entry point, flow, and
eye direction. Visual flow should not be interrupted by any visual elements that
pull the viewer's eyes from the preferred path or from important information.

Point of View. A designer must consider point of view when creating a

composition. It is the viewer's position in relation to what he is looking at and from
which angle. A subject can be seen and visualised from the following orientations:

• Near (near and far are important for touch screen and gestural interfaces).
• Far.
• Above.
• Below.
• At eye level.
• From the sides (three-quarter view).
• Profile.

Illusion of Spatial Depth. The illusion of spatial depth means the appearance of
three-dimensional space on a flat piece of surface. It is where things appear closer
to the viewer and some things appear farther away, just like viewing objects in a
space. In two-dimensional design, we describe the illusion of spatial depth in terms
of three major planes. They are the foreground, the middle ground, and the
background. (Figure 8.1)

Figure 8.1: Foreground, middle ground, and background.

SU4-15
 VIS251 STUDY UNIT 4

The Foreground. It is the part of a composition that appears nearest to the

viewer. This is the area where the subject usually is. Most
observers look at foreground elements first. Understanding
this is critical to both static and motion graphics.

The Middle Ground. It is the intermediate position between the foreground and
background. This is the area where we find the secondary
elements that are related to the subject.

The Background. It is the part of a composition that appears in the distance

or behind the most important part.

Understanding these planes enables us to shift the subject around; where the
designer can change the position of elements in the graphic space by zooming in or
out and by pulling elements forwards or pushing them back. The illusion of spatial
depth can also be achieved through the following means:

Progressive Change. It can either be a gradual change from one colour to

another or a progressive arrangement of an element
according to size. With these two methods, it can
contribute to the illusion of depth or even motion.

Overlapping. When an opaque object is placed in front of another, that

overlap creates the illusion of depth. Successive overlaps
create the illusion of recessive space, which can be
manipulated to appear on a shallow or deep space.

The Illusion of Movement

The illusion of movement can be created through a variety of means such as using
lines, using a figurative image that relates to our sense of kinesis, or using multiple
images.

A visual sequence can be used to suggest movement as well. It is represented by a

number of things such as the use of visual elements, or events in an order that may
imply time, interval, or motion over a period of time. A sequence can be established
on a single surface, sequential pages, or in motion graphics. For example, a
storyboard or comic graphic format can visualise a sequence.

The Grid
A grid is a modular, compositional structure made up of vertical and horizontal
lines that divide a format into columns and margins. It is used to organise visuals
and type. It also defines the composition boundaries and keeps content in order.

If you have to organise an enormous amount of content in any given corporate,

museum, social cause, or editorial Web site, you will want some type of structure to
ensure that readers will be able to access easily and read an abundance of

SU4-16
 VIS251 STUDY UNIT 4

information. The grid will be able to afford a skeletal structure that can provide
continuity, congruence, unity, and visual flow across many print or digital pages.

A designer can strictly adhere to a grid or break a grid. For the sake of visual drama
or surprise, he can occasionally break the grid.

Basic Compositional Checklist

• Have you established a clear visual hierarchy?

• Have you used alignment to foster unity?
• Have you arranged the composition to guide the viewer through the
space?
• Have you chosen a compositional approach that best enables
communication?
• Have you employed action to create visual interest or dynamics
through contrast?
• Have you created visual interest?
• Is your arrangement firm or does it seem tentative?
• Have you paid attention to the interstices?
• Does your visualisation of the concept enhance communication and
meaning?

READ:
Pages 34 – 48 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU4-17
 VIS251 STUDY UNIT 4

8.3 Typography

In design, typography is described as the selection and use of typefaces (also

commonly know as fonts) to convey the advertising message and idea in the best
possible way. Understanding the importance of typography can leaden effective art
direction and the success of a campaign.

Facilitating Reading
Type should be readable. Determining the proper point sizes, spacing, line length,
alignment, column depth, variation, and contrast will facilitate reading. Letter and
word spacing can make or break communication. Through visual hierarchy,
rhythm, and the use of other design principles, you can arrange a flow of
information to guide the reader from the most important information to the least.

Letter, word, and line spacing are critical in typography. Spacing should enable
comprehension, making the reading experience effortless and agreeable. Here are
some common pointers to take note of when using typefaces:

• It is difficult to read typefaces whose strokes are extreme ‒ too light or too
heavy. Typefaces with too much thick-thin contrast may be difficult to read
if they are set very small, as the thin strokes may seem to disappear.
• Expanded or condensed faces are more difficult to read due to the
distortion.
• Value contrast between typefaces and ground increases readability.
• Typing typefaces over an image is harder to read.
• It is more difficult to read highly saturated colours, especially when it is
positioned on other highly saturated colours.
• People tend to read darker colours first.
• Small white typefaces on dark backgrounds are harder to read, especially on
screen.
• Body copy that is set in all caps is difficult to read.

Selecting a Typeface
Characteristics of a typeface. Each typeface has its own qualities that communicate
a style visually and may or may not be appropriate for the advertising message,
idea, tone of voice, or the target audience. Evaluate each typeface for its structure,
characteristics, aesthetic value that are based on proportion, balance, visual weight,
positive and negative shapes of each individual letter, as well as shape
relationships between and among each letter.

Media channels considerations. Where and how a typeface will be seen must be
taken into consideration as well. Whether you are designing for print or screen
should affect which typeface you choose.

SU4-18
 VIS251 STUDY UNIT 4

Consider the medium, size, and how far the viewer is from the screen. Whether the
page or screen is small (mobile, banner, or quarter-page newspaper advertisement),
medium (computer screen or magazine advertisement), large (home TV screen or
poster), or huge (billboard, public screen, or movie screen) is a critical
consideration.

Five general criteria for consideration when selecting a typeface

Idea. Each typeface has a specific character and it should be

used appropriately for the advertising message and idea.

Content. Readers need to be able to make out the message. A

typeface must be readable, legible, and appropriate
for the nature of the content.

Audience. Just like aiming the advertising idea at an audience,

it is also important to select the typeface according
to the demographics of the audience. This will affect
how you design with type.

Integration with You will need to determine the nature of the

Images. relationship between the image and type. Will the
image and typeface share defining characteristics,
such as line, shape, textural quality, or proportion?
Will their characteristics contrast one with the
other? Will one partner be neutral?

Context and Media. Some consideration should be given to how the

typeface will be seen when it has been displayed.
Will it be on screen (on a small, bigger, or huge
screen) or in print (in a magazine or on an outdoor
poster)? Will the impact be the same at some
distance? What about varying lighting conditions?
These factors, among others, should be considered.

Mixing Typefaces
Most designers mix typefaces when they want distinction between display and text
typefaces. Other designers mix for conceptual, creative, or aesthetic reasons. The
main reasons for mixing typefaces are to achieve differentiation and to add contrast
to the visualisation of the advertising idea.

No more than two (or three) typefaces. A general rule is to restrict your designs to
no more than two (or three) typefaces. An alternative is to select a family of a
typeface. A rich family includes variations; in weight from ultra light to ultra black,

SU4-19
 VIS251 STUDY UNIT 4

in width from condensed to extended; and in character sets such as small capitals,
titling capitals, and swash capitals.

Basic guidelines on mixing typefaces

Here are some guidelines on mixing display and body copy typefaces from
Martin Holloway, Professor Robert Busch School of Design at Kean
University, Union, New Jersey:

Mix for the purpose of contrast

Weight contrast. You can achieve this and still keep the typefaces
within a similar family style.

Width or style. This works when and only if the contrast is extreme.

Mix similar typefaces

Similar structures. There should be shared commonalities in the

skeletal structures, for example, Modern Roman
(Example: Bodoni) with Grotesque Sans (Example:
Helvetica); Old Style Roman (Example: Venetian)
with Humanist Sans (Example: Frutiger or Gill
Sans).

Similar character of For example, a geometric sans paired with a

shape. mechanical, unbracketed slab serif. Examine the
apertures of the structures, for example, closed
apertures versus open apertures.

READ:
Pages 68 – 74 of Landa, R. (2022). Advertising by Design: Generating and
Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons, Inc.

SU4-20
 VIS251 STUDY UNIT 4

ACTIVITY 4.1:

Choosing Typefaces

About you:

• Write five personality traits that characterise you.

• Choose one typeface per trait that expresses the characteristic.
Do not choose a novelty typeface.
• Finally, choose one typeface that completely expresses
everything about you.

About a brand:

• Write five personality traits that characterise your favourite

brand.
• Choose one typeface per trait that expresses the characteristic.
Do not choose a novelty typeface or the typeface that currently
makes up the brand’s logo.
• Finally, choose one typeface that completely expresses
everything about the brand. Do not choose a novelty typeface
or the typeface that makes up the brand’s logo.

