CH 10

48. The _____ component of a message strategy includes budgets, scheduling limitations, and mandatories. a. Nonverbal b. Informational c. Verbal d. Technical e. Transformational

*d. Technical* The message strategy has 3 components: verbal, nonverbal, and technical. The technical element describes the preferred executive approach and mechanical outcome, including budget and scheduling limitations (often governed by the media involved).

14. The goal of brainstorming is to eliminate "wrong" ideas.

*False* A brainstorming session is often a source of sudden inspirations. To succeed, it must follow a couple of rules: all ideas are above criticism (no idea is "wrong"), and all ideas are written down for later review. The goal is to record any inspiration that comes to mind.

8. The color black is the coldest color with most appeal and is effective for selling frozen foods.

*False* According to Ad Lab 10-A, black conveys sophistication and high-end merchandise, and is used to stimulate purchase of expensive products. It is good as background and foil for other colors. Blue is the coldest color with most appeal; effective for frozen foods (ice impression); if used with a lighter tint it becomes "sweet" (Lowenbrau beer, Wondra flour).

16. Creative blocking may occur when people in the agency implement value-based thinking.

*False* Creative blocking may occur when people in the agency start "thinking like the client," especially if the client is a fact-based thinker.

18. Creative fatigue occurs when people in the agency start "thinking like the client," especially if the client is a fact-based thinker.

*False* Creative fatigue sometimes happens when an agency has served an account for a long time and all the fresh ideas have been worked and reworked. It can also happen when a client has rejected a series of concepts; the inspiration is lost and the creatives start trying to force ideas.

25. For clients, recognizing a big idea and evaluating it is easier than coming up with one.

*False* For clients, recognizing a big idea and evaluating it are almost as difficult as coming up with one. When the agency presents the concepts, the client is suddenly in the role of the Judge, without having gone through the other roles first.

2. The commonalities of great ads can be grouped into two dimensions: the ability to break through consumer perceptual barriers and the ability to create "top-of-mind" awareness.

*False* Great ads do have commonalities and we can group most of these dimensions into two dimensions: audience impact and strategic relevance.

9. People who think in a value-based manner tend to fragment concepts into components and to analyze situations to discover the one best solution.

*False* People who think in a fact-based manner tend to fragment concepts into components and to analyze situations to discover the one best solution.

5. According to the creative brief used by Leo Burnett, a support statement is a brief statement of either the advertising's tone or the long-term character of the brand.

*False* Proctor and Gamble and Leo Burnett use a simple creative brief with three parts: (1) an objective statement, (2) a support statement, and (3) a tone or brand character. A support statement is a brief description of the evidence that backs up the product promise.

6. According to the creative brief used by Leo Burnett, brand character statements are short- term emotional descriptions of the advertising strategy.

*False* Proctor and Gamble and Leo Burnett use a simple creative brief with three parts: (1) an objective statement, (2) a support statement, and (3) a tone or brand character. A tone or brand character statement is a brief statement of either the advertising's tone or the long-term character of the brand. *Brand character statement are long-term descriptions of the enduring values of the brand-things that give the product brand equity.* Tone statements are short-term emotional descriptions of the advertising strategy.

24. In the Warrior's role, creatives win territory for big new ideas in a world resistant to change and carry the concept into action.

*False* Roger von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter has to adopt at some point in the creative process. In the final step in the creative process, the Warrior wins territory for big new ideas in a world resistant to change. The Warrior carries the concept into action.

1. In a creative team, the art director develops the verbal message, the copy (words) spoken by the imaginary persona.

*False* The creative spark begins with a team made up of an art director and a copywriter. The copywriter develops the verbal message, the copy (words) spoken by the imaginary persona. The art director is responsible for the nonverbal aspect of the message, the design, which determines the visual look and intuitive feel.

15. The difference between a big idea and a strategy is that a big idea describes the direction the IMC message should take while a strategy gives it life.

*False* The difference between a strategy and a big idea is that a strategy describes the direction the message should take while a big idea gives it life.

3. Most ads succeed in creating an impact on the audience because they are either informational or transformational.

*False* Unfortunately, most ads, whether they're informational or transformational, have little impact. Because they lack a "big idea" or they fall down in the execution.

11. Value-based thinkers find it more difficult to embrace change, conflict, and paradox than fact-based thinkers.

*False* Value-based thinkers make decisions based on intuition, values, and ethical judgments. They are better able to embrace change, conflict, and paradox. Value-based thinkers attempt to integrate the divergent ideas of a group into an arrangement that lets everyone win. They are good at using their imagination to produce a flow of new ideas and synthesizing existing concepts to create something new.

