Week 5 Creative Brief Part 1: Researching the Avozilla, WordPress 300 words post

Week 5 Creative Brief Part 1: Researching the Avozilla, WordPress 300 words post

This week’s challenge comes in 2 steps. Each activity is worth 1.25% of your overall results. Combined they make up 2.5% for the week if your work submitted meets the deadlines.

And always remember, your portfolio is the winner. Late submissions are always welcome (deductions apply).

  • First we work as a team/individually to research and create a written creative brief.
  • When we meet in the workshop…
  • We swap/exchange creative briefs with another team/individual to bring their written strategy to life through designing an A4-sized print poster.

>>> Please complete this task by the end of the lecture. If that is not possible, have this uploaded by Thursday 25/11/21 by 10am.

Let’s get familiar with the product

  • It’s time to get to know the avozilla.
  • Can we make use of our skills in brand communication to help Aussie farmers?
  • We’ll spend an hour writing up a creative brief after the lecture. This case study serves the purpose of preparing you for Assesssment #3: The Client Scenario Response due in Week 12.
  • In our workshop later this week, we will be swapping/exchanging our creative briefs with another individual, and then responding to their strategies with a poster design, i.e. you research, someone else designs!

Step 1 Research the client and product:

Read the following stories to find out more the media has been covering the ‘Avozilla’

1. Australia Broadcasting Corporation news story – Giant avocados five times the size of a standard variety set to smash the market’ ABC (July 2018)

2. Daily Mail UK headline – ‘I’ve got nine smashed avos out of half of one of these!’ Farmer reveals enormous 1.2kg ‘AVOZILLA’ that’s hit the shelves – and you won’t believe how cheap they are’ Daily Mail (July 2018)

3. Broadsheet Australia – ‘These Giant Avocados Weigh Over a Kilogram’ Broadsheet (June 2019)

Step 2 Consider the following:

> Head or heart focused messaging strategy (thinking or emotion messages)Head strategies refer to messages that seek to encourage the audience to think or feel in response to rational ideas ? to think things through logically. For example, an anti-smoking ad that highlights the financial cost of cigarettes would take this approach. Alternatively, heart messages are all about achieving an affective or emotional response, pulling at the heart-strings of the audience. Ultimately both approaches seek to drive the audience to take some form of action, to achieve a behavioural response.

> Hard sell v. soft sell strategies (information or feeling messages)

A hard sell strategy focuses on providing information and commonly seek to achieve rational audience response based on logic (like a ‘head’ message). This works best when you know the audience wants to know more about a product. For instance, the technical capacities of a new smartphone. A soft sell approach sets out to achieve an emotional response based on ?attitudes, moods, dreams and feelings? (Moriarty et al. p. 431). This strategy is often useful when a target audience needs to be coaxed into paying attention.

> Delivering a lecture or creating a drama strategy (information delivery or storytelling)

Messaging strategies can also involve thinking of the communication process as a lecture that persuades an audience through a ?talking head? or expert who delivers information about a product. Celebrities or experts are often the ones who deliver this style of messaging. A contrasting approach is a drama messaging strategy. This, according to Moriarty et al. (2013), involves brand stories that weave in a single-minded proposition.

While some of these messaging strategies approaches may sound ?drier? than others, all can potentially be communicated in novel or unexpected ways.

