Advertising is defined as any paid nonpersonal communication about an organization, product, service, or idea by an identified sponsor. Advertising provides benefits such as being a cost-effective way to reach large audiences, building brand equity, and stimulating demand. Advertising theories include practice-based theories focusing on unique selling propositions and reason why approaches as well as information processing theories examining how consumers receive and process advertising messages. Media planning involves determining reach, frequency, weight, and effective reach to allocate advertising budgets across different media vehicles in order to achieve marketing objectives.

1. Advertising
Reporters: Monique De Jesus, Abigail Fidel, Raphael Sta. Cruz, Nicco Joselito Tan

2. 
What is Advertising
Advertising is defined as any paid
form of nonpersonal communication
about an organization product,
service, or idea by an identified
sponsor.

3. 
Benefits of Advertising
•Still most cost-effective way to reach large audiences
•Valuable tool for building company or brand equity as it is a powerful way to
provide consumers with information as well as to influence their perceptions
•Stimulate demand
•It helps products to become the top of mind brand – awareness campaigns
•3 R’s of Advertising:
•Retaining Loyal Customers
•Reducing Lost Customers
•Recruiting New Customers

4. 
AdvertisingTheories

5. Practice-based AdvertisingTheory
 “Reason Why” and “USP” Advertising
 John E. Kennedy - advertising was "salesmanship in print"
 Developed the "reason why" approach in copywriting

6. Practice-based AdvertisingTheory
 “Reason Why” and “USP” Advertising
 Led to Rosser Reeves' idea of Unique Selling Proposition
(USP)
 USP is the single thing that gives the consumer a reason to
buy, and the proposition is based on this reason to buy.

7. Practice-based AdvertisingTheory
 “Reason Why” and “USP” Advertising
 Led to Rosser Reeves' idea of Unique Selling Proposition
(USP)
 USP is the single thing that gives the consumer a reason to
buy, and the proposition is based on this reason to buy.

8. Information ProcessingTheory in Advertising
 Encompasses not only a theory of communication but also a
theory of human cognition
 There are many variations, but all share key assumptions
about human communication, persuasion and advertising

9. Information ProcessingTheory in Advertising
 Shannon-Weaver Communication Model
 Humans process data in much the same way as computers or
other machines

10. Information ProcessingTheory in Advertising
 Transmission model of mass communication

11. Information ProcessingTheory in Advertising
 A-I-D-A and Hierarchy of Effects theories

12. Information ProcessingTheory in Advertising
 A-I-D-A and Hierarchy of Effects theories

13. Information ProcessingTheory in Advertising
 Criticisms of Information Processing Theory
 Oversimplify the ways in which consumers or viewers engage
with advertising
 Reliance on explicit, verbalized information and the
undivided attention of the viewer

14. Information ProcessingTheory in Advertising
 Criticisms of Information Processing Theory
 Models machine and not human communication (The Man-
Machine Communication Metaphor)
 Occurs mainly in one direction towards a passive consumer
 No theoretical scope for consumers to interpret the ad in
varied ways

15. Strong and WeakTheories of Advertising
Effect
 Strong
 Assumes that the advertisement's main purpose is to
persuade a potential customer/prospect to buy.
 Often implies direct, causal relationship between advertising
and sales

16. Strong and WeakTheories of Advertising
Effect
 Weak
 Advertising cause and sales effect are far less directly linked
 Build long-term brand equity and create competitive
presence
 Reassure current customers that the brand remains relevant
instead of persuading non-buyers to purchase in the short
term

17. 
AdvertisingTechniques

18. Avant-Garde
 Suggesting that the product
puts the user ahead of the
times.
 Being “in” and being the first.

19. Facts and Figures
 Use of statistics and objective factual information to
prove superiority of the product.

20. WeaselWords
 Suggests positive meaning
without making any
guarantee.

21. Magic Ingredients
 A somehow miraculous
ingredient makes the product
exceptionally effective.

22. Patriotism
 Highlights the product as a
local manufacture.
 Purchase of product shows
love of country.

23. Diversion
 Seems to tackle an issue or a
problem, but throws in an
emotional distraction.

24. Transfer
 Use of words and ideas with
positive connotations to
suggest that the positive
qualities should be associated
with the product and the
user.