SU4-21
 VIS251 STUDY UNIT 4

9 COPY

9.1 Copywriting

"If you are trying to persuade people to do something, or buy something,

it seems to me you should use their language, the language they use every
day, the language in which they think. We try to write in the vernacular"
David Ogilvy.

In advertising, copy refers to the text or words that are used for the advertising idea
to communicate the advertising message to the audience.

Copywriting is also one of the two vital parts during the design process where
words are being combined and interact with the selected images. In the case of a
poster advertisement, the first thing that the audience will see is the image and
headline. These together with other visual aspects of the advertisement must keep
the audience sufficiently interested to want to read on to the body copy. Therefore,
the more the creative team can communicate in the first encounter, the better it will be.

Style. Once the idea has been generated, the copy should be crafted appropriately
to convey the message. The style of the writing contributes to the message, just like
the choice of typeface that contributes to the voice. As always, understanding the
audience is key to writing effective copy. To persuade someone to donate blood or
give money to a charity, you have to make a connection. You have to touch the
reader’s emotional core. The reader can then be able to recognise something
relevant to his or her experience.

It is best to avoid clichés, as your audience will have heard of them time and time
again. A cliché also tends to make your advertisement sound like an advertisement
— and that is the last thing that you really want it to be. Try to use exciting, action-
oriented words as opposed to duller alternatives. For example, the word 'walk' can
be replaced with 'amble', 'stroll', 'strut' or 'stride'. Each of these words is more
visual as they tell you more about the type of walk and provide an opportunity to
increase the level of communication without increasing the length of the copy.

Write it as you would speak it. Use everyday language and talk to your audience
as if you are talking to someone you know personally. In that way, consumers are
more likely to be open to what you have to say. Use observations and examples that
people can relate to and a tone of style of language that they are familiar with. Try
to avoid using long words or complicated sentences just for the sake of sounding
profound.

Choose your words carefully and make every word count. You cannot say
everything, therefore try not to. If the readers want to know more, they can read off

SU4-22
 VIS251 STUDY UNIT 4

the details or the full technical specifications found in the body copy. It is your job
to get them interested enough to do that.

The Writing Process

The writing process requires one to read, write a lot, and finally revise and edit.
During the process when one lacks ideas, he can go back to the reading stage to
find inspiration.

READ WRITE EDIT

Figure 9.1: The writing process.

Read. Try reading different genres. Read from great literature to

dramas, comedies, or daily newspaper articles. The
purpose of reading is to feed your writing with different
styles of writing, new discoveries, and knowledge.

Write (a lot). In the act of writing, you may generate an idea for a
headline ‒ as you write, you will be thinking.

While writing a good number of lines, do not judge what

you have written until much later as in the later stage you
will need to edit and revise.

Gregg Wasiak, Creative Director (and Copywriter) of the

Concept Farm advises that the best copywriting exercise
comes through writing radio spots. Writing for radio
teaches timing and storytelling. It is all about words,
rhythm, and pace as no visuals are used to catch the
listener’s attention.

Edit. Revising and editing are part and parcel of the art of
writing to achieve the desired copy to communicate that
message to the audience.

SU4-23
 VIS251 STUDY UNIT 4

Elements of Copy
The headline, body copy and tagline are common elements of copy for advertising.

The Headline. A good headline complements the image and adds

meaning to it. It does not describe what is happening in
the visual. It can change the context of an image, thus
adding an unexpected quality to the advertisement. In
these instances, the image may suggest one thing while the
headline alters the meaning and confounds the
expectations of the reader in a way that challenges any
initial assumptions that he has made.

A headline may not be the first element seen in an

advertisement. This is because the image would have
already claimed that honour. But, the headline is generally
the first thing that will be read by the audience. Therefore,
if it fails to capture their attention, then the advertisement
would have failed.

A good headline has the power to catch the audience's

attention. It would have done so when they are flipping
through a newspaper, walking down the street, or opening
the mailbox. But most of all, it has a purpose. That is to get
the audience to commit some of their time to the
advertisement. They may find the visual beautiful,
impressive, or even arousing, but the headline is the
element that anchors the advertisement to reality and
creates a context for everything else that follows.

Edit your headline down to something that is clear,

simple and 'punchy'. There are no hard and fast rules
about how long or short a headline should be, but
generally speaking, you should try to edit your headline
down to something that is clear, simple and 'punchy'. You
may find that a single word is enough, articulately if it is
used well with a strong image. One way to edit down the
headline is to make language as direct as possible.

The tone and manner of a headline must reflect the value

or the positioning of a product or a brand. In some cases,
the language should reflect the use and character of the
brand, product, or service.

SU4-24
 VIS251 STUDY UNIT 4

Characteristics of a good headline

A good headline should carry the following

characteristics:

• Stands out.
• Stops readers long enough for them to process
the meaning.
• Offers a promise, an invitation, or important
news.
• Persuades readers that it is worth their time to
learn a little bit more about the brand, product,
or service.
• Make the advertisement meaningful through
communicating the advertising message, idea,
and story.

The Body copy. Good body copy starts in the middle of an advertisement.
It is used to support and carry on the message or 'story'
from where the image and headline left off. Most of the
time, people do not bother to read the body copy unless
they are engaged by the visual and headline, then they will
go on to read it. Hence, it is sensible not to rely on the body
copy to transmit the principal message. At the same time,
the bod ycopy should not bore the reader by repeating
information that they have already been presented with. It
should get to the point quick with efficient use of words.

Do not start talking about the brand in the opening

sentence of the body copy. Instead, try to talk about the
reader — his hopes, desires, or aspirations. Show your
audience that you understand them, the nature of the
problem that they may have, or the difficulties that they
may face in their daily lives, and that you can empathise
with them. Only when you demonstrate that you are
genuinely interested in them, then they are likely to show
an interest in what you are trying to communicate.

When composing the body copy, start by writing more

words than you are going to use. Write long and then edit
everything down to shorter and punchier sentences. The
reader should hear the voice of the brand, not the voice of
the writer.

SU4-25
 VIS251 STUDY UNIT 4

Characteristics of a good body copy

A good body copy should carry the following

characteristics:

• Uses as few words as possible.

• Says only what is important to say.
• Is honest and simple.
• Sticks to the story.
• Respects the brand, product, or service being
promoted.
• Addresses the prospective consumer directly.
• Holds the prospective consumer in high regard.

The Tagline. The tagline is the catchphrase. It conveys the brand’s

benefit or spirit that expresses the overall strategy for the
brand or campaign. It is also called a claim, end-line,
campaign slogan, or strap-line. When the tagline is being
developed, it should embody the same spirit of the overall
strategy and brand idea.

The tagline is used interchangeably in advertising.

Normally a tagline is found at the bottom of an
advertisement, placed beneath, or to the right of a logo.
More recently, it has been used as a headline, in the body
copy, or in other innovative ways within an advertisement.

The tagline is fragile and not particularly long-lived. A

shift in the business, the hiring of a new agency, the
appointment of a new marketing director, or the
implementation of a new strategy for a campaign can
discharge the original tagline to be replaced with another.

Taglines may appear in the following manner:

• In all-capital letters.
• With only the first word capitalised, as complete
sentences.
• As sentence fragments.
• Only rarely, as standard uses of good grammar —
particularly when they incorporate periods,
question marks, or exclamation points.

SU4-26
 VIS251 STUDY UNIT 4

Characteristics of a good Tagline

A good tagline should carry the following

characteristics:

• Is idiomatic or vernacular.
• Consists of as few words as possible.
• Completes the brand's story.
• Reiterates the brand's promise.
• Makes an Irrefutable argument for the brand.
• Distils the brand's essence to remove any
ambiguity or doubt.
• Is concrete and specifically targeted to the
audience.
• Adds an emotional element that confirms the
relationship with the audience.
• Feels likable.

READ:
Pages 178 – 185 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

ACTIVITY 4.2:

Writing Exercise

The most important thing you can do to improve your writing is

to write, write, write. Also, try any of the following as part of
your writing exercise:

• Keep a journal.
• Write letters to friends.
• Write funny descriptions of things.
• Write song lyrics about the ingredients in tomato soup.
• Read. Listen. Write.

Design - Creating Art and Copy

(Access video via iStudyGuide)

SU4-27
 VIS251 STUDY UNIT 4

REVIEW QUESTIONS

1. What are thumbnail sketches?

2. What are roughs and what purpose do they serve?

3. Explain the ‘comedy team’ relationship of visual and words in an

advertisement.

