Part 1 Advertising , Media Planning, Creative

SYLLABUS REPORT ADVERTISING 1, MEDIA PLANNING 1, ADVERTISING CREATIVE 1 (CODE:110)

TABLE OF CONTENTS MODULE: ADVERTISING 1 Sessions Topics Page No.s 1 Introduction to advertising Relevance of advertising in markets today Careers in Advertising 6-13 2 Advertising and the marketing process 14-52 3 Constituents of Advertising Core Advertising Concepts Brand, USP, Target Market SEC segments 53-65 4 Brief to execution The advertising agency, media and other services 66-75 5 Advertising strategy Advertising objectives Deriving communication, advertising and media objectives from marketing objectives 76-89

MODULE: MEDIA PLANNING 1

Sessions Topics Page No.s 1 Importance of media planning Changes in media Classes of media 91-96 2-3 Overview of Media Concepts : Target Audience, Markets, Research and Frequency, Scheduling, Strengths and Weaknesses of Mediums 97-121 4-5 Media Terminology, IRS & TAM, Costings 122-131

MODULE: ADVERTISING CREATIVE 1

Sessions Topics Page No.s 1 Seeing, Observing and Visual Thinking 133-136 2 Basic design, Graphic and Advertising Design 137-143 3-4 Design Elements 144-147 5 Design Principles 148-152 6 Expression through composition and layout 153-156 7 Basic in colour 157-160 8 Colour in communication 161-165 9 Print production 166-170 10 Typography 171-173

MODULE 1 ADVERTISING 1

SESSION 1 INTRODUCTION TO ADVERTISING RELEVANCE OF ADVERTISING IN MARKETS TODAY, CAREERS IN ADVERTISING CAREERS IN ADVERTISING Advertising is the art of scientific salesmanship: the ability to observe and understand your target, and get him/ her to behave as you wish. The sector has many paths that one can take, each of which requires a different skill set and is extremely competitive. We take a look at the main career options in the field of advertising. Client servicing This department, populated by account managers is the link between the agency and the client. It is the job of the manager to offer as much value to the client as possible, without losing sight of profitability. The account manager must allocate agency resources (meaning employees, ideas and time) to clients based on the business the client brings. The account managers require a thorough knowledge of the market, the consumer, the client and the client's business. A good manager quickly learns about the various aspects of advertising, from research to the creative side.

He is the strategist and leader who must effectively utilize staff time and energy. It is his duty to communicate the client's needs to the agency and the agency's ideas to the clients. Requirements: While a degree in advertising or marketing is not needed for the position of account manager, good business skills are. The candidate must have the good verbal and writing skills and demonstrate leadership, a good head for statistics and organization skills. A bachelor's degree -- and an MBA, in certain cases -- is expected. Promotions: Depending on his work, an account manager can become an account executive and then proceed to more senior positions, managing an increasing number of increasingly important accounts.

Account planning The account planner continuously sharpens the agency's understanding of the consumer: what attracts him, how he thinks, how he behaves and makes use of market signals. They help the agency formulate a plan of action, meet marketing challenges and "break through" the clutter. The account planner is the examiner/ executor to the market researcher's observer. His primary tool is the data generated by the researcher: reports on consumer psychology, sales reports, consumer demographics, brand histories etc. Their job is to convey their insights to the agency's strategy and creative teams. Planning works varies from agency to agency, and even within an agency, from planner to planner. A typical planning cycle starts with a study of the brief from the client and secondary research, meaning any research that is currently available. Then the planner must delve into the consumer and retrieve primary research that is applicable to the client brief. The planner must brief the creative on the upcoming campaign. Understanding the brand attitudes and its individual elements is important to the diagnostic research. At this point all the information must be funneled into a creative brief and presented to the creative team. It is important that the account planner rationalize the advertising and its message to the client. Once chosen or approved by the client the planner can take steps to pre-test the ads to ensure that the research, branding, message recall and ideas of the consumer are appropriately applied and at satisfactory levels. The account planners job never

ends. Once the advertising is public the planner must constantly evaluate the campaign for effectiveness, so that changes can be made if necessary. In today's advertising field, "almost every advertising agency (and their clients) benefits from a disciplined system for devising communications/advertising/commercial strategy and enhancing its ability to produce outstanding creative solutions that will be effective in the marketplace." It is the account planner's task to act as the "consumer's conscience" and guide this process through the use of their knowledge of the consumer. While no clear-cut path to account planning or entry-level positions exists yet, most planners have an arts background, with knowledge of such subjects as psychology, sociology and cultural anthropology. All planners require the ability to extract and convey useful insights, which can be used by the agency. Creative This is the department of an agency develops the ideas that become commercials and ads, with the aid of others in the agency. A junior copywriter writes the text for print ads, helps in editing and proofreading and in developing merchandise. After proving his mettle, he may be entrusted with the job of generating ideas for products, brand and company names, ideas for ads and commercials and writing scripts for radio and TV commercials. Advertising copywriters usually work in a creative partnership with an art director to conceive, develop and produce effective advertisements. The art director deals mainly with the visual images; the copywriter provides the verbal or written aspect. This involves writing 'copy', i.e. coming up with original catchphrases, slogans, messages and strap lines. It also includes writing all the wording in any type of advertising, such as: posters; press; leaflets; brochures; radio or television scripts; Web/digital. Copywriters are often involved in the production process, which can include casting actors and dealing with production companies and directors. They also work with typographers, designers and printers. The nature of the work will vary according to the type of agency, but typical work

activities in a traditional advertising agency include: meeting the account management team to discuss client requirements and product background; brainstorming ideas and concepts; working in a close-knit creative partnership with the art director to generate workable concepts and ideas; writing clear, persuasive, original copy; submitting ideas and discussing progress with the creative director before making presentations to clients; amending, revising or redeveloping campaigns in response to feedback from the creative director or clients; working on several campaigns at once, under pressure and to tight deadlines; proofreading copy to check spelling and grammar; overseeing campaigns through the production stage to completion; casting actors for TV and radio work, listening to voice tapes; liaising with production companies, photographers, typographers, designers and printers; keeping up to date with popular culture and trends; Advising intending creative and reviewing their portfolios ('books'). If you wish to be a copywriter, you must demonstrate sound writing skills and a head for the markets. If you have no experience, one common method is to choose a wellknown or running campaign and interpret them in a way that shows freshness of ideas and insight. A junior visualizer assists in preparing paste-ups, lettering and layouts for ads and television storyboards. He may eventually develop visual concepts, designs and oversee photo sessions and the filming. A candidate requires the ability to come up with good visual themes and concepts. He requires knowledge in such computer programs as Photoshop, Corel Draw, and PageMaker etc. A basic drawing skill is expected. Other jobs in the 'Creative' department include photographers who take photos for the campaigns and need knowledge of angles, lenses etc and typographers, who are involved with the selection of fonts, lettering etc. Market research A market researcher's job is to understand the consumer, the market and the competition. This knowledge is derived by indirect research, focus group tests,

interviews, product experimentation and studying sales trends. The duties of a newcomer, called an 'assistant research executive', involve compiling data; follow research projects and helping to develop research tools. Market research professional plays a great role in any marketing process as his/her responsibility is to understand the needs, wants and desires of the targeted market segment. the job profile also include understanding the success or failure of the product, understanding competition, identifying opportunities, collecting feedbacks etc. all this is facilitated through the process of surveys, group discussions, personal interactions etc.. A market research professional plays a vital role at every process of marketing be it the begening or the end. A research executive must analyze and interpret data. A person with an MBA or a degree in statistics/operations will find it easier to enter this field. The difference between the researcher and the account planner is that the researcher doesn't get involved with the creation of the campaign while the planner doesn't get involved in the tracking of data. Media This department is responsible for placing advertisements in places where it will be seen by the target audience in an efficient manner, maximizing the cost-benefit. This sector -- even more than the rest of the field -- is challenging due to the increasingly complex nature of communication. Technological advances -- SMS, for example -- can abruptly change the nature of the medium by which the target audience can be reached. There are two broad lines of work in this department: A media planner is responsible for evaluating the various mediums and planning the position of the ads so that the ads get maximum viewer ship within the budget. In other words the advertising media planner is responsible for making a series of decisions involved in the delivery of the advertising message to prospective purchasers and or users of a product or service. The media planner determines the right mix of television, radio, newspaper, magazine and other media for the advertising campaign This job requires analytical ability, innovation and computer skills. A media buyer is entrusted with the job of implementing the planner's vision. He negotiates to purchase space in print, time on television etc at the best possible rate. He requires a through knowledge of market trends and rates. Media buyers work for advertising agencies. To facilitate the purchase of advertising space in newspapers

and magazines, and advertising time on television and radio. The title 'media/space buyer' tends to be used in large agencies, while in smaller ones, the functions of the planner and buyer may be combined in the role of a media executive or assistant. Specialization in a particular medium such as television is also common in large agencies. The media buyer receives a 'brief' that outlines the medium to be used, the budget available and the approximate number of viewers, listeners or readers they are hoping to reach. Often this is a fairly loose plan and the media buyer must negotiate the best deal for the client whose advertising campaign the agency is handling. To do this the media buyer needs to be aware of any specialist discounts available. It is important to remain within the budget and to maintain careful records of all transactions. Options while an advertising agency is the most straightforward option, there are many other places where an advertising professional can work: The advertising department of companies Advertising sections of newspapers, journals, magazines, etc Television or radio channels Organizations geared towards market research and analysis As a freelance copywriter, visualiser etc. For websites It's not easy to make a mark in this field but if you're creative, intelligent and able to withstand a high-pressure environment, there's no limit to what you can achieve or earn. Interactive Marketing This is a brand new area in the field of advertising and marketing which is quickly evolving. If you have ever visited a companys web site, you have been part of how interactive marketing is changing the relationship between advertiser and the audience. An important point to understand is to realize that with traditional marketing vehicles, companies had to find you to get your attention. In the world of interactive marketing, the consumer seeks out the companys web site and decides how long they will stay. They can tailor the experience to their own needs. This is why interactive marketing is the fastest growing phenomena in the media and marketing world. Opportunities in the interactive marketing field are exploding and are most plentiful

in the areas of design, marketing, and computer programming. Agencies need computer-based designers and programmers, as well as strategists who understand how marketers can use interactive media creatively and effectively. The advantage in job-hunting in this area is to those who have a strong knowledge of computers and the digital realm, and are on top of the daily changes in digital technology and its capabilities. Art direction and graphic design Art directors have to be people with many exciting ideas. They are responsible for the visual execution. They design the illustrations and lettering of advertisements and must therefore constantly have new original ideas and ingenuity. When the brief is received, art directors and copy-writers work jointly on the basic concept or idea. Most art directors at advertising agencies have been trained in commercial art and have learnt how to combine elements of an advertisement for easy reading, to get the attention of and to appeal to the reader. The job of an art director involves: working closely with the copywriter to create original ideas that fit the brief producing storyboards (for TV commercials) or sketches of your ideas presenting the ideas to the agencys creative director and account team helping to present ideas to the client making any changes that the client asks for getting graphic designers, artists, photographers or film companies to produce the artwork or TV ads choosing studios or locations and attending photo or film shoots making sure that budgets and deadlines are met overseeing the final editing of the finished advertisements. Graphic designers in advertising agencies are usually responsible for designing logos, corporate identities, packaging and label design, editorial or magazine design and layout. Computer knowledge is essential. Both art directors and graphic designers should possess some knowledge of the various production processes A graphic designer creates the visual components of various types of media including TV, film, movies, magazines, written material and even advertising. The graphic designer or graphic artist has the unique job of taking the verbal ideas from the client and developing a creative way to capture both the information and the emotion that the production is trying to show. Many graphic designers have extensive education in

art, filming and graphic design. Most graphic designers use a variety of very complex computer programs in their day-to-day work. Adobe Photoshop, Illustrator and PageMaker are just a few of the graphic design programs commonly used. The graphic design artist may choose to use a variety of programs when developing their design. After the initial design they may be required to modify or edit it based on the request of the client, producer or director. Many graphic designers work for large publications or media agencies, whereas others work independently on a project by project basis. Usually the hours are fairly regular although timelines may require evening or weekend work to meet deadlines. Excellent communication skills an a creative and unique way of looking at things is a definite asset to a graphic designer. Artistic talent is a definite asset but is not always essential if the designer has a good eye for the overall picture. The work of a designer involves: Meeting with clients and clearly understanding what they are requesting that the final project look like. Creating and developing new and unique ideas to represent an idea. This may include working with a design team or working directly with the client. Using various computer programs to generate final projects for client's approval. Modifying, revising and editing projects as required by the client. Staying within timelines and deadlines for completion dates for projects. This requires good time management and organizational skills. Invoicing, billing and bidding for new projects for those graphic designers that work freelance or are self-employed.

RELEVANCE OF ADVERTISING Advertising is one of the oldest forms of public announcement and occupies a vital position in an organisation's product mix. Advertising does not end with the flow of information alone. It goes further to influence and persuade people to take a desired action - like placing an order to buy a product. The main aim of advertising, many believe is to sell. It plays a vital role in driving the economy forward in terms of greater production and distribution measures. The consumer market has become highly competitive with a new brand being born almost every day. Good advertising helps the consumer break through the clutter. It helps build brand loyalty. Advertisers are using a 360 degree approach by using all mediums of advertising (tv, radio, print, and internet) for capturing the audience. This creates an overall effect, increases product or brand recall and instigates buying. Advertising should be targeted towards the prospective audience in such a way that it forms a positive impact on the customer and in the process creates brand recognition.

__________________________________________________________ _________________ SOURCES: http://www.imsindia.com/myims/index.php?Itemid=71&id=101&option=com_cont ent&task=view http://www.aef.com/industry/careers/1422 http://careersadvice.direct.gov.uk/helpwithyourcareer/jobprofiles/profiles/profile1 058/ http://careersadvice.direct.gov.uk/helpwithyourcareer/jobprofiles/profiles/profile8 14/ http://www.bls.gov/oco/ocos090.htm http://www.1choice4yourstore.com/imofadbyaksi.html

http://www.blurtit.com/q399143.html SESSION 2 ADVERTISING AND THE MARKETING PROCESS There are 5 steps in the Advertising and Marketing process: 1. Market analysis 2. Media objectives 3. Media strategies 4. Media Mix 5. Budget and Media Buying Step one: Market analysis Activities involved in developing the Market analysis: a. Situation analysis b. Marketing strategy analysis c. Creative strategy analysis a. The situation analysis: The purpose: To Understand the Marketing problem. An analysis is made of a company and its competitors on the basis of: 1. Size & share of the total Market. 2. Sales history, costs, and profits. 3. Distribution practices. 4. Methods of selling 5. Identification of prospects. 6. Nature of the product b. The marketing strategy plan Purpose: To plan activities that will solve one or more of the marketing problems includes the determination of: 1. Marketing objectives 2. Product and spending strategy. 3. Distribution strategy.

4. Which elements of the marketing mix are to be used? 1. Identification of best market segments. c. The creative strategy plan Purpose: To determine what to communicate through advertisements. Includes the determination of: 1. How product can meet consumer needs. 2. How product will be positioned in advertisements. 3. Copy themes. 4. Specific objectives of each advertisement. 5. Number and sizes of advertisements.

Step 2: Setting media objectives Purpose: To translate marketing objectives and strategies into goals that media can accomplish. Setting media objective is the second step in media planning. Media objectives are in harmony with the advertising and the marketing plans. Thus while launching a new product or repositioning an existing product, there are specific objectives which will guide our media decisions. These objectives must be measurable. It facilitates Co-ordination and evaluation once the campaign is over. Specifying Media Objectives 1) What proportion of the population should be reached with advertising message during specified period (reach). 2) How frequently should audience be exposed to message during this period (frequency) 3) How much total advertising is needed to accomplish reach and frequency objectives (weight) 4) How should the advertising budget be allocated over time (continuity)

5) How close to the time of purchase should the target audience be exposed to the advertising message (recency) 6) What is the most economically justifiable way to accomplish objectives (cost) An example of media objectives is this: Create awareness in the target market through the following: 1. Use broadcast media to provide coverage of 80 percent of the target market over a six-month period. 2. Reach 60 percent of the TA at least three times over the same six-month period. 3. Concentrate heaviest advertising in winter and spring, with lighter emphasis in summer and fall. While we talk of effective frequency to set the least number of exposures needed, we also consider effective reach to indicate the percentage of the target audience exposed to the ad some minimum number of times or more. This adds the dimension of repetition to the concept of reach and frequency. Greater reach and frequency stretches the media budget. It is necessary to optimize both reach and frequency. Balancing is difficult especially when two or more ads are being employed or two or more media are being used. We have, therefore, to consider the message weight of the entire media plan. Step 3: Media Strategy Media strategy is the way we seek to realize our media objectives. When formulated correctly, it enables an advertiser to rise above the clutter of ads, and stand out in the competition. Media strategy expects media planners to be creative in using the media. The use of the media should complement and supplement each other. The ad should be consistent with the editorial environment of the media. The placement should be strategic. The medias creative potential is fully used. The ad should provoke readers to look at it more than once. It should be engaging enough, say incorporation of a crossword puzzle in the copy of the ad. We can use non-traditional media like a Tamasha show or a magic-show. Media can be used to build credibility.

Factors Influencing Media Strategy a) Target Market Profile b) Nature of the Message c) Geographic Market Priorities d) Timing of Advertising e) Reach/Frequency/Continuity Media strategy has to cover decisions taken in the areas of: a. Geographic selectivity b. Scheduling of the ads c. Media selection d. Cost efficiency of the selected media. a. Geographic Selectivity Our media strategy is based upon our market coverage. If we market our products nationally, we will select all-India newspapers and magazines. However, if our market is limited to a particular region, we shall select vernacular media popular in that region. In this way, we do not waste our resources by advertising our product in the regions in which it is not available. We have to see how strong a product is in a particular geographical region and advertise more in high potential areas. Marketers may measure the sales strength in particular market by making use of two ratios the brand development index and the category development index Brand Development Index: To determine BDI, a markets brand sales percentage is divided by the total population percentage of that market multiplied by 100. The brand development index (BDI) measures the sales strength of a brand in a particular area. BDI = Percentage of brands total all India sales in the market x 100 Percentage of total Indian population in the market This index enables a media planner to allocate the media budget by setting his priorities.

Category Development Index: To determine CDI, a markets category sales percentage is divided by the total population percentage of that market and multiplied by 100. It measures the sales potential of product category. Thus it takes into account the potential of all competitors selling the same category. CDI = Percentage of product categorys total all India sales x 100 Percentage of total Indian Population in the market These numbers over 100 are considered good but comparing the BDI to the CDI provides the most insight. Brand and Category Analysis

b. Media Scheduling Media scheduling decisions are the decisions about the timing, continuity and size of the ads. We have to see when to advertise, for how long, and for what time period. We have to see the size and placement of our ad. c. Selecting the Media An advertiser can choose a single medium or a mix of media to take its message to the target audience. Media mix a combination of several media is used when it is not possible to reach the target audience by one single medium adequately and with a good impact. Marketers segment a market, and a suitable media can be chosen to match a specific segment. Creative execution becomes varied when a media mix is used. In a media mix, one medium can be used to promote a product and the other as reminder, thus reinforcing each other. A combination must be synergistic, where the sum total of effects is greater than the sum of individual mediums effect. Each media has a particular readership or viewer ship. We have to understand the size and the characteristics of the readership or viewer ship. We have to match the target audience of our product to the demographic

characteristics of the readers/viewers of the media as far as possible. Media research helps us in this matching the product and the media. Each medium has different alternation value. But attention given to a medium also depends upon the message and its execution. Each medium has a motivation value whereby it stimulates readers to respond. Each medium has its own editorial environment provided by its contents which surround the ad This environment should be compatible with the product and its benefits. The environment should also be consistent with the mood of the desired audience. A commercial of an air-line is not consistent with the news of an air-crash. The audience mood is not conducive to the reception of the message. Several media provide an environment of respectability. We have to consider the placement of the ad and the editorial material and keep on changing the same if necessary.

Step four: Selecting Media Mix Media mix means the advertising strategy encompasses the use of more than one type of advertising media to get its message across the target audience. A combination of media types is known as the media mix. No advertiser can rely only on one medium to reach his audience. Selecting broad media classes Purpose: To determine which broad class of media best fulfills the criteria. Involves comparison and selection of broad media classes such as newspapers, magazines, radio, television, and others. The analysis is called intermediate comparisons. Audience size is one of the major factors used in comparing the various media classes. Selecting media within classes: Purpose: To compare and select the best media within broad classes, again using predetermined criteria. Involves making decisions about the following: 1. If magazines were recommended, then which magazines? 2. If television was recommended, then i. Broadcast or cable television? ii. Network or spot television? 3. If radio or newspapers were recommended, then

a. Which markets shall be used? b. If network, which program (s) c. If spot, which markets? d. What criteria shall buyers use in making purchases of local media? What criteria shall buyers use in making purchases of local media? a. Media use decisions- Broadcast: b. What kind of sponsorship (sole, shared, participating, or other)? c. What levels of reach and frequency will be required? d. Scheduling: On which days and months are commercials to appear? e. Placement of spots: In programs or between programs? Media use decisions-Print: a. Number of ads to appear and on which days and months. b. Placements of ads: Any preferred position within media? c. Special treatment: Gatefolds, bleeds, color, etc. d. Desired reach or frequency levels/ Media use decisions-Other media 1. Billboards i. Location of markets and plan of distribution ii. Kinds of outdoor boards to be used. 2. Direct mail or other media: Decisions peculiar to those media.

Step five: Budget Allocation and Media Buying Budget Allocations: classifies spending my medium, region, and time of year

Media Buying a. Occurs once plan is approved b. Buyers work with media representatives to negotiate final prices for the various activities

Types of Newspapers Advertising 1. Display advertising: To distinguish advertising from editorial matter, display advertising is designed comprising the copy, the layout, and the visuals. These ads come in all sizes. They are placed all over in a newspaper, depending upon the policy of that paper. Display advertising is national or local. 2. Co-operative advertising: Local ads can be inserted on cost sharing basis between the manufacturer and retailers co-operative advertising. Local display advertising is charged a lower tariff than the general display advertising. 3. Classified ads: are small ads charged in terms of number of words, and putting the message in several categories or classes such as employment, real estate, matrimonial, automobiles and so on. Classified ads can be classified display ads, where bold letters, illustrations, borders and other visual elements are used. Newspaper also put a pre-printed ad insert in the paper. The paper with the insert is delivered to the reader. It is just a method of distribution for advertisers. It can be geographically selective and cost-effective. Placing the Ad in the Newspapers We have to fill an insertion order while placing the ad. This order gives specific date(s) on which the ad is to be published, the rate at which it is to be published, and production details preparatory to the publishing of the ad. Agencies provide newspapers the ad material in finished form. If a small advertiser expects the newspapers to compose the ad, the newspapers first create a proof which is to be checked by the advertiser for correctness. Once the ad is run, a tear-sheet which is an actual page torn from the newspaper in which the ad was run is sent to the advertiser. It is a proof of publishing as per requirements. If there is an error, the advertiser or its agency can ask for rate adjustment or free insertion.

Characteristics of Newspapers 1. Immediacy. Newspapers offer the greatest advantage of conveying the message quickly. They are flexible and so the advertising copy can be written very close to the time it goes to press. This characteristic is especially useful while launching new products or making public announcements. The advertisements can thus have a powerful new emphasis. For example. When the manufacturer of Good Knight launched HIT mosquito repellent, half page ads were inserted in the Times of India to announce this launch. 2: Selectivity. This is one of the greatest advantages in the Indian context. The advertiser can select the geographical area over which the message is to be communicated as also the language. Newspapers offer split-run facilities using which advertisers can test different campaigns in different geographical areas. 3. Newspapers Mechanical Requirements. Newspapers come in standard and tabloid sizes. Advertising space in newspapers is sold on the basis of columns and inches. Most newspapers are largely printed on newsprint (a coarse paper stock) by high speed presses. Therefore there are limitations on the kinds of illustrative materials that can be effectively reproduced. Newspapers have recently begun offering colour supplements. For example, the Saturday Times of the Times of India , ET Esquire of The Economic Times and the Sunday supplements of most of the newspapers. In addition to innovative colour techniques, newspapers are adding other features to attract advertisers. Flexform advertising offers the advertiser the opportunity in any conceivable shape. Those parts of the newspaper page not containing the advertisement are filled with editorial matter. For example, the ads of Cinthol Lime, lime Lite and Liril have used the technque. Such unconventional layouts, surrounded by editorial matter are hard for the reader to ignore. 4. Variety: Most newspapers present a suitable variety of material to provide an interesting mix for a wide range of readers. A typical newspaper has sports, financial pages, society news, city news, shopping columns, comic strips and other features. Some pages are widely read by women, other by men interested in business news, and so on. An advertiser can select a target market by placing his advertisements in

certain sections or pages of the paper. 5. Penetration: Morning newspapers are read by almost all the literate people. The readership is much more than the circulation. For example, the Times of India circulation is 7, 00,126 while its readership is 39, 36,000. Children are also keen readers of certain section 6. Types of newspaper: There are a wide variety of newspapers to choose from. Advertisers who wish to make announcements would use morning newspapers. For example, public issue of shares and debentures. The copy in the morning newspapers has to be short and attractively illustrated. The evening newspaper can be used to advertise family products such as refrigerators, television sets and cupboard, which require detailed explanation and long copy including special offers and hire-purchase schemes. Specialty newspapers such as The Economic Times can be used for business-to-business communication such as advertisements of SKF ball-bearing, HCL computers, and so on.

Magazine Advertising Magazine are of three types general interest magazines like India Today and Outlook or business magazines like Business India, Business World or Business Today or special magazines for niche markets like Eastern Pharmacist for pharmacists. Professional journals are also specialized magazines like the journal for chartered accountants, company secretaries and costs and works accountants. The advertisements at the top left and top right hand of a newspaper are called ears.