13. The Warrior, an imaginary role adopted by creatives, evaluates the results of experimentation and decides which approach is most practical.

*False* Von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter has to adopt at some point in the creative process. The Artist's role is develop and implement the "big idea." The Artist changes patterns and experiments with various approaches, evaluates the results, decides which approach is most practical, and then implements the big idea. The Warrior overcomes excuses, idea killers, setbacks, and obstacles to bring a creative concept to realization.

12. The Explorer, an imaginary role adopted by creatives, experiments and plays with a variety of approaches, looking for an original idea.

*False* Von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter has to adopt at some point in the creative process. The Explorer's role is to find new information by adopting an "insight outlook," examining the information they have and seeking out new information or ideas, and paying attention to unusual patterns.

7. A common technique used by campaigns to inform a consumer is to use word plays and verbal or visual metaphors.

*True* A common technique used by campaigns to inform a consumer is to use word plays and verbal or visual metaphors, such as "Like a rock," "Fly the friendly skies," or "You're in good hands." The metaphor describes one concept in terms of another, more familiar one, helping the audience member learn about the product.

20. Attention is the first objective of any ad and the fundamental building block in the creative pyramid.

*True* A product message is a stimulus. It must break through consumers' physiological screens to create the kind of attention that leads to perception. Attention, therefore, is the first objective of any campaign and the fundamental building block in the creative pyramid.

10. Fact-based thinkers tend to be linear thinkers and prefer to have facts and figures—hard data—they can analyze and control.

*True* People who think in a fact-based manner tend to fragment concepts into components and to analyze situations to discover the one best solution. Fact-based thinkers tend to be linear thinkers and prefer to have facts and figures-hard data-they can analyze and control.

21. In print ads, the headline is often the strongest focal point conceptually as well as visually.

*True* Print ads often use the headline as the major attention-getting device. The copywriter's goal is to write a headline that expresses the big idea with verve. Usually designed to appear in the largest and boldest type in the ad, the headline is often the strongest focal point conceptually as well as visually.

23. In the Judge's role, creatives evaluate the value of the big ideas and decide whether to implement, modify, or discard them.

*True* Roger von Oech published a four-step creative model that many Fortune 100 companies use today. Von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter has to adopt at some point in the creative process. The creative in the role of the Judge evaluates the value of the big ideas and decides whether to implement, modify, or discard them.

4. The creative brief serves as the creative team's guide for writing and producing the campaign.

*True* The creative brief is the written statement that serves as a guide for writing and producing the ad/campaign. The creative brief describes the most important issues that you should consider when developing the ad (the who, why, what, where, and when), including: 1. a definition/ description of the target audience 2. the rational and emotional appeals to be used 3. the product features that will satisfy the customer's needs 4. the style, approach, or tone that will be used in the copy 5. what the copy will say

19. The creative pyramid is a model that can help creative teams convert the advertising strategy and the big idea into the actual physical ad or commercial.

*True* The creative pyramid is a model that can help the creative team convert the advertising strategy and the big idea into the actual physical ad or commercial. The 5 elements/steps are: attention, interest, credibility, desire, and action.

22. In radio, copywriters use sound effects or catchy dialogue.

*True* There are many effective ways to stimulate interest: a dramatic situation, a story, cartoons, charts. In radio, copywriters use sound effects or catchy dialogue.

17. One method to alleviate creative blocking is to allow the problem to incubate in the subconscious mind.

*True* When the brain is overloaded with information about a problem, creatives sometimes find it's best to just walk away from it for a while, do something else, and let the unconscious mind mull it over. This approach yields several benefits. First, it puts the problem back into perspective. It also rests the brain, lets the problem incubate in the subconscious, and enables better ideas to percolate to the top.

35. The _____ refers to the creative team's guide for writing and producing a campaign. a. Copy platform b. Storyboard c. Copy point d. Message plan e. Rationale

*a. Copy platform* A creative brief refers to the creative team's guide for writing and producing the campaign or ad. Creative briefs may also be referred to as a copy platform, a work plan, or a copy/creative strategy document.

40. Which of the following appeals will a marketer use to target a consumer's self-actualization needs? a. Efficiency in operation or use b. Dependability in quality c. Cleanliness d. Rest or sleep e. Economy in purchase

*a. Efficiency in operation or use* To target a consumer's self actualization needs, marketers may use IMC appeals such as opportunity for more leisure, efficiency in operation or use, ambition, avoidance of laborious tasks, curiosity, entertainment, pleasure of reaction, simplicity, sport, play, or physical activity. See Exhibit 10-1

64. _____ refers to recording any inspiration that comes to mind and is the goal of brainstorming. 19 a. Free association b. Speed thinking c. Mind mapping d. Lateral thinking e. Internal monologue

*a. Free association* A brainstorming session is often a source of sudden inspirations. To succeed, it must follow a couple of rules: all ideas are above criticism (no idea is "wrong"), and all ideas are written down for later review. The goal is to record any inspiration that comes to mind, a process that psychologists call free association, allowing each new idea an opportunity to stimulate another.