4. What is the difference between a copy-driven and visual-driven ad?

6. Define composition.

7. What are the three basic compositional structures? Explain each structure.

8. What is a grid and what is its purpose?

9. Should you rely on the body copy to communicate your message? What is
the role of body copy?

10. When writing copy, why do you need to be concerned with the target
audience?

SU4-28
 VIS251 STUDY UNIT 4

SOLUTIONS

1. What are thumbnail sketches?

Thumbnail sketches are preliminary, small, quick, unrefined drawings of

your ideas in black and white or colour.

2. What are roughs and what purpose do they serve?

Roughs are larger and more refined than thumbnail sketches. The purpose
of roughs is to flesh out a few of your best ideas, to explore how each design
concept and how it can best be expressed through the creation, selection,
and manipulation of type and visuals in a composition.

3. Explain the ‘comedy team’ relationship of visual and words in an

advertisement.

There are two kinds of ‘comedy team’ relationships. Firstly, the words are
straightforward and the visual is unusual (that is, humorous, odd, curious,
zany, and shocking). Secondary, the visual is straightforward and the words
are unusual (that is, humorous, odd, curious, zany, and shocking).

4. What is the difference between a copy-driven and visual-driven ad?

Copy-driven ads convey the advertising message primarily through the

words whereas a visual-driven ad conveys the advertising message
primarily through the visual.

6. Define composition.

A composition is the form, the whole spatial property and structure

resulting from the intentional visualisation and arrangement of visual
elements in relation to one another and to the format.

7. What are the three basic compositional structures? Explain each structure.

The three basic structures are type-driven, image-driven, and visual-verbal

synergy.

Type-driven emphasises on type and de-emphasises on visuals, where type

is the dominant force with visuals as secondary.
Image-driven emphasises on image and de-emphasises on type, where the
image is the “hero” with little type.

Visual-verbal synergy is a synergistic relationship between the main image

and headline, around which all other visual elements are subordinate.

SU4-29
 VIS251 STUDY UNIT 4

8. What is a grid and what is its purpose?

A grid is a guide, a modular, compositional structure made up of verticals

and horizontals that divide a format into columns and margins.

Grids organise type and visuals. If you have to organise the enormous
amount of content in any given corporate, museum, social cause or editorial
website, you will want some type of structure to ensure that readers will be
able to easily access and read an abundance of information. A grid affords a
skeletal structure that can provide continuity, congruence, unity, and visual
flow across many print or digital pages.

9. Should you rely on the body copy to communicate your message? What is
the role of body copy?

No, the main message is communicated through the visual and headline.
The body copy is there to support that message.

10. When writing copy, why do you need to be concerned with the target
audience?

The audience needs to quickly understand the message. Therefore, the copy
should be appropriately aimed and written for the target audience.

SU4-30
 VIS251 STUDY UNIT 4

REFERENCES

Website

Ads of the World: Creative Advertising Archive & Community. Retrieve from
[Link]

SU4-31
VIS251
Advertising Design

STUDY UNIT 5
Design
Designing Across Media
 VIS251 STUDY UNIT 5

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Designing for Screen-Based Media — Motion for Broadcast and Broadband

• Discuss the roles and differences of screen-based media — motion for broadcast
and broadband.
• Describe the essential components needed for screen-based media.
• Discuss the role of typography, graphics, music, and sound for screen-based
media.
• Describe and demonstrate the understanding of visualisation for motion with a
storyboard.
• Discuss considerations that are needed when designing for broadcast and
broadband.

Designing for Website

• Discuss the role of website in advertising.
• Understand the essential components that are needed for a website.
• Describe key steps that are required in the website development process.
• Describe various platforms and media that are available for a website.

Designing for Mobile Advertising

• Discuss the role of mobile advertising.
• Describe the essential components that are needed for creating an effective
mobile advertising.
• Discuss the R.U.L.E principles for consideration when designing for mobile
advertising.

Designing for Social Media

• Discuss the role of social media in advertising.
• Discuss the R.A.V.E.S. principles for consideration when designing effective
social media in advertising.

Designing for Unconventional Advertising

• Define unconventional advertising.
• Identify and describe the eight unconventional advertising techniques that can
be used.
• Identify and explain the advantages and disadvantages of each unconventional
advertising technique.
• Examine the role and use of unconventional advertising techniques as part of a
framework for an integrated campaign.

The Amplification Effect

• Describe and explain the amplification effect.
• Demonstrate the use of the amplification effect with an unconventional
advertising idea for a campaign.

SU5-1
 VIS251 STUDY UNIT 5

OVERVIEW

Beyond Print. This section provides students with the necessary factors that are
required when designing for screen-based media such as motion for broadcast and
broadband, website, mobile, and social media.

Designing for Unconventional Advertising. This section explains the essentials

and eight techniques that can be used when designing for unconventional
advertising. It will also provide the knowledge on the term amplification effect — a
process that describes how unconventional advertising is able to reach numerous
audiences.

SU5-2
 VIS251 STUDY UNIT 5

10 BEYOND PRINT DESIGN

10.1 Designing for Screen-Based Media —

Motion for Broadcast and Broadband

Screen-based media such as motion for broadcast (television and cinema) and
broadband (online videos and web commercials) are considered to be the most
glamorous of all the advertising media. This is because of the level of exposure,
plus the type and scale of the production that includes the potential to shoot aboard
with a top director. The following are what motion for broadcast and broadband
have to offer:

• Motion and animation.

• Special visual effects.
• Sounds such as music, voice, and sound effects.
• Duration of fifteen, thirty, or sixty seconds (depending on TV spots that are
offered by TV channels from individual countries).

In print, you have two or three seconds to capture someone's attention. If you lose
the consumer in the first second, you would have lost him. With motion, you may
lose the audience's attention in the first two or three seconds and then recapture
their attention in the next five seconds. Motion for broadcast and broadband has to
do the following and to do it all in fifteen or thirty seconds:

• Entertain.
• Look or feel fresh.
• Endear the brand to the consumer.
• Get the audience's attention before he zaps, skips, or leaves the room.
• Call to action and create awareness.
• Work in the context of broadcast and broadband programming.

Basics for Screen-Based Media

Screen-based media can involve narrative or storytelling forms (linear, nonlinear,
realistic, abstract, or experimental), sequencing of images and events, composition
with visual and motion variables (characteristics, attributes, or qualities). As
always, the underlying concept drives the execution.

Basic considerations for motion

• Concept generation that is based on the brief and strategy.

• Narrative forms or storytelling (linear and nonlinear).
• Sequencing of images for maximum impact and communication.
• Integration of different media in broadcast and broadband.

SU5-3
 VIS251 STUDY UNIT 5

Developing for Screen-Based Media

Components for Screen-Based Media. It is composed of components such as the
events, frames, images, and sound. Each of these has its individual duration. When
combined, it will form the entire duration for the media. You can make use of the
following when developing screen compositions:

Spatial The distance between the viewer and the object that is seen
Relationships. on screen. It can be categorised into the following shots:
• Close-up which is a zoomed-in shot.
• Medium shot that is seen from a medium distance.
• Long shot that is seen from far away.

Temporal The relationships between frames (preceding or following)

Relationships. that contribute to the viewer's understanding of the visual
communication and to the impact of the design on the
viewer.

Rhythmic The duration of each shot and the interaction of visuals,

Relationships. with contrast, variation, and how the composition flows
from one frame to the next need to be considered that is
often achieved in the same manner as in print.

Principles of Design. The following principles can be applied:

Proximity. Grouping elements that will enhance the

content and visual communication. Negative space
surrounding shapes and forms greatly contributes to how
elements relate to one another.

Contrast. Contrast creates visual interest through variety.

And when contrast is established, it produces visual
punch.

Repetition and Alignment. When an audience see a

repeated element and alignment in visual or in a repeated
sound, this recurrence will help them to perceive the work
as a unified whole and to attach this repetition to the
brand.

Storyboarding for Screen-Based Media

Visualising advertising for motion begins with a storyboard. A storyboard is a
series of drawings, sketches, or photographs of key shots that are accompanied by
text to visually explain the idea. The visuals are drawn inside small frames, in
proportion to a screen with the action, dialogue, or sound and special effects
written underneath or next to each frame (Figure 10.1). It acts like a diagram to
guide creative professionals during the idea, design, and production phases.

SU5-4
 VIS251 STUDY UNIT 5

SEQUENCE NO / DURATION:! SEQUENCE NO / DURATION:!

DESCRIPTION:! DESCRIPTION:!
NARRATION:! NARRATION:!
MUSIC / SOUND FX:! MUSIC / SOUND FX:!