Television Buying

Radio Advertising: Commercial radio in the Indian context has certain inherent characteristics. Its

strengths lie in: 1. Offering local coverage on its medium wave channels 2. Permeating all economic and social strata, thereby reaching the masses 3. Its daily frequency, offering scope for continued messages 4. Broadcasting throughout the day so that message may be repeatedly broadcast 5. Reaching un-educate village folk who do not read print publication 6. When the message is to be carried to a large number of people who speak different languages, radio is a most suitable medium which admirably does the job at the least cost. 7. In a country like India, where literacy rates are low, and so newspapers have limited significance, radio is a popular both with advertisers and audiences. In radio, the news service is continuous; unlike TV where we receive news in the morning transmission, and again in the network programme in the evening, which is wide spacing. To the advertisers, news breaks on radio are the peak listening points when it pays to advertise. 8. Radio commercial can be produced quickly and is not so costly also. It can be repeated over a period of time. Radio thus is afforded by even small firms. 9. Radio Creativity and Flexibility Unlike other out-of-home messages, radio commercials are not static but can be changed almost immediately to reflect different market conditions or new competition. The personal nature of radio, combined with its flexibility and creativity, makes it a powerful medium for all types of advertisers and product categories. One of radios greatest strengths is its flexibility. Copy changes can be made very quickly. When marketing conditions suddenly change, you can react instantly with radio. The short lead time in production and copy changes is an enormous benefit to advertisers who may need last-minute adjustments to their sales messages. 10. The ability to anticipate or react to changing conditions cannot be underestimated. 11. The simplicity of radio can be a major advantage in making tactical marketing decisions. Radios sense of immediately and flexibility, all at a cost within the budget of even the smallest advertiser, has made it an important part of the strategy of many advertisers.

Commercial radio, however, suffers from the following weaknesses; 1. It is an audio medium only; hence it affects certain essential elements of communication 2. Certain operational limitation are imposed; for example, the minimum period of a fortnight reduces the mediums flexibility 3. Limited commercial time available. Only 10 percent of time availability restrict the frequency of message exposure 4. Limited availability of commercial radio. There are only 28 radio stations offering commercial broadcasting against 300 in a country. 5. There are possibilities of distortion in communication. Precision of script- writing is a very challenging task. In TV, vision accompanies the words and so there is no misunderstanding. 6. We know what is Khurram Khurram Papad on TV commercial but the concept is transmitted poorly on radio. Word pictures are necessary on radio. 7. There is a overselling in place of precise explanation. It is a real hazard. Much is at stake on the announcers presentation who has to do hard-selling job. An insistent voice really irritates. TV does this job effortlessly. 8. Repetitions are monotonous. Radio is also a transient medium with no durability of message. Audience research of radio is really grey area. In India, before advertisers can think of radio as a serious medium, this research data should be easily available.

Direct Response Direct-response advertising can reach virtually any demographic, product user, or even lifestyle segments with extreme accuracy. It is a medium particularly attuned to the target marketing philosophy of the 1990s and has shown significant growth in the past decade.

Advantages of Direct Advertising 1. Market Segmentation. It is possible to prepare mailing list spread across different geographical areas depending upon your target market. This is specially useful in India where people speak different language and come from across cultural backgrounds. 2. Personal Touch. Direct ad has personal touch and that appeal to consumers. It is possible to select from mailing lists and addresses letters individually. Reading every name on the cover and several times in the letter flatters the consumer and creates the right atmosphere to sell the product idea. 3. Complete attention. Unlike TV where ads is mixed with entertaining and newspaper where it is read along serious news, direct ads is read with minimum distractions. 4. Flexibility. Unlike the print medium where the ad is constrained by limitations of size and space available, literature in direct ad can come in different forms, shapes and sizes. 5. Testing the Advertisement. It is the most appropriate method of testing effectiveness by keying different mailers. It is possible to measures which ad got the maximum response. 6. Confidentiality. It is possible to control the type of audience that will be exposed to your ad message. This ensures relative secrecy and it is possible to keep the rivals guessing about your sales pitch. 7. An Aid to Sales People. A direct mailer preceded by a sales persons visit makes it easier for the sales person. 8. Industrial Advertising. Direct mailers are useful while advertising industrial products which can be explained in detail in categories. 9. Local Advertising. This medium is used by a local advertiser such as retailers, tuition and coaching classes, gyms and hobby classes. The opening of new outlets, discount sales and other special offers are also made using this medium.

10. Economical. When the market is small and can be identical it is useful to use this medium. 11. Legal Restrictions. MRTP and other legal restrictions disallow advertising by pharmaceutical companies for products other than OTC for example Crocin or Vicks VapoRub. Professionals such as doctors and lawyers also cannot advertise their services. Such classes of advertisers find direct advertising most suitable. Limitations of Direct Advertising Mailing List. The success of direct ad depends upon the mailing list. If the mailing list is comprehensive and complete and it reaches the target market it can be effective. In India with limitations of computer facilities and accurate secondary data about consumers demographic profile it is difficult to prepare a suitable mailing list. Cost: Cost per thousand is definitely more expensive than other media that is when large numbers of people have to be reached this medium is not suitable. Reader Involvement: When too many mailers are received reader involvement reduces and they tend to throw away the sales letters even before opening them. Cost of Production: Brochures and catalogues produced in colour on art-paper can be very expensive and cannot be used by small firms.

OUTDOOR ADVERTISING Out-of home media include outdoor posters (Billboards, Painted Bulletins and onand-of premise signs of all descriptions. Whatever may be the slight difference in the interpretation; all outdoor ads have no editorial vehicle to carry the messages. The viewer has to incur no expenditure, nor has he to make any effort to see an outdoor advertising, where as this is not so with other media. An ad message is not brought to the audience; it is audience who go the message, though they view it in the course of their other activities. Outdoor ads offer repeat opportunities for looking at the ad messages, either at the same place on an identical Billboard at another location. Only such Billboards are qualified as outdoor media. Roadside and on premises

devices, which are not of standard sizes and/or designs, are not classified strictly as outdoor ad. They are referred to as signs. These media can at the best be called Outof Home (OOH) media. Transit advertising Transit advertising includes a number of formats and distinctly different advertising vehicles. Among the major forms of transit advertising are the following: Bus exteriors Taxi exteriors Bus and commuter rail interiors Commuter station posters Miscellaneous displays such as terminal clocks and air terminal posters The king-sized posters dominate bus advertising space and are the most used format for both national and local transit advertisers. Transit provides a number of advantages to advertisers and, although still a small medium by total advertising standards, has grown at a significant rate in the past several years. Estimated revenues for transit are approximately $300 million. The popularity of transit advertising are due to a number of factors: Transit prices have low overall cost and CPM levels. Transit prices are even lower than traditional outdoor, less than $1 CPM in many markets. Transit reaches prospects in the market place and is attracting an increasingly upscale audience as public transportation becomes more popular in many cities. In the case of interior signs, advertisers are reaching a captive audience of riders who average almost 20 minutes per trip. The nature of transit audience allows somewhat longer messages than outdoor signs. Creative opportunities are increasing. The New York subway system recently approved a plan to install lighted station posters that were purchased by major advertisers such as THE GAP AND CALVIN The repetitive nature of the transit audience quickly builds high levels of frequency over relatively short periods.

Transit advertising provides a low-cost option for reaching a mobile, urban audience. With likelihood that mass transit will be more popular in the coming years; the growth of transit advertising is assured. Added to its ability to reach this audience is the fact that municipal governments are seeking new sources of revenue and transit advertising rental space is one that is readily available. Types of Transit advertising: 1. Shelter advertising With traditional out of home media facing falling revenues and legal restrictions, shelter advertising is a major growth area. Shelter advertising is normally used as a complementary medium to outdoor posters. It has the advantage of being able to be used in areas where zoning regulation ban outdoor. In addition, shelter messages reach not only bus riders but vehicular traffic. In fact as much as 90- percent of the total shelter audience is vehicular. Shelter advertising has three major advantages: a. It is an extremely inexpensive medium. CPM levels are among the lowest of any advertising medium. It is also similar to other out-of home media in that it generates high reach and frequency in a short time. b. Advertisers can use shelter advertising to target specific markets. For example, a packaged good may use shelters in front of supermarkets or jeans wear on the college campus. c. Shelter advertising is illuminated for 24- hour reach and provides maximum exposure and awareness. With 4x6 signs, shelter advertising provides stopping power for both pedestrian and vehicular traffic. Unlike other media, it rarely suffers from clutter from other competing messages. It is obvious that shelter advertising, although accounting for a small portion of all advertising revenues, will continue to grow at a faster rate than overall advertising expenditures. As new product categories come into the medium, we may even see larger increases in the shelter sector. Finally rather than facing the regulatory problems of outdoor, the revenues generated by shelter posters are often shared with municipal transit

companies, making the medium a revenue producer to many cities facing tight budget 2. Interior cards or car cards Buses and subways usually have overhead and wall mountings for advertising. Local trains also have advertising space on their walls. These are especially useful when catering for specific target group such as women. The ads can be placed inside the womens compartments of the local trains. Unlike the posters which cannot be read at length commuters in train have ample time to reach the ad. And therefore a longer copy can be used. Situational-specific advertising can also be used, for instance Godrej has used car cards very effectively. Car may be spoilt and disfigured by mischievous youngsters. The train route is drawn and below that the product is advertised. This ensures that commuters referring to the map will notice the product for its marvel soap. Godrej used the ad line After the hot sticky journey you need the creamy freshness of Marvel. The main disadvantage of this medium is that the ads environment is not pleasing for most commuters and is not a very pleasurable experience. This may put them in hostile frame of mind. 3. Exterior Posters. Buses also have display ads on the outside space. BEST buses rent out the entire bus that can be attractively painted with the ad message. Dipys Jams was the first product that used the BEST as an advertising medium. Since then several products have used this medium effectively. This medium is not useful during the rainy season as maintenance cost increases. It has also not succeeded in rural areas and semi-urban areas where the state transport buses ply. This is because the roads are so dusty that the buses get very dirty and the advertised message loses its appeal. 4. Station and Bus shelter and Bus and Railway Ticket

Point-of-purchase advertising Point-of-purchase advertising (POP) is an essential part of any sales promotion

strategy for products sold through stores. It provides a final, all-important step in the process of capitalizing on brand awareness and influencing individual purchasing decisions. POP advertising is both a part of the integrated marketing mix and an impulse stimulant. What sets POP advertising apart from other forms of promotional activity is its ability to influence the purchasing decision at the very moment the consumer is selecting a product. That distinction is reflected in the following definition of POP from the Point-ofPurchase Advertising Institute (POPAI): Displays, signs, structures, and devices that are promotional, and are used to identify, advertise, or merchandise an outlet, service, or product and serve as an aid to retail selling. The key word here is promotional. Merely stocking a shelf with soap or cereal doesn't make for POP. Nor does a sign that says "Meat Department." But within POP (sometimes known as point-of-sale advertising) are dozens of bright, colorful, sometimes zany items used to encourage the sale of individual brands, product lines, or even entire product categories. MAJOR TYPES OF POP 1. Signs differ from displays in that the messages on them are more general. They may serve notice that a given brand is being promoted or simply direct shoppers to an area of the store where a product is on sale. Signs attached to a display may include price or other information about the product. Shelf media, such as shelf-talkers and shelf strips, may be attached to existing fixtures, and they don't take up precious floor, wall, or counter space.

2. Windows Displays. These are very popular methods used by chemists department stores showrooms. In fact the term Window Shopping has been used to describe the pull these attractive window-displays exert on every passer-by. Window display contents are used by manufactures to promote retailers to display their products attractively. At present Wipros Baby Care product have grabbed window displays at chemists outlets.

3. Displays Cards. These are elaborate cut-out models that are placed outside the retail outlet or placed near the cash-counters. Frooti, a tetra bricks pack soft drink used this medium effectively. Huge cut-outs of the model drinking Frooti were placed besides boxes filled with hay and foorti packs. This gave an impression that Foorti was as fresh as mangoes. 4. Wall Displays. Here the folders may be stringed placed across the wall 5. Merchandising of Racks and Cases. The manufactures may supply the display racks for their products. The round jar of Cadburys Eclairs placed besides the cash counters the racks to display Maggi Soups and the huge hamper with Maggi Noodles swinging at the doorway of the retail outlets are striking examples. 6. In store Commercials. This is the latest form of P.O.P advertising. The commercials are viewed by consumers within the store and act as sales people trying to effect a sale. Electronically operated display panels near cash counters or small screens near shelfspaces can be used to exhibit the commercials. These are common in supermarkets.

VIDEO AS AN ADVERTISING MEDIUM Introduction In recent times video has been one of the fastest growing medium. Most advertisers reserve a part of their advertising budget for video. Zandu Pharmaceuticals has allocated 15 per cent of its 2 crore ad budget to this medium. Around 12 per cent of Bajaj Electricals ad budget is devoted to video. The Akai Bush sound system is being pushed through video alone when the video first arrived in the late 70s its cost over Rs. 50,000. Cassettes had to be imported and there was no real prospects of growth since Doordarshan had not started the colour telecast. All this changed after 1984 with the coming of the colour telecast

Advantages of Video as an Advertising Medium 1. Cost. It is mush cheaper than TV. While a 10 sec spot on the National Network in the 9 pm slot costs Rs. 90,000, the comparative cost on a video cassette works out to be just rs. 6,000. According to a study done a 30 sec spot per thousand viewers on video costs merely Rs. 6 compared to Rs. 11 and Rs. 13 on TV and Cinema. 2. Segmentation. Video offers segmentation depending upon the type of movies and languages. An English movie will have a different clientele than a Marathi or a Hindi one while the profile of viewers of Newstrack would be different from the clientele for star buzz. 3. Situational Advertising. It is possible to insert an ad before or after as appropriate situation. 4. Coverage. Video has been used effectively by companies approaching the rural market. Armed with video cassettes of films and commercials of their product (called video yatra) they have captivated the rural audience. The number of video sets is also on the increase. A survey done by Mode Services in mid 87 puts the numbers at 1.8 million. Each A grade movie is transferred to about 10 to 20 thousands cassettes. This ensures a wide coverage. Limitations of video as an Advertising Medium 1. Zapping. The fast forward control has been a problem area for a advertisers. to overcome this computers have been used to super impose ads on the frame of the film itself. 2. Short Life. A large number of films are released every month and the life of a new film is somewhere between one week and two months. At the end of this period the pirated cassettes will have some another films taped on them. Thus while new films have large viewership and are ideal for a number of campaign, several media planners prefer old evergreen films for long term objectives 3. Variety. Though there are several video magazines the ads are more popular in film based cassettes. This limits the market penetration in up-market segments. The alternative is the English feature films which can reach the up- market consumers. 4. Interference with Entertainment. Too much advertising on video has a nuisance

value especially ads superimposed on the movie 5. Boredom Watching the same as again and again leads to boredom and negative appeal. 6. Pirated Cassettes. This can be termed as an advantage since more people watch the cassette than originally paid for. But in most of these films the ads are edited poorly which may spoil the image of the product.

Internet as an emerging medium in India The internet is one of the emerging mediums in India as of today. Like many other media it too has its advantages and disadvantages in the below mentioned areas: Advantages: Effective targeting the internet as a medium poses an advantage in this aspect as the kind of people visiting a site or surfing the web can be determined and defined much better and easier then other mediums. However, one must remember that majority of the people on the net are educated and from urban backgrounds. So it makes sense only for those who are looking at this target audience to advertise on the net. Eg. It doesnt make much sense for lifebuoy to advertise on the net. Flexibility of execution - theoretically, internet as a medium provides one with a good amount of flexibility of execution. One can communicate its message in the form of print or one can create a whole audio-visual experience or even set up a virtual tour experience of the product. Eg. Many tour operators have a virtual tour site of different countries. Products like mobile phones can be seen from all angles because of 3-D animation. One-to-one with consumers: The primary attraction of the Internet is its ability to deal one-to-one with consumers. In theory, business and consumers can buy

products, exchange product information, and acquire valuable research with the touch of a computer key. In practice, the Internet remains an experimental medium with vast underutilized potential Growth: However in future one expects the medium to grow across sections of society. The Internet is the ultimate research tool, with its ability to measure exactly how many people used the medium and or purchased a product The Internet is among the most flexible media, with an ability to immediately change copy in reaction to market and competitive conditions. Reach: one of the main advantages of the medium is that it exposes you to the world. The knowledge you can obtain from the internet is close to infinite. Anyone in the world can see your website; see your ad [even if it is a little banner on a small site]. It is also a medium where you can communicate to a specific target audience. Cheaper medium to advertise: It is a relatively cheaper medium to advertise. Disadvantages: To this point, the Internet is mostly promise rather than performance. It is difficult to determine the effectiveness of the service because it is largely experimental in a commercial sense. Connectivity with respect to India this is one of the main disadvantages of advertising on this medium. Its presence in the rural areas is nonexistent and in the urban areas a lot is left to be desired Despite the growing popularity of the Internet as a means of informal communication, many consumers are still reluctant to use the service for purchasing products and services. In particular, consumers seem reluctant to give their credit card numbers over the Internet, even though secure sites are available. The sheer number of commercial and non-commercial web sites makes it difficult for consumers to know what is available or, once know, have much time to spend with any single site.

The limitations are that it is not widespread in the country. It is almost redundant for rural advertising. The fact that you cannot do more than animations of a website is a disadvantage. There are several other disadvantages but over a period of time this medium is bound to emerge as a strong force in media planning. INNOVATIVE MEDIA Innovative media focuses on alternative platforms of advertising which open up new avenues for advertisers. As technological breakthroughs facilitate better modes of communication, the emergence of new media has enhanced reach on several levels. The result is new advertising vehicles which are wider in reach, specific in targeting and most of all, lower in cost. The Vidiwall: The Vidiwall is an intensely captivating advertising medium which truly represents the best of today's technology. The Vidiwall is essentially a mega screen capable of broadcasting high quality audio-visuals, banners, logos & slides of stunning size, resolution and picture quality. SMS Advertisers are beginning to experiment with the mobile phone and text messaging as an advertising medium, but as yet, there are no fixed guidelines for the correct ways in which to use it. That means the potential for abuse is vast. There are two ways that an advertiser can potentially use SMS as an advertising medium. The first is to simply obtain a database of mobile phone numbers and send messages directly to end-users.

This is similar to bulk e-mailing, which counts among the marketing tactics that irritates customers and prospects the most. However, the annoyance of unsolicited email will pale beside the nuisance of having hundreds of unwanted text messages broadcast to one's cell phone every day. There is certainly a place for this kind of direct messaging, but it does need to be

exceptionally well thought out and executed. Most importantly, end-users that are contacted through this mechanism need to agree to it, and should be able to easily opt out of receiving the messages if and when they wish. There is, however, another way that advertisers can reach the large audience of users that have cellular phones. It is much less problematic than direct messaging, which is believed to represents the future of SMS advertising. This approach involves the placement of a short tag-on, normally no longer than 34 characters, at the tail of every message sent out via a service such as mtnsms.com. When a user sends a message, it goes out with an unobtrusive short brand message tagged on the bottom. This is the very sort of viral marketing technique that has allowed mtnsms.com itself to grow to more than 6,5m users in less than two years. These tag-ons can also be used where content is being delivered to users who have opted in to receiving daily news, stock exchange, sports or weather updates on their cell-phones.

INNOVATIVE RURAL MEDIA In addition to the conventional media vehicles, a lot of innovative mediums are used in rural advertising and marketing. Some of the most striking ones are: 1. Puppetry Puppetry is the indigenous theatre of India. From time immortal it has been the most popular form and well-appreciated form of entertainment available to the village people. It is an inexpensive activity. The manipulator uses the puppets as a medium to express and communicate ideas, values and social messages. Life Insurance Corporation of India used puppets to educate rural masses about Life Insurance; enlisting the help of the literacy house in Luck now. These plays were

shown to the audience in villages in UP, Bihar, & MP. The number of inquires at local Life Insurance Companies during the period immediately following the performance was compared with normal frequency and found to be considerable higher. The field staff of the corporation also reported a definite impact on the business. Folk Theatre Folk theaters are mainly short and rhythmic in form. The simple tunes help in informing and educating the people in informal and interesting manner. It has been used as an effective medium for social protest against injustice, exploitation and oppression. Demonstration: "Direct Contact" is a face-to-face relationship with people individually and with groups such as the Panchayats and other village groups. Such contact helps in arousing the villager's interest in their own problem and motivating them towards self-development. In result demonstration, help of audio -visual media can add value. Asian Paints launched Utsav range by painting Mukhiya's house or Post office to demonstrate that paint does not peel off. Wall Paintings Wall Paintings are an effective and economical medium for advertising in rural areas. They are silent unlike traditional theatre .A speech or film comes to an end, but wall painting stays as long as the weather allows it to. Retailer normally welcomes paintings of their shops, walls, and name boards. Since it makes the shop look cleaner and better. Their shops look alluring and stand out among other outlets. Besides rural households shopkeepers and panchayats do not except any payment, for their wall to be painted with product messages. To get one's wall painted with the product messages is seemed as a status symbol. The greatest advantage of the medium is the power of the picture completed with its local touch. The images used have a strong emotional association with the surrounding, a feet impossible for even a moving visual medium like television, which must use general image to cater to greatest number of viewers.

Ambient Advertising Ambient Advertising definition is: The placement of advertising in unusual and unexpected places (location) often with unconventional methods (execution) and being first or only ad execution to do so (temporal). Newness, creativity, novelty and timing are key themes in ambient advertising. This definition is deliberately narrow and attempts to exclude mainstream advertising Implicit in this definition are that Ambient is a moveable and somewhat subjective term and will shift according to the advertising norms of the day. One of the fundamental premises of Ambient is that the world is an advertising stage. Everything is a potential advertising mediumsides of cows, rockets, golf-hole cups etc. Ambient was first used in relation to advertising in 1996 by Concord Advertising, a UK agency specializing in outdoor campaigns. It evolved from a need to apply a single term to what was an increasing request from clients for something a bit different in their advertising. Clients, concerned with issues of cut-through, competition, decreased effectiveness and disinterested audiences wanted (and still want) advertising with bite from their agencies. This push by clients for something different saw agencies placing ads in unusual places, such on as floors, petrol pump handles and backs of toilet doors - previously not considered as locations for advertising. Such campaigns did not fit neatly into existing categories like out-door, print, radio or television and hence anew term was coined. Unusual locations are considered a defining characteristic for Ambient advertising. However, unusual locations lose their point of difference with repetition and time, and so cease to be something different. This suggests two things. Unusual location is not the only point of difference for Ambient. The method of execution is often unusual as well. Holographic projections, role-plays and graffiti are a few examples of this and certainly fit within the something different imperative Communication Mix Communications component (or communication mix) is that portion of the media

plan that considers the effectiveness of message delivery as contrasted to the efficiency of audience delivery. When we use the word creativity in advertising context, we usually do not think about the media function. However, the effective media planner must consider the creative goals, the message themes, and the actual creative execution in developing the media plan. Because of high cost of time and space, there is a tendency to become so concerned with media cost analysis that we forget that effective advertising must communicate to our listeners and readers.

The communication mix consists of the following considerations; Creative Predispositions of the audience: for example, teens are predisposed to radio in a different way than print. Qualitative Environment for the message: Golf magazine reaches readers who are in the proper frame of mind for ads for golf balls and golf clubs than any single medium used alone Elements of the communication mix Advertising: 1. Print: a. News Paper b. Magazine 2. Broadcasting: a. Television b. Radio c. Cinema d. Video 3. Outdoor: a. Billboards b. Hoardings c. Cloth banners d. Kiosks e. Neon signs

f. electric displays 4. Ambient advertising a. Bus tickets b. petrol pumps c. Kisan melas

5. Transit advertising: a. Bus shelters b. Railway stations c. Airport 6. Sales promotion a. Price deals b. Bonus packs c. refunds and rebates d. Coupons e. Contests and sweepstakes f. Premiums g. Sampling h. Continuity plans i. Trade coupons j. Exchange offers k. Displays, trade fairs, exhibitions, and event sponsorship 7. Public Relation: a. Newsletter b. Press conference c. corporate advertising d. Public service advertising e. Special events 8. Personal Selling: Personal selling is oral communication with potential buyers of a product with the intention of making a sale. The personal selling may focus initially on developing a relationship with the potential buyer, but will always ultimately end

with an attempt to "close the sale" Personal selling is one of the oldest forms of promotion. It involves the use of a sales force to support a push strategy (encouraging intermediaries to buy the product) or a pull strategy (where the role of the sales force may be limited to supporting retailers and providing after-sales service). 9. Direct Marketing: Direct marketing is concerned with establishing an individual relationship between the business offering a product or service and the final customer. Direct marketing has been defined by the Institute of Direct Marketing as: The planned recording, analysis and tracking of customer behaviour to develop relational marketing strategies The process of direct marketing covers a wide range of promotional activities you may be familiar with. These include: a) Direct-response adverts on television and radio b) Mail order catalogues c) E-commerce (you bought this marketing companion following tutor2us direct marketing campaign!) d) Magazine inserts e) Direct mail (sometimes also referred to as junk mail) f) Telemarketing

10. Internet advertising: a. Ad Banners b. Websites c. Ad Buttons d. Sponsorship e. Interstitial f. Classified Ad 11. Database advertising: Database marketing is the technique of gathering all the information available about your customer, leads, and prospects into a central database and using that information to drive all your marketing efforts. The information is stored in a marketing database and can be used at both the

strategic and tactical levels to drive targeted marketing efforts. A company that utilizes database marketing continually gathers, refines, and analyzes data about their customers, their buying history, prospects, past marketing efforts, demographics, and so forth. They analyze the data to turn it into information that supports all their marketing and sales programs. More enlightened marketing companies also use customer and prospect interests and preferences, generally gathered on their web site, to tailor marketing efforts right down to the individual level. 12. POP: a. Danglers b. Window displays c. Stickers

12. Telemarketing a. Inbound telemarketing b. Outbound telemarketing 13. Off screen selling: a. Demonstration on TV with toll free call 14. In film advertising: In-film advertising, in its most effective form, is about a brand being a part of the cinema's content. Many global brands are now turning to this medium for the sheer impact that a movie can make on its audiences. a brand using the medium of cinema to promote its message. A number of marketers are now using movies to project the core values of their brands. 15. Sponsorship: To sponsor something is to support an event, activity, person, or organization financially or through the provision of products or services. Sponsorship is typically done for promotional purposes, to generate publicity, or to obtain access to a wider audience. Sponsorship may be an arrangement to exchange advertising for the responsibility of funding a popular event or entity. For example, a corporate entity may provide

equipment for a famous athlete or sports team in exchange for brand recognition. The sponsor earns popularity this way while the sponsored can save a lot of money. This type of sponsorship is prominent in sport, the arts, media and the charity ('cause-related') sector. It is also becoming increasingly important in education. Many companies want their logo on sponsored equipment in return. 16. Exhibition & Trade fairs: Exhibiting at Trade Shows is usually expensive. But then it is the most effective and respectable way to present company in the local and international market. The impact on prospective buyers/partners can not be so strong in any other way in todays world that is overloading with suppliers and exporters. But still, an exhibition cannot guarantee business as most still depends on how you use the opportunity. 17. Brand identity How you want the consumer to perceive your product or your brand. Companies try to bridge the gap between the brand image and the brand identity. 18. Corporate identity Corporate Identity has become a universal technique for promoting companies and improving corporate culture. It means any form of advertising, which has as its objective, the building up of a companys reputation. Advertising whose purpose is to promote the image of a corporation rather than the sale of a product or service. Also called "Image Advertising." The main aim is to build a positive image for the firm in the eyes in internal and external public in institutional advertising. It does not attempt to sell anything directly. However, it does a lot of good to the organization as a whole. It forcefully tells how the organisation is a socially responsible institution. It also tells about the nationalistic learnings of the organization. It shows how its actions are consistent with overall national objectives like environmental protection, employment generation, literacy, loss prevention, health for all etc. It is integrated to

public relations function of the organisation.