31. Ads based on negatively originated motives resonate with the audience by being highly _____. They offer relief from some problem. a. Informational b. Transactional c. Emotional d. Transformational e. Rational

*a. Informational* Negatively originated motives, such as problem avoidance or problem removal, provide the foundation for many great ads. These resonate by being highly informational, by offering relief from some problem.

In terms of the technical component of a message strategy, _____ refer(s) to specific requirements such as addresses, logos, and slogans. a. Mandatories b. Rationale c. Work plans d. Copy platforms e. Copy points

*a. Mandatories* The message strategy has 3 components: verbal, nonverbal, and technical. The technical element describes the preferred execution approach and mechanical outcome. This includes budget and scheduling limitations (often governed by the media involved) and any mandatories-specific requirements such as addresses, logos, and slogans.

42. In the creative brief used by Leo Burnett, a(n) _____ refers to a brief description of the evidence that backs up the product promise. a. Support statement b. Objective statement c. Tone statement d. Brand character statement e. Mission statement

*a. Supportive statement* Leo Burnett's creative brief has three parts: (1) an objective statement, (2) a supportive statement, and (3) a tone or brand character statement. A support statement briefly describes the evidence that supports the product promise.

76. Which of the following is a way in which copywriters credibly demonstrate that the sponsor understands the prospect? a. They use the word "you" frequently. b. They write a long ad copy. c. They use unusual layouts and vibrant colors. d. They write three-word headlines. e. They use independent test results to substantiate product claims.

*a. They use the word "you" frequently.* Research shows that people read what interests them and ignore what doesn't, so the writer must maintain prospects' interest at all times. One way to do so is to credibly demonstrate that the sponsor understands the prospect and knows about his or her problems, needs, and how the product or service will answer them. Copywriters use the word you a lot.

66. Creatives in the _____ must accomplish two major tasks: searching for the big idea and then implementing it. a. Judge's role b. Artist's role c. Creator's role d. Warrior's role e. Explorer's role

*b. Artist's role* Roger von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter adopts at some point in the creative process. The Artist's role is both the toughest and the longest. But it's also the most rewarding. The Artist must actually accomplish two major tasks: searching for the big idea and then implementing it.

68. _____ may occur when people in an agency start "thinking like the client," especially if the client is a fact-based thinker. a. Mind mapping b. Creative blocking c. Brainstorming d. Speed thinking e. Free association

*b. Creative blocking* Creative blocking may occur when people in the agency start "thinking like the client," especially if the client is a fact-based thinker. This can also be hazardous to the agency's creative reputation and is one reason agencies sometimes resign accounts over "creative differences."

69. _____ can occur when an agency has served an account for a long time and all the fresh ideas have been worked and reworked. a. Creative overload b. Creative fatigue c. Overextension d. Groupthink e. Perceptive interference

*b. Creative fatigue* Creative fatigue sometimes happens when an agency has served an account for a long time and all the fresh ideas have been worked and reworked.

47. Which of the following is true of the nonverbal component of a message strategy? a. It contains guidelines for what the messages should say. b. It describes the relationship of the graphics to the media in which the message will appear. c. It sets down the preferred execution approach and mechanical outcome. d. It mentions the considerations that affect the choice of words. e. It defines the relationship of the copy approach to the medium (or media) that will carry the message.

*b. It describes the relationship of the graphics to the media in which the message will appear.* The message strategy has 3 components: verbal, nonverbal, and technical. The nonverbal component describes the overall nature of a campaign's graphics and visuals, as well as the relationship of the graphics to the message's media vehicle.

34. In advertising, the _____ is determined by what a company wants to say and how it wants to say it. a. Product concept b. Message strategy c. Marketing mix d. Market segmentation e. Target audience

*b. Message strategy* In its simplest terms, message strategy is determined by what a company wants to say and how it wants to say it.

28. Who is ultimately responsible for the form the final advertising message takes? a. The art director b. The creative director c. The media planner d. The graphic engineer e. The copywriter

*b. The creative director* Together, the copywriter and the art director work under the supervision of a creative director (typically, a former copywriter or art director), who is ultimately responsible for the creative product—the form the final message takes.