Figure 10.1: Example of a 2-frame storyboard.

Typography and Graphics for Screen-Based Media

The use of typography in screen-based media is similar in print-based media. The
only benefit that screen-based media provides is the bonus of motion and sound
that adds potential for heightened dramatic or comedic effect.

When using typography for screen-based media, you will need to determine the
following:

• The use of headings and subheadings in terms of colour, size, and weight to
distinguish the hierarchy of type from one another.
• The use of letterforms or words that may stand out by using weight for
contrast.
• The interplay of positive and negative shape relationships will have an
enormous effect on establishing flow from one frame to another.

Music and Sound in Screen-Based Media

We have heard of advertising jingles that we can hum and remember. Audio
provides a strong component for screen-based media as it can engage the audience
with enthusiasm and, in a way, make them remember the piece of music in their
minds.

Structuring Motion for Screen-Based Media

On creating linear structures, Alan Robbins of Kean University advises that all
stories whether they are novels, commercials, comics, or films should follow the
same structure ‒ beginning, middle, and end. This structure or motion should also
flow out from the creative brief; the advertising message, the idea, the tone of voice
to set and feel for, and an insight into the audience.

The Beginning. It is the snare, the catch, the lure, and the setup of the story.
Some image or description can be used to grab the
audience's attention and sets up a question, a dilemma,
and a mystery that call out for an answer.

SU5-5
 VIS251 STUDY UNIT 5

The Middle. It is the explication or unfolding of events, actions, and

intentions that are consequences of the beginning.

The End. It is the resolution or answer to the beginning setup.

Basic considerations for structuring motion

• Are you telling a compelling story?

• Whose point of view is the story being told from?
• Is the idea plot or character driven?
• What is the conflict? Is the conflict interesting?
• Is there a resolution?
• Are you offering a logical reading of the story line?
• Have you used what is available to your advantage: motion, sound,
time, character development, or plot?
• Is there a single protagonist or are there multiple protagonists?
• Are you able to capture and keep the audience’s attention?
• Have you considered how close the audience is to the screen of the
media?

READ:
Pages 208 – 214 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

ACTIVITY 5.1:

Typography for Screen-Based Media

Choose an upcoming movie and look at its trailer:

• Generate an idea and design an opening title for the movie.

• Make use of typography and visuals in your composition.
• Create a storyboard with five frames.
• Consider how the opening title will be executed.

SU5-6
 VIS251 STUDY UNIT 5

10.2 Designing for Website

A website is a collection of 'pages' that are linked together and are made available
on the World Wide Web. They are authored and owned by companies,
organisations, or individuals. They offer many avenues to build relationships with
people, from corporate websites, entertaining microsites, branded programming
content, videos, advertising campaigns, to brand platforms.

These websites can help inform or entertain people for a short period or create
something that lasts and grows that make people want to come back to the websites
again and again through the experience.

The most important factor that a creative professional has to take note of is that any
effective online site is based on a great idea. Idea generation and designing for
interactive media is collaborative as it involves a team of experts who will develop
and execute the web design applications.

Finally, designing for digital media is an iterative process that requires prototyping,
testing, maintenance, updates, and redesigns.

Basics for Website

The grid. For conventional sites, a grid is most often used as the central ordering
structure for a website. It is a framework that is used to create a uniform layout
from page to page, while allowing for some variation. The grid will split the page
into columns with defined widths, spacing, and margins to establish positions for
standard elements on the page and alignment of text and pictures.

Maintain a visual design grid. By doing so, the visitors will be able to easily locate
titles, information, and navigation graphics. This will enable them to experience a
smooth passage around the site.

Provide a sense of location for the user. For instance, the home page link should be
visually consistent (the same shape and in the same spot on every screen page)
throughout the site. In addition, each screen should have a title in the same spot so
that the visitor knows exactly where to look to determine the location within the website.

Offer an experience. Some websites offer a variety of experiences through

interaction. For example, the websites of television broadcast offer full episode
players. If a viewer does not choose a full screen experience, then the website
design must accommodate the episode experience while maintaining the website
context so that the viewer is still immersed in the world of that brand.

SU5-7
 VIS251 STUDY UNIT 5

Basic considerations for website design

• Integration of the design of the website with the brand’s identity

(colour palette, graphic elements, tone, visualisation method, or
imagery).
• Ensure logical information hierarchy.
• Engage the visitor throughout the website.
• Offer a rich experience and a branded utility or platform.
• Testing to be done at various stages of development.

Features of an effective website design

• Easy to navigate.
• Makes the experience frustration-free.
• Content is easy to find, read, print, or download.
• Respects the user's time. Offer fast content download time (less than 15
seconds) and streaming.
• Most content should be brought to the immediate attention of the
visitor.
• Offers something that print, broadcast, or mobile media cannot.
• Offers a media-rich experience.
• Provides an interactive experience that draws people back, pulls
people in, one that starts a dialogue and a long-term relationship.

Website Development
Besides the usual design process, the website design process requires thorough
prototyping, where the site is created and tested for usability.

Ten key steps in the website development process

1. Project plan. Orientation and analysis to set and guide the goals. At the
same time, to form a team of experts for the project.

2. Creative brief. Create an outline of the creative strategy and all the
other objectives in the brief.

3. Site structure. Plan, map, prepare content and information architecture

(functional specifications), and address technological challenges.

SU5-8
 VIS251 STUDY UNIT 5

4. Content outline. Research and create an outline for the content.

5. Conceptual design. Generate design concept that is based on the brand

identity, strategy and brief.

6. Visual design development. Design grid, template, determine

visualisation method, set colour palette, style of typefaces, style of
navigational cues, graphic interface, style of photos or illustrations, and
other graphic elements.

7. Technical specifications. List and work out any technical

specifications required.

8. Prototype. Development of a prototype and to be used for user testing.

9. Technology. Solving of any technical problems that has been identified

during prototyping.

10. Implementation. Launch, promotion, updating, and on-going testing

for usability.

READ:
Pages 226 – 233 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU5-9
 VIS251 STUDY UNIT 5

10.3 Designing for Mobile Advertising

Almost everyone has a mobile phone these days. It is considered as the most
personal of all media as it resides in our pockets and handbags. People love their
mobile phones and have become increasingly dependent upon them. Whether
someone is waiting in a line at a theatre, sitting on a bus, or in a doctor's office, that
mobile device can provide entertainment or information. If we are to leave home
without it, we will break into sweat. Therefore, mobile strategy can play an
important role as a part of an integrated media campaign.

Mobile phones can be used in a variety of ways. It is important to take advantage of

any and all mobile-specific capabilities that can extend the reach and breadth of a
campaign such as click-to-call, location and mapping abilities, free mobile content,
mobile applications, and camera capabilities for visual searches and interactive
advertisements.

Considerations for Mobile Advertising

The mobile phone provides the most privacy to most users. People feel free to use
their mobile devices in ways that they will not consider on a social networking site.
The mobile screen is an opportunity to create a more intimate brand relationship
with someone.

R.U.L.E. for conceptualising ideas for mobile phones

Relevant. Make it relevant to its audience.

Useful. Make something that is useful to the audience.

Legs. Give it 'legs' so that it can run across the campaign.

Entertain. Make it entertaining with games or programming.

READ:
Pages 233 – 238 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU5-10
 VIS251 STUDY UNIT 5

10.4 Designing for Social Media

Social media includes web-based and mobile-based technologies that are used to
turn communication into interactive dialogue among organisations, communities,
and individuals. It offers brands the opportunity to talk to their audience and to the
extent of listening to them.

A brand must always remember to create a social space that has to be something
engaging, utilitarian, and fun. Many of the viewers will become the brand fans
when they can relate to what the brand is doing in their own personal social space.

Considerations for Social Media

Social media is most effective when it is relevant, authentic, valuable, enticing, and
shareable (RAVES):

R.A.V.E.S. for an effective social media

Relevant. It needs to demonstrate an understanding of its target audience

that are based on the insights into the audience and brand.

Authentic. It needs to live up to its brand essence, claims, values, and does
not lie or offer half-truths.

Valuable. It needs to offer something of value to the audience, which in turn

helps the brand to grow.

Enticing. It needs to offer something unique, sought after, or cool. Something

that the audience cannot get elsewhere so that the audience will be teased.

READ:
Pages 238 – 241 of Landa, R. (2022). Advertising by Design: Generating
and Designing Creative Ideas Across Media (4th ed.). John Wiley & Sons,
Inc.