Corporate advertisements may be addressed either to consumers or other groups like government, suppliers, financial institutions etc. Effective Corporate advertising evokes a positive response amongst the target group and creates goodwill. Corporate advertising may introduce products indirectly or may introduce the sales people indirectly. 19. Event sponsorship: A type of promotion whereby a company develops sponsorship relations with a particular event such as a concert, sporting event, or other activity.

SESSION 3 Constituents of Advertising; Core Advertising Concepts: Brand, USP, Target Market, SEC segments CORE ADVERTISING CONCEPTS

1. The 5 Ms of Advertising How should the advertising be developed? One has to make decisions on the five Ms of advertising: mission, message, media, money, and measurement. The ads mission can be one of four: to inform, persuade, remind, or reinforce a purchase decision. With a new product, you want to inform and/or persuade. With an old product, like Coca- Cola, you want to remind. With some products just bought, you want to reassure the purchaser and reinforce the decision. The message must communicate the brands distinctive value in words and pictures. Any message should be tested with the target audience using a set of six questions (see box). Advertisement Message Test: 1. What is the main message you get from this ad? 2. What do you think the advertiser wants you to know, believe, or do? 3. How likely is it that this ad will influence you to undertake the implied action? 4. What works well in the ad and what works poorly? 5. How does the ad make you feel? 6. Where is the best place to reach you with this message-where would you be most likely to notice it and pay attention to it? The media must be chosen for their ability to reach the target market cost-effectively. Besides the classic media of newspapers, magazines, radio, television, and billboards, there is a flurry of new media, including e-mail, faxes, telemarketers, digital magazines, in-store advertising, and advertising now popping up in skyscraper elevators and bathrooms. Media selection is becoming a major challenge. A company works with the media department of the ad agency to define how much reach, frequency, and impact the ad campaign should achieve. Suppose you want your advertising campaign to deliver at least one exposure to 60 percent of the target market consisting of 1,000,000 people. This is 600,000 exposures. But you want the average person to see your ad three times during the campaign. That is 1,800,000 exposures. But it might take six exposures for the average person to notice your ad three times. Thus you need 3,600,000 exposures. And suppose you want to use a high-impact media vehicle costing $20 per 1,000 exposures. Then the campaign should cost $72,000 ($20 3,600,000/1,000). Notice that your company could use the same budget to reach more people with less frequency or to reach more people

with lower-impact media vehicles. There are trade-offs among reach, frequency, and impact. Next is money. The ad budget is arrived at by pricing the reach, frequency, and impact decisions. This budget must take into account that the company has to pay for ad production and other costs. A welcome trend would be that advertisers pay advertising agencies on a pay-for-performance basis. This would be reasonable because the agencies claim that their creative ad campaigns will increase the companies sales. So pay the agency an 18 percent commission if sales increase, a normal 15 percent commission if sales remain the same, and a 13 percent commission with a warning if sales have fallen. Of course, the agency will say that other forces caused the drop in sales and even that the drop would have been deeper had it not been for the ad campaign. Next is measurement. Ad campaigns require pre-measurement and postmeasurement. Ad mock-ups can be tested for communication effectiveness using recall, recognition, or persuasion measures. Post measurements strive to calculate the communication or sales impact of the ad campaign. This is difficult to do, though, particularly with image ads. For example, how can Coca-Cola measure the impact of a picture of a Coke bottle on the back page of a magazine on which the company spent $70,000 to influence purchases? At 70 cents a bottle and 10 cents of profit per bottle, Coke would have to sell 700,000 additional bottles to cover the $70,000 cost of the ad. It is hard to believe that the ad will sell 700,000 extra bottles of Coke. Companies must try, of course, to measure results of each ad medium and vehicle. If online promotions are drawing in more prospects than TV ads, adapt your budget in favour of the former. Dont maintain a fixed allocation of your advertising budget. Move ad money into the media that are producing the best response. One thing is certain: Advertising dollars are wasted when spent to advertise inferior or indistinct products. Pepsi-Cola spent $100 million to launch Pepsi One, and it failed. In fact, the quickest way to kill a poor product is to advertise it. More people will try the product sooner and tell others faster how bad or irrelevant it is. How much should you spend on advertising? If you spend too little, you are spending

too much because no one notices it. A million dollars of TV advertising will hardly be noticed. And if you spend too many millions, your profits will suffer. Most ad agencies push for a big bang budget and while this may be noticed, it hardly moves sales. It is hard to measure something that cant be measured. Stan Rapp and Thomas Collins put their finger on the problem in the book Beyond MaxiMarketing. We are simply emphasizing that research often goes to great lengths to measure irrelevant things, including peoples opinions about advertising or their memories of it rather than their actions as a result of it. Will mass advertising diminish in its influence and use? I think so. People are increasingly cynical about and increasingly inattentive to advertising. One of its former major spenders, Sergio Zyman, ex-vice president of Coca-Cola, said recently, Advertising, as you know it, is dead. He then redefined advertising: Advertising is a lot more than just television commercialsit includes branding, packaging, celebrity spokespeople, sponsorships, publicity, customer service, the way you treat your employees, and even the way your secretary answers the phone. What he is really doing is defining marketing. A major limitation of advertising is that it constitutes a monologue. As evidence, most ads do not contain a telephone number or e-mail address to enable the customer to respond. What a lost opportunity for the company to learn something from a customer! Marketing consultant Regis McKenna observed: We are witnessing the obsolescence of advertising. The new marketing requires a feedback loop; it is this element that is missing from the monologue of advertising. 2. AIDA As the world of advertising becomes more and more competitive, advertising becomes more and more sophisticated. Yet the basic principles behind advertising copy remain - that it must attract attention and persuade someone to take action. And this idea remains true simply because human nature doesn't really change. Sure, we become increasingly discerning, but to persuade people to do something, you still need to grab their attention, interest them in how your product or service can help them, and then persuade them to take the action you want them to take, such as buying your product or visiting your website.

The acronym AIDA is a handy tool for ensuring that your copy, or other writing, grabs attention. The acronym stands for: Attention (or Attract) Interest Desire Action. These are the four steps you need to take your audience through if you want them to buy your product or visit your website, or indeed to take on board the messages in your report. How to Use the Tool: Use the AIDCA approach when you write a piece of text that has the ultimate objective of getting others to take action. The elements of the acronym are as follows: 1. Attention/Attract In our media-filled world, you need to be quick and direct to grab people's attention. Use powerful words, or a picture that will catch the reader's eye and make them stop and read what you have to say next. With most office workers suffering from e-mail overload, action-seeking e-mails need subject lines that will encourage recipients to open them and read the contents. For example, to encourage people to attend a company training session on giving feedback, the email headline, "How effective is YOUR feedback?" is more likely to grab attention than the purely factual one of, "This week's seminar on feedback". 2. Interest This is one of the most challenging stages: You've got the attention of a chunk of your target audience, but can you engage with them enough so that they'll want to spend their precious time understanding your message in more detail? Gaining the reader's interest is a deeper process than grabbing their attention. They will give you a little more time to do it, but you must stay focused on their needs. This means helping them to pick out the messages that are relevant to them quickly. So use bullets and subheadings, and break up the text to make your points stand out. 3. Desire The Interest and Desire parts of AIDA go hand-in-hand: As you're building the reader's interest, you also need to help them understand how what you're offering can help them in a real way. The main way of doing this is by appealing to their personal needs and wants.. So, rather than simply saying "Our lunchtime seminar will teach you feedback skills", explain to the audience what's in it for them: "Get what you need from other people,

and save time and frustration, by learning how to give them good feedback." 4.Action This is the final step in which you must get the potential customer to make the decision to buy your product. Sometimes you have already won them on the Desire section for others you will have to have a call to action message to push them to take action. This could be a message such as. This deal is only available for a limited amount of stock. Buy now and dont miss out! That little nudge basically just subconsciously puts the thought of buying into the persons head to encourage them to press add to cart button. So putting all this together creates a successful buying cycle. This theory works on the emotional and psychological aspect of buying a product or service. You should have a think about how you are marketing your product and check out are you selling the benefits?, have you got an enticing title?, have you got that call to action?

Brand In order to develop marketing strategy for individual products, we have to decide about branding which can add value to a product and hence can be an integral part of product strategy. The brand has a great marketing significance. Brands are sold at retail stores and not the physical products. At retail counters, people do buy Liril and not a bath soap, Wills Filter and not merely a cigarette. What is a brand? The word brand is derived from the Old Norse word brandr, which means to burn, as brands were and still are the means by which owners of livestock mark their animals to identify them. A brand is name, sign, symbol or a combination of them intended to identify the goods or services of one seller from those of competitors. The

brand name of a product is extremely essential for identification and communication purposes. Advertising would also be straight forward and effective if the product is called by a name which is easy to remember. Why are brands important? We must analyze the following perspectives to uncover the value of brands to both consumers and firms themselves. Consumers Identification of source product Assignment of responsibility to product maker Risk reducer Search cost reducer Promise, bond, or pact with maker of product Symbolic device Signal of quality Manufacturers Means of identification to simplify handling or tracing Means of legally protecting unique features Signal of quality level to satisfied customers Means of endowing products with unique associations Source of competitive advantage Source of financial returns. Criteria for choosing Brand elements Memorability Meaningfulness Likeability Transferability Adaptability Protect ability Options for Brand elements Brand names the brand name is a fundamentally important choice because it often captures the central theme or key associations of a product in a very compact

and economical fashion. URLs Uniform Resource Locators are used to specify locations of pages on the web, and are also commonly preferred to as domain names. Logos and Symbols although the brand name typically is the central element of the brand, visual brand elements (logos and symbols) often play a critical role in building brand equity, especially in terms of brand awareness. Characters characters represent a special type of brand symbol one that takes on human or real life characteristics. Some brand characters are animated. Slogans slogans are short phrases that communicate descriptive or persuasive information about the brand. Jingles jingles are musical messages written around the brand. Packaging packaging involves the activities of designing and producing containers or wrappers for a product. Brand Positioning The strategic brand management process starts with a clear understanding as to what the brand is to represent and how it should be positioned with respect to competitors. Kotler defines brand positioning as the act of designing the companys offer and image so that it occupies a distinct and valued place in the target customers mind. The goal is to locate the brands in the minds of consumers such that the potential benefit to the firm is maximized. Competitive brand positioning is all about creating brand superiority in the minds of consumers. Fundamentally, positioning involves convincing consumers of the advantages of a brand vis--vis competitors, while at the same time alleviating concerns about any possible disadvantages. Positioning often involves a specification of the appropriate core brand values (set of abstract attributes and benefits that characterize a brand) and brand mantra (short three to five word expression of the most important aspects of a brand and its core brand values). Example In 1998, Pepsi introduced a new diet cola called Pepsi One in reference to the one calorie contained in the drink after investing millions in research and development, design, and marketing. Pepsi originally positioned Pepsi One as the full-flavoured yet healthy alternative to regular colas and targeted 20 to 30 year old men who did not like the taste of diet colas. The company purposely avoided attaching the word diet to the drink because of the negative associations of the diet cola category and its 5% market share decline since 1990.

Brand Image Image grows out of brand positioning, but encompasses everything about the brand that gets communicated to the consumer. Image is a multi-dimensional character to a brand that places it on any scale good and bad, rational and emotional. Advertisings primary job, according to David Ogilvy and Reeves, is to give an identity to the brand and make it individualized. According to Ogilvy, the task of advertising is to give brand a first class ticket through life. The role of advertising is to invest a brand with a set of associations, favourable connotations or positive psychological overtones. Brand image is engineered by advertising. Brand image is a cluster of intangible attributes rather than real qualities. The ad agency endows or invests the brand with highly distinctive associations. These carve out a distinct identity for the brand. These associations must be interpreted to the fantasies and aspirations of the target market. Brand image/values in the consumers mind are beneficial to the purchase of the brand. A positive brand image is created by marketing programs that link strong, favaourable and unique associations to the brand in memory. Besides marketer-controlled sources of information, brand associations can also be created in a variety of other ways: by direct experience; from information communicated about the brand from the firm or other commercial or non-partisan sources (e.g. Consumer Reports or other media vehicles) and word of mouth; and by assumptions or inferences from the brand itself (e.g. its name or logo) or from the identification of the brand with a company, country, channel of distribution, or some particular person, place or event. Example Lux, the brand has carved a niche for itself and maintained its status as a market leader by strongly differentiating itself from its competitors through an aspirational positioning statement the beauty soap of film stars. The Body Shop created a global brand image without using conventional advertising. Their strong associations to personal care and environmental concern occurred through their products, packaging, merchandising, staff, sourcing policies, social action program and public relations programs and activities.

Brand Personality It takes image characteristics of a brand and renders them in human terms as seen by the consumer. Brand image is broader than brand personality because by the time

we enter the personality realm, we are dealing with feelings and emotions that the consumer takes away from communications. A well established brand has a clear brand personality. It may remain unstated. But it can play a strategic role in brand wars. Closely positioned brands may also acquire distinct personalities as a result of exposure to the product, packaging, service, word-of-mouth and advertising. Brand is thought as being friendly, boring, funny, rude, caring, stylish etc. Consumers need to think of brands in human terms. Memorability of a brand personality comes through consistency and other props. Brand personality should not be confused with the description of target audience. The gap between these two is filled by aspirations that are sought to be addressed by the brand, for e.g. the Dettol soap is hygieneconscious but the brand personality is that of a person who is fastidious, clean and sensible person. Brand personality must be consistent over a period of time. In the consumer eyes, Close-up is the attractive girl next-door, Colgate is the mother, whereas Cibaca Top is some one who lived on the 17th floor and about whom no one knew. Cibaca does have a personality problem. Some common examples are the Liril girl under the waterfall, the muscle man for MRF tyres, tandurasti ki raksha for Lifebouy, Charlie Chaplin for Cherry blossom Polish and lightning flash with Rin. This is called brand property the audio or visual tie that summarizes the essence of brand personality. Brand Equity Brand equity is the intrinsic value or worth of the brand in terms of the kind of money a consumer is willing to pay for it in preference of its competitors. When we consider in a co-ordinated fashion the decisions related to advertising, marketing, market research and media, they lead to brand equity. Brand equity is the process of building up the brand by piecing together the elements like brand name, packaging, pricing, distribution and advertising. Brand equity which is the science of brand building takes all possible contingencies into consideration. It is also necessary to monitor continuously the competition, consumers and trade. Ultimately, the situation is analyzed to see how it can be used for our brands benefit. A brands equity is in effect the aggregate of potential consumers beliefs that it will deliver on its promise. Example: A good example of brand equity is Wills Filter Cigarettes which has a 35 year heritage, and which has taken in its stride no less than 28 price increases. It has also faced severe competitive pressures from king-size entries. And yet, Wills Filter still holds its own, enjoying immense loyalty and showing sound brand equity. The

brand has consistently consolidated its position. The Wills filter Made for Each Other ad campaign has been nurtured, nourished and continually freshened. USP USP as concept has been traditionally used to advertise products long before its formal theorizing by Reeves. He wrote ns advertising classic Reality in Advertising, where he explained how the concept of Unique Selling Proposition, USP, originated .With a USP it is easy to create a distinct brand position in the mind. The product differentiator becomes a brand differentiator. Unique selling proposition is based on unique differences in the competitive products, which is a thing of the past. The difference is more in perception than in reality. The perceived differences are based on feelings and emotions, and can well be called E.S.P. the emotional selling proposition. It is important to feel differently about a product, and there is nothing wrong in it product attributes can be replicated. There is one thing difficult to copy the unique emotional proposition (UEP). Beer, according to this approach, is fun and entertainment, and barely hops and refreshment. Coke and Pepsi ads are their USPs. It does not mean USP is no more relevant. The concept of USP expression must move on. The product can be unique in style, flavour, attitude, the way we talk about it or in the delivery of the unique benefits. An ad must have a button which when pressed changes the consumers mind. The USP could be this button. Though apparently image approach and USP look a distance apart, they are quite close to each other. USP makes the consumer identify the brand with a particular benefit. The difference between USP and the brand image is the difference of the degree of complexity of the associations. USP establishes itself by logic and rational appeal. The USP has the following three major features: 1. Each ad must make a proposition to the consumer. Each ad must say to each reader what specific benefit the product offers if bought. Dove soap has a unique proposition to offer it contains moisturizing cream. Therefore, the benefit offered is it wont dry your skin. 2. The proposition or promise made by the advertisement must be one that the competition has not so far made. There are very few genuine differences amongst brands. When we make a promise, competitors follow suit. Ariel with bio enzymes is a micro system and Surf Ultra with its utrons or stain digesters is unique. The USPs should endure to give a benefit position claimed so far by competitors. The position is strengthened in the consumer mind so that the promise and company are identified with each other. To illustrate, clove oils presence is a USP for Promise.

Promise was the first to become synonymous with clove oil. An important point to remember is that the USP then should stimulate rational thinking in the consumer. The USP is supported in the body copy. Mere promises are not enough. They must be rationally justified a credibility issue. 3. The consumer tends to remember just one thing from the ad one strong claim or concept. The claim or proposition should therefore be so strong that it can move the mass of millions, i.e. to pull new customers to your product. Maggie 2 minute noodles revolutionized childrens eating habits, which were pulled over to this new style of eating. Its USP is its shortest possible time to cook, and so instant gratification of a hungry childs desire to eat. Target Market Consumers differ widely in terms of space, time, perception and value. They are not homogenous. The differences must be studied carefully and suitable products must be offered to suit their needs. The latest approach is to do target marketing by subdividing the market into segments and then deciding to offer a suitable product to some selected segments. The other elements of marketing mix, viz. the price and the distribution are tailored to the needs of these segments which are selected. Companies are increasingly adopting target marketing. Identifying the consumer target is important because different consumers may have different brand knowledge structures and thus different perceptions and preferences for the brand. Without this understanding, it may be difficult to be able to state which brand associations should be strongly held, favorable and unique. A number of considerations are important in defining and segmenting a market and choosing target market segments. A market is the set of all actual and potential buyers who have sufficient interest in, income for, and access to a product. In other words, a market consists of all consumers with sufficient motivation, ability, and opportunity to buy a product. Market segmentation involves dividing the market into distinct groups of homogenous consumers who have similar needs and consumer behaviour and thus require similar marketing mixes. Defining a market segmentation plan involves tradeoffs between costs and benefits. The more finely segmented the market, the greater the likelihood that the firm will be able to implement marketing programs that meet the needs of consumers in any one segment. The advantage of a more positive consumer response from a customized marketing program, however, can be

offset by the greater costs from a lack of standardization. Three major steps are involved in target marketing. These are: 1. Market Segmentation: The process of dividing a market into distinct buyer groups who may require separate products and/or marketing mix. Customers are grouped in segments on the basis of such characteristics as income, age, education, sex and so on. The buyer group then becomes a meaningful segment. It helps the company to handle the differing needs of different segments effectively. The company identifies different ways to segment a market. It develops profiles of these different segments. It evaluates each segments business potential and attractiveness. 2. Market Targeting: We as marketers have identified several segments, out of which one or more segments are chosen for entry. 3. Product Positioning: Here the product is placed in the mind of the consumer in relation to the competitive products. Some possible segmentation bases for consumer and industrial markets are as follows: Behavioural: User status Usage rate Usage occasion Brand loyalty Benefits sought Demographic: Income Age Sex Race Family Psychographic: Values, opinions and attributes Activities and lifestyle Geographic:

 International Regional SEC SEGMENTATION Marketing segmentation is the act of dividing a market into distinct groups of buyers, who may require separate products and/or marketing mixes. Organisations must identify different ways of segmenting their markets, developing profiles of the resulting segments and evaluating each segments attractiveness. Markets consist of buyers, who may differ in several respects. For example their needs, resources, geographical locations, buying attitudes and buying practices. Any of these variables can be used to segment a market. Three major market segments can be: 1. Social Segment ( Social Class Groupings): Social Class has a strong influence on the preferences of the products available in the market like clothing, furnishing and leisure activities. Many companies design products and services for specific social class. The tastes of social classes can change with the years. 2. Economic Segment: A - Upper Middle Class Higher managerial, administrative or professional B - Middle Class Intermediate managerial, administrative or professional C1 - Lower Middle Class Supervisory or clerical and junior managerial, administrative or professional C 2 - Skilled Working Class Skilled manual workers

D - Working Class Semi and unskilled manual workers E - Those of lowest levels of subsistence State pensioners or widows (no other earner) casual or lowest grade workers.

3. Cultural Segments: Every region, every country has its own culture. The residents of the place are the one who make this culture so people differ in attitudes, interests and activities and these affect the goods and services they consume. For e.g. Meat is not much consumed in states like Rajasthan and Gujarat so any company for eatables and restaurant chains would take this point into consideration before launching its products in such areas as to what mixture of items is has to provide for consumption. __________________________________________________________ ___ Sources Strategic Brand Management Kevin Lane Keller Second Edition Advertising & Integrated Brand Promotion OGuinn, Chris Allen, Richard J. Semenik Fourth Edition Foundations of Advertising Theory and Practice S.A. Chunawalla, K.C. Sethia Seventh Edition Marketing Insights A to Z Philip Kotler

Marketing management Philip Kotler http://www.emarketingshare.com/?p=8 http://www.mindtools.com/pages/article/AIDA.htm SESSION 4 Brief to Execution; The Advertising agency, media and other services The Advertising Agency An advertising agency is 1) an independent business organization 2) composed of creative and business people 3) who develop, prepare and place advertising in advertising media 4) for sellers seeking to find customers for their goods and services An agency may do things related to advertising and to help make the advertising succeed, but if the agency does not prepare and place advertising, it is not an advertising agency. 1) Independent: An advertising agency is an independent business organization independently owned and not owned by the advertisers or media or suppliersa) Independent so as to bring to the clients problems an outside objective point of view made more valuable by experience with other clients sales problems in other fields; b) Independent of the clients so as to be always an advocate of advertising( seeking to apply advertising to help clients grow and prosper) c) Independent of media or suppliers so as to be unbiased in serving its clients( the sellers of goods and services) 2) An advertising agency is composed of creative and business people.

They are writers and artists, showmen and market analyst, media analysts and

merchandising men and women. They are research people, advertising specialists of all sorts, but with all this, they are business people, running an independent business, financially responsible, applying their creative skills to business of helping to make their clients advertising succeed. 3) These people develop, prepare and place advertising in advertising media. Advertising agencies seek in every way they can to apply to advance their clients businesses. Everything that goes before and everything that comes after the advertisement is preparation for the advertising or follow-up to help make it succeed. To prepare and place advertising successful advertising for the advertiser is the primary purpose of advertising agency. 4) The agency does this, not for itself, but for sellers seeking to find customers for the sellers goods and services.

A typical organization chart for an agency, showing the functions performed, is shown below:

Types of Agency Organizations Agencies are organized in many ways no two, perhaps, in exactly the same way. Management may elect to organize the larger agency in either of two major ways- as a group agency or as a departmentalized or concentric agency. In a group agency (and these are usually larger firms), the group handles the contact, planning and creative work for one or more clients or products. Similar groups handle other accounts. Each group does it contacting, works out the plans (subject to check by the agencys planning board or its chief officers), writes the copy, and makes the illustrations. Parallel to that group, another does the same for the other accounts. Usually all groups use the centralized research, media, print production, and accounting departments. All have the benefits of a general planning board. The second type of agency, the departmentalized or concentric, is completely departmentalized by the functions performed. Each department serves all clients. The account executive calls on the copy department for the copywriting for his accounts, on the art department for the layouts and illustrations and so on. Some agencies are a mixture of the group and departmentalized types, incorporating certain features of each. There are many possible variations. Agency Jobs For a view of agency organization and work, it is usually best to consider the various non-administrative jobs (which is usually a combination of contact, plans. And merchandising work) is one of the top positions in the field.

Client Servicing/Account Planning Department: The Account Executive (AE), works as a close link between the agency and its client. He represents the client at the agency and ensures that the agency works within the framework of the client's brief and in the allotted time. The word DEADLINE is perhaps the most used word in any agency, as it has to meet the target date of releasing the ad campaign to the media after its acceptance by the client. The AE arranges the agency resources, creative, media, budgetary to get the best campaign for the client. AE puts across the agency's plans and the campaign to the client to get their approval. As liaison between the advertising a agency and the client whose product is advertised, the account person must have a good general knowledge of all phases of advertising, merchandising and general business practice. In many cases, he must also be a creative man, able to aid in the building of plans for a campaign and to suggest solutions to the clients special advertising problem. Creative Department: Creative director is responsible for the entire creative work of the agency, including, copywriting, designing artworks and planning sketches for TV commercials. The visualiser's job is to ensure that copy and art is placed at the right places and the total effect of advertisement is eye catching. Copywriter writes the copy, the written word in any advertisement. The Art Director creates the visuals, the drawings, photos and sketches in the advertising campaign. Art director also works as the visualizer in most advertising agencies Copywriting furnishes jobs for another large group of people in the agency business, and several thousands more for people in firms that produce at least part of their own advertising or help others to advertise. One point usually overlooked is that the copywriter often does more than write headlines, copy, captions and the rest. He frequently is called on to produce the entire idea for an advertisement, or a complete plan, and to have a hand in planning the layout and illustration for his written copy. Art and layout personnel, working with the advertising manager, account executive, or copywriter, establish the layout for advertising copy and see that proper artwork is prepared. Research Department:

Marketing Research Department of the agency arranges information on the market segment, what excites the customers and what their motivating factors are. They also focus on the suitability of the chosen market segments. For this purpose either they have a research unit of their own or they hire outside agency for gathering information. Some agencies have Research Directors to head the department. In certain agencies the trend is to have Account Planning Department which arranges for the Customers view point, gathered from market research to interact with creative and media for best results. Research people provide the facts on which advertising can be built. They carry on different kinds of research like copy testing, pre-test, post- test, pre-campaign testing and post campaign testing etc. These researches are conducted to test the success of a particular advertising campaign in the market.

