Creative Advertising IdeasImaginative advertising ideas
Advertising creativity: If it works and if it doesn't work
Are creative advertisements more efficient at empowering consumers to buy what they want than advertisements that just catalog features or advantages? Many lab tests have shown that creative messaging receives more exposure and leads to a better attitude towards the marketing of goods, but there is no clear indication of how these messaging affect buying behaviour.
Similarly, there is remarkable little research empirically linking creative messaging practices to real revenue. Lacking a systemic method for assessing the efficacy of their advertisements, creative advertising was an absolute must for commodity and brands executives - and the agency they turn to - to evaluate the efficacy of their advertisements. Based on communication psychological research, we have devised a five-dimensional methodology for the measurement of perception of creativity.
From January 2005 to October 2010, we implemented this strategy in a survey of 437 TV advertising campaign for 90 fast-moving German hypermarkets. By asking a board of educated consumers' judges to evaluate the creative nature of the advertisements, we looked at the relationship between their perception and the sale of the product.
Each of the category of products we examined - personal lotions, bubble gums, coffees, colas and lemonades, detergents, facials, shampoos, razors and yoghurts - is very competitively priced and invests strongly in advertising. The results of our work have confirmed the common belief that creativeness is important: Overall, more creative campaigning was more efficient - on a significant scale. Also, we have found that certain levels of creative power influence buying more effectively than others and that many businesses are focusing their campaign on the incorrect outcomes.
In addition, we believe that by adapting the collection paradigm to the culture tastes and drivers of consumer choice in different geographical marketplaces, businesses around the globe can greatly enhance their capacity to forecast the likely efficacy of their creative advertising and make more intelligent inroads. Imagine what it is to be creative. When developing dimensional measures of creativeness, we have relied on socio- and pedagogical psychological references that define creativeness as diverse thought - the capacity to find uncommon and non-obvious answers to a particular issue.
A pioneer in this genre was Ellis Paul Torrance, a US based shrink who created the Technology Transfer Transfer Transfer Transfer Transfer (TTCT), a series of tools designed to evaluate the ability of people to think divergently in businesses and learn. Thorrance received answers to test question in five dimensions: fluidity, authenticity and drafting (borrowed from the work of Joy Paul Guilford, another US psychologist) as well as abstraction and what he termed opposition to early completion.
Fluenz relates to the number of ideas that are suggested as an answer to a particular query (e.g. "list as many applications as possible for a paperclip") and the level of authenticity measuring how unusual or original the answers are. During the early 2000s, Torrance's advertising efforts were adjusted by communication scientist Robert Smith and his Indiana University comrades.
It adapted the concept of creative in order to relate to'the degree to which an advertisement contains trade mark or design features which are different, novel, uncommon, inventive, unique, one-of-a-kind, etc.'. "Your aim was to gauge your creative power against only the key advertising drivers. You have developed five creative advertising aspects that provide the foundation for our surveys.
Originality. A highly flexible display seamlessly connects the device to a variety of different applications or ideas. A lot of advertisements contain unanticipated detail or expand upon basic ideas, making them more complex and compound. The purpose of this creative aspect is to mix or combine normally unconnected items or ideas.
This spot mixes non-related items (rabbits and bubble gum) to form a diverging plot. It'?s value as an artist. Advertisements with a high degree of creative artistry contain aesthetic pleasing spoken, visible or acoustic expression. Consequently, advertisements are often seen by the consumer as almost a work of workmanship and not as a disguised selling trick.
An ad we looked at, one of the most artistically valuable, was an advertising animation for Danone's Yoghurt Fantasia, which was broadcast at the end of 2009. We found that there were significant differences in the overall creative values of each campaign. Total creative output averaged 2.98 points (again on a 1-7).
Of the 437 launches, only 11 obtained an overall rating of over 5 (five of which were Coke launches). On the other end of the scale, 10 promotions had a total of less than 1.5 points. Results were very important, we found. Investing a single EUR in a creative advertising ad gave on avarage almost twice the selling effect of spending a single EUR on a non-creative one.
At first, the effects of creative activity were relatively small, but usually increased with the launch of the campaig. Investing one EUR in a high creative advertising campaigns almost doubled the selling power of one EUR spending on a non-creative one. We' ve gained two interesting lessons about how creative driving increases sell.