SU5-11
 VIS251 STUDY UNIT 5

11 DESIGNING FOR
UNCONVENTIONAL ADVERTISING

11.1 Designing for Unconventional Advertising

"Opportunity in the classical media is becoming more and more

challenged for a number of reasons. First, there is the cost issue. Second is
the fragmentation of the media; and third, related to that, the growth of
new technologies. The central challenge is to continue to differentiate
products and services in an even stringer and more creative and
constructive way." Martin Sorrell, Chief Executive Officer, WPP, speaking at a
barnstorming session entitled 'Building a better mousetrap', Cannes Lions 2005.

Guerrilla, ambient, viral, or buzz advertising. These are common terms known for
unconventional advertising. It has been inspired by guerrilla warfare that is a form
of irregular warfare and relates to the small tactic strategies used by armed
civilians. Many of these tactics include ambushes, sabotage, and raids that will
cause an element of surprise to their attackers. Much like guerrilla warfare,
unconventional advertising makes use of similar tactics when developing and
designing its ideas.

Creating unique, engaging, and thought-provoking idea. Unconventional

advertising is all about creating that unique, engaging, and thought-provoking idea
to generate social buzz that will consequently turn viral and reach numerous
people through the amplification effect. It also will leave a more valuable
impression with the audience as compared to conventional forms of advertising.
This is due to the fact that most unconventional advertising ideas aim to strike the
audience at a more personal and memorable level.

Unconventional techniques. There are eight techniques that will help you in
developing and designing unconventional advertising. They are intrusion,
transformation, installation, illusion, infiltration, sensation, interaction, and stunt.

These techniques have the ability in one way or another to get under people's skin,
to catch them off guard, at a moment, in a place, in a way they least expect it. In any
situation, it can make use of several techniques at the same time.

Intrusion — Using places or objects as a carrier of the message.

Intrusion is about using new and fresh media as a carrier to contain the advertising
message. It permits the brand to plant the message at specific objects or spaces
where they are the most relevant to the audience.

Clever intrusion happens when a specific characteristic of the object or location is

considered and is being integrated into the message. These objects or spaces can
possess one of the following characteristics when it carries the message:

SU5-12
 VIS251 STUDY UNIT 5

• Functional value. The purpose or function it fulfils in everyday life.

• Appearance value. What it looks like.
• Connection value. Whom it connects the audience with.
• Attention value. What attention it can generate.

Using the functional It can be any everyday objects such as pizza boxes to keep
value of a medium. pizzas hot, coasters to prevent the table from getting wet,
or cups for drinking. Anything that has a function in our
everyday life can be used as a carrier for the advertising
message.

As working out is a very popular pastime among up-

market individuals in Singapore, the gyms have become an
ideal place to reach the target audience of The Economist.
Taking the value of function for each gym equipment into
consideration, various messages have been created
specifically for each piece of gym equipment. (Raise the bar.
Agency: Ogilvy & Mather, Singapore, Client: The Economist,
Year: 2004. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 26, Figure 5)

Using the Every object or space has an appearance value, such as a

appearance value shape, colour, and size. Most outdoor billboards are
of a medium. monotonous in their appearance, the only variable being
the size of the canvas. But by integrating certain physical
characteristics of a medium into the overall advertising
creation, the medium becomes part of the message.

South Africa’s city of Pretoria is home to the famous

Jacaranda trees that carpet the streets and avenues with
purple flowers for only once a year. This had created an
opportunity for Dulux to make use of the situation to their
already famous promise of ‘Any colour you can think of’.
(Any colour you can think of. Agency: Lowe Bull, South Africa,
Client: Dulux, Year: 2004. Himpe, Tom, Advertising is Dead,
Long live Advertising (2006), Pg 41, Figure 28)

Using the connection The connection value of a medium refers to its ability to
value of a medium. connect with a specific group of audience. A record store,
for instance, has the ability to connect with music lovers,
while a fitness club attracts people who are interested in
healthy living or keeping in shape. These places have a
very specific function or purpose that are frequented or
used by particular groups of people. Using these spaces
allows a brand immediate access to integrate its message
with the medium's connection value.

SU5-13
 VIS251 STUDY UNIT 5

To find the medium with the highest connection value for

a brand, it is always imperative to clearly outline the target
group ‒ what they do, where they live, where they go and
with what they come into contact with.

Taking advantage of the value of connection, the Salvation

Army in Singapore had put up stickers in the changing
rooms of departmental stores, asking people to donate
their old clothes to the organisation. (Changing wardrobe?
Agency: Bates Singapore, Client: Salvation Army, Singapore,
Year: 2004. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 43, Figure 31)

Using the attention This is about the extent to which a medium is able to grab
value of a medium. the audience's attention. When looking for a suitable
carrier for the advertising message, remember that some
objects or space simply have a higher attention value than
others. It can be based on the medium's size, location, or
some specific qualities.

An attractive girl’s bottom is a guaranteed source of

attention from men. That was the reason, FHM the popular
men’s magazine had tattooed 20 girls’ bottom on the UK
beaches with the slogan ‘FHM approved’. (FHM approved.
Agency: Cunning, UK, Client: FHM, Year: 2003. Himpe, Tom,
Advertising is Dead, Long live Advertising (2006), Pg 46,
Figure 35)

Transformation — The physical alternation of something real.

Transformation alters one or more of the medium's characteristics that help to
reinforce the advertising message. The medium is thereby transformed into
something slightly different and has a fresh appearance.

The impact of the transformation technique is derived mainly from the fact that it
builds on the existing relationships we have with the medium in our environment.
You need to stop looking at the world as a given, but rather as a source of
inspiration that has endless potential for transformation, with every object or space
that can be a possible medium to be twisted, enlarged, distorted, coloured, and
changed. As a result, a transformation of familiar sights immediately catches our
attention.

Transformation makes use of eight characteristics of a medium to carry the

advertising message. They are size, colour, shape, matter, location, addition,
removal, and replacement.

SU5-14
 VIS251 STUDY UNIT 5

Size. On the streets of Australia, objects were scaled to exactly 10

times their usual size to visualise the capability of the new
Olympus 10x optical zoom. They were then placed in
common places. (An extraordinary 10x optical zoom. Agency:
Saatchi & Saatchi, Australia, Client: Olympus, Year: 2004.
Himpe, Tom, Advertising is Dead, Long live Advertising (2006),
Pg 74, Figure 66)

Colour. A 54-floor tower that is the most visible symbol in

Roppongi Hills, Tokyo, has been turned into a huge sound
indicator that reflects the live play of the FM Station J-
Wave. (Singing Tower. Agency: Dentsu, Tokyo, Japan, Client:
J-Wave, Year: 2004. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 76, Figure 68)

Shape. Through a simple and yet clever transformation, an ashtray

has become an in-the-face, on-the-spot reminder of the
disastrous consequences smoking has on the lungs. (Lung
ashtray. Agency: DY&R Wunderman, Singapore, Client:
Singapore Cancer Society, Year: 2002. Himpe, Tom, Advertising
is Dead, Long live Advertising (2006), Pg 78, Figure 71)

Matter. The clean water in the water dispenser was replaced with
foul, dirty water to tell people the type of drinking water
that had been available in developing countries. (In some
third world countries, this is the only water available. Agency:
Harrison Troughton Wunderman, UK, Client: AquAid, Year:
2003. Himpe, Tom, Advertising is Dead, Long live Advertising
(2006), Pg 81, Figure 75)

Location. To illustrate the added boost the new Adidas A3 basketball

shoes gave, rubbish bins in the streets of Paris were hung
with basketball rims that were several metres off the
ground. (Boost your jump. Agency: TBWA, Paris, Client:
Adidas, Year: 2004. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 82, Figure 77)

Addition. The addition of a single mirror, in the elevators of a

shopping mall that specialises in computer equipment, was
used to illustrate the perfect photo quality picture that was
delivered by Hewlett-Packard’s Photosmart Printer. (For
true-to-life prints time after time. Agency: Saatchi & Saatchi,
Singapore, Client: Hewlett-Packard, Year: 2003. Himpe, Tom,
Advertising is Dead, Long live Advertising (2006), Pg 85,
Figure 80)

Removal. The Singapore Red Cross had used red ballpoint pens with

SU5-15
 VIS251 STUDY UNIT 5

their ink removed as a striking reminder of the low blood

bank situation in the country. These pens were sent out as
direct mailers. (Refill needed, be a blood donor today. Agency:
Ad Planet Group, Singapore, Client: Singapore Red Cross, Year:
2003. Himpe, Tom, Advertising is Dead, Long live Advertising
(2006), Pg 87, Figure 85)

Replacement. Vending machines with guns in them were installed on

university campuses and in shopping malls that made an
ironic statement on the availability of guns in South Africa.
(This is how easy it is to get hold of a gun in South Africa.
Agency: The Jupiter Drawing Room, South Africa, Client: KFM,
Year: 2001. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 91, Figure 90)

Installation — The act of installing something.