Production Department: Production department does the print and broadcast, telecast production work, including hiring freelance TV commercial makers. Mechanical production men and women have the task of translating artwork and copy into mechanical materials used in reproducing the finished advertisement. A wide knowledge of engraving, lithography, typography, electrotyping and many other technical processes is needed to see that the most effective work is done as economically as possible. Responsible for coordinating the flow of advertising materials to publications, the mechanical production people often oversee the flow of work (traffic) through their agencies well. Radio and Television Production Department: Radio and television production personnel put on shows that go over the air. Working closely with the directors of the shows, they see to it that casts are hired, physical properties procured, and the other problems solved that lie behind even the simplest radio and television performance. Media Planning: Media selection is the job of finding the best possible places or the advertiser to present the message. Hundreds of magazines, each with a different combination of

characteristics; thousands of business publications serving different fields; thousands of newspapers, daily and weekly, each serving its geographical area; the national television and radio networks serving local areas; outdoor plants where traffic congregates; car cards in buses, subways, taxicabs, trains, and stations; all these and more windows and store displays, direct mails, premiums, and sampling all are included in what agencies need to know about the available media and means which can be used to carry their clients messages to potential customers or trade factors. Media also are changing constantly and require continuing study by hundreds of agency specialists and researchers who do nothing else.

Elements of Agency Service Agency Service as defined by the American Association of Advertising Agencies, consists of interpreting to the public, or to that part of it which it is desire to reach, the advantages of a product or service. This interpretation is based upon: 1) A Study of the clients product or service to determine the advantages and disadvantages inherent in the product itself and in relation to competition. 2) An analysis of the present and potential market for which product or service is adapted: a) As to location b) As to extent of possible sales c) As to season d) As to trade and economic conditions e) As to nature and amount of competition 3) A knowledge of the factors of distribution and sales and the methods of operation 4) A knowledge of all the media and means which of profitably be used to arry the interpretation o the product service to consumer, wholesaler, dealer, contractor, or other factors. This knowledge covers: a) Character b) Influence c) Circulation: Quantity, Quality, Location

d) Physical requirements e) Costs 5) Formulation of definite plan and presentation of this plan to the client 6) Execution of this plan: a) Writing, designing, illustrating advertisements, or other appropriate forms of the message b) Contracting for the space or other means of advertising c) The proper incorporation of the message in mechanical form and forwarding it with proper instruction for t fulfilment o the contract d) Checking and verifying insertions, display or other means used e) The auditing, billing and paying for the service, space, and preparation 7) Cooperation with the clients sales work, to insure the greatest effect from advertising These are the elements of agency service, whether all the above functions are shared by a few persons, or each function is carried out separately by a specialized department. Into this pattern fit account executives who contact the client, art directors, copywriters, space and time buyers, research workers, mechanical production and radio production people and so on. Additional Agency Services In addition to advertising services there is a willingness among many agencies today to assist the client with other activities of distribution. They do special work for the manufacturer in such fields as package designing, sales research, sales training, displays, public relations and publicity. The agency however, must justify such work preparation of sales and service literature, designing and production of merchandising done by doing it more satisfactorily than can either the manufacturer himself or a competing expert.

Brief to Execution What is a creative brief? In advertising, a creative brief is the outlined instructions for work to be done by the agency's creative team. It will usually include any research needed as well as a basic schedule and deadlines for each part of the creative process. The purpose of a creative brief is to give the copywriters and graphic artists the direction that the client and the agency have decided to go in for a certain ad. Within that framework, the creative team then comes up with original copy and graphics. A basic creative brief always includes the purpose of the ad as well as the profile of the target audience. The purpose of the ad refers to the desired reaction of the target audience. How should the ad make them feel? What should the ad make them do? As detailed profile as possible of the target audience is also included in the creative brief not just age and sex, but attitudes and behaviours of this target group if possible. The creative brief may also contain the background of the client and/or ad campaign, if relevant to the project. Some agencies, especially larger ones, have formal forms that accompany each creative brief. The necessary information may include the name and signature of the creative director or other employee who wrote and/or approved the brief. The client's contact information is also usually on the brief so that the creative team can communicate with the client about the ad if necessary. However, to cut down the amount of bother to the client, the creative brief will almost always spell out any definite things the client doesn't want to see in the ad as well as any things the client wants to be included. If the creative team is fairly inexperienced, the creative brief may add a considerable number of copy points to help focus the ad. How an Advertising Agency Works: Advertising agency work starts with a brief from the client to their Accounts Executive. The brief constitutes of the following points: Details of client's activities. Client's market share, brands and their equity. Competitive brands and their value.

 Marketing objectives plans. Advertising objectives, plans and problems to be solved through advertising. An idea of budget meant for advertising The Account Executives then brief their colleagues in the creative, research and media planning departments, get the results, if necessary modify them to ensure that they meet the client's brief, and then present them to the client. There is very little contact between other agency staff and members of the client's staff. The system has the advantage of clear-cut lines of communication and of well-defined responsibility. Disadvantages are its rigidity and the possibility that as things pass backwards and forwards along a perhaps lengthy chain of communications: (a) Messages may be misunderstood and important nuances lost (b) Agency staff such as creative people can become rather unenthusiastic because they are so 'remote from the action'. If their ideas get turned down there can be resentment at the account management staff who may be perceived as not selling the ideas strongly enough. To overcome these hazards an increasingly popular alternative approach is to have a nuclear account group. Each member of the team, which may number between say five and ten people, is free to discuss any aspect of the account with the others (and may frequently talk direct to the client). SOURCES: The Different Kinds of Advertising & the People Who Make It Chapter: Organization for control Pg: 648 - 653 . Advertising principles, problems, and case studies Pg: 84 - 97 http://www.rocw.raifoundation.org/architecture/BAGR.Des/advertisingcampaignC P/lecture-notes/unit-5/SITUATIONANALYSIS/Lesson-03.pdf http://en.wikipedia.org/wiki/Advertising_agency http://www.wisegeek.com/in-advertising-what-is-a-creative-brief.htm

SESSION 5 ADVERTISING STRATEGY; ADVERTISING OBJECTIVES; DERIVING COMMUNICATION, ADVERTISING AND MEDIA OBJECTIVES FROM

MARKETING OBJECTIVES ADVERTISING STRATEGY An advertising strategy is a campaign developed to communicate ideas about products and services to potential consumers in the hopes of convincing them to buy those products and services. This strategy, when built in a rational and intelligent manner, will reflect other business considerations (overall budget, brand recognition efforts) and objectives (public image enhancement, market share growth) as well. As Portable MBA in Marketing authors Alexander Hiam and Charles D. Schewe stated, a business's advertising strategy "determines the character of the company's public face." Even though a small business has limited capital and is unable to devote as much money to advertising as a large corporation, it can still develop a highly effective advertising campaign. The key is creative and flexible planning, based on an in depth knowledge of the target consumer and the avenues that can be utilized to reach that consumer. Today, most advertising strategies focus on achieving three general goals, as the Small Business Administration indicated in Advertising Your Business: 1) promote awareness of a business and its product or services; 2) stimulate sales directly and "attract competitors' customers"; and 3) establish or modify a business' image. In other words, advertising seeks to inform, persuade, and remind the consumer. With these aims in mind, most businesses follow a general process which ties advertising into the other promotional efforts and overall marketing objectives of the business STAGES OF ADVERTISING STRATEGY As a business begins, one of the major goals of advertising must be to generate awareness of the business and its products. Once the business' reputation is established and its products are positioned within the market, the amount of resources used for advertising will decrease as the consumer develops a kind of loyalty to the product. Ideally, this established and ever-growing consumer base will eventually aid the company in its efforts to carry their advertising message out into the market, both through its purchasing actions and its testimonials on behalf of the product or service. Essential to this rather abstract process is the development of a "positioning statement," as defined by Gerald E. Hills in "Marketing Option and Marketing" in The Portable MBA in Entrepreneurship: "A 'positioning statement' explains how a company's product (or service) is differentiated from those of key competitors." With

this statement, the business owner turns intellectual objectives into concrete plans. In addition, this statement acts as the foundation for the development of a selling proposal, which is composed of the elements that will make up the advertising message's "copy platform." This platform delineates the images, copy, and art work that the business owner believes will sell the product. With these concrete objectives, the following elements of the advertising strategy need to be considered: target audience, product concept, communication media, and advertising message. These elements are at the core of an advertising strategy, and are often referred to as the "creative mix." Again, what most advertisers stress from the beginning is clear planning and flexibility. And key to these aims is creativity, and the ability to adapt to new market trends. A rigid advertising strategy often leads to a loss of market share. Therefore, the core elements of the advertising strategy need to mix in a way that allows the message to envelope the target consumer, providing ample opportunity for this consumer to become acquainted with the advertising message. TARGET CONSUMER: The target consumer is a complex combination of persons. It includes the person who ultimately buys the product, as well as those who decide what product will be bought (but don't physically buy it), and those who influence product purchases, such as children, spouse, and friends. In order to identify the target consumer, and the forces acting upon any purchasing decision, it is important to define three general criteria in relation to that consumer, as discussed by the Small Business Administration: 1. DemographicsAge, gender, job, income, ethnicity, and hobbies. 2. BehaviorsWhen considering the consumers' behavior an advertiser needs to examine the consumers' awareness of the business and its competition, the type of vendors and services the consumer currently uses, and the types of appeals that are likely to convince the consumer to give the advertiser's product or service a chance. 3. Needs and DesiresHere an advertiser must determine the consumer needsboth in practical terms and in terms of self-image, etc.and the kind of pitch/message that will convince the consumer that the advertiser's services or products can fulfill those needs. PRODUCT CONCEPT: The product concept grows out of the guidelines established in the "positioning statement." How the product is positioned within the market will dictate the kind of values the product represents, and thus how the target consumer will receive that product. Therefore, it is important to remember that no product is just itself, but, as Courtland L. Bovee and William F. Arens stated in Contemporary

Advertising, a "bundle of values" that the consumer needs to be able to identify with. Whether couched in presentations that emphasize sex, humor, romance, science, masculinity, or femininity, the consumer must be able to believe in the product's representation.

COMMUNICATION MEDIA: The communication media is the means by which the advertising message is transmitted to the consumer. In addition to marketing objectives and budgetary restraints, the characteristics of the target consumer need to be considered as an advertiser decides what media to use. The types of media categories from which advertisers can choose include the following: PrintPrimarily newspapers (both weekly and daily) and magazines. AudioFM and AM radio. VideoPromotional videos, infomercials. World Wide Web. Direct mail. Outdoor advertisingBillboards, advertisements on public transportation (cabs, buses). After deciding on the medium that is 1) financially in reach, and 2) most likely to reach the target audience, an advertiser needs to schedule the broadcasting of that advertising. The media schedule, as defined by Hills, is "the combination of specific times (for example, by day, week, month) when advertisements are inserted into media vehicles and delivered to target audiences." ADVERTISING MESSAGE: An advertising message is guided by the "advertising or copy platform," which is a combination of the marketing objectives, copy, art, and production values. This combination is best realized after the target consumer has been analyzed, the product concept has been established, and the media and vehicles have been chosen. At this point, the advertising message can be directed at a very concrete audience to achieve very specific goals. Hiam and Schewe listed three major areas that an advertiser should consider when endeavoring to develop an effective "advertising platform": What are the product's unique features? How do consumers evaluate the product? What is likely to persuade them to purchase the product?

 How do competitors rank in the eyes of the consumer? Are there any weaknesses in their positions? What are their strengths? Most business consultants recommend employing an advertising agency to create the art work and write the copy. However, many small businesses don't have the up-front capital to hire such an agency, and therefore need to create their own advertising pieces. When doing this a business owner needs to follow a few important guidelines. COPY When composing advertising copy it is crucial to remember that the primary aim is to communicate information about the business and its products and services. The "selling proposal" can act as a blueprint here, ensuring that the advertising fits the overall marketing objectives. Many companies utilize a theme or a slogan as the centerpiece of such efforts, emphasizing major attributes of the business's products or services in the process. But as Hiam and Schewe caution, while "something must be used to animate the theme care must be taken not to lose the underlying message in the pursuit of memorable advertising." When writing the copy, direct language (saying exactly what you mean in a positive, rather than negative manner) has been shown to be the most effective. The theory here is that the less the audience has to interpret, or unravel the message, the easier the message will be to read, understand, and act upon. As Jerry Fisher observed in Entrepreneur, "Two-syllable phrases like 'free book,' 'fast help,' and 'lose weight' are the kind of advertising messages that don't need to be read to be effective. By that I mean they are so easy for the brain to interpret as a whole thought that they're 'read' in an eye blink rather than as linear verbiage. So for an advertiser trying to get attention in a world awash in advertising images, it makes sense to try this messagein-an-eye-blink route to the public consciousnessbe it for a sales slogan or even a product name." The copy content needs to be clearly written, following conventional grammatical guidelines. Of course, effective headings allow the reader to get a sense of the advertisement's central theme without having to read much of the copy. An advertisement that has "50% Off" in bold black letters is not just easy to read, but it is also easy to understand. ART WORK AND LAYOUT: Small business owners also need to consider the visual rhetoric of the advertisement, which simply means that the entire advertisement, including blank space, should have meaning and logic. Most industry experts recommend that advertisers use short paragraphs, lists, and catchy illustrations and graphics to break up and supplement the text and make the document both visually inviting and easy to understand. Remember, an advertisement has to capture the

reader's attention quickly. ADVERTISING BUDGET: The advertising budget can be written before or after a business owner has developed the advertising strategy. When to make a budget decision depends on the importance of advertising and the resources available to the business. If, for instance, a business knows that they only have a certain amount of money for advertising then the budget will tend to dictate what advertising is developed and what the overall marketing objectives will be. On the other hand, if a business has the resources available, the advertising strategy can be developed to meet predetermined marketing objectives. For small businesses, it is usually best to put together an advertising budget early in the advertising process. The following approaches are the most common methods of developing an effective budget. All the methods listed are progressive ones that look to perpetuate growth: Percentage of future or past sales Competitive approach Market share All available funds The task or objective approach The easiest approachand thus the one that is most often usedis the percentage of future or past sales method. Most industry experts recommend basing spending on anticipated sales, in order to ensure growth. But for a small business, where survival may be a bigger concern than growth, basing the advertising budget on past sales is often a more sensible approach to take.

ADVERTISING OBJECTIVES Advertising objectives are the communication tasks to be accomplished with specific customers that a company is trying to reach during a particular time frame. A company that advertises usually strives to achieve one of four advertising objectives: trial, continuity, brand switching, and switchback Advertising objectives are generally placed in two categories: Direct-action (sales) objectives Indirect-action (communication) objectives Direct-action objectives are more easily measured in terms of results- sales go up, sales leads increase and/or more people try the product for the first time. These happenings may all be the result of advertising - advertising that was developed as a

result of direct-action objectives. But, what about image, ambience and the changing of habits? Advertisements with these objectives or goals are more concerned with communicating an idea that should result in increased sales in the long run. No immediate effect can be attributed to such ads in most situations. In other words, the evaluation process for ads with indirect-action (communication) objectives is much more subjective than is the case for the sales or action-oriented advertising effort. Depending on the planned marketing strategy for the company, various objectives will be decided on - objectives that may be direct action, indirect action, or some mixture of the two as determined by the needs of the organization. Eleven popular advertising objectives that may be used either individually or in combination are: 1- INDUCE TRIAL. When a product comes on the market, the advertising goal may be to get people to try it. Every ad will be developed with this idea in mind. Benefits will be much in evidence in the copy. Coupons may be used. Free offers are also quite popular. If a person tries the product just once, the objective has been met. 2- INTENSIFY USAGE. When people think of cheese, they may, for example think of Kraft. However, Kraft does not need to get people to try its products (Induce trial). What is needed is an increase in per capita consumption of the product. Ads, therefore, may feature recipes or have other suggestions on how to use the product. If people already know of a product and can be shown how to use more of it through advertising, they become better customers. This objective is based on the premise that there is no better prospect than a current customer.

3- SUSTAIN PREFERENCE. Coca-Cola has advertised heavily in good times and bad times in order to maintain product awareness as well as preference. 4- CONFIRM IMAGERY. The illustration, the copy, and where the ad is placed all serve to confirm what the customer already thinks about the product. If an ad for Rolls Royce is run in unpopular media, the ad would serve to confuse the image of

the product and should be avoided since it would cause cognitive dissonance on the part of the consumer. 5- CHANGE HABITS. Advertising can sell people on new ideas. Volkswagen sold the concept of the small car. MasterCard and Visa sold the idea of one-card credit. Such examples illustrate that advertising has been used to change popular thinking. 6- BUILDING LINE ACCEPTANCE. Kraft, K mart, Sears are among the many companies that advertise numerous products while working to build a total product line. National ads for K mart feature everything from jeans to pottery. Del Monte uses common product-line promotions with supporting point-of-purchase displays and other media to sell its line. In every instance, the objective is to build sales for the total line as opposed to sales for a specific item alone. 7- BREAK THE ICE. The Avon ad helps its representatives to sell, since the customer has heard of Avon. As an unsought good, insurance cannot generally be sold by advertising. But advertising can make people aware of an insurance company so that they have heard of it when the salesperson calls on them. In many business situations, advertising is crucial as an icebreaker. If buyers have not heard of the company, they may automatically be disinterested. Advertising may wave the product name just enough to provide brand recognition and, thereby, get the salesperson in to see the buyer. 8- BUILD AMBIENCE. Advertising can help to create a positive feeling about a business. The McDonalds campaign with Ronald McDonald and friends as well as its young, attractive employees who look ever so ready to serve the customer helps create a positive feeling about the company. Ambiance, or environment in an ad, is crucial to any firm in the business of selling a service. The pleasant atmosphere at the rent-a-car counter or the positive environment as projected by the bank ad will do much to get people to try these business establishments. Of course, the good environment must actually exist or customers will not return. Advertising can work to build good ambiance, but such an effort can have long-term success only if there actually is a positive environment within the firm. 9- GENERATE SALES LEADS. The objectives of these ads may be centered around obtaining the names of prospective customers by offering free gifts, return coupon,

etc.

10. INCREASE AWARENESS. "Drugs can harm your baby before it is born." Such a campaign has as its objective to build awareness of the problems addressed in the ads. Of course every ad, regardless of the stated objective, should promote awareness in some form. Without awareness, the result could be no sales. 11- INCREASE SALES. For most organizations, an advertising objective that calls for an increase in sales is most desirable. But is such an objective useful as the advertiser develops an advertising campaign? In most cases, the answer is no.

DERIVING COMUNICATION, ADVERTISING & MEDIA OBJECTIVES FROM MARKETING OBJECTIVES The global market place consists of an increasingly complex arena of competition

within a rapidly changing international environment. New companies are formed on a daily basis, from small business to Internet-based operations, to expanding global conglomerates originating from major takeovers and mergers. At the same time, a wide variety of venues beckon company leaders to invest their advertising and marketing dollars. Thus marketing and the marketing communication mix are also changing. New insights, new tools, new opportunities and new challenges are emerging as the 21st century progresses. The worlds 6 billion consumers and almost 400 million business customers are becoming increasingly accessible. Thus no longer the 4Ps of marketing mix is enough for the success of a brand. It also calls for a communication mix, followed by advertising and media objectives. The following model may emphasize on the fact the marketing mix is better known as nowadays as the marketing communication mix

Thus, as we can see, the successful application of the marketing communications mix is helped by an understanding of communication theory and buyer behavior theory. Communication is defined as transmitting, receiving and processing information. Communication occurs when the message that was sent reaches its destination in a form that is understood by the intended audience. Its main elements are SENDER MESSAGE CHANNEL RECEIVER Every company should formulate their own communication objectives to reach its receiver in the most effective way, and to entail the right maximum FEEDBACK. For this selection of channel and message and many other factor comes in which can be termed as the Communication Mix. Sometimes referred to as the promotional mix, the communication mix lists all of the communication tools available to a marketer. 1) Selling 2) Advertising 3) Sales promotion 4) Direct marketing 5) Publicity (and public relations) 6) Sponsorship 7) Exhibitions 8) Packaging 9) Point of sale and merchandising

10) Word of mouth 11) E- marketing 12) Corporate identity This list is not in any order of priority, since different industries lay different emphasis on certain communication tools, e.g. an FMCG (such as Lux) manufacturer may consider advertising, packaging, sales promotions and point of sale to be the most important tools, while a heavy industrial machine manufacturer may lay emphasis on selling, exhibition and word of mouth. In fact nowadays most companies use as many permutation and combination of the above mentioned tool. Setting communication objectives involves two componentsdeciding what to say and identifying the audience for the message. The message may be any number of things, such as information about the organization, an announcement of upcoming activities, or requests for funding or sponsorships. Once the message is decided upon, it can be decided upon who receives the message. Audience can include : consumers (the general public or specific target markets); suppliers and distributors; government departments and authorities; the media; directors and board members; staff and volunteers; sponsors or donors; special interest groups; the competitors. Communication objectives always focus on knowledge, attitudes and behavior. They are very different from management objectives. Management objectives define the goals and targets of the policy, the organization or the project. The added value of communication is to analyze right from the start who has to change to reach the management objectives. This means to explore what the target group already knows feels and does with regard to this issue. Establish the gaps in knowledge, the psychological barriers and the various concrete steps that would result in change of practice or action. On that basis you define the communication objectives. Communication objectives should state what the audience will know, feel, and does and should answer these questions:

 Who specifically will be affected? What will change? How much change will occur? Where will the change occur? When will the change occur? SMART Objectives Objectives are Specific, Measurable, Achievable, Realistic, and Time-phased (SMART). Objectives should be specific. State what you want to happen as a result of your intervention in exact terms. For example Specific Objective: To increase the number of health and nutrition messages in the school curricula by 30% by 2003. Non-Specific Objective: To talk about health in schools. Objectives should be measurable. You should ensure that you have ways to track progress toward your goal. If you want to change attitudes, can you administer surveys to explore attitudes?? Measurable objectives are often used to create evaluation standards that measure success. For example Measurable Objective: To increase the prevalence of iodized salt to 90% in the country by 2003. Non-Measurable Objective: To create a change in the sales of iodized salt. Objectives should be achievable and realistic. Be realistic about what your program can do. Like--You may increase the number of times nurses wash their hands each day. However, setting the reduction of hospital infections as a communication objective may not be feasible. Factors other than communication may need to be addressed. Objectives should be time specific. Your communication effort is not likely to be effective indefinitely. Identify your end point and points along the way at which you will measure progress. You may also want to measure change at some predetermined point after your program ends to learn whether it has had any lasting effects. India is a 5000 year old civilization and a 20 year old market, though 20 years is obviously an exaggeration, but the changes in the market over the past two decades

have been so great, one may well treat these as having ushered in a completely new era. The increase in the number of competing brands in almost every category, the easy availability of brands from all over the world and the changes in retailing with the emergence of supermarkets, malls, and departmental storeall of which definitely make the market far more competitive. Thus the marketing objectives of all the companies have ceased to become a rough sketch and adopted a much more strategic outlook. This marketing objective is formed keeping in mind the communication objectives and company requirements and needs. Once this is decided upon, the company then sets about to achieve the marketing objective with the aid of the right tools and mediums. One of the basic tools in achieving the marketing objectives by a company is advertising. To be more precise, advertising is one of the major paths traversing on which will fulfill the marketing needs of the company. For exampleX company may have 100 cars, and within a period they want to increase it to 200. This is their marketing objective, and to achieve this they need to advertise on the right mediums, design the ads appropriately and converse the message to its customers in the most effective way. A former assistant attorney general in charge of the Antitrust Division of the Department of Justice, Donald F. Turner, has agreed that there exists a significant correlation between the proportion of industry sales devoted to advertising and the average profit rates which were earned. Brands should always focus and leverage on their strengths and make them their drivers. This is actually the first step in planning advertising objectives, where the marketers and their communications partners need to look at potential brand drivers and identify the one they will focus on. These objectives are the tangible foundations on which the intangibles can be built--Choice of Target Segment: one of the first choices the marketer must make iswhich consumer segment do they really want to cater to? Because it implies giving up some prospect groups to focus on particular one. Like, Benetton focuses on young people, for its T-shirts and chooses to forgo the golf-club crowd. On the other hand, Lacoste focuses on the 30+ lounge sportsman and accepts that it is ignoring the teenyboppers. Example MTV- this brand has developed a crazy, wild, idiosyncratic style for its communication and a brand lexicon of its own. It targets the youth through its mix of music and lifestyle programming and this is reflected in all their ads, invitations, mailers etc.