25. Plain Folks
 Highlights product as
practical and of good value
for ordinary people.

26. Snob Appeal
 Use of product shows association with an elite
group.
 Makes the customer feel luxurious and glamorous.

27. Bribery
 Offers desirable extras as
freebies.

28. Wit and Humor
 Clever use of words and
visuals that attract the
audience.

29. Simple Solutions
 Promotes the product as a solution to many
problems.

30. Card Stacking
 “Stacking cards” in favor of
the product.
 Stress positive qualities,
ignore negatives.

31. Glittering Generalities
 Uses appealing words and
images.
 Gives a message that the
product will change your life.

32. Bandwagon
 Exploits the desire of people
to join the crowd/the winning
side.
 Popular choice.

33. Side-by-side comparison
 Comparing the product to
competition.
 Putting new developments in
a product alongside itself (old
version).

34. Human-Interest
 Places product or service at
the center of drama, personal
confession.
 Revolves around characters –
can be fictional.

35. Hidden Fears
 Presenting the product as
something that can solve
problems or get rid of future
fears/dangers.
 Use of insignificant problems
can be more effective.

36. Advertising Agency Operations

37. ADVERTISING:
CREATIVE PROCESS

38. What is EFFECTIVE ADVERTISING?
 It extends from sound marketing strategy.
 It takes the consumer’s view.
 It finds a unique way to breakthrough the clutter.
 It never promises more than it can deliver.
 It prevents the idea from overwhelming the
strategy.

39. Apple 1984TVC

40. Wallas’ 4 Steps of Creative Process
1. Preparation
 Gathering background information needed to solve the
problem through research study.
2. Incubation
 Putting the problems out of your conscious mind and turning
the information over to the subconscious to do the work.
4. Illumination
 Seeing the light or solution.
5. Reality or verification
 Refining and polishing the idea and seeing if it is an appropriate
solution.

41. CConnectedness
AAppropriateness
NNovelty

42. 1. Connectedness
 Reflects empathy with
the target audience’s
needs and wants
 Reflects and
understanding of target
audience members’
motivations
 Relevant to the brand’s
target audience

45. 2. Appropriateness
 contains information that
is pertinent to the
advertised brand relative
to other brands in the
product category
 message is on target for
delivering the brand’s
positioning strategy
 coherent

48. 3. Novelty
 unique, fresh,
unexpected
 draws consumers’
attention so that they
engage in an more
effortful information
processing
 but not all “weird” ads
are creative

51. Eichborn: Flyvertising

53. 1. Simplicity
 Simple and profound
 Represents the brand’s
core idea or key positioning
statement
 Appropriate

55. 2. Unexpectedness
 Generate interest and curiosity
 Similar to the Novelty element of CAN

57. Laax Snowboard School: Salto for Beginners

58. 3. Concreteness
 Concrete images as opposed to
abstract presentations
 Concretizing – straightforward
idea that is easier for people to
remember and retrieve tangible
rather than abstract information
 Perceptible and vivid

59. 4. Credibility
 Believable
 Should be accepted as
a fact

60. 5. Emotionality
 Generate emotions and tap into feelings
 Appeals to emotions that are relevant to the product
category in which the advertised brand competes

62. Virgin Media: Fantastic Journey

63. 6. Storytelling
 Advertisers occasionally tell
stories to capture the key
elements of their brands
 Stories embody most of the
stickiness elements: simple
and profound, generally
concrete, include unexpected
and emotional elements, and
often come across as highly
credible.
Pond’sPond’s
7 Days to Love7 Days to Love

64. Honda “Cog”

66. What is a CREATIVE BRIEF?
 A framework which is a document designed to
channel the copy writers’ and other creatives’
efforts toward a solution that will serve the
interests of the client.
 It is an informal pact between client and agency
that represents agreement on what an advertising
campaign is intended to accomplish.