While the technique of transformation starts from existing everyday objects or
spaces and adds a twist to them, installations can come out of nowhere and can
take absolutely anything as a source of inspiration. An installation has no
boundaries or rules and can be made from any material, take any shape or size and
it can be placed in any location, without having to refer to anything real.

Installations are well suited for advertising for several reasons. Firstly, installations
occupy space and their three-dimensional nature ensures that they are seen.
Secondly, as a result of its three-dimensional nature, it will allow the audience to
interact with it. Finally, installations allow the advertising message to take on a
three-dimensional life and to be fully integrated into an environment.

An example of an installation would be when a Mini Cooper was setup in a toy box
and got displayed along the street of Orchard Road to emphasise the Mini’s playful
image as the ultimate toy car. (It’s more fun in a Mini. Agency: TBWA, Singapore,
Client: Mini Cooper, Year: 2004. Himpe, Tom, Advertising is Dead, Long live Advertising
(2006), Pg 99, Figure 102)

Illusion — Communication that distorts our perception of what is real and what is not.
Illusions distort our perception of what is real and what is not. They make
something unreal, look or feel like it is real. The purpose of an illusion is to make us
believe that what we are looking at exists or is actually happening.

There are four ways in which we can create confusion between what is real and
what is not. They are false copies, false perspectives, false stories and false
perceptions.

False copies. It is about creating perfect simulations of reality that it

Copying reality. becomes difficult to judge whether the medium is real or
not. The rule is simple ‒ the better the copy, the greater the
confusion.

SU5-16
 VIS251 STUDY UNIT 5

A good example of false copies is the detailed wax replicas

of world-famous icons that can be found in Madame
Tussauds Wax Museum. The creators of the wax statues
simulate as closely as possible every single detail of the
original person.

Another example would be false crime scenes that were

found in various parts of Singapore that had taken
advantage of people's morbid curiosity, drew them close
enough to communicate details about the upcoming season
of the forensic drama CSI: Crime Scene Investigation on
AXN. (Do not cross, CSI 9pm, Wed. Agency: Saatchi & Saatchi,
Singapore, Client: AXN, Year: 2004. Himpe, Tom, Advertising
is Dead, Long live Advertising (2006), Pg 112, Figure 116)

False perspectives. It uses two-dimensional images that attempt to create the

Creating optical illusion of three dimensions. It uses the application of
illusions. lightness and darkness to the subject to suggest depth to
trick our sense of perspective. This is also known as trompe
l'oeil, meaning 'deception of the eye' in French.

During the Singapore’s one-week school holiday, a double-

decker bus had a sticker on the outside of it, changing it
into the magical purple triple-decker Knight Bus from
Harry Potter, the Prisoner of Azkaban. This bus had
offered youngsters with activity-filled 30-minute rides to
promote the opening of the film. (The Knight Bus. Agency:
Mediaedge:CIA, Singapore, Client: Warner Bros, Year: 2004.
Himpe, Tom, Advertising is Dead, Long live Advertising (2006),
Pg 122, Figure 130)

False stories. It is a fictional story that is perceived to be real by the

A plausible story, audience. The story needs to be plausible, convincing, has
convincing style, a credible source, and tangible proof.
credible source and
tangible proof. On 1 April 1957, the British Broadcasting Corporation
(BBC) broadcasted a documentary as an April Fools Day
hoax. It featured a family from Ticino in Switzerland
carrying out their annual spaghetti harvest from trees on
one of its television programme, Panorama
([Link]

The 3-minute segment was narrated by distinguished

broadcaster Richard Dimbleby. Many, who were intrigued
by what they saw, called up the station, wanting to find
out where they could purchase their very own spaghetti
bush.

SU5-17
 VIS251 STUDY UNIT 5

Since the spaghetti harvest from the tree story perfectly

adhered to the four criteria, a huge number of viewers
were duped:

Firstly, the story was plausible. Panorama did not

announce that spaghetti suddenly grew on the trees
without any further explanation or augmentation.

It had anticipated audience questions by providing

answers in its commentary. For instance, there was an
answer to why spaghetti grew on trees and if they came in
uniform lengths. The answer was that it was 'the result of
many years of patient endeavour by past breeders who had
succeeded in producing the perfect spaghetti'.

Secondly, the style in which the story was told was

convincing. Panorama was in a documentary style and
was narrated by the show's highly respected commentator,
Richard Dimbleby.

Thirdly, the source that spread the story was credible.

Panorama was considered a prestigious programme. The
general trust that was placed in the medium of television
also lent the claim credibility.

Finally, the story had tangible proof. In the Panorama

episode, viewers saw the footage of a rural Swiss family
pulling down strands of spaghetti from trees and placing
them into baskets.

False perceptions. It creates dubious visuals that make audience reconsider

Ambiguous visual what they have seen. These also create prolonged attention
imagery. span and heighten the element of surprise.

An eye-catching trick was developed to launch and

promote the action programmes on the Malaysia television
station ‒ Channel 9. This was achieved by using helium-
filled ‘missile’ balloons that were attached with nylon
strings to a truck. When the vehicle moves, the balloons
would trail the truck like heat-seeking missiles at the back.
(Nonstop action. Agency: JTW, Malaysia, Client: Channel 9,
Year: 2004. Himpe, Tom, Advertising is Dead, Long live
Advertising (2006), Pg 139, Figure 149)

Infiltration — The use of people to penetrate an area.

People are fantastic media channels to carry the advertising message, as they have
always been social creatures that are constantly in touch with each other. While

SU5-18
 VIS251 STUDY UNIT 5

most media are fixed and static, people have the advantage of being highly mobile
and flexible to move freely and adjust to any environment.

The use of people to penetrate an area can come in the form of promotional teams,
sandwich-board men, actors, brand ambassadors, street teams, product endorsers,
spokespersons, and so on. Two categories are easily distinguishable in the use of
people for infiltration purposes. They are carriers and performers.

Using people as Carriers are people who literally 'carry' messages, almost
carriers. like empty vessels that can be branded for any occasion.
These are people who lend their voice or body for the
purpose of advertising, spreading messages to anybody
they encounter. Sandwich-board men and promotional
teams are classic examples of people as carriers.

A subtler way of using people as carriers is when

consumers are being used to promote products
unbeknownst to the people with whom they come into
contact with. The process is simple ‒ companies give
consumers free products and in exchange, these consumers
are seen publicly with them and talk about them to friends.
The more people see a product being used in public or the
more they hear about it from people they know and trust,
the more likely they are to buy it for themselves. The basic
premise is that there is nothing more powerful than a
personal recommendation by a friend or acquaintance.
This form of marketing goes by a host of titles such as
exponential, wildfire, domino, organic, word-of-mouth,
word of mouse, or referral marketing.

Using people as Performers, on the other hand, do not just carry a message.
performers. They dramatise it and turn it into an act. By adding the
element of theatrics, these performers gain people's
attention through their actions. These acts are also referred
to as 'street theatre' or 'performance advertising', for which
the people are trained to mesmerise crowds through their
skills and abilities through the return to the traditions of
jugglers, magicians, storytellers, puppeteers, acrobats,
clowns, or mime artists.

Street performances reach a limited number of people, but

they are an ideal catalyst for word-of-mouth advertising.
People who are unexpected viewers of the performance
will share their experience with others. In doing so, the
performance quickly reaches a crowd that is larger than the
physical one that has been assembled on the street.

SU5-19
 VIS251 STUDY UNIT 5

In Singapore, a model was engaged to walk around four

keys areas of the country’s Central Business District
dressed in a rather peculiar manner. His custom-made suit
has a dagger that is fixed to his backs and is also carrying a
small red briefcase that explains his point of act. (Ignorance
kills. Agency: Ogilvy & Mather, Singapore, Client: The
Economist, Year: 2004. Himpe, Tom, Advertising is Dead, Long
live Advertising (2006), Pg 154, Figure 166)

Sensation — Information conveyed through the senses.

The chances of remembering someone is much greater if you have touched,
smelled, seen, heard or even tasted the person. This is the powerful impact of
sensory when either two or more senses are being applied to something that you
have come into contact with. Due to this, brands are constantly in search of
unconventional ways of integrating the audience's senses into their communication
with the advertising message to differentiate themselves in a highly competitive
environment in which all players seem to have similar propositions.

Sight. In advertising, sight is the most dominant of all the senses.

Almost in every campaign, a piece of communication
somehow appeals to this sense, using different visual
methods to appeal to the eye through display, light,
colours, graphics, typefaces, and movements to capture the
audience's attention.