The Product or Service: in our increasingly competitive scenario, it may seem difficult for a brand to achieve and maintain product and service differentials. The marketer needs to try and figure out how one can own it, even though one knows that competition will try to imitate or replicate this factor. Examples: - Dettol- It is safe bet that one would be bale to tell the smell of Dettol with your eyes closed. Moreover, when you apply Dettol liquid on a cut or wound, there is reassuring tingling sensation, which tells you its begun to work. These product characteristics are a key aspect of Dettols equity. Savlon antiseptic on the other hand, which does not have the same burning sensation, has very often been seen by consumers, as ineffective compared to Dettol. Savlon has attempted in communication, to make a virtue of this absence of a burning sensation. But while this absence of burning sensation is certainly a major advantage in say, a pos-operative application (where the irritation caused by Dettol would be unbearable), it is unable to offer the tingling proof of performance which Dettol provides, in the case of minor cuts and wounds. Dove: it looks like a bar soap, and users use it the way they would use soap. And retailers also stock it next to soaps. Yet the communication tells us, Dove is not a soap, it is th moisturizing cream. This is the kind of product differential, which can be of major driver or a brand. Price: most often price is not used as a long-term driver for a brand. Rather, it is used as either a market entry strategy (Maximum Retail Price Rs. 100. Introductory offer: Rs.15 off!), or as a tactical promotional tool. But that is not necessarily so; it is also possible to make price a fundamental aspect of the brands strategy. Here are examples of brands, which have used price as the driver for the brand. Examples: Nirma: this is probably the best known case, in recent times, of a brand that used price as a driver. At a time when Surf was priced at over Rs.20/kg and other brands such as Point and Key were available around Rs.15/kg, Nirma was launched almost a third of the price of Surf. It changed the very structure of the washing products market, led to an explosion in the powder category, and eventually compelled Hindustan Lever to launch Wheel around the new price-point which had been created. Peter England: this brand of readymade garments became a huge success in just a few months when it was launched at prices from Rs.395 in market in which wellmade, widely advertised, national brands were perceived to be priced at Rs.500 plus. SWOT analysis: it is a basic, straight forward model that provides direction and serves as a basis for the development of marketing plans. It accomplishes this by

assessing an organizations Strength, Weakness, Opportunities and Threats. A marketer should formulate its advertising objectives based on these marketing strategies and incorporate them into its advertisement planning- so that the right message reaches the right consumer with the right highlights. Formulating the marketing objectives and deriving the advertising objectives from them is not enough to ensure the success of the product or the brand. The final step is the one that will actually take all these strategies to a more palpable form. It is the media objectives derived as per the requirement of the pre-stated marketing objectives which will ultimately take all the messages to the doorstep of the consumer. In the cryptic words of the late cultural historian, critic, and oracle Marshall McLuhan, the medium is the message. (Media objectives)The content of the medium communicates only in the manner that the form dictates, and symbolic meanings are inseparable from the unique kind of sensory stimulation that the medium employs. Many a times in the selection of the media, marketers or advertisers may be powerfully influenced by corporate rate discount structures devised to lure them into placing all or most of their eggs into the basket of a particular publication or publishing house. But merely putting the message in a media is not what media objectives deals with. Its, once again, selecting the right medium for the right message to talk about the right product. For instance, an FMCG brand like Lux will put across its message in ATL (Above the Line) medium mostly to ensure maximum reach to a wide range of consumers. But an elite brand like Rolls Royce will primarily concentrate on BTL (Below the Line) mediums to reach a niche section of the mass. Though there is no fixed rule for this and overlaps do happen depending on the current scenario. Like-- Lux would indulge itself into direct mailers, brochures etc when an anniversary event or special offers for loyal customers are planned. Similarly, Rolls Royce would prefer a TVC to flaunt the introduction of a new model of car. Thus, much of time and analysis goes in stating the objectives for the media to be selected by the marketer. No medium is best or worst; it is totally contextual and varies from objectives of one to other. Media buyers, acting on behalf of the marketers apply few attributes when deciding which media would work together best in a media mix designed to help advertising and marketing objectives. Some of those attributes are Selectivity: the ability of a medium to reach the target market taking into consideration geographic, demographic, psychographics etc.

 Coverage: the size or nature of the consumer the media can reach, that is penetration of the medium into the desired market. Flexibility: the ease or amount of tie required to place an advertisement in a medium change it or kill it. Costs: it is decided keeping in mind the feasibility of the funds and budgets attributed. Editorial environment: the nature of the information or entertainment material that surrounds a buyers advertising and how well it serves to meet the advertisers objectives. Trade acceptability: the degree of acceptance a medium can generate among the advertisers, intermediaries, retailers, wholesalers and other persons working within an advertisers channels of distribution. Merchandising operations: a service offered by most media whereby the medium works to generate cooperation among intermediaries in conjunction with an advertising campaign. Thus, as we can see that the marketing objective of a company is the rising point of so many other objectives which all together leads to a successful brand. All these threecommunication, advertising, and media objectives exist in a perfect harmony with each other, where one leads to the derivation of the other. A successful brand is created only when all these components are wedded in perfect combination keeping in mind the basic marketing objectives. __________________________________________________________ ________________ SOURCES: THE FUDAMENTALS OF ADVERTISING, JOHN WILMSHURST & ADRIAN MACKAY STRATEGY IN ADVERTISING, LEO BOGART PLANNING FOR POWER ADVERTISING, ANAND BHASKAR HALVE FOUNDATIONS OF ADVERTIISNG, CHUNAWALLA AND SETHIA www.mediacampaign.com http.imchap12.pdf http.lt2objectivesettings.com wikipedia MARKETING COMMUNICATION, J.THOMAS ADVERTISING MANAGEMENT, DAVID AAKER.

MODULE 2 MEDIA PLANNING 1

SESSION 1 IMPORTANCE OF MEDIA PLANNING; CHANGES IN MEDIA; CLASSES OF MEDIA MEDIA PLANNING The process of media planning consists of a series of decisions to decide on the best means of delivering advertisements to prospective purchasers of the brand or service. In a bigger context media planner attempts to answer specific questions like: How many prospects do I need to reach? In which media should I place ads? How many times a month should prospect see each ad? In which month should ads appear? Where and which markets should the ads appear? How much money should be spent in each medium? When all the questions are asked and decisions made, the recommendations and rationales are organized into a written document called the media plan. The plan

when approved by the advertiser becomes the blueprint for the selection and use of media. It also serves as the guide for purchasing of the media. Media planning should be thought of as a process of decisions that provides the best possible answers to a set of problems. A planner might find that the solution to the given problem might not guarantee whether or not will it work once the other factors are considered. Finding the best solution to the set of problems represents the main task of planners and this is what makes media planning so intellectually challenging.

CHANGING FACE OF MEDIA PLANNING Some marketers believe the traditional forms such as TV, newspaper, magazines and radio as less effective in producing sales now than in the past, because markets are changing and media must reach the prospects much more selectively. Traditional media are challenging because they are mass media in an era where the culture is changing the masses are breaking up into smaller segments. Therefore advertisers must define markets much more precisely than they were defined in the past. During the introduction of a new product its sometimes easy to see that mass advertising is the best way to communicate with the small and large markets, as consumers flock to buy the new brands which they saw in advertisements. But todays consumers want more information about new and established products that can be communicated with the traditional media. Because consumers expect to get this information from the internet, marketing plans must consider how to use this new medium to build on the awareness created with mass advertising. Traditionally media has asked questions on how media can reach the right people. But these characterizations obscure an almost unlimited array of life-styles, interests and media habits that are relevant to marketers if they want to deliver advertisement to their best prospects. Todays media planning requires planners to identify smaller groups of product users and the media that best reach them. Furthermore as society changes, media will have to be alert marketers that a target groups size and composition might have changed, so that marketers can reach these smaller groups with little waste. Technology has made it economical to deliver program content that appeals to smaller and smaller groups of people. Audience fragmentation has become the

dominant characteristic of media, especially the television. The proliferation of viewing choices had significantly eroded the audience of the traditional broadcast networks, but total hours of viewing have remained essentially constant. The result is the splintering of audience among channels whose content may or may not be relevant to advertisers. The planners challenge is to deliver the advertising to those potential customers in other less obvious and less targeted, but much more popular venues. The growth of interactive and digital television is unlikely to change this picture substantially. Digital television brings a clearer picture and the opportunity to buy pay-per-view movies, pay channels and special events, but since these media dont accept advertising, there is no implication for consumer product marketers. However one technological development on the horizon has the potential to dramatically alter the media landscape. Personal video recorders allow viewers to create their own virtual television network by recording only the programs that interest them, regardless of the channel they appear. The further ability to skip through the commercials threaten to undermine the economic base of the medium or alternatively to drive the best talent to pay services. CHANGING ROLE OF MEDIA PLANNERS As a result of technological advance and audience fragmentation the role of media planners has changed in advertising agencies. Today, media planning ranks in importance with marketing and creative planning, but in the earlier days of advertising agency operations, media planning consisted of simple, clerical tasks. Fewer media were available on those days, and little research on media audiences had been done to guide planners in decision making. Planning today is an executive function because it has become so much more complex and important than it was years ago. Todays planners must have a greater knowledge base from which to formulate media plans. The planners not only must know more about media, which have increased tremendously in number, but also must know more about marketing, research and advertisement than did their predecessors. Most important planners are called upon not only to make decisions, but also to defend those decisions as the best that could be made after considering the many alternatives. What brought about this change? Foremost was the rise of marketing concept, which changed media planning from an isolated activity to one closely related to marketing

planning. In fact, on way to evaluate a media plan is to measure how effectively it helps to attain marketing objectives. Another cause of the change was the development of new and more definitive media audience research techniques. As a result, there are more research data available to help the planners to choose from among myriad alternatives. The change is also due to universal availability of the internet and the low cost, highspeed computers that make routine the physical acquisition and manipulation of vast amounts of data. The computer is the work bench planners use to compare and cost out media alternatives. And, finally it is used to develop the presentation that will ultimately sell the plan to client. Media Planning, then, is not so much a matter of being able to answer such relatively simple questions as where to place advertisements or how many advertisements has to run each week. It is a matter of proving that optimal decisions were made under a given set of marketing concepts. Advertisers demand such explanations and media planners must be able to provide them. Todays media planners have changed as requirements of planning have changed. The new planner must have breadth of knowledge, marketing understanding, research familiarity, computer literacy, creative planning awareness and media acumen to do the job competently. It is within this frame work that media planning now takes place. CLASSES OF MEDIA Media are often separated into different classes and categories. This section distinguishes the most important of the classifications. TRADITIONAL MASS MEDIA: Mass media such as newspapers, magazines, radio and television are especially well suited for delivering advertisements- as well as news, entertainment, and educational content- to a widespread general or mass audience. Mass media are valuable because they offer several advantages: Such media are able to deliver large audiences at low cost. They can deliver advertisements to special kinds of audiences who are attracted to each mediums editorial and programming. They tend to develop strong loyalties amongst audiences who return to their favourite medium with a high degree of regularity. If a planner wants to reach a special kind of audience, repeatedly within a certain

time period, some media vehicles would be better suited for this purpose than others. Recent research suggests, for example, that certain types of broadcast programs create higher degree of interest than other program types, thus offering better environment for commercials. Like other media, however, mass media have certain limitations in delivering advertising messages. The most serious is that mass media audiences do not see, hear, or read a medium solely because of the advertising content. Media also vary in their ability to expose both advertising and editorial content. Newspapers offer their readers news, information, entertainment and catalogue values. A newspaper generally has excellent readership of local news, editorial and advertising content, serving as a buying guide for readers who are looking for many different kinds of products. People often check newspaper ads immediately before their regular food shopping day to find the best grocery bargains. For frequently purchased products, where prices are prominently displayed, newspapers can be a very effective selling medium. Magazines, on the other hand, are much different in their ability to expose ads. Some, such as fashion, home, special interest publications, such as newsweeklies and personality and sports magazines, appeal to readers who are looking for interesting articles and stories, rather than product information.

Consumers are least likely to turn to broadcast media, such as radio and television for the advertisements alone. Broadcast commercials have an intrusive character, breaking into the play and action of a program and compelling some attention to the advertising message. Whether any viewer will or will not watch a particular commercial depends more on the ingenuity and value of the message than its appearance on an interesting program. The internet is primarily an information delivering medium. People go to the site that contains the information that they are looking for, whether that is weather, sports, news, airline schedules, or the fact sheet on a late model automobile. This makes the internet a highly efficient medium for delivering sales information to consumers who are planning to buy, as well as offering an ability to place an order effectively online. Obviously, the effectiveness of an advertisement to communicate affects its impact on the consumer and the number of consumers who will read, see, or hear it. This is true regardless of which medium is used.

NON TRADITIONAL MEDIA: Traditional mass media all engage in one-way communication from the source to the viewer, listener, or reader. Almost any other innovative way of delivering ad messages to consumers is considered a non- traditional medium. These media disseminate advertising messages through means not usually called media. For example, the combination of magazines and sales promotion is sometimes called non- traditional media, even though sales promotion has not historically been categorized as a medium. Similarly, Internet advertising, though certainly not traditional, is generally views in its own category as a new electronic medium. Non traditional media can fill an advertisers need to find alternative ways of reaching customers in venues where advertising will stand out from the advertisers competition. They also satisfy the need for additional revenue from companies that have exposure to the public and feel that their unique location offers an opportunity to sell advertising. The most commonly used non-traditional media include television screens in airport waiting areas and doctors offices, and posters in health clubs, on golf courses, and at public events. Placement of advertising in other locations, such as the walls of public rest rooms, the floor of grocery stores, may be driven more by a proprietors desire for additional income than by advertisers need for an alternative venue. Many planners recommend that their clients use non-traditional media, but there have been some problems in determining what the advertiser receives the money for. The problems are caused by not have any continuing measurements of the audience sizes delivered by these less established media. In addition, what information does exist is typically provided by the media themselves raising questions about its accuracy and objectivity. In most instances, planners have to guesstimate the sizes of audiences. Without independent measurements, it is difficult to calculate a cost per thousand exposures that represents the value of the money spent for advertising related to the number of audience members delivered. SPECIALIZED MEDIA: Special-interest consumer magazines appeal to specific reader interests such as skiing, money management, photography, or antiques. These magazines are read as much for their advertising as they are for their editorial content. Therefore, these magazines often attract readers who purchased the magazine not only for the editorial material, but also for information on the kind of products advertised. Such

media are often referred to as niche media because of their special-interest focus. A large category of media also exists to meet the specialized needs of industrial manufacturers, service companies, wholesalers, retailers, and professional workers such as physicians, attorneys, and teachers. These media take the form of publications that contain editorial matter as well as advertising pertaining to the specialized market, but they also include films, trade shows, convention exhibits, and cassette tapes. These magazines are often provided free to the readers, paid for entirely by advertisers who want to reach a specialized audience. Business-tobusiness advertisers are typically the advertisers most interested in these publications. Other specialized media exist exclusively for delivering advertising messages. They carry no editorial matter and are sought after by readers as are other forms of media. Such advertising-oriented media include handbills, direct mail, outdoor billboards, car cards that appear on buses or trucks, and free standing inserts (FSIs) in newspapers. Another specialized medium is the catalog. Although consumers often request catalogs, they look at catalogs less frequently than mass media. At the same time many advertisers find catalogs productive because consumers use them as shopping guides. One form of catalog is the telephone book, which carries advertising but also carries editorial matter telephone numbers. Plumbers, for example, might justifiably use telephone book advertising exclusively; because plumbers are not called until an emergency arises. On such occasions, the consumer will search ads in the Yellow Pages to find a plumber but probably will not notice such ads at any other time. SOURCES: ADVERTISING & MEDIA PLANNING. (Page no 2-9) BY JACK ZANVILLE SISSORS, ROGER B. BARON, ERWIN EPHRON CONTRIBUTOR ROGER B. BARON, ERWIN EPHRON SESSIONS 2-3 OVERVIEW OF MEDIA CONCEPTS TARGET AUDIENCE, MARKETS, REACH & FREQUENCY, SCHEDULING, STRENGTHS & WEAKNESSES OF MEDIUMS TARGET AUDIENCE Its easier to hit your target when you know where it is.

Identifying Your Target Audience There is an adage in communications: start where your audience is. The advice is simple to follow, but only if you know who your audience is. Most organizations, when asked, who is your audience? will reply, the general public. Indeed, when you watch a groups media coverage on the 11 oclock news, it appears that the group is talking to the whole world, the public. But the whole world isnt watching the 11 oclock news. Studies show those with college degrees and adults over the age of 55 watch the news more than anyone else. So, any organization that aims to get their event covered on the 11 oclock news is most likely to reach college educated and senior adults as their demographic. The general public is too vast. We will have to spend way beyond the limits of our budgets to target the public. Note that even corporations with advertising budgets larger than many countries do not attempt to target the public. You need to think about the public in segments, e.g., voters, youth of voting age, urban youth of voting age, urban young women of voting age, etc. You see how you can continue to refine each segment to a more specific or finer slice of the public? The process of refinement is known as finding your target audience. Who is your target audience? Your target audience are the individuals, groups, communities and bodies of decision makers who can influence your target. Your target is the individual or individuals who have direct decision-making power over the issue your organization is working to address. Sometimes your target audience is the target and sometimes it is not. For instance, a health clinic that is working to increase awareness about the growing rate of diabetes among the elderly by encouraging them to attend seminars at the clinic will likely have the same target and audience. Target: the elderly because they have direct decision making power over their attendance at the seminars. Target Audience: the elderly, because they can influence the decision of the target, themselves. If the same clinic decides to increase awareness about the growing rate of diabetes among children, it is likely that the target and target audience are different. Target: children with diets that increases risk of diabetes. Target Audience: parents because they have a great influence over childrens diets. From the examples above, its clear that defining your target audience requires you to have clear goals. Once youve clarified your goal, ask the following questions to help you identify your target audience:

 Who needs to hear your message? Who has influence over your target? Who must be moved to action so your goals will be met? Who has the greatest impact on the outcome of your campaign efforts? Its okay to have more than one target audience Most nonprofit groups have at least two target audiences. The first is the organizations base, clients, or constituents. The second is the organizations donors, funders and supporters. A third target audience might be a variety of individuals based on the specifics of the campaign and issue. Next Steps Getting to Know Your Target Audiences The point of refining your audience is to zone in on the exact individuals and communities who can assist in making changes that your organization and your community desire. Refining your target audience ultimately saves time and resources because you can focus your campaign and efforts from the start. To better understand your target audience where they stand on an issue, what motivates and drives them consider doing the following: research any data from ally organizations on the same target audiences; conduct your own focus group of a sample target audience; consult with surveys and polling results compiled by large polling and research firms, such as the Gallup poll, who polls on current events, as well as smaller polls conducted by local newspapers and local groups. Once youve identified and come to understand your target audience, youre ready to develop the strategies and messages to reach them. Rest assure that your communications efforts from here on will be more focused and effective because you are getting your message to the right people!

Reach vs. Frequency

Is it more effective to touch 100 potential customers once or 25 potential customers four times? Reach and frequency are terms generally used when planning advertising campaigns. However, the concept of reach and frequency applies to any promotional activity you

undertake: direct mail, direct selling, and even networking. Reach is the number of people you touch with your marketing message or the number of people that are exposed to your message. Frequency is the number of times you touch each person with your message. In a world of unlimited resources you would obviously maximize both reach and frequency. However, since most of us live in the world of limited resources we must often make decisions to sacrifice reach for frequency or vice versa. For example, an air conditioning repair service who has decided to do a direct mail piece has to decide whether to mail the entire Dallas/Fort Worth Metroplex once or to mail a quarter of the Metroplex four times. An attorney who receives many of her clients through networking may have to decide whether to attend one weekly networking meeting or four different monthly meetings. When faced with decisions of reach vs. frequency remember this rule of thumb: Reach without Frequency = Wasted Money Marketing is the process of building a business relationship with potential customers. Have you ever established a lifelong friendship with someone you had contact with only once? Probably not. Generally friendships (and all relationships for that matter) grow as a result of frequent contact over time. Even when the potential to form a great friendship is there at the first encounter, it is unlikely it will grow without nurturing. Seth Godin in his book Permission Marketing uses an analogy of seeds and water to demonstrate the importance of assuring adequate frequency in your promotional campaigns. If you were given 100 seeds with enough water to water each seed once would you plant all 100 seeds and water each one once or would you be more successful if you planted 25 seeds and used all of the water on those 25 seeds? While intuitively and even conceptually we understand the importance of frequency to successful promotional and sales campaigns, somehow when it comes to actually implementing the campaign, we opt to sacrifice frequency for reach. And then we complain about the ineffectiveness of our promotional efforts. Undoubtedly one of the biggest wastes of marketing dollars is promotional activities that are implemented without adequate frequency. When faced with the decision of mailing one direct mail piece to 10,000 people or mailing to 2,500 people four times think about the fate of those 100 seeds you can water only once. Unless you have water rights and can obtain additional water, opt for less reach and more frequency. Gross Rating Points (GRP's)

The term Gross Rating Points (GRP's) is used to summarise the exposure opportunities (expressed as a percentage of the target universe) for all the elements in a media schedule. Put simply, one GRP is 1% reach of a specific target market, 20 GRP's is 20% reach of a specific target and 250 GRP's is 250% reach of a specific target. The 'gross' in GRP differentiates it from net reach. Gross reach does not take into account the duplication of exposure opportunities amongst those calculated to be exposed to a campaign, whereas net reach does. Hence GRP's ignores the likelihood that some of the people exposed to one medium or portion of a medium (eg., a TV programme) may also view other programmes on the same station or view/listen/read other media on a schedule. GRP was first used in the USA as a TV measurement but it can be equally applied to other media types, and across media types. Technically it is a generic measurement and purists might use the term TRP's (Target Audience Points) for the campaign in a client's defined target market. TRP's was a term used by media planners to describe how much exposure had been achieved by a campaign, as a post campaign analysis. However in practice, GRP's is used for both total market campaign exposure and exposure within a selected target market. There is a direct mathematical relationship between reach, frequency and GRP's. This may be expressed as follows: Calculate GRP's from reach and frequency Given the reach and frequency, GRP's can be calculated: [net reach] x [average frequency] = Example: what are the GRP's of a schedule yielding 80% reach at an average frequency of 4.6: [80] x [4.6] = answer 368 Calculate average frequency from GRP's Given GRP's and reach, the average frequency of exposure can be calculated: [GRP's] [net reach] = Example: what is the frequency of a schedule with 368 GRP's and 80% reach: [368] [80] = answer 4.6 Calculate net reach from GRP's

Given GRP's and the average frequency, the net reach can be calculated: [GRP's] [frequency] = Example: what is the reach of a schedule with 368 GRP's and 4.6 average frequency: [368] [4.6] = answer 80 However, Reach x Frequency = Old Thinking The advertising industry prides itself on fresh thinking. The only consistent rule in advertising seems to be There are no rules. However, on the media-buying side of the business, there has been a rule that has driven thinking for almost a half century: Reach (R) x Frequency (F) = Gross Rating Points (GRPs). Reach measures how many people could potentially see your message, and frequency measures how many times those who are reached might see that message. Gross rating points purport to measure the media tonnage and effectiveness of a schedule delivered to a specific demographic audience. The Reach/Frequency formula is an approximation at best, and its use was designed for a past era of mass media advertising when there were limited one-way media choices to reach a given audience. The formulas usefulness in todays fragmented, interactive and more precise, measurement-driven marketplace should be seriously questioned. What is needed is unconventional media-buying wisdom. Sure, you still need to reach your audience with your advertising message, but today you need to have far more insight into just who your audience is. Then you need to know not only how to reach them, but when to reach them and what media options are best for engaging that audience in your brand, product, service or message. And, by the way, creativity is as critical as ever, because emotion still trumps logic when it comes to engaging people. However, in todays frenetic media environment, creativity on the media planning side is equally critical to success as the creativity that goes into fashioning an attention-getting message. Scheduling Media Scheduling Media scheduling decisions are the decisions about the timing, continuity and size of the ads. We have to see when to advertise, for how long, and for what time period. We have to see the size and placement of our ad.

Timing: Advertising message can be timed in four ways depending upon our objectives I. To time the message in such a way that the customers are most interested in buying that type of a product, e.g., fridges in summer, soft drinks in summer, woolens in winter, gift items during Deepavali. II. To time the message in such a way that it stimulates demand in the lean period, e.g., ice creams in winter, holiday resorts in monsoons. III. To time in such a way that it by-pass competitive campaigns, e.g., Pepsi commercials are to be aired when there are no Coke commercials. IV. To time in such a way that the message is carried by the media when the audience is receptive to it, e.g., household products in the afternoon slot of TV when housewives watch TV. The importance of time element must be understood in the purchase behavior of the customer by doing suitable research. Most Organizations Use One of These Three Scheduling Strategies Three Scheduling Methods 1. Continuity: When an ad is run in the media for a long period without any gap, we are using continuity scheduling. It is used for those products, which are in demand round the years. The ads are in the form of reminder. 2. Alternative to continuity is fighting where advertising runs for some period and then there is a gap, and again it runs for some period. The interval between two advertising runs comes after a flight. The message can be schedule to correspond to peak purchasing periods or at a time when the audience is most receptive. When we have a media mix alternative flights are adjusted in such a way in different media that overall continuity is achieved. 3. Pulsing is another option. It represents a consistent low-level advertising activity, and addition of pulse to make a high-level of advertising during certain periods. A pulse is a period of intense advertising activity. The pulses can occur at the start while launching a new product. There can a promotional pulse of one shot, e.g., financial advertising of a companys

issue. Bursting is a technique for scheduling TV ads. Here the commercial is repeated on the same channel time and again to reinforce the message for a short period.

Different Mediums & their Strengths & Weakness Newspapers Characteristics of Newspapers 1. Immediacy. Newspapers offer the greatest advantage of conveying the message quickly. They are flexible and so the advertising copy can be written very close to the time it goes to press. This characteristic is especially useful while launching new products or making public announcements. The advertisements can thus have a powerful new emphasis. For example. When the manufacturer of Good Knight launched HIT mosquito repellent, half page ads were inserted in the Times of India to announce this launch.

