DArcy, Masius Benton & Bowless

universal advertising standards

1. Does this advertising position the
product
simply
and
with
unmistakable clarity?
The target audience for the advertised
product or service must be able to see
and sense in a flash what the product is
for, whom it is for, and why they should
be interested in it. Creating this clear
vision of how the product or service fits
into their lives is the first job of
advertising. Without a simple, clear,
focused positioning, no creative work can
begin.
2. Does this advertising bolt the
brand to a clinching benefit?
Our advertising should be built on the
most
compelling
and
persuasive
consumer benefitnot some unique-but
insignificant peripheral feature. Before
you worry about how to say it, you must
be sure you are saying the right thing. If
you dont know what the most
compelling benefit is, youve got to find
out before you do anything else.
3. Does this advertising contain a
Power Idea?
The Power Idea is the vehicle that
transforms the strategy into a dynamic,
creative communications concept. It is
the core creative idea that sets the stage
for brilliant executions to come. The ideal
Power Idea should:
Be describable in a simple word,
phrase, or sentence without reference to
any final execution.
Be likely to attract the prospects
attention.
Revolve around the clinching benefit.
Allow you to brand the advertising.
Make it easy for the prospect to vividly
experience our clients product or
service.
4. Does this advertising design in
Brand Personality?
The great brands tend to have something
in common: the extra edge of having a
Brand Personality. This is something
beyond merely identifying what the
brand does for the consumer; all brands
do something, but the great brands also
are something. A brand can be whatever
its designers want it to beand it can be
so from day one.
5. Is this advertising unexpected?

Why should our clients pay good money

to wind up with advertising that looks
and sounds like everybody elses in the
category? They shouldnt. We must dare
to be different, because sameness is
suicide. We cant be outstanding unless
we first stand out. The thing is not to
emulate
the
competition
but
to
annihilate them.
6. Is this advertising single-minded?
If you have determined the right thing to
say and have created a way to say it
uncommonly well, why waste time saying
anything else? If we want people to
remember one big thing from a given
piece of advertising, lets not make it
more difficult than it already is in an
over-communicated
world.
The
advertising should be all about that one
big thing.
7. Does this advertising reward the
prospect?
Lets give our audience something that
makes it easyeven pleasurablefor our
message to penetrate: a tear, a smile, a
laugh. An emotional stimulus is that
special something that makes them want
to see the advertising again and again.
8.
Is
this
advertising
visually
arresting?
Great advertising you rememberand
can play back in your mindis unusual to
look at: compelling, riveting, a nourishing
feast for the eyes. If you need a reason to
strive for arresting work, go no further
than Webster: Catching or holding the
attention, thought, or feelings. Gripping.
Striking. Interesting.
9. Does this advertising exhibit
painstaking craftsmanship?
You want writing that is really written.
Visuals that are designed. Music that is
composed.
Lighting, casting, wardrobe, directionall
the components of the art of advertising
are every bit as important as the science
of it. It is a sin to nickel-and-dime a great
advertising idea to death. Why settle for
good, when theres great? We should go
for the absolute best in concept, design,
and execution. This is our craftthe work
should sparkle. Our creative standards
are not a gimmick, Steve emphasizes.
Theyre not even revolutionary. Instead,
they are an explicit articulation of a
fundamental
refocusing
on
our
companys only reason for being.

DArcys
universal
advertising
standards are the operating link
between our vision todayand its
coming reality.
Planning Creative Strategy

The Creative Challenge

Taking Creative Risk
Creative Personnel

Creative Process
Youngs Model of Creative Process
1. Immersion. Gathering raw material
and information through background
research
and immersing yourself in the problem.
2. Digestion. Taking the information,
working it over, and wrestling with it in
the mind.
3. Incubation. Putting the problems out
of your conscious mind and turning the
information
over to the subconscious to do the work.
4. Illumination. The birth of an idea
the Eureka! I have it! phenomenon.
5. Reality or verification. Studying the
idea to see if it still looks good or solves
the
problem; then shaping the idea to
practical usefulness.
Graham Wallas Model of Creative
Process
1. Preparation. Gathering background
information needed to solve the problem
through research and study.

2. Incubation. Getting away and letting

ideas develop.
3. Illumination. Seeing the light or
solution.
4. Verification. Refining and polishing
the idea and seeing if it is an appropriate
solution.
Account Planning
The process that involves conducting
research and gathering all relevant
information about a clients product or
service or brand or customers in the
target audience.
Background Research
Product/Service-specific Research
Qualitative Research Input
Creative Strategy Development
Advertising Campaign
Copy Platform
o Basic problem or issue the
advertising must address.
o Advertising and communications
objectives.
o Target audience.
o Major selling idea or key
benefits to communicate.
o Creative
strategy
statement
(campaign theme, appeal, and
execution technique to be used).
o Supporting
information
and
requirements.