Different factors have different effects on turnover. Businesses have much room for improvements in the creative process of advertising campaign. The forms of creative activity that are currently emphasised by advertising agents, for example, are often not the most efficient ways of increasing turnover. Our research has measured the effects of individual factors on revenue.
Though all had a beneficial effect, the paper was by far the strongest (1. 32 if referenced to the 1. 0 overall mean creativity), followed by art value (1.19). Lagging behind remained original (1. 06) and flexible (1. 03), during syntheses a removed fifth (0.45).
However, the survey shows that advertising agents use authenticity and art value more than work. Perhaps businesses think primarily of authenticity when trying to be creative. In addition, we considered at least two dimensional differences above the average and found that the differences in turnover between the different combination were even greater than the differences between the different dimensional differences.
On the other hand, the combined effect of design and authenticity (almost 10% of all identifiable combos) had almost twice the effect on turnover (1. 96), followed close by the combined effect of art and authenticity (1. 89, which accounts for almost 11% of all combos). It is interesting to note that the original is often part of the most efficient mix, indicating that this kind of creative work is important.
Essentially it is not enough to be inventive - the origin only increases the turnover with further creative aspects. In fact, the ability of authenticity to make it possible can be another factor in so many businesses using it in advertising campaigning, despite its average personal efficacy. The use of creative energy varies from group to group. There is a strong variation in creative grades between different types of products, with overall grades from 2.62 for products such as shampoos to 3.60 for colas.
Category such as Coke and Kaffee tends to be more creative for advertiser and customer, while category such as Face Cream, Personal Hygiene and Face Cream aim to demonstrate the real use of the products, albeit in an idealised world. A possible cause could be that in certain category it is still important to provide objective evidence for characteristics.
Conversely, if a product is easy to understand, similar and linked to one' s own preference (e.g. quench your thirst drinking sodium carbonate or enjoy a nice glass of coffee), an exceptional attempt can be more efficient in encouraging sale. It has also examined whether investments in extra creativeness pay off and found that they depend entirely on the group.
The Is More Creativity Better? exhibition shows that traditional low-creativity category addition of creative can help; according to our research, an improvement in creative values for our product range has increased selling power by 4%. Nevertheless, the category of personal lotions and facials, which also show a low level of creative power, were affected by extra creativity:
The effect on revenues decreased by almost 2%. There are differences between the different types with a high degree of sophistication. Investments in extra creativeness have an effect of almost 8% on razor and cup turnover, but increase the effect on coke and yogurt by less than 1%. So, make sure you fully appreciate your category's creative sensibility before you order this high-priced redefinition campaig.
This research has a great effect on advertising agents and the businesses that hire them. Advertisers can use techniques like ours to find out where they can best use their creative energy. Enterprises can use the model to assess the monetary impacts of their creative investment. Often enterprises will find in most cases that they are not investing in it.
Research clearly shows that our conservation approach leaves a lot of cash on the tables in many of our products. Creative advertising that is more efficient can significantly reduce other parts of the advertising spend. Quite a few products have a lot of different uses and the consumer approach leaves a lot of cash on the tables. Having fed the results and budgeting into a hierarchy based revenue responses scheme (for this example we used our survey data), the firm estimated that the revenue effect for B in the first broadcast will be 1.07% higher than that of A. In the following few week, the shortfall will increase to 1.93% (week 2), 2.63% (week 3) and 3.
This means that redirecting funds from the advertising budgets to the creative will in this case leads to more efficient advertising. It even shows that the business could reduce air time expenditure to 330,000 before the adverse effects of reducing air time outweigh the beneficial effect of being creative. Enterprises can also use a questionnaire based methodology to assess the effects of certain creative decisions.
Suppose your main item class is espresso, and you have to select between two creative pitch, each receiving 4.0 points, each with a ?400,000 advertising week each. C emphasises development and authenticity, and D emphasises value and artistry. The results suggest thatampagne C would be the better choice, since this mix of creative dimension has a beneficial effect on revenue that is almost three fold greater than that of the mix used inampagne D. It is not easy to develop your own creative potential and it is still largely impossible to measure it afterwards.
In addition, a focal group evaluation of the level of creative activity of an unbound marketing initiative may be inappropriate. However, organizations can use a paradigm like ours in conjunction with solid basic information to better understand the processes of generating advertising ideas and evaluating their value.