2: Selectivity. This is one of the greatest advantages in the Indian context. The advertiser can select the geographical area over which the message is to be communicated as also the language. Newspapers offer split-run facilities using which advertisers can test different campaigns in different geographical areas. 3. Newspapers Mechanical Requirements. Newspapers come in standard and tabloid sizes. Advertising space in newspapers is sold on the basis of columns and inches. Most newspapers are largely printed on newsprint (a coarse paper stock) by high speed presses. Therefore there are limitations on the kinds of illustrative materials that can be effectively reproduced. Newspapers have recently begun offering colour supplements. For example, the Saturday Times of the Times of India , ET Esquire of The Economic Times and the Sunday supplements of most of the newspapers. In addition to innovative colour techniques, newspapers are adding other features to attract advertisers. Flexform advertising offers the advertiser the opportunity in any conceivable shape. Those parts of the newspaper page not containing the advertisement are filled with editorial matter. For example, the ads of Cinthol Lime, lime Lite and Liril have used the technque. Such unconventional layouts, surrounded by editorial matter are hard for the reader to ignore. 4. Variety: Most newspapers present a suitable variety of material to provide an interesting mix for a wide range of readers. A typical newspaper has sports, financial pages, society news, city news, shopping columns, comic strips and other features. Some pages are widely read by women, other by men interested in business news, and so on. An advertiser can select a target market by placing his advertisements in certain sections or pages of the paper. 5. Penetration: Morning newspapers are read by almost all the literate people. The readership is much more than the circulation. For example, the Times of India circulation is 7, 00,126 while its readership is 39, 36,000. Children are also keen readers of certain section 6. Types of newspaper: There are a wide variety of newspapers to choose from. Advertisers who wish to make announcements would use morning newspapers. For

example, public issue of shares and debentures. The copy in the morning newspapers has to be short and attractively illustrated. The evening newspaper can be used to advertise family products such as refrigerators, television sets and cupboard, which require detailed explanation and long copy including special offers and hire-purchase schemes. Specialty newspapers such as The Economic Times can be used for business-to-business communication such as advertisements of SKF ball-bearing, HCL computers, and so on. Advantages of Newspapers as an Advertising Medium 1. Prestige. The prestige and respectability of the newspaper is transferred to the advertised product/service. 2. Segmentation. Editorial content of the newspaper influences the type of its readers and thus offers segmentation of the market. For example, the Independent claims that its readers are young decision-makers, highly educated and professional, while the Times of India has greater appeal among the middle and older age groups. The characteristics of selectivity and variety explained above increase the newspapers advantage in market segmentation. 3. Flexibility. The newspapers offer tremendous flexibility to advertisers. When it is raining in Bombay, it may be hot in Delhi. While the Bombay newspapers can be used to advertise raincoats and umbrellas, the Delhi edition of the same newspaper can be used to advertise air coolers. The most important is the time flexibility that is the contents of the advertisement can be changed upto a few hours before the paper goes to press. MRF Tyres use the press medium just before the monsoons in Bombay by predicting the date of the first rainfall and thereby communicating to the consumers the urgency of changing to MRF Tyers before the monsoons. 4. Split Run Facilities. Many newspapers offer split run facilities. The split run test is a service used for testing print advertisements in which the media cooperate with an advertiser in allowing the same space for two or more copy variations to appear in systematic rotation through the entire circulation. This permits simultaneous circulation of two or more advertisements in identical editorial surroundings with comparable audiences.

5. Keying the advertisement. It is possible to key the advertisement and attach a mail order coupon in order to measure its effectiveness. 6. Measuring Reach. The Audit Bureau of circulation (ABC) gives the readership and circulation figures and therefore it is possible to measure the reach of different newspapers. 7. Mobility. Newspaper can be carried and read anywhere, while travelling, at the place of work, in library, inn doctors waiting room and so on. Limitation of Newspapers as an Advertising Medium Despite the above advantages newspapers have the following limitations: 1. Limited coverage. In India with the literacy, level being low newspapers cannot be used to penetrate the lower income segments of the market. 2. Short Life. It is often said as stale as yesterdays newspaper. A newspaper has a very limited life and therefore advertising will have little impact beyond the day of publication. 3. Hasty reading. Studies indicate that people spend about 30 minutes on the paper. This means that the ad must make its impression quickly or it will fade. 4. Cost. It is an expensive medium that is unsuitable for small advertisers especially the morning English newspapers such as the Times of India. 5. Poor Reproduction. Most of the pages are in black and white and the colour advertisements are not as well reproduced as those in magazines. Therefore we rarely find food and fashion ads in newspapers. 6. Demonstration and Display. It is not possible to demonstrate product usage as in television commercials. Magazines Magazine are of three types general interest magazines like India Today and

Outlook or business magazines like Business India, Business World or Business Today or special magazines for niche markets like Eastern Pharmacist for pharmacists. Professional journals are also specialized magazines like the journal for chartered accountants, company secretaries and costs and works accountants. The advertisements at the top left and top right hand of a newspaper are called ears. Advantages of Magazine Advertising The newspapers and magazines have different advantages though both belong to the print media. The peculiar advantages of magazines are: 1. Demographic selectivity: Every magazine has a different audience whose demographic and psychographic characteristics are different. Thus Femina is a magazine for young women, whereas Savvy is a magazines for mature women. Manohar Kahaniyan has a typical audience of north Indian middle class. Each magazine thus helps us to target at a particular age group, gender group and income group. Special interest magazines provide a specific audience. 2. Geographic Selectivity: Some magazines have all-India circulation like India Today. Some magazines are confined to a region like Malayalam Manorama. So magazines help us target a geographic market we require without considerable waste. 3. Creative Flexibility: High fidelity reproduction is a speciality of magazines on account of their superior quality of paper and printing. They also provide opportunities for innovative adds like pop-up ads, sample-bearing ads, scented ads, outside inserts as booklets. 4. Durability of Message: Magazines are kept for a longer time, and are read again and again. More time is devoted to reading a magazine. It means that the chances of the ad message being seen are more in magazines. As the magazines is preserved for a longer time, the message has a durability of longer duration. Disadvantages of Magazines Advertising In spite of several advantages, magazines have many drawbacks as advertising

media. 1. Lead Time Longer: The ad material will have to be submitted much in advance because a magazine requires elaborate production plan. The lead time is sometimes 90 days before the release of an issue. It is difficult to change the message on account of changed circumstances and contingencies. These days magazines are trying to shorten the lead time as much as they can. 2. Limited Reach and Frequency: Magazines have limited reach as far as the total number of households are concerned. To reach a larger audience, it is necessary to buy a lot of magazine space. As their periodicity is either a month or a fortnight or a week, it is difficult to have higher frequency. To overcome this drawback, a media planner uses several magazines or adds other media to supplement magazine ads. 3. No Sound and Motion: Magazines rely upon the printed copy and visuals to convey the message, and lack the sound of radio or motion of TV which makes these audiovisual ads greatly effective. Television

STRENGTHS WEAKNESSES Impact Fleeting Market Coverage Expensive 1. Big bucks 2. Big show 3. Production costs Intrusive Best shows have limited availability Flexible Cost-efficient (CPM) Prestigious

Merits and Demerits of TV Advertising Merits:

TV has immense impact: No other medium can ever complete TV as far as effective presentation is concerned. It attracts attention immediately. Computer graphics has made it still more effective. It arouses interest in the product. In print ads, these two steps require deliberation. Here it comes spontaneously. TV commercials and sponsored programmes are impactive; even when the viewer is temporarily not before the set.

Excellent Quality of Production: TVs sponsored programmes and DD programmes have been improving in terms of quality content wise as well as product wise consistently over a period of time. The agency exercises overall supervision. We have cadre of TV producers now. Sometimes the movie moghuls themselves produce a TV serial (e.g. Sagar produced Ramayana and B. R. Copra the Mahabharat). So skilled hands this medium. Some sponsored programmes are lavishly made. They do a lot of outdoor shooting. But most of the programmes are indoor shot programmes.

Retailers also watch TV: Both consumers and distributors are TV viewers. The retailers might miss out the ads in print media. But they are exposed to TV ads. Thus they fell inclined to stock these products. Nand Kishore Khanna & Sons, a local firm making Homacol liquid soap has definitely improved its distribution after TV advertising. The single medium does a double job. 1. It is a Comprehensive Technique: In TV, there is a unique blend of sight, colour, movement, sound, timing, repetition and presentation in the home. Put together it has more attributes than any other medium. It, therefore, produces quick results. Only the product should be a nationally marketed consumer product. 2. Evocation of Experience: it stimulates the experience of using and owning the product. 3. Demonstration: Product benefits can be shown most effectively by TV. Benefits may accrue over a period of time. But by using the technique of time compression, product benefits can be shown in a 10 second spot.

4. Animation: It is possible to vest the product/logo with human qualities. Animated characters do not alienate us. 5. Image Building: TV succeeds in building a powerful image of the company and its products. It can also project an image of the users rendering it excellent for life-style advertising. 6. Emotional Content: TV triggers off nostalgia, tenderness, generosity kindness and such other emotions. The special effects enhance the impact. You have to be extremely genuine on TV.

Demerits: 1. It takes time to produce commercials and sponsored programmes: This medium requires planning and deliberation. The consent for sponsorship is hard to come by. It lacks the flexibility of press and radio. If not rightly produced, the ads look very crude. But once produced as per our requirements, these ads can be repeated over a period of time (Nirma ad). 2. It is a transient medium: Here the commercial flickers for a few seconds and goes off the air. We work over hard with insistent jingles and repeated sales message. Sometimes, the commercial is repeated frequently. TV ads alone may not be sufficient. They need supportive ads in other media. More than one or two spots are necessary to be as noticeable as one insertion in print. 3. Time gap to purchasing: If TV advertisement sinks into the mind, it is okay. But otherwise, a mind that is well prepared for buying a certain product cannot do so immediately because there is a night to go by and only next morning the action can be taken. By that time, we might not have kept the product in mind. The buy now pressure exerted on the TV viewers is totally wasted because the stimulus is often lost by the following morning. This is one of the reasons why TV needs a very high frequency to sustain the impact. 4. An immobile medium: Radio can be listened to either in car or while walking.

Newspapers are read in locals, in offices and at many other locations. Right now, TV is watched only at home. It requires a captive audience. It penetrates the home. This is an advantage as well as a disadvantage. 5. Difficult to gain enquiries: TV restricts itself to typical purchases. Detailed enquiries cannot come. It is difficult to note either the telephone number or the address.Another major problem is that too much is compressed in a TV commercial lasting for a few seconds. It is a digest, and is easily assimilated and absorbed. At first viewing, there is novelty. But on absorption, this wears off. On repeated viewing, it becomes monotonous. Everything is anticipated. This problem can be overcome if we can serialize a commercial. It is better to produce several less ambitious films than to produce one super production. Slight changes make all the difference in results. 6. Time Constraint: In a few seconds, we can put forward only one selling proposition. 7. Production Costs: Cost of producing a commercial is high as compared to costs of the print production. The paying capacity of the client, the prevailing rates in the market, the nature of the product, and the commercial values of the programme that accompanies the commercial determine the final production cost. 8. Hardware Capability: The T.V. set of the viewer and its technical capability determine the overall impact of the commercial. Cinema can afford the luxury of long shots, but not a T.V commercial. All commercials should be tested in real life situations, mostly on portable B & W sets. The colour reproduction is controlled in the print media, but on colour T.V. set the capability of the set itself determines the colour reproduction. 9. Statutory Controls: T.V. commercials have to conform to a broadcast code strictly. 10. Fragmentation of Audiences: All channels have a diversity of programmes to attract viewers. They intend to penetrate the viewers of other channels by a diverse programme mix. This channels penetration at the same time gives programme options. This naturally leads to fragmentation of audiences and lower regularities of viewer ship. I is difficult to convey a message in such a situation. It can prove a blessing in disguise for the print media. The relationship with T.V. is extremely

flirtatious. Effect of Clutter: the viewer ship of commercials is less than the viewer ship of the programme which accompanies them. The lengthier the chain of commercials, the less is the viewer ship. Several studies in India have shown that the total audience for commercial for an average T.V. programme is substantially lower than that of the programme, sometimes below over 50 per cent. The figure is further eroded due to large passive audiences of the total commercial audience. The duration of a commercial does not seem to play a significant role in brand name recall. Top rate programmes on any channels have high clutter leading to poor and recall

Radio Commercial radio in the Indian context has certain inherent characteristics. Its strengths lie in: 1. Offering local coverage on its medium wave channels 2. Permeating all economic and social strata, thereby reaching the masses 3. Its daily frequency, offering scope for continued messages 4. Broadcasting throughout the day so that message may be repeatedly broadcast 5. Reaching un-educate village folk who do not read print publication 6. When the message is to be carried to a large number of people who speak different languages, radio is a most suitable medium which admirably does the job at the least cost. 7. In a country like India, where literacy rates are low, and so newspapers have limited significance, radio is a popular both with advertisers and audiences. In radio, the news service is continuous; unlike TV where we receive news in the morning transmission, and again in the network programme in the evening, which is wide spacing. To the advertisers, news breaks on radio are the peak listening points when it pays to advertise. 8. Radio commercial can be produced quickly and is not so costly also. It can be repeated over a period of time. Radio thus is afforded by even small firms. 9. Radio Creativity and Flexibility: Unlike other out-of-home messages, radio commercials are not static but can be changed almost immediately to reflect different market conditions or new competition. The personal nature of radio, combined with its flexibility and

creativity, makes it a powerful medium for all types of advertisers and product categories. One of radios greatest strengths is its flexibility. Copy changes can be made very quickly. When marketing conditions suddenly change, you can react instantly with radio. The short lead time in production and copy changes is an enormous benefit to advertisers who may need last-minute adjustments to their sales messages. 10. The ability to anticipate or react to changing conditions cannot be underestimated. 11. The simplicity of radio can be a major advantage in making tactical marketing decisions. Radios sense of immediately and flexibility, all at a cost within the budget of even the smallest advertiser, has made it an important part of the strategy of many advertisers. Commercial radio, however, suffers from the following weaknesses: 1. It is an audio medium only; hence it affects certain essential elements of communication 2. Certain operational limitation are imposed; for example, the minimum period of a fortnight reduces the mediums flexibility 3. Limited commercial time available. Only 10 percent of time availability restrict the frequency of message exposure 4. Limited availability of commercial radio. There are only 28 radio stations offering commercial broadcasting against 300 in a country. 5. There are possibilities of distortion in communication. Precision of script- writing is a very challenging task. In TV, vision accompanies the words and so there is no misunderstanding. 6. We know what is Khurram Khurram Papad on TV commercial but the concept is transmitted poorly on radio. Word pictures are necessary on radio. 7. There is a overselling in place of precise explanation. It is a real hazard. Much is at stake on the announcers presentation who has to do hard-selling job. An insistent voice really irritates. TV does this job effortlessly. 8. Repetitions are monotonous. Radio is also a transient medium with no durability of message. Audience research of radio is really grey area. In India, before advertisers can think of radio as a serious medium, this research data should be easily available.

Outdoor Out-of home media include outdoor posters (Billboards, Painted Bulletins and onand-of premise signs of all descriptions. Whatever may be the slight difference in the interpretation; all outdoor ads have no editorial vehicle to carry the messages. The viewer has to incur no expenditure, nor has he to make any effort to see an outdoor advertising, where as this is not so with other media. An ad message is not brought to the audience; it is audience who go the message, though they view it in the course of their other activities. Outdoor ads offer repeat opportunities for looking at the ad messages, either at the same place on an identical Billboard at another location. Only such Billboards are qualified as outdoor media. Roadside and on premises devices, which are not of standard sizes and/or designs, are not classified strictly as outdoor ad. They are referred to as signs. These media can at the best be called Outof Home (OOH) media. The following are the advantages of the outdoor media: 1. The outdoor offers long life. 2. It offers geographic selectivity. Billboards give us the flexibility to vary the ad message to suit a particular segment of the market. An advertiser can use this medium nationally, globally, by region, by market and even by specific location within those markets. 3. The advertiser can incorporate the names and addresses of his local dealers or agents at the bottom of the poster. These dealer imprint strips are called snipes. 4. The outdoor offers impact. Shoppers are exposed to last minute reminders by outdoor advertising when they are driving down to the stores or a shopping centre. Outdoor displays are in large size and in bright colour, and have a provocative message- all of which make a good impact on prospective customers. 5. Outdoor advertising allows for a psychedelic display of the product, trademark and slogan. 6. Life-like Visuals and Lifestyle Advertising: New technology makes it easier to advertise the branch on hoardings. It reinforces the TV and Print advertising. Outdoor alone among all other media generates for the local governments and civic

bodies. Outdoor advertising has the following limitations: 1. Since the copy of billboard ads must be brief, it places a limitation on getting the message across to the prospect in enough words. This brevity has made outdoor advertising merely supplementary advertising. The print or broadcasting media are mainly relied upon to deliver longer messages. 2. Outdoor advertising is non-selective in the sense that the audience who get the exposure are people of all ages, sexes, educational and socio-economical levels. There is no selectivity of a particular type of audience. 3. Outdoor advertising when employed on a national basis is relatively expensive. 4. Blind spot is the most dangerous thing that advertiser fear when it comes to outdoor advertising. The term is used to refer to a campaign that is sustained for a long -time. The question is how to continuously create novelty in hoardings. Amul has overcome blind spot syndrome. 5. There is a problem of getting the reliable data on the number of people who actually see an advertisement. 6. Price of message decay: Most advertisers find that it takes more and more money every year to advertise. Message decay has emerged as a major problem for all advertisers. 7. The outdoor advertising industry is mainly a local business operation. Several individual firms run by a single businessmen, own posters and painted display location. In cities, town and in road sides, which sell those individual location for outdoor advertising to advertiser. 8. Normally, the sale of a location is for a certain period of days or weeks or months. There are also large firm owning large number of locations. Selvel and Advertiser are some of the names that are popular in outdoor location selling business. There are few chain of firms operating in this business. 9. With a regard to the location of outdoor advertising, let this point be stated clearly that its value is only in its location. In order to be effective the angle of the billboard from the road, and such other accepts has helped in gaining better attention of the motorist, are important. These are many variables which make a location good for a poster or a painted display. Some of these are:

Internet The internet is one of the emerging mediums in India as of today. Like many other media it too has its advantages and disadvantages in the below mentioned areas: Advantages: Effective targeting the internet as a medium poses an advantage in this aspect as the kind of people visiting a site or surfing the web can be determined and defined much better and easier then other mediums. However, one must remember that majority of the people on the net are educated and from urban backgrounds. So it makes sense only for those who are looking at this target audience to advertise on the net. Eg. It doesnt make much sense for lifebuoy to advertise on the net. Flexibility of execution - theoretically, internet as a medium provides one with a good amount of flexibility of execution. One can communicate its message in the form of print or one can create a whole audio-visual experience or even set up a virtual tour experience of the product. Eg. Many tour operators have a virtual tour site of different countries. Products like mobile phones can be seen from all angles because of 3-D animation. One-to-one with consumers: The primary attraction of the Internet is its ability to deal one-to-one with consumers. In theory, business and consumers can buy products, exchange product information, and acquire valuable research with the touch of a computer key. In practice, the Internet remains an experimental medium with vast underutilized potential Growth: However in future one expects the medium to grow across sections of society. The Internet is the ultimate research tool, with its ability to measure exactly how many people used the medium and or purchased a product The Internet is among the most flexible media, with an ability to immediately change copy in reaction to market and competitive conditions. Reach: one of the main advantages of the medium is that it exposes you to the world. The knowledge you can obtain from the internet is close to infinite. Anyone in the world can see your website; see your ad [even if it is a little banner on a small site]. It is also a medium where you can communicate to a specific target audience. Cheaper medium to advertise: It is a relatively cheaper medium to advertise.

Disadvantages: To this point, the Internet is mostly promise rather than performance. It is difficult to determine the effectiveness of the service because it is largely experimental in a commercial sense. Connectivity with respect to India this is one of the main disadvantages of advertising on this medium. Its presence in the rural areas is nonexistent and in the urban areas a lot is left to be desired Despite the growing popularity of the Internet as a means of informal communication, many consumers are still reluctant to use the service for purchasing products and services. In particular, consumers seem reluctant to give their credit card numbers over the Internet, even though secure sites are available. The sheer number of commercial and non-commercial web sites makes it difficult for consumers to know what is available or, once know, have much time to spend with any single site. The limitations are that it is not widespread in the country. It is almost redundant for rural advertising. The fact that you cannot do more than animations of a website is a disadvantage. There are several other disadvantages but over a period of time this medium is bound to emerge as a strong force in media planning.

MARKETS Market analysis

Activities involved in developing the Market analysis: d. Situation analysis e. Marketing strategy analysis f. Creative strategy analysis a. The situation analysis: The purpose: To Understand the Marketing problem. An analysis is made of a company and its competitors on the basis of: 1. Size & share of the total Market. 2. Sales history, costs, and profits. 3. Distribution practices. 4. Methods of selling 5. Identification of prospects. 6. Nature of the product b. The marketing strategy plan Purpose: To plan activities that will solve one or more of the marketing problems includes the determination of: 5. Marketing objectives 6. Product and spending strategy. 7. Distribution strategy. 8. Which elements of the marketing mix are to be used? 2. Identification of best market segments. c. The creative strategy plan Purpose: To determine what to communicate through advertisements. Includes the determination of: 1. How product can meet consumer needs. 2. How product will be positioned in advertisements. 3. Copy themes. 4. Specific objectives of each advertisement. 5. Number and sizes of advertisements.

SESSIONS 4-5 MEDIA TERMINOLOGY, IRS & TAM, COSTINGS Common Media Terminologies 1. Achievement Actualized results of a media campaign usually compared to planned/estimated objectives. 2. Agency of Record (AOR) The agency responsible for media placement and billing for multi-brand advertisers using more than one agency. 3. Agency Commission A 15% discount on ad rates traditionally offered by most media to accredited advertising agencies. Rates including the commission are gross; rates less the commission are net. 4. Audience Composition

Analysis of audience in terms of selected sub-groups based on demographics, lifestyle, etc. usually expressed as percentages. 5. Billboard (Out of Home) Panel/poster in public space, ideally a high-traffic area. 6. Blocking Chart The graphic presentation of planned advertising activity on a calendar.

7. Brand Development Index (BDI) A markets propensity to use a specific brand, compared to the population in general, calculated by dividing the percent of a products sales by the percent of the population. 8. Budget Expenditure allocated for specific advertising projects. 9. Budget Control Report (B.C.R.) Monthly, quarterly or annual document detailing actual versus projected expenditures to date. 10. Buy Request A form outlining specific requirements (target group, flight dates, etc.) of a broadcast campaign to be purchased. 11. Continuity Advertising a single theme or selling proposition over a period of time without interruption. 12. Contra Commercial time or space acquired in exchange for merchandise or services (also referred to as barter). 13. Control Market Market selected to compare with a test market. Marketing parameters are held

constant in the control market and varies in the test market; results are then compared. 14. Cost Per Rating Point (CPRP or CPP) The cost of delivering a message to 1% of a pre-determined target group. 15. Cost Per Thousand (CPM) Cost to deliver a message to 1,000 individuals 16. Crosstab (X-Tab) Cross-referencing of data to identify habits/characteristics of a defined subset of the population. 17. Cumulative Audience (Cume) Total number of homes/individuals reached by a schedule of commercials/programs/issues within a given time. 18. Cumulative Reach Percentage of the target reached by a schedule in a given time period. 19. Demographics Description of an audience by age, sex, education, etc. 20. Duplication The extent to which two media vehicles have a common audience. 21. Effective Frequency Exposures to an advertising message required to achieve effective communication. Generally expressed as range below which the exposure is inadequate and above which the exposure is considered wastage. 22. Effective Reach Percentage of target reached at the state effective frequency level 23. Efficiency Cost effectiveness of a media buy based on CPMs/CPPs.

24. Estimate Computation of probable cost for production or media execution of a clients advertising 25. Exclusivity Negotiated or purchased right to bar any other advertiser within a defined product category from advertising in the media vehicle in question 26. Exposure Measurement for print is based on respondents who say they have looked into a publication. In broadcast, on those who are present in the room while a television or radio set is on 27. Flighting Periodic waves

Costings How to buy space in Print for advertising? The cost of placing an ad in the print medium (newspapers, magazines, etc,) will depend on the following factors: The size of the ad (column centimetres or square centimetres) The newspaper/publication edition Colour v/s Black & White The placement of the ad

The size of the ad (column centimetres or square centimetres) Space is usually bought in column centimetres (CC). There are 8 columns in a newspaper page layout. An ad of 25 cm in height and 3 columns in width would make a 75 cc ad. The newspaper/publication edition This ad cost would differ as per the newspaper edition e.g. 75cc X 400 for the Pune edition 75 X 100 for the Delhi edition Times of India buys space in sq.cm sizes recently Colour v/s Black & White Four colour or six colour ads will cost more

The placement of the ad The front page charges 100% extra Back page 50% extra Third page and other important pages 50% extra All other pages carry fixed rates Buying space for Classified Advertising Classified ads are usually bought on the word count basis. A telephone number is taken as one word. Boxed classified are more expensive than regular classifieds since they demand better What are the ad purchasing options online Unlike traditional media which is purchased in terms of duration of a particular campaign or space, internet advertising is purchased in terms of its exposure or delivery. CPM - Cost Per Impression is where advertisers pay for exposure of their message to a specific audience. CPM costs are priced per thousand impressions. This is the most popular purchasing option.

 CPC - Cost Per Click / Pay per click - PPC - Advertisers pay every time a user clicks on their listing and is redirected to their website. CPL - Cost Per Lead advertising is identical to CPA advertising and is based on the user completing a form, registering for a newsletter or some other action that the merchant feels Other forms include CPV - Cost Per Visitor or Cost per View in the case of Pop Ups and Unders CPA - Cost Per Action or Cost Per Acquisition CPO - Cost Per Order CPC - Cost per conversion As seen above, the large majority of online advertising has a cost that is brought about by usage or interaction of an ad. However, MSN and Windows Live sell space on their portals on a time-band basis. It involves advertisers paying for a space on the website for a particular duration of time, irrespective of audiences accessing the advertisement or not. Buying time for Radio Spots Radio, like TV, is a demand medium. The more demand for a time period (or day part), the higher the cost. Current Trends TV advertising saw a growth of 29% during Q1 '08 compared to Q1'07. 'Cellular Phone Service' category was the Top category on TV during the 1st quarter of 2008. 'HUL' and 'Reckitt Benckiser (India) Ltd' maintained their 1st and 2nd rank on TV in Q1 '07 and Q1'08. 'Heinz' took 2nd place following the number one 'Ganapati Herbal care Pvt Ltd' in the Top Exclusive advertisers list on TV in Q1 '08. Radio Channel Promotion grew by 33% on TV whereas Print Promotion saw a growth of 13% during Q1'08 compared to Q1'07. 'IPL Cricket Ka Karmayudh' was the most advertised new brand on TV during Q1'08. 60% of overall TV advertising on National Channels during Q1'08. Tag Promo accounted for 38% share of overall ads on TV. 13% rise in Average advertising frequency per day on TV during Q1'08 compared to Q1'07.