43. In the creative brief used by Leo Burnett, _____ refer to short-term emotional descriptions of the advertising strategy. a. Mission statements b. Tone statements c. Objective statements d. Support statements e. Brand character statements

*b. Tone statements* Leo Burnett's creative brief has three parts: (1) an objective statement, (2) a supportive statement, and (3) a tone or brand character statement. Tone statements are short-term emotional descriptions of the advertising strategy.

71. The term _____ refers to the entire advertising presentation—visual, verbal, and aural. a. Creative brief b. Creativity c. Art d. Mandatories e. Copy

*c. Art* Art shapes the message into a complete communication that appeals to the senses as well as the mind. So while art direction refers to the act or process of managing the visual presentation of the message, the term art actually refers to the whole presentation—visual, verbal, and aural.

39. Which of the following appeals will a marketer use to target a consumer's safety needs? a. Economy in purchase b. Simplicity c. Durability d. Personal comfort e. Appetite

*c. Durability* To target a consumer's safety needs a marketer may use IMC appeals such as durability, protection of others, fear, health or security. See Exhibit 10-1

56. _____ thinkers tend to fragment concepts into components and to analyze situations to discover the one best solution. a. Convergent b. Divergent c. Fact-based d. Emotional e. Value-based

*c. Fact-based* People whose preferred style of thinking is fact-based tend to fragment concepts into components and to analyze situations to discover the one best solution.

75. The second step in the creative pyramid, _____, carries the prospective customer—now paying attention—to the heart of the message. a. Conviction b. Credibility c. Interest d. Action e. Desire

*c. Interest* The second step in the creative pyramid, interest, carries the prospective customer—now paying attention—to the heart of the message. The message must keep the prospect excited or involved as the information becomes more detailed.

78. In the _____ step of the creative pyramid, the copywriter encourages prospects to picture themselves enjoying the benefits of the product or service. a. Credibility b. Conviction c. Attention d. Desire e. Interest

*d. Desire* The final step up the creative pyramid is action. The purpose is to motivate people to do something—send in a coupon, visit a Website, visit the store—or at least to agree with the advertiser. This block of the pyramid reaches the smallest audience but those with the most to gain from the product's utility. So the last step is often the easiest.

74. Which of the following is true of attention, the first step of the creative pyramid? a. It involves carrying the prospective customer to the heart of the message. b. It involves establishing credibility for claims about the product or service. c. It involves encouraging prospects to picture themselves enjoying the benefits of the product or service. d. It involves breaking through consumers' physiological screens. e. It involves making it easy for people to act, sometimes through either a toll-free phone number or an attractive Website.

*d. It involves breaking through consumers' physiological screens.* A product message is a stimulus. It must break through consumers' physiological screens to create the kind of attention that leads to perception. Attention, therefore, is the first objective of any campaign and the fundamental building block in the creative pyramid.

70. Which of the following refers to art direction? a. It is the integration of the efforts of the copywriter and the artist. b. It involves execution of the step-by-step process outlined in the creative brief. c. It refers to an entire presentation, including verbal and aural elements. d. It is the process of managing the visual presentation of a message. e. It is a technique for transforming concepts into verbal and nonverbal ad components.

*d. It is the process of managing the visual presentation of a message.* Art shapes the message into a complete communication that appeals to the senses as well as the mind. So while art direction refers to the act or process of managing the visual presentation of the message, the term art actually refers to the whole presentation—visual, verbal, and aural.

44. According to the creative brief used by Leo Burnett, which of the following refers to a brand character statement? a. It refers to a specific, concise description of what the brand is supposed to accomplish. b. It refers to a brief description of the evidence that backs up the brand promise. c. It refers to short-term emotional descriptions of the brand's advertising strategy. d. It refers to a long-term description of the enduring values of a brand.

*d. It refers to a long-term description of the enduring values of a brand.* Leo Burnett's creative brief has three parts: (1) an objective statement, (2) a supportive statement, and (3) a tone or brand character statement. Brand character statements are long-term descriptions of the enduring values of the brand—things that give the product brand equity.

82. In the creative process, the _____ purpose is to produce good ideas, not to revel in criticism. a. Evaluator's b. Mediator's c. Explorer's d. Judge's e. Artist's

*d. Judge's* It's easier to be critical than to explore, conceptualize, or defend. But the Judge's purpose is to produce good ideas, not to revel in criticism. Von Oech suggests focusing first on the positive, interesting aspects of a new idea. The negatives will come soon enough.