67. 1. Background
What is the background to this job?
1. Target Audience
Whom do we need to reach with the ad campaign?
3. Thoughts and Feelings
What do members of the target audience
currently think and feel about the brand?

68. 4. Objectives and Measures
What do we want the target audience to think or
feel about the brand, and what measurable effects is
the advertising to accomplish?
5. Behavioral Outcome
What do we want the target audience to do?
6. Positioning
What is the brand positioning?

69. 7. Message and Medium
What general message is to be created, and what
medium is most appropriate for reaching the target
audience?
8. Strategy
What is the strategy?
9. “Nitty-Gritty Details”
When and how much?

71. 1. Unique Selling
Proposition (UPS)
Creative Style
 Identifies an important
difference that makes a
brand unique
 Best suited for brands have a
relatively lasting competitive
advantage
 Optimum creative technique

72. “the only razor that senses
and adjusts to the
individual needs of your
face”
“the only wipe that is
alcohol and fragrance
free”

73. 2. Brand Image
Creative Style
-attempts to develop an image
or identity for a brand by:
 associating brand with
symbols
 creating a distinct
identity or personality
for the brand

74. 3. Resonance Creative
Style
-resonates (patterns) the
audiences life’s experiences
-extends from psychographic
research and structures an
advertising campaign to pattern
the prevailing lifestyle orientation
of the intended market segment

76. 4. Emotional Creative
Style
-products are often bought on the
basis of emotional factors
-advertising runs the gamut of
positive and negative emotions
(romance, nostalgia, compassion,
excitement, joy, fear, guilt, disgust,
regret)

81. 5. Generic Creative
Style
-makes no attempt to
differentiate its brand from
competitive offerings or to claim
superiority
-appropriate for a brand that
dominates a product category

83. 5. Preemptive Creative
Style
-makes a generic-type claim but
does so with an assertion of
superiority
-used for product or service
categories where there a few, if
any, functional differences
among competitive brands

84. Gets The Red Out ®
Gets The Red Out ®

85. Uncertified lifeguards.
Not as scary as
uncertified
dermatologists.
At Premier
Dermatology, board
certified dermatologists
provide your skin care.

86. •Attributes – features or aspects of advertised brands
•Consequences – what consumers hope to receive
(benefits) or avoid (detriments) when using brands
•Values – represent those enduring beliefs people hold
regarding what is important in life
[Means] {End}
[Attributes Consequences] {Values}

87. 10 basic values people in a wide variety of culturally
diverse countries share:

88. MECCAS Model

89. The Method of Laddering
-identifies linkages between attributes,
consequences, and values
-involves in-depth, one-on-one interviews that
typically last 30 minutes to more than an hour, which
attempts to get at the root or deep reasons why
individual consumers buy certain products and
brands

90. The Method of Laddering
Probing is accomplished with questions such as the
following:
• Why is that particular attribute important to you?
• How does that help you out?
• What do you get from that?
• Why do you want that?
• What happens to you as a result of that?

91. This type of advertising focuses not on specific
brands but on a corporation’s overall image or
on economic or social issues relevant to the
corporation’s interests.
Forms of Corporate Advertising:
1. Corporate Image Advertising
2. Corporate Issue/Advocacy Advertising

92. 1. Corporate Image
Advertising
-attempts to increase a
firm’s name recognition,
establish goodwill for
the company and its
products, or identify
itself with some
meaningful and socially
acceptable activities

94. 2. Corporate Issue Advertising
-a company takes a position on a
controversial social issue of public
importance with the intention of swaying
public opinion
- supports the company’s position while
expressly or implicitly challenging the
opponent’s position and denying the
accuracy of their facts

95. “ reativity is more
than just being different.
Anybody can play weird, that’s
easy. What’s hard is to be as
simple as Bach. Making the
simple complicated is
commonplace , making the
complicated simple, awesomely
simple, that’s creativity.”
-Charlie Mingus

96. Advertising
MEDIA
Planning

97. Media
Planning
The design of strategy
that shows how
investments in
advertising time and
space will contribute
to the achievement of
marketing objectives.