Some Common Costing Terminologies: COST PER THOUSAND (C.P.M.) The cost of advertising per thousand potential customers reached by a given publication, broadcast, or outdoor advertisement. This figure is often used in media planning. RATE A cost-per-space-unit of print advertising or cost-per-time-unit in radio and TV advertising. Newspapers usually publish rates per column inch or line. The electronic media sell 15-, 30-, or 60-second time units. Gross Rating Points GRP (short for Gross Rating Point) is the sum of ratings achieved by a specific media vehicle or schedule. It represents the percentage of the target audience reached by an advertisement. If the advertisement appears more than once, the GRP figure represents the sum of each individual GRP. In the case of a TV advertisement that is aired 5 times reaching 50% of the target audience, it would have 250 GRP = 5 x 50% -- ie, GRPs = frequency x % reach. Gross Rating Points (GRP) measure the total volume of delivery of your message to your target audience. The GRP is a basic measure helping eg the broadcast company to sell their advertisement space to the potential customers. TRP Target Rating Point A related metric, TRPs, or Targeted Rating Point, is a measure of the purchased targeted rating points representing an estimate of the component of the targeted audience being reached by an advertisement. CPRP - Cost per Reach Point Cost per reach can be cost per Reach point which is like cost per point and is spending divided by percent reach OR C.P.M. reach, which is spending divided by thousands reached. Like cost per point, it doesn't depend on a standard, but is used as a comparison in planning. It varies across media, media types and countries, of course.

For example, in India., the scenario might be, Prime time evening television is the best generator of reach for X number of GRPs. But, daytime TV might deliver more reach per rupee invested at first, until the daytime reach curve flattens.

Television Audience Measurement (TAM) rating Television audience measurement is the specialised branch of media research, dedicated to the quantifying (size) and the qualifying (characteristics) of this detailed TVaudience information. With the billions of rupees spent annually on TV programmes and commercials, reliable TV audience information is required to evaluate and maximise the effectiveness of this investment. Indian Readership Survey or IRS Indian Readership Survey or IRS is one of the largest readership survey conducted in India. Conducted by Hansa Research for Media Research User's Council (MRUC), IRS covers readership for newspapers, internet usage, television veiwership . Established in 1995 IRS data is widely used by media planners for finalising the media strategy. Besides giving the readership habits, IRS also provides valuable insights into the consumption habits of the Indian consumer. According the Hansa Reaseach, the information coverage of IRS is as follows IRS uses sample from 24 states 91 cities covering a 250,000 respondents. IRS survey results are dissected by the media executives to prove their reach and cost advantages. IRS is done twice a year. Although IRS is used by most of the media planners, there is always some controversy surrounding the results. Since this is a sample based results, one can always question the statistical inferences. Every time the survey results are out, there are bound to be objections and blaming. To counter IRS, another survey is also there in the readership domain i.e National Readership Survey (NRS).Combining both the results help media planners to chose the right media across markets. But all these surveys give only approximations. There is no guarantee that a 100 cc ad at the front page of the best daily in India can deliver the desired results. Hence marketers invent a new term: Opportunity to See (OTS). By putting an ad in the front page you are

giving the reader an opportunity to see the ad. A joint venture company between AC Nielsen & Kantar Media Research/ IMRB, TAM Media Research is the TV Viewership analysis firm of India. Besides measuring TV Viewership, TAM also monitors Advertising Expenditure through its division AdEx India. It exists in the PR Monitoring space through another division Eikona PR Monitor. The viewership cell runs what is one of the largest Peoplemeter TV Panels in the World with Approx 30,000 sample individuals representing all the Class-I towns (towns with population more than 100,000) polled every week for their Viewership habits! This division measures television Viewership of audiences for the 300-plus TV stations operating in India.

__________________________________________________________ _________________ SOURCES: http://www.mediactive.net/help/terminology/medterms.asp http://www.tamindia.com/tamindia/Company_Profile.htm

MODULE 3 ADVERTISING CREATIVE 1

SESSION 1 SEEING, OBSERVING AND VISUAL THINKING Visual Thinking What is Thinking? Thinking is taking in information from the outside world and from within ourselves and processing it with our brain. The Three Ways of Thinking There are three main ways of thinking that correspond to the senses: Hearing auditory thinking Seeing visual thinking Feeling kinaesthetic thinking.

Auditory thinking uses sounds, conversations, melody etc. Visual thinking uses pictures, colours, abstract plans, diagrams etc. Kinaesthetic thinking uses information of a feeling nature - balance, weight, temperature, emotional state, gut feeling, intuition etc. Visual thinking refers to a group of generative skills that, when practiced with rigorous discipline, results in the production of novel and original graphic ideas. By seeking to discover visual forms that fit his/her underlying human experience, the student of visual thinking comes to know the world. Visual thinking is high order

critical thinking conducted by imaginistic means alone. Thinking in pictures, is one of a number of other recognized forms of non-verbal thought such as kinesthetic, musical and mathematical thinking. Multiple thinking and learning styles, including visual, kinesthetic, musical, mathematical and verbal thinking styles are a common part of many current teacher training courses. While visual thinking and visual learners are not synonymous, those who think in pictures have generally claimed to be best at visual learning. Also, while preferred learning and thinking styles may differ from person to person, precluding perceptual or neurological damage or deficits diminishing the use of some types of thinking, most people (visual thinkers included) will usually employ some range of diverse thinking and learning styles whether they are conscious of the differences or not. The words people use when speaking can indicate which thinking style they are using. Auditory thinkers use words such as: hear, sound, rings, talk, listen, tune, ask, clicked. Visual thinkers use words such as: see, look, clear, bright, picture, image, perspective. Kinaesthetic thinkers use words such as: feel, touch, handle, grasp, rough, heavy, weigh. Visual thinkers think most efficiently, when material is presented to them using diagrams, flowcharts, time lines, films, and demonstrations.

Visual thinkers tend to be spatial and have an eye for size, space and relationships. To retain information they often draw it as a diagram. They would rather view a physical, visual demonstration than have someone explain in detail how to accomplish a task. Visual Thinking is Holistic. Holistic thinkers work through material most thoroughly and efficiently in fits and

starts. They may often feel overwhelmed with confusion for a while, but understanding will often suddenly click. When the material does suddenly click in understanding, the holistic thinker will usually not only see the big picture, but with a more clear and creative perspective than other thinkers. Often, holistic thinkers will take more time to understand information than other thinkers. However, their final understanding is more extensive. Visual-Spatial Thinking is Powerful and Fast Visual-spatial thinking is complex, rich, textured, detailed and imaginative. With visual thinking the information is processed instantly, just by looking at a picture. Auditory thinking is much slower as each word must be processed separately and the information cannot be understood until the whole sentence is heard. Visual-Spatial Thinking Is Both Problem Finding And Problem Solving If I was explaining an issue to a visual thinker, they would immediately tell me the inherent problems they could see. A few minutes later, they would tell me how to solve these problems or several better ways to do it. This is what is meant by problem finding and problem solving. Visual Thinking is Creative Visual-spatial thinkers see the big picture with a more clear and creative perspective than other thinkers. Visual-spatial thinking is associated with inventiveness, intuition and divergent thinking. These characteristics are essential for creative thinking. Creative thinking is the process of sensing difficulties, problems, gaps in information, missing elements, something askew; making guesses and formulating hypotheses about these deficiencies, evaluating and testing these guesses and hypotheses; possibly revising and re-testing them; and finally communicating the results, often incorporating images, shapes, models, colour, melody allegory and allusion. The Creative Process The creative process incorporates problem awareness, information gathering, idea development, planning and production.

SOURCES: Torrance, E. Paul. (2001). Manifesto: A Guide to Developing a Creative Career. Ablex Publishing Westport, Connecticut. www.gifteddevelopment.com/Visual_Spatial_Learner/vsl.htm

SESSION 2 BASIC DESIGN, GRAPHIC AND ADVERTISING DESIGN Design, usually considered in the context of applied arts, engineering, architecture, and other creative endeavors, is used both as a noun and a verb. As a verb, "to design" refers to the process of originating and developing a plan for a product, structure, system, or component. As a noun, "a design" is used for either the final (solution) plan (e.g. proposal, drawing, model, description) or the result of implementing that plan (e.g. object produced, result of the process). More recently, processes (in general) have also been treated as products of design, giving new meaning to the term "process design". Designing normally requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design. Defining a design process According to video game developer Dino Dini in a talk given at the 2005 Game Design and Technology Workshop held by Liverpool JM University, design underpins every form of creation from objects such as chairs to the way we plan and execute our lives. For this reason it is useful to seek out some common structure that

can be applied to any kind of design, whether this be for video games, consumer products or one's own personal life. For such an important concept, the question "What is Design?" appears to yield answers with limited usefulness. Dino Dini states that the design process can be defined as "The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first step in the design process is the identification, classification and selection of constraints. The process of design then proceeds from here by manipulating design variables so as to satisfy the nonnegotiable constraints and optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict resulting in a design with no solution; in this case the non-negotiable constraints must be revised. For example, take the design of a chair. A chair must support a certain weight to be useful, and this is a non-negotiable constraint. The cost of producing the chair might be another. The choice of materials and the aesthetic qualities of the chair might be negotiable. Something that is redesigned requires a different process than something that is designed for the first time. A redesign often includes an evaluation of the existent design and the findings of the redesign needs are often the ones that drive the redesign process.

Typical steps A design process may include a series of steps followed by designers. Depending on the product or service, some of these stages may be irrelevant, ignored in real-world situations in order to save time, reduce cost, or because they may be redundant in the situation. Typical stages of the design process include: Pre-production design o Design brief - a statement of design goals o Analysis - analysis of current design goals o Research - investigating similar design solutions in the field or related topics o Specification - specifying requirements of a design solution for a product (product design specification) or service. o Problem solving - conceptualizing and documenting design solutions o Presentation - presenting design solutions Design during production o Development - continuation and improvement of a designed solution

o Testing - in-situ testing a designed solution Post-production design feedback for future designs o Implementation - introducing the designed solution into the environment o Evaluation and conclusion - summary of process and results, including constructive criticism and suggestions for future improvements Redesign - any or all stages in the design process repeated (with corrections made) at any time before, during, or after production

Graphic Design The term graphic design can refer to a number of artistic and professional disciplines which focus on visual communication and presentation. Various methods are used to create and combine symbols, images and/or words to create a visual representation of ideas and messages. A graphic designer may utilize typography, visual arts and page layout techniques in varying degrees to produce the final result of the project. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated. Common uses of graphic design include magazines, advertisements, product packaging and web design. For example, a product package might include a logo or other artwork, organized text and pure design elements such as shapes and color which unify the piece. Composition is one of the most important features of graphic design especially when utilizing pre-existing materials or using diverse elements. History of graphic design Graphic Design spans the history of humankind from the caves of Lascaux to the dazzling neons of Ginza. In both this lengthy history and in the relatively recent explosion of visual communication in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share many of the same elements, theories, principles, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective is the sale of goods and services. In graphic design, the essence is to give order to information, form to ideas, expression and feeling to artifacts that document human experience. Tools Critical, observational, quantitative and analytic thinking are required for design layouts and rendering. If the executor is merely following a sketch, script or instructions (as may be supplied by an art director) they are not usually considered

the author. The layout is produced using external traditional or digital image editing tools. Selecting the appropriate tools for each project is critical in how the project will be perceived by its audience. In the mid 1980s, the arrival of desktop publishing and graphic art software applications introduced a generation of designers to computer image manipulation and creation that had previously been manually executed. Computer graphic design enabled designers to instantly see the effects of layout or typographic changes without using any ink, and to simulate the effects of traditional media without requiring a lot of space. However, traditional tools such as pencils or markers are often used to develop ideas even when computers are used for finalization. Computers are generally considered to be an indispensable tool used in the graphic design industry. Computers and software applications are generally seen, by creative professionals, as more effective production tools than traditional methods. However, some designers continue to use manual and traditional tools for production, such as Milton Glaser. New ideas can come by way of experimenting with tools and methods. Some designers explore ideas using pencil and paper to avoid creating within the limits of whatever computer fonts, clipart, stock photos, or rendering filters (e.g. Kai's Power Tools) are available on any particular configuration. Others use many different markmaking tools and resources from computers to sticks and mud as a means of inspiring creativity. One of the key features of graphic design is that it makes a tool out of appropriate image selection in order to convey meaning. Graphic design formats A graphic design project may involve the presentation of existing text and imagery, such as with a newspaper story which begins with the journalists and photojournalists. It then becomes the graphic designer's job to organize the page into a reasonable layout and determine if any other graphic elements should be required. In a magazine article or advertisement, often the graphic designer or art director will commission photographers or illustrators to create original pieces just to be incorporated into the design layout. Contemporary design practice has been extended to the modern computer, for example in the use of WYSIWYG user interfaces, often referred to as interactive design, or multimedia design. Page layout Page layout is the part of graphic design that deals in the arrangement and style treatment of elements (content) on a page. Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern

magazine and catalog layouts, proper page design has long been a consideration in printed material. With print media, elements usually consist of type (text), images (pictures), and occasionally place-holder graphics for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing. Printmaking Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on the other hand, create a unique original piece of artwork. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. But there are many other kinds, discussed below. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques. Typography Typography is the art, craft and techniques of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques. The arrangement of type is the selection of typefaces, point size, line length, leading (line spacing) and letter spacing. Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users. Web design Graphic designers are often involved in web design. Combining visual communication skills with the interactive communication skills of user interaction and online branding, graphic designers often work with web developers to create both the look and feel of a web site and enhance the online experience of web site visitors. Occupations Production artist A production artist is a technical and often considered an entry level job position in a

creative profession. The job title originated at advertising agencies, assigning what was known as paste-up work (now pre-press production) to the position. It's often assumed to be a graphic designer or art director in training position, similar to an apprenticeship. Production artists work closely with the designer and art director to execute the design. What distinguishes "production art" from design is the lack of opportunities to utilize creativity and design training in the work involved. Although the position may be treated as low-skilled labor, the degree of technical knowledge required for some production art work may be comparable to higher skilled engineering, especially with computers. Art director The art director serves a variety of similar job functions in advertising, publishing, film and television, the Internet, and video games. Creative director The creative director is generally the person in charge of a creative department in an advertising agency. They are in charge of leading the creative direction of a campaign. Advertising & Marketing Art directors in advertising aren't necessarily the head of an art department although the title may suggest it. In modern advertising practice, they typically work in tandem with a copywriter. The art director and copywriter work on a concept for commercials, print advertisements, and any other advertising medium. Individually, the art director is mostly responsible for the visual look and feel of the creative product, and the copywriter has ultimate responsibility for the product's verbal and textual content. Both are responsible for coming up with big, effective and persuasive ideas. Film An art director, in the hierarchical structure of a film art department, works directly below the production designer, in collaboration with the set decorator, and above the set designer. A large part of their duties include the administrative aspects of the art department. They are responsible for assigning tasks to personnel, keeping track of the art department budget and scheduling, as well as overall quality control. They are often also a liaison to other departments; especially the construction department. In the past, the art director title was used to denote the head of the art department (hence the Academy Award for Best Art Direction). Publishing Art directors in publishing typically work with the publications editors. Together they

work on a concept for sections and pages of a publication. Individually, the art director is mostly responsible for the visual look and feel of the publication, and the editor has ultimate responsibility for the publications verbal and textual content. Practical design applications From road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge. Readability is enhanced by improving the visual presentation of text. Design can also aid in selling a product or idea through effective visual communication. It is applied to products and elements of company identity like logos, colors, and text. Together these are defined as branding. Branding has increasingly become important in the range of services offered by many graphic designers, alongside corporate identity and the terms are often used interchangeably. Textbooks are designed to present subjects such as geography, science, and math. These publications have layouts which illustrate theories and diagrams. A common example of graphics in use to educate is diagrams of human anatomy. Graphic design is also applied to layout and formatting of educational material to make the information more accessible and more readily understandable. Graphic design is applied in the entertainment industry in decoration, scenery, and visual story telling. Other examples of design for entertainment purposes include novels, comic books, opening credits and closing credits in film, and programs and props on stage. From scientific journals to news reporting, the presentation of opinion and facts is often improved with graphics and thoughtful compositions of visual information known as information design. Newspapers, magazines, blogs, television and film documentaries may use graphic design to inform and entertain. With the advent of the web, information designers with experience in interactive tools such as Adobe Flash are increasingly being used to illustrate the background to news stories. Advertising Design Visual communication as the name suggests is communication through visual aid. It is the conveyance of ideas and information in forms that can be read or looked upon. Primarily associated with two dimensional images, it includes: signs, typography, drawing, graphic design, illustration, colour and electronic resources. It solely relies on vision. It is form of communication with visual effect. It explores the idea that a visual message with text has a greater power to inform, educate or persuade a person. It is communication by presenting information through Visual form. The

evaluation of a good visual design is based on measuring comprehension by the audience, not on aesthetic or artistic preference. There are no universally agreedupon principles of beauty and ugliness. There exists a variety of ways to present information visually, like gestures, body languages, video and TV. Here, focus is on the presentation of text, pictures, diagrams, photos, et cetera, integrated on a computer display. The term visual presentation is used to refer to the actual presentation of information. Recent research in the field has focused on web design and graphically oriented usability. Graphic designers use methods of visual communication in their professional practice. SOURCES: Wikipedia

SESSIONS 3-4 DESIGN ELEMENTS The elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all creative work of art will contain most of if not all, the elements of design. What are Elements of Design? The elements of design are the basic components used as part of any composition. They are the objects to be arranged, the constituent parts used to create the composition itself. Some of the basic elements designed are explained below: 1. POINT: A point is an element that has position, but no extension. It is a single mark in space with a precise, but limited, location. Alone it can provide a powerful

relation between negative and positive space, but when grouped with other points the Gestalt grouping principle of closure tends to kick in and the brain compulsively connects the points together. Line or form is a natural result of multiple points in space. The concept of closure 2. LINE: A line is an element characterized by length and direction. Lines create contours and form, and are often used to convey a specific kind of feeling or point to an important feature in a design. Lines are also used to create perspective, and dominant directional lines are often adopted to create a sense of continuance in a composition. In addition, lines that are grouped together often create a sense of value, density or texture. Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet. There are basically three types of lines: i. Actual line: The form of line drawn by pen, pencil, or other implement. It may be straight or curved. ii. Implied line: Not a proper line, but an aid that pushes the eye along the artwork (e.g., a dotted line on road). iii. Psychic line: This form of line has no physical value; it is a psychologically created line (e.g., when pointing to something, the eye travels from the hand to that object as if on a line). 3. FORM (SHAPE): A line is an element characterized by length and direction. Lines create contours and form, and are often used to convey a specific kind of feeling or point to an important feature in a design. Lines are also used to create perspective, and dominant directional lines are often adopted to create a sense of continuance in a composition. In addition, lines that are grouped together often create a sense of value, density or texture. A line is an element characterized by length and direction. Lines create contours and form, and are often used to convey a specific kind of feeling or point to an important feature in a design. Lines are also used to create perspective, and dominant directional lines are often adopted to create a sense of continuance in a composition. In addition, lines that are grouped together often create a sense of value, density or texture.

4. DIRECTION: All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action. The element of direction can have a powerful influence on the mood of an art work. It is something often overlooked, but making a conscience decision about the dominant direction in a painting can have a noticeable effect on the atmosphere of the work. Sometimes the subject will dictate the dominant direction. Sometimes the subject will allow you to impose a direction on it. 5. SIZE: Size is simply the relationship of the area occupied by one shape to that of another. 6. TEXTURE: Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual. Physical Texture is the texture you can actually feel with your hand. The build up of paint, slipperiness of soft pastel, layering of collage - all the things that change the nature of the papers surface. Visual Texture is the illusion of physical texture, created with the materials you use. Paint can be manipulated to give the impression of texture, while the paper surface remains smooth and flat. Sometimes tone can create texture. 7. 8. COLOUR 9. VALUE: Value is the lightness or darkness of a colour. Value is also called Tone. It is value and the changing values in pictures that cause the perception of not just shapes, but implied three-dimensional forms. 10. SPACE: Space can be defined basically in two senses Positive and Negative Space. Positive space is the space taken up by objects (surface). Negative space is the distance between objects (whitespace). RELATED CONCEPTS: There are many additional concepts that are related to the elements of design. These can include specific terms and/or techniques that are in some way based on one or more of the above ideas. In the end, they add to the collection of compositional tools available for use by the designer.

 Typography: There are many additional concepts that are related to the elements of design. These can include specific terms and/or techniques that are in some way based on one or more of the above ideas. In the end, they add to the collection of compositional tools available for use by the designer. Pattern: Pattern is the repetition of shape or form. It can also reflect the underlying structure of a design by organizing the surfaces or objects in the composition. There are many different kinds of patterns: o Flowing: A flowing pattern is based on the repetition of an undulating line, and reflects a natural meandering through a composition. o Branching: A branching pattern is the repetition of forking lines, or patterns of deviation. These kinds of patterns can be found in almost all plants, and in many other places in the natural world. o Spiralling: A circular pattern, or a pattern that winds in and around itself. Movement: Movement can be defined as motion of objects in space over time, and is often described in one of two ways: o Literal: Literal movement is physical movement. Examples of literal movement include: Products such as the automobile, motion pictures and dance. o Compositional: Compositional movement is the movement of the viewers eye through a given composition. Compositional movement can be either static or dynamic. Static movement jumps between isolated parts of a composition. Dynamic movement flows smoothly from one part of the composition to another. The elements of design discuss the components of the composition itself, and provide the designer with a basic set of tools to begin working with.

SOURCES:

1. http://www.digital-web.com/articles/principles_of_design/ 2. http://graphicdesign.spokenfalls.edu/tutorials/process/gestaltpriciples/gestsltprinc. htm 3. http://www.wikipedia.org

SESSION 5 DESIGN PRINCIPLES The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art. The principles of design are the overarching truths of the profession. They represent the basic assumptions of the world that guide the design practice, and affect the arrangement of objects within a composition. The principles govern the relationships of the elements used and organize the composition as a whole. Successful design incorporates the use of the principles and elements to serve the designer's purpose and visual goals. There is no rule for their use, but may be directed by intent. The designer's purpose drives the decisions made to achieve appropriate scale and good proportion, as well as the degree of harmony between all the elements achieved through the sensitive balance of variety and unity. Some basic principles of design are explained as below: 1. BALANCE: Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. A large shape close to the centre can be balanced by a small shape close to the edge. A large light toned shape will be balanced by a small dark toned shape (the darker the shape the heavier it appears to be). Balance usually comes in two forms: symmetrical and asymmetrical. i. Symmetrical Balance: Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms: symmetrical and asymmetrical. ii. Asymmetrical Balance: Balance is an equilibrium that results from looking at images and judging them against our ideas of physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two

forms: symmetrical and asymmetrical. 2. GRADATION: Gradation of size and direction produce linear perspective. Gradation of colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape. 3. CONTRAST: Contrast is the juxtaposition of opposing elements e.g. opposite colours on the colour wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical. The major contrast in an art form should be located at the centre of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast. 4. HARMONY: Harmony in an art form is the visually satisfying effect of combining similar, related elements. e.g., adjacent colours on the colour wheel, similar shapes etc. 5. DOMINANCE: Dominance relates to varying degrees of emphasis in design. It determines the visual weight of a composition, establishes space and perspective, and often resolves where the eye goes first when looking at a design. There are three stages of dominance, each relating to the weight of a particular object within a composition. o Dominant: The object given the most visual weight, the element of primary emphasis that advances to the foreground in the composition. o Sub-dominant: The element of secondary emphasis, the elements in the middle ground of the composition. o Subordinate: The object given the least visual weight, the element of tertiary emphasis that recedes to the background of the composition. 6. UNITY: The concept of unity describes the relationship between the individual parts and the whole of a composition. It investigates the aspects of a given design that are necessary to tie the composition together, to give it a sense of wholeness, or to break it apart and give it a sense of variety. Unity in design is a concept that stems from some of the Gestalt theories of visual perception and psychology.

7. RHYTHM: Rhythm is the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it. 1. Regular: A regular rhythm occurs when the intervals between the elements, and often the elements themselves, are similar in size or length. 2. Flowing: A flowing rhythm gives a sense of movement, and is often more organic in nature. 3. Progressive: A progressive rhythm shows a sequence of forms through a progression of steps.

8. PROPORTION: Proportion is the comparison of dimensions or distribution of forms. It is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth. In the below examples, notice how the smaller elements seem to recede into the background while the larger elements come to the front. 9. MOVEMENT: Action, or alternatively, the path the viewer's eye follows throughout an artwork. Movement is used caused by using elements under the rules of the principles in art to give the feeling of action and to guide the viewer's eyes

throughout the artwork. 10. VARIETY: Variety is the quality or state of having different forms or types. The differences which give a design visual and conceptual interest: notably use of contrast, emphasis, difference in size and colour. 11. EMPHASIS: Emphasis (also called focal point) is where the focus is concentrated through design principles or meaning. To do this one develops points of interest to pull the viewer's eye to important parts of the body of the work. It is to make one part of an artwork dominant over the other parts. It makes an element or object in a work stand out. To use emphasis in an artwork is to attract the viewer's eyes to a place of special importance in an artwork. RELATED CONCEPTS: There are many additional concepts that are related to the principles of design. These can include specific terms and/or techniques that are in some way based on one or more of the above tenets. In the end, they add to the collection of compositional tools available for use by the designer. 1. Contrast or opposition: Contrast addresses the notion of dynamic tension, or the degree of conflict that exists within a given design between the visual elements in the composition. 2. Positive or negative space: Positive and negative space refers to the juxtaposition of figure and ground in a composition. The objects in the environment represent the positive space, and the environment itself is the negative space. 3. Rule of thirds: The rule of thirds is a compositional tool that makes use of the notion that the most interesting compositions are those in which the primary element is off centre. Basically, take any frame of reference and divide it into thirds placing the elements of the composition on the lines in between. 4. Visual centre: The visual centre of any page is just slightly above and to the right of the actual (mathematical) centre. This tends to be the natural placement of visual focus, and is also sometimes referred to as museum height.