Brands are always on the look out to provide their

audience with first-hand, three-dimensional visual
experiences, rather than flat simulations. Areas such as
retail and event marketing are by nature much better
equipped for this as compared to conventional media such
as television and print. Flagship stores turn mundane
shopping excursions into visually stunning tours, and the
architecture of many corporate buildings has been
designed as a visual translation of the company's
personality and values that have enabled corporations to
give people a first-hand impression of their brand,
products or service.

An extreme example is Volkswagen, which has pushed the

concept of the factory visit to another level in an attempt to
make the fascination of automobile production visible to
the outside world. In Germany, the company has built a
completely transparent factory and invited customers who
have bought Phaeton cars to witness the vehicle's
production stages. What has always happened behind
closed doors suddenly becomes an impressive visual
experience for the consumers.

SU5-20
 VIS251 STUDY UNIT 5

Sound. Sound can be used in the form of music or noise that

creates attention to grab the attention of the audience, or
generates mood that creates the feelings and emotions in
the audience. The music can be used to strengthen the
emotional part of the brand and to give an environment
the desired ambience.

Touch. Touch plays an important role in the brand experience. It

can be the touching of the products, the materials that are
used for the visual communications and even the right
temperature to create the right mood for the store. The
touching of a product enables the consumer to experience
the pleasure of holding and playing with something. At the
same time, it allows the consumer to have the enjoyment of
imagining that the product belongs to him before he
decides to buy it.

Smell. Paying attention to smell can be an important strategy in

creating an unconventional experience for a brand. The
challenge for products with captivating smells is to
simulate the odour in the absence of the actual product.
For example, perfume advertisements have resolved this
issue by adding scent strips to magazines. Therefore, it is
important to explore how smells can be communicated in a
more complete and direct way.

Taste. Sight, sound, touch and even smell can be reproduced in

some form in the absence of the actual product whereas
taste cannot. To know what something tastes like, we have
to taste it. While taste may be the toughest to crack for an
unconventional idea, it is the easiest sense to link to a
product. Samplings and tastings are an unavoidable step
along the path of acceptance for any new food item or
beverage that is to be launched in the market.

To announce the red, limited edition Senseo coffee

machine, five bus shelters were transformed into
temporary free coffee stations. Instead of staring at the
usual advertising posters, passengers were treated to a cup
of Senseo coffee. (Sensational. Advertiser: Philips. Himpe,
Tom. Advertising is Dead, Long live Advertising (2006), Pg
173, Figure 191)

Interaction — Any communication in which the consumer is actively involved.

Interactivity allows actions between the audience and the selected media to go
much further than words. This great advantage creates much more memorable
moments than any conventional options. As a result, these interactions ingrain

SU5-21
 VIS251 STUDY UNIT 5

themselves into the audience's consciousness, causing them to share the experience
with others. There are 1001 ways of creating interactivity in media channels. They
can be large-scale events, competitions, contests of all kinds, promotional tours,
conferences conventions, interactive games, and among others.

As a technique, interaction differs from sensation as it involves directly with the

consumers. Sensations activate the senses, but remain passive experiences, while
interactions are the result of active participation from the audience. There are two
classifications of interaction with different levels of commitment from the audience.
They are consumer as participant and consumer as co-creator.

Consumer as As a participant, we experience what brands have

participant. prepared, designed, and set for us to experience. These
staged interactions retain complete control over the
experience and take the audience on a guided, interactive
tour, giving the audience the chance to interact with the
brand.

To promote the PlayStation version of the Olympic Games

in 2004, people were invited as participants to break
Olympic records on the streets. (Try to do better. Agency:
TBWA, Netherlands, Client: PlayStation, Year: 2004. Himpe,
Tom, Advertising is Dead, Long live Advertising (2006), Pg
184, Figure 206)

Consumer as Today, it is not unusual for people to invent and get

co-creator. involved in a brand's new advertising campaign. For the
consumers, it presents an opportunity to become involved
in the creative process and enter into a zone that is
previously the exclusive terrain of agencies and the clients.
By promoting consumers to become co-creators, brands
will be able to attain a higher level of complicity with the
consumer. Audience are invited to aid in co-creating new
products and services, and they help to determine the rules
and content of the interaction. Hence, the idea becomes a
shared experience. By involving the consumer in the
process, the length of his or her experience is being
prolonged.

In 2004, Hewlett-Packard wanted to promote HP digital

imaging, printing and projecting equipment to the next
generation of artists, photographers, and film-makers.
Hence, artists were invited to become co-creators with their
original digital pictures or short films on disk that were
inspired by a word or phrase containing the letters ‘H’ and
‘P’. The works of art were then run on HP printers and
exhibited. There films were shown through HP projections.

SU5-22
 VIS251 STUDY UNIT 5

Stunt — A difficult, unusual, or dangerous feat.

A stunt has to be outrageous, yet truthful in articulating what the advertising
message is about. You need to think outrageously, visually, and to keep the
advertising message in mind. In terms of a stunt, it is limitless as there are countless
ways to turn the message into a publicity stunt.

Stunts are closely linked with and in need of media coverage to amplify to more
audience. Most stunts are designed with the specific purpose of gaining free
publicity, and therefore, a perfect way to get maximum return on a small
investment. Without it, they will be nothing more than isolated events carried out
in front of passer-bys. Another crucial element that makes sure that the media picks
up the stunt is imagery. Images conclude all the dramatic elements around the
stunt into one striking visual that invites the audience to read more about it.

Larger than life. The brand has to create a unique and larger than life reality
idea that is seemed to be as big and as awesome as
possible.

To illustrate its climbing ability and fulfil the Jeep Grand

Cherokee’s campaigning slogan ‘Go everywhere and do
anything’, the vehicle was ascended all thirty stories of the
Two Penn Plaza in New York. It was then parked vertically
at the top of the building’s east side, and remained there
throughout the day. (Go everywhere and do anything.
Advertiser: DaimierChrysler, Year: 2004. Himpe, Tom,
Advertising is Dead, Long live Advertising (2006), Pg 193,
Figure 214)

Exceptional physical Extreme physical performances capture our attention

acts. because they cause excitement and make us realise the
limits of our own abilities.

In 2003, two billboard stunts defied all laws of gravity and

demonstrated the sharing of Adidas’ goal with athletes –
the desire to surpass limits.

For the first time in history, the game of football was taken
to death-defying heights. Two players and a ball were
suspended by ropes ten stories above the ground and at a
90-degree angle to the ‘pitch’. (Desire to surpass limits.
Agency: TBWA, Japan, Client: Adidas, Year: 2003. Himpe, Tom.
Advertising is Dead, Long live Advertising (2006), Pg 196,
Figure 219)

Breaking records. Breaking existing records or setting new ones is not only a
powerful human incentive but it also attracts media
coverage.

SU5-23
 VIS251 STUDY UNIT 5

Using a hot news Rather than inventing ways to get a brand in the news, an
topic, iconic person easier option is to attach the brand to topics or events that
or well-known place. are already newsworthy. Linking a stunt to a hot news
topic, a famous person, or a well-known location can
provide the extra push needed to make headlines and
doodle the chances of being noticed.

To promote FHM’s ‘100 Sexiest Women’ poll, the image of

Gail Porter was projected onto the Houses of Parliament in
London. What a better place to advertise voting for sexy
women than the UK’s most famous voting institution?
(Vote for ‘100 Sexiest Women’. Agency: Cunning, UK, Client:
FHM, Year: 1999. Himpe, Tom. Advertising is Dead, Long live
Advertising (2006), Pg 205, Figure 230)

SU5-24
 VIS251 STUDY UNIT 5

11.2 Amplification Effect

"In a world whose universal currency is information, rumours and stories

spread in no time. Free publicity and word of mouth can amplify a
message or channel that would otherwise have limited reach." Tome
Himpe, Advertising is dead, Long live advertising.

A common criticism of advertising is that the chosen media can only reach a certain
number of people directly. While this is quite often the case, there are still many
ways such as using conventional media, social media, and word of mouth to
amplify the effect, so that more people will get to experience it indirectly (Figure 11.1).

Figure 11.1: Amplification effect diagram.

SU5-25
 VIS251 STUDY UNIT 5

In 2003, Adidas had taken the game of football to death-defying heights. The
company introduced a vertical football stunt that consisted of two players
suspended by ropes and playing the game on a single billboard that was set up for
a short period of time (Desire to surpass limits. Agency: TBWA, Japan, Client: Adidas,
Year: 2003. Himpe, Tom. Advertising is Dead, Long live Advertising (2006), Pg 196,
Figure 219). The actual stunt was only seen by a limited number of people.
However, the unexpected and unique stunt had ensured that a huge number of
people came into contact with it indirectly through other media exposures such as
press coverage, mobile messaging, creative blogs, and video blogs.