98.  Media : The general communication method that
carry advertising messages
 Vehicles: The specific broadcast programs or print
choices in which advertisements are placed.

100.  Buyographics
 Geographics
 Demographics
 Lifestyle/ psychographics

101.  What proportion of a target audience do we want to reach?
 With what frequency do we need to expose the audience to our
message in a particular period?
 How much total advertising is necessary to accomplish the first
two objectives?
 How should we allocate the budget over time?
 How close to the time of purchase should the target audience be
exposed to our advertising message?
 What is the most economically justifiable way to accomplish the
other objectives?

102. REACH
What proportion of a target audience
do we want to reach?
Reach represents the number of target
customers who see or hear the advertiser’s
message one or more times during the time
period.

103. • Use multiple media
•Diversify vehicles within
each medium
•Vary the dayparts in the
case of TV and radio
advertising

104. FREQUENCY
With what frequency do we need to expose
the audience to our message in a particular
period?
The number of
times, on average,
within a four week
period that
members of the
target audience
are exposed to the
advertisers
message.

105. Frequency Distribution
WEEK A B C D E F G H I J
TOTAL
EXPOSURES
1 X X X X X 5
2 X X X X X 5
3 X X X X X 5
4 X X X X X 5
TOTAL
EXPOSURE 2 4 0 3 2 1 3 1 2 2
Target Audience Member

106. Frequency
Distribution (f)
Percentage
f
Percentage
f+
Audience
Members
0 10 100 C
1 20 90 F,H
2 40 70 A,E,I,J
3 20 30 D,G
4 10 10 B
Summary Statistics
Reach (1+ exposure) =90
Frequency=2.2
GRPS = 200

107.  Measure of advertising support for a brand,
expressed in terms of print impressions, or number
of radio or television spots employed in
its promotion.
 Three weight metrics: gross ratings, target ratings
and effective ratings
WEIGHT

108. Ratings in advertising refers to the percentage of an
audience that has the opportunity to see (OTS) an
advertisement placed in a specific vehicle.

109. Gross Rating Points (GRP) reflect the weight that a
particular advertising schedule has delivered. It
indicates the total coverage or duplicated audience
exposed to a particular advertising schedule

111.  A Target Rating Point (TRP) is a measure of the
purchased vehicle rating points representing an
estimate of the component of the target audience
within the gross audience

112. Effective Reach
Media Plan A
Reach (1+ exposure) =85
Frequency=2
GRPS = 170
Media Plan B
Reach (1+ exposure) =52
Frequency=3.2
GRPS = 166

113. The three exposure hypothesis
addresses the minimum number of
exposures needed for advertising to
be effective

114. Exposure 1
What is it?
Exposure
2
What of it?
Exposure 3
Reminder

115. Buying Media
Continuity, Pulsing and Fighting
•Continuity involves the matter of how advertising is allocated during the
course of an advertising campaign.
•Continuous schedule equal or relatively equal number of ad dollars are
invested throughout the campaign
•Pulsing is an advertising timing or continuity pattern in which there is noted
variation of media spending in the media schedule.
•Flighting is an advertising term for a timing pattern in which commercials
are scheduled to run during intervals that are separated by periods in which
no advertising messages appear for the advertised item.

116. • Consumers’ first exposure to
an advertisement for a brand
is the most powerful
•Advertising’s primary role is
to influence brand choice
•Achieving a high level of
weekly reach for a brand
should be emphasized over
acquiring heavy frequency.

117. Trade-Offs
With a fixed advertising budget, the media planner can choose to
maximize reach or frequency but not both

118. Windows 7 Phone

119. 
ThankYou