The principles of design give us a way of looking at the world. The overarching axioms of the profession affect the designer universally, and provide guidance for any composition. SOURCES: 1) Design and Graphics by N.N.Sarkar 2) http://www.johnlovett.com/test.htm 3) http://www.digital-web.com/articles/principles_of_design/ 4) http://www.wikipedia.org

SESSION 6 EXPRESSION THROUGH COMPOSITION AND LAYOUT Layout: A layout is an overall orderly arrangement of all the format elements of an adheadline, subheads, visual(s), copy, captions, trademarks, slogans, and signature. The layout serves several purposes. First, as a physical presentation of what the ad will look like, it helps both the agency and the client develop and evaluate the ads final look and feel. It gives the client, usually not an artist, a tangible item to correct, change, comment on, and approve. Second the layout helps the creative team develop the ads psychological elementsthe nonverbal and symbolic components. The look of the ad should elicit an image or mood that reflects and enhances the advertiser and the product. Many retail stores

 groceries for example, use a cluttered, busy layout with rows of items listed alongside large, bold prices. On the other hand, stores that offer better quality merchandise, service, and status usually use large, alluring beautiful illustrations, often in colour, small blocks of copy, and ample white space. Many of these ads dont even mention the price. Both styles of design communicate store image, but each uses design format differently. Therefore, when designing the initial ad layout, the art director must be very sensitive to the desired image of the product or business and use a format thar projects that image. Third, once the best design is chosen, the layout serves as a blueprint. It shows the placement and size of each element in the ad. It tells the copywriter how much copy to write, it suggests the size and style of the image to the illustrator or the photographer and it helps the art director specify the type. Also, once the production manager knows the dimensions of the ad, the number of photos, the amount of typesetting, and the use of art elements such as colour and illustrations, he or she can accurately determine the cost of producing the ad.

Stages of a layout: The first stage of layout is called thumbnailing. The thumbnails are produced rapidly and in quantity and represent visual thinking in a most evident yet primitive form. It is a kind of brainstorming for idea visualization, and it is most effective when the creative worker is armed with verbal concepts and ideas culled from his research. The next stage in layout is called a rough. Rough layouts are really not the province of the idea visualizer. Art directors develop roughs from selected thumbnails. However, a thumbnail or first rough is very useful. The rough is more refined and specific than the thumbnail in detailing graphic elements of art, typography, and colour. A final selection from rough layouts leads to comprehensive layouts which realistically duplicate what the completed ad will look like. Comprehensive layouts which most dramatically portray the best of the big ideas which the creative team has developed, are presented to the client for approval.

The selected layout is then sent to the printer or to the production unit for reproduction and use. Artistic principles of the composition: 1. Balance: The optical center is the reference point that determines the layouts balance. The optical center is about one-eight of a page above the physical center of the page. Balance is achieved through the arrangement of elements on the page the left side of the optical center versus the right, above the optical center versus the below. Formal balance perfect symmetry is the key to formal balance. Matched elements on either side of a line dissecting the ad have equal optical weight. This technique strikes a dignified, stable, conservative image. Informal balance A visually imbalanced ad has elements of different size, shape, colour intensity, or darkness at different distances from the optical center. An object of greater optical weight near the center can be balanced by an object of less weight farther from the center. Many ads use informal balance to make the ad more interesting, imaginative and exciting. 2. Movement: Movement is the principle of design that causes the audience to read the material in the desired sequence. It can be achieved through a variety of techniques. People or animals can be positioned so that their eyes direct the readers eyes to the next important element. Devices such as pointing fingers, boxes, lines, or arrows direct information from element to element. Design can take advantage of readers natural tendency to start at the top left corner of the page and proceed in a Z motion to the lower right. Comic-strip sequence and pictures with captions force the reader to start at the beginning and follow the sequence in order to grasp the message. Use of white space and colour emphasizes a body of type or an illustration. Eyes will go from a dark element to a light one, or from colour to non-colour. Size itself attracts attention because readers are drawn to the biggest and most dominant element on the page, then to smaller elements.

3. Proportion Elements should be accorded space based on their importance to the entire ad. Attention-getting elements are usually given more space. Avoid the monotony of giving equal amount of space to each element. 4. White space White space is the part of the ad not occupied by other elements. White space helps focus attention on an isolated element it makes the copy appear to be in a spotlight. White space is an important contributor to the ads overall image. 5. Contrast An effective way of drawing attention to a particular element is to use contrast in colour, size, or style. For example, a reversed ad (white letters against a dark background) or a black-and-white ad with a red border. 6. Clarity and Simplicity Any elements that can be eliminated without damaging the overall effect should be cut. Too many type styles, type that is too small, too many reverses, illustrations, or boxed items, and unnecessary copy makes for an overly complex layout and an ad that is hard to read. 7. Unity Unity means that an ads many different elements must relate to one another in such a way that the ad gives a singular, harmonious impression. Balance, movement, proportion, contrast, and colour may all contribute to unity of design. Many other techniques can be used such as: Type styles from the same family Borders around ads to hold elements together Overlapping one picture or element on another. Judicious use of white space Graphic tools such as boxes, arrows, or tints 8. Continuity Continuity is the relationship of one ad to the rest of the campaign. This is achieved by using the same design format, style, and tone; the same spokesperson; or the same graphic element, logo, cartoon character, or catchy slogan.

SOURCE:

Contemporary advertising by William Arens and Bovee

SESSION 7 BASICS IN COLOUR Colour is the response of the eye to differing wavelengths of radiation within the visible spectrum. The visible spectrum is what we perceive as light. It is the part of the electromagnetic spectrum that we can see. The typical human eye will respond to wavelengths between 400-700 nanometres (nm), with red being at one end (700 nm), violet at the other (400 nm) and every other colour in between these two. COMPONENTS OF COLOUR: There are three main components of colour: HUE: Where the colour is positioned on the colour wheel. Terms such as red, bluegreen, and mauve all define the hue of a given colour. VALUE: The general lightness or darkness of a colour. In general, how close to black or white a given colour is. SATURATION: The intensity, or level of chrome, of a colour. The more gray a colour has in it, the less chrome it has. COLOUR SPACES: Colour is typically organized in a hierarchal fashion, based on how colours are mixed. A colour space helps to define how the colours are mixed, based on the medium in which the colours are used. There are two different kinds of colour spaces: 1. Subtractive: A subtractive colour space is the traditional colour space that most people refer to when they talk about colour. It is pigment-based colour, as in the mixing of paint. In a subtractive colour space, the pigments manipulate the

wavelengths that our eyes see. The absence of any pigment produces white, and all pigments blended together produces black. a. Primary colours: Red, yellow, blue b. Secondary colours: Orange, green, violet 2. Additive: An additive colour space is an electronic colour space. It is light-based colour, as in the mixing of colour on the computer. In an additive colour space, light is added to the screen in differing amounts to produce colour. The absence of any light is black, the presence of all light, or light at full intensity, is white. a. Primary colours: Red, green, blue b. Secondary colours: Yellow, magenta, cyan

Fig 7.1: Subtractive Fig 7.2: Additive

COLOUR SCHEMES/ HARMONIES: Colour harmonies serve to describe the relationships certain colours have to one another, and how they can be combined to create a palette of colour. Colour schemes are used to create style and appeal. Colours that create an aesthetic feeling when used together will commonly accompany each other in colour schemes. A basic colour scheme will use two colours that look appealing together. More advanced colour schemes involve several colours in combination, usually based around a single colour.

To understand colour scheme or harmony, we need to take a look at the colour wheel.

Fig 7.3: The Colour wheel Some of the common colour schemes are as below:

1. COMPLEMENTARY: A complementary relationship is a harmony of two colours on the opposite side of the colour wheel. When complementary colours are placed side-by-side they tend to enhance the intensity (chrome) of each other, and when they are blended together they tend to decrease the intensity of each other. 2. ANALOGOUS: An analogous relationship is a harmony of colours whose hues are adjacent to one another on the colour wheel. Analogous colours tend to be families of colours such as blues (blue, blue-violet, blue-green) and yellows (yellow, yelloworange, yellow-green). 3. TRIADIC: A triadic relationship is a harmony of three colours equidistant from one another on the colour wheel. Primary colours and secondary colours are examples of colour triads. 4. MONOCHROMATIC: A monochromatic scheme consists of different values (tints and shades) of one single colour. These colour schemes are easy to get right and can be very effective, soothing and authoritative. They do, however, lack the diversity of hues found in other colour schemes and are less vibrant. A special case is a twocolour black-and-white scheme. 5. SPLIT_COMPLEMENTARY: A colour scheme that includes a main colour and the two colours on each side of its complementary (opposite) colour on the colour wheel. 6. TETRADIC: Tetrads (or quadrates) are any four colours with a logical relationship on the colour wheel, such as double complements. SOURCES: 4. Design and Graphics by N.N. Sarkar 5. http://www.johnlovett.com/test.htm 6. http://www.digital-web.com/articles/principles_of_design/ 7. http://www.wikipedia.org

SESSION 8 COLOUR IN COMMUNICATION

Introduction: Marketing psychologists state that a lasting impression is made within ninety seconds and that colour accounts for 60% of the acceptance or rejection of an object, person, place, or circumstance. Because colour impressions are both quick and long lasting, decisions about colour are critical factors in success of any visual experience. Colour can sway thinking, change actions, and cause reactions. The human brain requires a sense of order or it will reject whatever it sees. If too many colours are used, the viewer will become visually confused and will reject the image. If not enough colour is used, boredom results. The right colour combinations can be as important as the individual colours. Colour helps establish atmosphere and alter emotions. It creates a sense of quality, lightness, softness, hardness, strength, prestige, price, temperature, purity, taste, fragrance, femininity or masculinity. Importance of colour in communication: Understanding the meaning of colour as well as the cultural use of colour and how colours interact is important in print and electronic design in order to convey the right tone, message, and evoke the desired response to the brochure, newsletter, ad, Web site, or other publication. Colours are non-verbal communication. They create a physical and emotional reaction. Ad experts have long known that a particular colour can make all the difference between success and failure. The right colour can in fact boost a products sales. In all modes of communication, colour plays a vital role. Whether it is a TVC, a print ad, brochure or even a logo; the colours used can enhance or reduce the value of that

particular piece of communication. People just dont buy products; they also buy its colours.

The role of colour in Media Colour Differs on Different Media With hardcopy vs. transparency or slide, the same colour may look different due to the difference between reflected and transmitted colour. With monitor vs. hardcopy or transparency, the same colour may look different because a monitor uses Red, Green, and Blue (RGB) additive primaries to mix colours, whereas printing uses Cyan, Magenta, Yellow, and Black (CMYK) subtractive primaries. Furthermore, with different technology from different vendors, even for devices in the same class the same colour may look different. Given such confusion, it should be no surprise that many vendors of software and hardware that use colour have begun to adopt standard ways and tools to specify and calibrate colours across all the facilities one might use, so that a colour will (should) look same wherever you display it. There is a vast difference in the way colour is portrayed in different media. On TV: In contrast with other media, TV commercials can seduce consumers through a careful mix of sound, image, colour and movement. In Billboards: Distinctive colours are usually used to make the communication attractive and stand out. In Magazines: Most magazines permit high quality colour reproduction. This is an important factor in ads for food, alcohol, clothing and accessories. In Dailies and Weeklies:

Modern equipment has vastly enhanced colour reproduction in newspapers. This has helped advertisers a great deal to print better quality ads. The meaning of Colours: Each colour has a range of emotional meaning. The proper understanding of these meanings and interpretations helps communicators to use the right colours in order to communicate the right message. Black: Black is the colour of authority and power. It is popular in fashion because it makes people appear thinner. It is also stylish and timeless. Black also implies submission. Some fashion experts say a woman wearing black implies submission to men. Black outfits can also be overpowering, or make the wearer seem aloof or evil. Villains, such as Dracula, often wear black. White Brides wear white to symbolize innocence and purity. White reflects light and is considered a summer colour. White is popular in decorating and in fashion because it is light, neutral, and goes with everything. However, white shows dirt and is therefore more difficult to keep clean than other colours. Doctors and nurses wear white to imply sterility. White is the ideal companion for all colours, as it makes them appear deeper and fuller. Red The most emotionally intense colour, red stimulates a faster heartbeat and breathing. It symbolises love, warmth, sensuality, and passion. In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention. The most romantic colour, pink, is more tranquilizing. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy. Blue The colour of the sky and the ocean, blue is one of the most popular colours. It causes the opposite reaction as red. Peaceful, tranquil blue causes the body to produce calming chemicals, so it is often used in bedrooms. Blue can also be cold and

depressing. Fashion consultants recommend wearing blue to job interviews because it symbolizes loyalty. People are more productive in blue rooms. Studies show weightlifters are able to handle heavier weights in blue gyms. It symbolises security and conservatism. It is also a colour of wealth, trust and security. Green Currently the most popular decorating colour, green symbolizes nature. It is the easiest colour on the eye and can improve vision. It is a calming, refreshing colour. People waiting to appear on TV sit in "green rooms" to relax. Hospitals often use green because it relaxes patients. Brides in the middle Ages wore green to symbolize fertility. Dark green is masculine, conservative, and implies wealth. People perceive food products that are packaged in green to be less fatty, to contain fewer calories, and to be rich in proteins. This colour is widely used for the packaging of frozen foods. Yellow Cheerful sunny yellow is an attention getter. In marketing, yellow stands for low priced. This colour is used by Subway and McDonalds. Yellow is also well suited to products associated with corn, lemon, and sun cream. While it is considered an optimistic colour, people lose their tempers more often in yellow rooms, and babies will cry more. It is the most difficult colour for the eye to take in, so it can be overpowering if overused. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism. Purple The colour of royalty, purple connotes luxury, wealth, and sophistication. It is also feminine and romantic. However, because it is rare in nature, purple can appear artificial. Purple is rarely used in advertising, except perhaps to give a product a sense of royalty. Brown Solid, reliable brown is the colour of earth and is abundant in nature. Light brown implies genuineness while dark brown is similar to wood or leather. Brown can also be sad and wistful. Men are more apt to say brown is one of their favourite colours and therefore it is used widely in men related product advertising.

According to various studies, use of effective colour in communication: Increases readership Increases reading speed & comprehension Speeds up learning Reduces errors Improves recognition Improves recall Prompts people to act

SOURCES: 1001 Advertising Tips by Luc DuPont http://www.colourcom.com/colour.html http://www.infoplease.com/spot/colours1.html

SESSION 9 PRINT PRODUCTION The objective of all printing methods is to transfer an image from one surface to another. Printed advertising materials are reproduced today by four major methods: Letter Press, Rotogravure, Offset Lithography and Screen Printing.

Letter Press For many years, letter press was a universal method of printing. Johannes Guttenberg and Ben Franklin both used forms of the letter press. It was used for newspapers and magazines that needed reasonable quality with sharp contrast. With Letter Press, printing is done from a metal or plastic plate on a large round drum or cylinder. The process is similar to a rubber stamp. Like a stamp, the image to be transferred is backward (wrong reading) on the plate. The ink is applied to a raised (relief) surface on the plate and then transferred to the paper. With the advent of newer, higher-quality methods, very little letterpress printing is done. Following are the conventionally used letter press techniques: Letter overprints background Reverse Knockout Proper Trap Improper trap Rotogravure Rotogravure is noted for good reproduction of colour on both newsprint and quality paper and for its ability to stand up to long press runs. The process used in rotogravure differs from letterpress in several ways. First, two separate films are made one for type and line illustrations and the other for halftones. The negatives are combined into a single film positive. In the gravure process, even type and line art are screened. The rotogravure process prints from depressed areas in the surface. Like letterpress, the image is backward (wrong reading). The design is etched or electromechanically engraved into a metal plate or cylinder, leaving microscopic depressions. Ink left in the tiny depressions transfers to the paper by pressure and suction. Preparing the print plates or cylinders is time-consuming and costly, so rotogravure is practical and economical only for long press runs. Sunday newspapers supplements, mail-order catalogues, some major magazines, packaging, and other materials requiring a great number of photographs work well with this method. Offset Lithography Today, offset lithography is the most popular printing process. The printing plates cost less, printing can be done on almost any quality paper, and preparation time is short. Because the process is photographic, it meshes well with the most popular

form of typesetting, photocomposition. Advertisers simply provide pasted-up art from the printers camera (camera-ready materials) or film for the platemaker. To the naked-eye, the image on a lithographic printing plate appears to be flat instead of raised, as in letterpress, or depressed, as in rotogravure. And the image is right reading. The underlying principle in lithography is that oil and water dont mix. To start, a photograph is made of the material to be printed. The negative is then laid on top of a zinc or aluminium printing plate and exposed to light. Chemicals are applied to the plate after exposure, and the image takes the form of a greasy coating. The plate is then attached to a cylinder on a rotary printing press, and water is applied with a roller. The greasy image repels the water; the blank portions of the plate retain it. As the plate is covered with an oily ink, the moist, blank portions of the plate repel the ink. The greasy-coated image retains the ink for transfer to an intermediate rubber surface called a blanket, which comes in contact with the paper and prints the image. Lithography is used extensively for inexpensive advertising materials prepared at instant printing shops. Most newspapers and magazines use this process on highspeed offset presses. They are called offset presses because the image is offset onto the blanket and then onto the paper; the paper and the plate never touch. Direct-mail materials and catalogues are printed by offset. And because its suitable for printing on metal, most packaging materials, including cans, are also printed by lithography. Screen Printing Signs and billboards are examples of screen printing. Billboards use sheets of paper too large for many printing presses. Also, the quantities needed, especially for local campaigns, are so small it is often uneconomical to use other printing processes. Screen printing, an old process based on stencil principle, requires no plates. A special screen is stretched tightly on a frame. The frame is placed on the surface the message or image is to print on. A stencil, either hand cut from film or photographically prepared, is used to block out areas that wont be printed. Ink is squeezed through the screen by a squeegee (rubber rollers) sliding across the surface, transferring the image onto the paper or other surface. For printing in colour, a separate stencil is made for each colour. Printing stencils used to be made from silk hence the old term silk screen. Now theyre made of nylon or stainless steel mesh. Today, automatic presses make silkscreening economical for even longer runs.

Printing in Colour An advertiser who wants to print an ad or a brochure in blue, green, and black needs three different plates (one for each colour), and the job is referred to as a threecolour job. Approved roughs usually indicate the number and nature of the colours. Four-colour process is the method for printing full-colour ads with tonal values, such as photographs and paintings. This process can simulate nearly all colours by combining process red (also called magenta), process blue (cyan), process yellow (yellow), and black (which provides greater detail and density as well as shades of gray). Designs that dont need four colours are printed in blended inks rather than process colours. For e.g. it would take 2 process colours (magenta and yellow) to make red or three process colours (magenta, yellow and cyan) to make burgundy. When printing a brochure in black and burgundy, its cheaper to use only two ink colours rather than black plus three process colours. So the printer would use black plus a burgundy coloured ink. A PANTONE colour, one of a spectrum of colours that makes up the Pantone Matching System (PMS), is a single ink premixed according to a formula and numbered. They are displayed in swatch books featuring over 100 colours in solid blocks, screened blocks and on a variety of materials. Each printing process can print colour, but a printing plate can print only one colour at a time. For a job printed in full colour, the printer must prepare four different printing plates one for each process colour plus black. Four separate halftone negatives are needed to make a set of four colour plates: one for yellow, magenta, cyan and black. Each of the resulting negatives appears in Black and White; the set is called the colour separation. Until recently, most colour separations were done using a photographic process. The original colour photograph was photographed through each of the four filters and a halftone screen. One filter let only magenta pass through, another only cyan and so on. The halftone screen was rotated to a different angle for each separation so the dots did not completely overlap, allowing all colours to show. If all the dots were super-imposed the image would appear as a dirty black (all the colours added together print as black). Today electronic scanners can perform four colour separations and screening in one process, along with enlargement or reduction. Scanners are complete computerised colour prepress systems capable of positioning illustrations and text as well as enabling electronic retouching. In a single operation, an operator can change the

density of highlights and shadows, modify contrast, change colour, or remove an area or a whole piece. All this can be accomplished in several minutes instead of the hours or days previously needed for camera work and etching. Regardless of the separation method used, when properly printed, tiny clusters of halftone dots in various colours, sizes, shapes give the eye the optical vision of seeing the colours of the original photograph or painting. In printing, the process colour inks are somewhat transparent, so two or three colours can overlap to create a new colour. For example, green is reproduced by overlapping yellow and cyan dots. Selecting Papers for Printing When preparing materials for printing, it is important to know the kind of paper the ad will print on. Some advertisers print their ads on higher quality paper than newspapers or magazines regularly use. Then they ship the printing material to the publication for insertion or binding. Advertisers use three categories of paper: writing, text and cover stock. Letters and other direct mail pieces commonly use writing paper. Bond writing paper is the most durable and most frequently used. There are many different types of text paper news stock, antique finish, machine finish, English finish and quoted range from less expensive, very porous, coarse papers used for newspapers to smooth, expensive, heavier papers used in magazines, industrial brochures, and fine quality annual reports. Because its thicker, tougher, and more durable, cover paper is useful for softcover book covers and some direct-mail pieces. It comes in many finishes and textures. Preparing materials for Print Media Most local newspapers and magazines help advertisers produce their ads frequently for free. The local business provides copy and illustrations, and the newspapers production department takes care of the rest. However, such ads, often done quickly by low-level artists, rarely create high-quality look and feel for the advertiser. Advertisers who want better quality and more control, hire agencies. Agencies know that one poorly made ad could hurt their reputation for creativity and quality so they prepare their own materials rather than relying on the relying on the media. To find out what material each publication needs, advertisers consult the Standard Rate & Data Service Print Media Production Data directory, which gives the printing specifications and mechanical measurements (dimensions of ad space) of every

major publication. For rotogravure printing, advertisers send colour separated film positives; for offset lithography, photographic copies of the mechanical and screened art. Such photographic copies may be photoprints (a screened print or a Velox) or colourseparated contact film negatives, depending on the publications requirements. Publications then make their own printing plates. The print production process is very complex and, with expanding technology, highly technical. But it offers many new and exciting opportunities for those interested in the printing side of the advertising business. SOURCES: Contemporary Advertising by Arens and Bovee

SESSION 10 TYPOGRAPHY Introduction to Typography: Typography can be defined as the art and techniques of type design, modifying type characters and arranging types. Today, digital type or fonts are the norm but other kinds of type include metal type used in early printing presses and wooden type, an American invention of the 19th century used for advertising of all sorts. Each letterform or punctuation mark is a single piece of type and type also refers to any

collection of pieces of type. Type can also be defined as a written symbol that is used to represent speech. Type characters are created and modified using a variety of illustration techniques. The arrangement of type is the selection of type faces, point size, line length, leading (line spacing) and letter spacing. The aim of typography is to make the message suitable for its target audience: to be functional, to communicate, and to transmit. Until the Digital Age, typography was a specialized occupation. Digitalization opened up typography to new generations of visual designers and lay users. Typography can effectively convey meaning, feeling, or mood for a design, can add individuality to a design and even make it memorable and resonate. Typography is slightly different from words as it uses a particular type face for a stronger impact. But their function is the same: To convey the message to the communicant. For any piece of information that has to be conveyed, typography plays a vital role. Whether it is road-ways, guidelines to a particular way on highways, instructions on how to use a product or the daily news in newspapers, one can't escape typography. Importance of Typography in Advertising: Typography has the potential to create personality for a message. It is a visual poetry to be seen, to be felt and to communicate. There is a new demand for highly personal, interpretive, design expression in today's advertising world. Words: Read & Interpreted. Type: Seen, Read & Interpreted.

Typography is used extensively all around. It is almost impossible to complete an ad in the absence of words. But the same words, when given an exciting treatment and used with a suitable type, can form the basis of the success of any ad. Typography is used extensively in Logos, Movie Posters, Brochures, Folders, press ads, hoardings & almost all Media of communication. In spite of television being an audio - visual media, in recent times typography plays an important role is TVC ads. The last clip of a TVC often shows the product with its headline in a suitable type to the product which also attracts attention and adds to the retention value of the product. In the field of publishing and education also typography is a very important factor.

Books could never be complete without typography. When a particular kind of understanding is expected from the consumer, typography is the best way to get definite results. The understanding in the form of typography is clear and there are less chances of misleading communication. When typography can express feelings beyond just mere words, it makes the ad aesthetically sound and becomes effective in terms of conveying the message correctly. Typography in various sectors: Typography based logos or logotype incorporate a company or brand name into a uniquely styled type font treatment. Typography based logos are the simplest in appearance of logos, but are the most difficult to design. A typography based logo has to be simple, memorable and convey a strong message to its intended audience. E.g. Airtel, Idea. Typography also plays as vital role in communicating complicated messages to other people. In all advertising Media, our perception & comprehension of the printed word influenced by how it is presented. Designers who know how to use type effectively use it is cleanse tent - to engaged an audience and create visual appeal while communicating the interested message is a clear and compelling manner. When using typography in different genes of advertising, it is very important to choose the correct typeface for the correct area and message. Typefaces that convey a mood or tone are move likely to be used for company or product names pr logotypes. Typefaces that project an attitude are also commonly used to headline magazine articles, for book and movie titles, product packaging, posters and other applications where communicating an immediate impression or electing an emotional response is important. It can be said that typefaces, like people, have character and personality. Some are playful, whereas others are serious. They can even be divided into gender classifications - Some display feminine characters and others are distinctly masculine Many typefaces have "voice" and can express a broad range of attitudes and cultural sensibilities of threes a mood or emotion one wants to project chances are good that three's a typeface that captures it. Conclusion: There is an ecstatic charisma, magic that an expressive type can create it is a little

difficult to express the magic in words but one can feel it when seeing good typographic designs. Choosing a font with an attitude that enhances the massage one is trying to convey is probably one of the most important components of effective typography. The role typography will play in a design involves determining hierarchy & using type so that it works synchronistical with imagery & other design elements. Type works effectively as an interesting visual element in a design composition by functioning as shape, line or texture. It can also serve as a unifying element in a composition as well as a means of adding theme & variation. Typography is a very interesting subject in the design arena & the digitalization has opened now avenues to the field of typography. There are innumerable numbers of types available today and therefore giving a huge scope for designers to be more creative & innovative. When typography acts as the visual element of a design, there doesn't arouse a need to add another visual. Typographic ads also complete the basic ingredients of a good design as compared to visual ads. They have a good visual appeal, attract attention, create an interest, convince the consumer & lead him to respond (action). When expressive typography appeals to the sense & sensitivity of the consumer, it goes a long way in being successful for advertising. Type alone can be arranged to create a sense of depth & movement in a dynamic composition.

SOURCES: The Elements of Design Advertising by Prof. Rege