41. In the creative brief used by Leo Burnett, a(n) _____ refers to a specific, concise description of what the campaign is supposed to accomplish or what problem it is supposed to solve. a. Support statement b. Tone statement c. Brand character statement d. Objective statement e. Mission statement

*d. Objective statement* Leo Burnett's creative brief has three parts: (1) an objective statement, (2) a supportive statement, and (3) a tone or brand character statement. An objective statement lays outs concise description of what the campaign is supposed to accomplish or what problem it is supposed to solve.

32. A(n) _____ ad uses positive reinforcement to offer a reward and targets consumers with positively originated motives. a. Transactional b. Manipulative c. Informational d. Transformational e. Functional

*d. Transformational* Some motives are positively originated as consumers seek sensory gratification, intellectual stimulation, or social approval. Here, ads achieve greatness by being transformational, using positive reinforcement to offer a reward.

59. According to Roger von Oech, the role of the _____ in the creative process involves experimenting and playing with a variety of approaches, looking for an original idea. 17 a. Originator b. Explorer c. Warrior d. Judge e. Artist

*e. Artist* Roger von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter has to adopt at some point in the creative process. The Artist experiments and plays with a variety of approaches, looking for an original idea.

72. The _____ is a model that can help convert the advertising strategy and the big idea into the actual physical ad or commercial. a. Creative brief b. Mixed-media approach c. Work plan d. Product concept e. Creative pyramid

*e. Creative pyramid* The creative pyramid is a model that can help the creative team convert the advertising strategy and the big idea into the actual physical ad or commercial. It uses a simple five-step structure (see Exhibit 10-2).

50. Which of the following helps the creative team sell a campaign concept to account managers and helps the managers explain and defend the creative work to the client? a. Action plan b. Copy point c. Work plan d. Copy platform e. Message strategy

*e. Message Strategy* The message strategy helps the creative team sell the campaign concept to the account managers and helps the managers explain and defend the creative work to the client. Of course, the message strategy must conform to the strategy outlined in the creative brief or it will probably be rejected.

45. A(n) _____ refers to a simple description and explanation of a campaign's overall creative approach—what the campaign says, how it says it, and why. a. Copy point b. Action plan c. Creative brief d. Mission statement e. Rationale

*e. Rationale* A message strategy/rationale is a simple description and explanation of the campaign's overall creative approach-what the campaign say, how it says it, and why.

54. Which of the following statements about the psychological impact of color is true? a. Black conveys sophistication. b. Yellow is considered to be the "most edible color." c. Deep violet is associated with energy and heat. d. Brown is considered a feminine color. e. Red is considered to be the hottest color with the highest "action quotient."

*e. Red is considered to be the hottest color with the highest "action quotient."* Artwork can also stimulate emotions. Color can often motivate consumers, depending on their cultural background and personal experiences. According to Ad Lab 10-A, red is the symbol of blood and fire. Second to blue as people's favorite color but more versatile, the hottest color with the highest "actin quotient." Appropriate for soups, frozen foods, and meats.

84. According to Bruce Bendinger's five key components to give a presentation maximum selling power, _____ involves making the presentation receiver-driven and meeting the client's needs. a. Polished presentation b. Strategic precision c. Solving the problem d. Structural persuasion e. Savvy psychology

*e. Savvy psychology* Bruce Bendinger says, "How well you sell ideas is as important as how good those ideas are." To give a presentation maximum selling power, he suggests five key components. According to the component of savvy technology, the presentation should be receiver-driven. This idea has to meet the client's needs.

62. Which of the following is true of creatives in the Explorer role? 18 a. They search for a key verbal or visual concept and implement it. b. They experiment and play with a variety of approaches, looking for an original idea. c. They evaluate the results of experimentation and decide which approach is most practical. d. They overcome excuses, idea killers, setbacks, and obstacles to bring a creative concept to realization. e. They review the creative brief and the marketing and advertising plan.

*e. They review the creative brief and the marketing and advertising plan.* Roger von Oech describes four distinct, imaginary roles (Explorer, Artist, Judge, and Warrior) that every art director and copywriter adopts at some point in the creative process. Taking on the role of the Explorer, the creatives examine the information they have. They review the creative brief and the marketing and advertising plan: they study the market, the product, and the competition.

55. _____ thinkers make decisions based on intuition and ethical judgments. They are better able to embrace change, conflict, and paradox. a. Conditioned b. Functional c. Fact-based d. Rational e. Value-based

*e. Value-based* In contrast, value-based thinkers make decisions based on intuition, values, and ethical judgments. They are better able to embrace change, conflict, and paradox. They are good at using their imagination to produce a flow of new ideas and synthesizing existing concepts to create something new.