ACTIVITY 5.2:

Transformation

Look around the classroom and campus. What objects can you
transform to create an effective message for the following?

• A Red Cross blood donation drive.

• Sprite with lemon flavoured drink.

Think about how you would plan to amplify the transformation

to reach out to more people.

Design - Designing Across Media

(Access video via iStudyGuide)

SU5-26
 VIS251 STUDY UNIT 5

REVIEW QUESTIONS

1. Define a temporal relationship in screen-based media.

2. What do you need consider in spatial relationships? What kinds of shots

express spatial relationships?

3. What can audio do for TV and motion graphics?

4. What is a storyboard?

5. What is the purpose of maintaining a grid throughout a website?

6. What kind of opportunities does mobile advertising present?

7. How can something online go viral?

8. Why are unconventional methods more effective than traditional

advertising?

9. Name eight ways transformation can take place.

10. List four methods of illusionist advertising.

11. How are performers different from carriers?

12. Why are sensations important in advertising?

13. How is interaction different from sensation?

SU5-27
 VIS251 STUDY UNIT 5

SOLUTIONS

1. Define a temporal relationship in screen-based media.

A temporal relationship in screen-based media is the relationship or

interplay between two separate events or images; this involves
chronology— the order of events.

2. What do you need consider in spatial relationships? What kinds of shots

express spatial relationships?

In spatial relationships, the distance between the viewer and the thing seen
on screen, how far / how close as well as the shifts between near and far.
These can be expressed in the following kinds of shots:

Close-up ‒ a shot that is zoomed in.

Medium shot ‒ seen from a medium distance.
Long shot ‒ seen from far away.

3. What can audio do for TV and motion graphics?

Audio can attract, engage, and make the piece memorable.

4. What is a storyboard?

A storyboard is a series of drawings, sketches, or photographs of key shots

of a planned television commercial, accompanied by text that is used to
visually explain an idea. It acts like a diagram of the commercial before it
goes into production.

5. What is the purpose of maintaining a grid throughout a website?

By maintaining a grid, the visitor will have an easy time locating titles,
information, and navigation graphics, thus enabling a smooth passage
around the site.

6. What kind of opportunities does mobile advertising present?

Mobile screen is an opportunity to create a more intimate brand relationship

with someone, since most people consider their mobile screen and
messaging more private than their computer screens.
7. How can something online go viral?

Online marketing goes viral when people are infected by it and they spread
it to others.

SU5-28
 VIS251 STUDY UNIT 5

8. Why are unconventional methods more effective than traditional

advertising?

They have the capacity to reach people in their most direct environment,
make relevant, functional, and surprising connections.

9. Name eight ways transformation can take place.

Colour, shape, size, matter, location, addition, removal, and replacement.

10. List four methods of illusionist advertising.

They are false stories, false perception, false copies, and false perspectives.

11. How are performers different from carriers?

Carriers announce while performers entertain. Performers have the

originality and can add value to assemble crowds.

12. Why are sensations important in advertising?

The more active an experience engages the senses, the more memorable it is,
hence increasing the effectiveness of the message.

13. How is interaction different from sensation?

Sensations activate the senses, but remain passive experiences, while

interactions are the result of active participation on the consumer's part.

SU5-29
VIS251
Advertising Design

STUDY UNIT 6
Production and Implementation
Executing the Ideas
 VIS251 STUDY UNIT 6

LEARNING OUTCOMES

At the end of this unit, you are expected to:

Production Phase
• Explain the role of the production phase.
• Identify the people who are involved in the production phase.
• Describe various design solutions that may take place during this phase.

Implementation Phase
• Explain the role of the implementation phase.
• Identify the people who are involved in the implementation phase.
• Explain the purpose of debriefing during the implementation phase.

Measuring the Success

• Discuss the purpose of measuring the value of an advertising media.
• Discuss and explain the total value of unconventional media in advertising.
• Understand the four criteria of evaluating the quality of an unconventional
medium.
• Discuss various methods that can be used to measure the success of an
advertising campaign.

SU6-1
 VIS251 STUDY UNIT 6

OVERVIEW

Production. This section provides students with the knowledge of what happens
during the production phase — from the involvement of people to understanding
their relationship with various design situations.

Implementation. This section explains the sixth advertising project process —

implementation. It examines the success of an advertising media and campaign
through various research methods.

SU6-2
 VIS251 STUDY UNIT 6

12 PHASE 5 — PRODUCTION

12.1 Production Phase

In this phase, the various formats for the idea are being executed. These can be
print, screen-based, or environmental formats and will be under the guidance and
supervision of the Art Director. The project will be managed by the account
executives.

Production also requires the agency to work closely with other professionals as
well. These include photographers, print experts, web producers, technology
developers, media directors, media-activation leads, events executives, and many
other professionals, and perhaps psychologists and even social anthropologists.

Sometimes, this phase also involves various digital solutions that involve
interaction models, user testing, detailed wireframes, functional specifications,
development activities, quality assurance, and exit criteria (once testing is
completed).

SU6-3
 VIS251 STUDY UNIT 6

13 PHASE 6 — IMPLEMENTATION

13.1 Implementation Phase

In this final phase, solutions are deployed and put into effect. After the campaign
has ended, some clients and their agencies will conduct a debrief that will review
the overall success of the campaign; from the strategy, to the design and its
consequences to figure out what went wrong and what went right.

13.2 Measuring the Success

The final step in an advertising campaign is to measure the results of carrying out
the campaign. In many cases, the results measured will relate directly to the
objectives stated in the client's brief.

For many businesses, it is important for them to know how wise their money has
been spent in the advertising media selected and the returns on investment.
Consequently, whether a campaign is judged successful is not always tied to
whether the product sales have increased since the beginning of the campaign. In
some cases, such as for PMEs, the objective is to build awareness and hence, the
success of the campaign may be measured in terms of how many people are now
aware of the brand.

To evaluate the quality of any media (conventional or unconventional), the four

criteria mentioned in Unit 1 which are proximity, exclusivity, invisibility, and
unpredictability can be used during conducting of surveys, interviews of audience,
and even the actual debriefing:

• How close did it get to the desired target group?

• How exclusive was the environment in which the message was transmitted?
• How well did it convey a commercial message without overselling it?
• How unpredictable, unexpected and surprising was it in approaching the
audience?

It is not always easy to quantify these criteria, but a gut feeling and some basic
consumer research can shed light on which ideas or channels are winners and
which are not.

Quantity — Measurement of Success for Conventional Media

It is easier to measure the success of convention media such as newspaper,
magazines, TV, or web. Many media owners of these media can tell you how many
people you have reached through the particular medium. If you are to put an
advertisement in the paper, you will have the figures to show exactly how many
people ought to have seen it. All the information can be gathered from each
individual media owner who is responsible for that selected media channel.

SU6-4
 VIS251 STUDY UNIT 6

Quality — Measurement of Success for Unconventional Media

Unconventional media is much difficult to quantify, as there are a few or no figure
to show how many people you have reached. Simply adding up the people who
have read or seen the media at work will not work because, in terms of impact and
credibility, free press coverage greatly out-performs paid-for advertising space.

How do you compare the impact of people taking pictures of a stunt with their
mobile phones and sending it to their friends, with the impact of yet another
standard billboard?

To rightly evaluate any unconventional idea, you must look at its total value,
considering both the number of people it reaches (quantity) and its impact (quality)
through the amplification effect mentioned in Unit 5.

Production and Implementation - Executing the Ideas

(Access video via iStudyGuide)

SU6-5
 VIS251 STUDY UNIT 6

REVIEW QUESTIONS

1. Explain why unconventional media approach is not easily accepted by

advertisers.

2. Distinguish qualitative and quantitative evaluation.

SU6-6
 VIS251 STUDY UNIT 6

SOLUTIONS

1. Explain why unconventional media approach is not easily accepted by

advertisers.

Unconventional media is not easily accepted by advertisers because there is

a small or no figure to show how many people the media has reached.
Simply adding up the people who have read or seen the media at work will
not work because, in terms of impact and credibility, free press coverage
greatly out-performs paid-for advertising space.

2. Distinguish qualitative and quantitative evaluation.

For qualitative, we can use proximity, exclusivity, invisibility and

unpredictability as the criteria for evaluation. Whereas for quantitative, we
will have the figures to show exactly how many people ought to have seen
it through the media owners.

SU6-7