6x Ideal Audience Outcomes ** very important **

1. Perception ?e.g. creating attention or achieving recall

2. Persuasion ?e.g. changing attitude or building preference

3. Cognition ?e.g. informing or educating

4. Affection ?e.g. touching emotions, creating sensations

5. Association ?e.g. linking the brand with existing ideas

6. Behaviour ?e.g. trial, purchase, repurchase

Step 3: The basics behind the Creative Brief

  • What is a creative brief? It is an internal document that provides a framework/target for creativity. It guides the creative team through the client’s problem as well as the agency’s overall strategy to approach the problem. It is a distillation of the strategic planning process and is a succinct (often one page) document.
  • An ad can be different, novel, unexpected. It can be emotive, beautiful, powerful. But if it does not achieve its strategic imperatives ? if it doesn?t help fulfil the advertiser?s goals ? it is not an effective piece of communication. Advertising is often described as both an art and a science. Most practitioners are likely to agree. The ?big ideas? that art directors and copywriters seek to produce should always seek to deliver on both creativity (art) and strategic imperatives (science).
  • Over the last two weeks we?ve predominantly worked on our creative thinking abilities. This week we will return to strategy as a means of reinforcing the interconnectivity of art and science that characterises strong brand communication practice. To help you understanding this relationship, this week you’ll learn how to write a creative brief and start to consider the role of advertising objectives ? what an advertisement aims to achieve ? in the creative process. Please read – Burtenshaw, K, Mahon, N & Barfoot, C 2011, The Fundamentals of Creative Advertising, AVA Publishing, Lausanne, Switzerland, Chapter 2, pp.80?84.
  • Then fill in the gaps (italicised text) in the semi-completed creative brief below. (NB: the avozilla is currently only available at certain times of the year and at a limited number of grocers ? its harvest season is upon us.)

Step Four: Complete the Creative Brief below. Replace the words in italics with your own.

  • Background? (Brand identity, attributes, position, market conditions)

The avozilla is new to the fresh food product category and, aside from some news coverage, there is very little awareness. The product is in direct competition with regular avocado varieties, which have a lower price point. Potentially the concern may arise that a bigger avocado might not taste as good as well-known varieties. It should be noted that Australian consumers are often open to trying to products, i.e. they have a low risk avoidance (Hofstede Insights n.d.). Do some more research. What else can you find out about the client and the market conditions – for example the COVID-19 crisis has meant many people are homebound – how can we get the word out there in view of this? Additionally, the Avozilla is a new brand and as such an archetype has not been established. What do you suggest (click here for more on brand archetypes)? Identify an appropriate archetype and provide a brief justification for your choice to complete this background section.

  • Objectives (use 1 or more of the 6 ideal advertising outcomes, the short term and long term end call-to-action for your advertising message. Please provide a single sentence elaboration)

1. Perception ?e.g. creating attention or achieving recall

2. Persuasion ?e.g. changing attitude or building preference

3. Cognition ?e.g. informing or educating

4. Affection ?e.g. touching emotions, creating sensations

5. Association ?e.g. linking the brand with existing ideas

6. Behaviour ?e.g. trial, purchase, repurchase

  • Target audience

Who are we talking to? In 30 to 50 words describe the group of people who are most likely to demand the product and/or remain loyal. Identify this typical consumer based on age, income level, location, typical lifestyle, product related behaviours (uses), lifestyle characterises, what?s important (values) to them with regard to this product category (fresh food). You must cite research data, example – Australian Bureau of Statistics

  • Single Minded Proposition

What is the single most important feature or benefit to the target audience, the single minded proposition (SMP)? Write a one sentence SMP. It has to be memorable. Keep. It. Short. Write it as if you are writing a promise to someone you care for. Make it easy to react to. Use the brand messaging strategies above to help you guide your writing – drama/lecture, heart/head, soft/hard.

  • Substantiation

Why should the audience believe a particular claim (facts/figures that support the SMP)? Write at least three facts/evidence that support the SMP. Please provide references. Where do these facts and evidence come from?

  • Tone of voice

What should the mood of the advertisement be? Describe in one phrase or sentence. This should be related to the chosen archetype established in the background section.

  • Media requirements

A4-sized print poster

  • Mandatories

What necessary information must be included, e.g. logo, strapline, relevant contact points? ?Example – Logo, QR code, socials, availability, web address?

Step 5 to complete Part 1 this week: Upload your completed creative brief to your personal blog. It is crucial you complete this before the workshop later in the week.

Provide the weblink/URL of it here to complete.

//

Examples

Examples here from T3 2019

Example 1, example 2, example 3, example 4, example 5

Examples here from T1 2020

Example 1, example 2, example 3, example 4, example 5

Examples here from T2 2020

Example 1, example 2, example 3, example 4, example 5

Examples here from T3 2020

Example 1, example 2, example 3, example 4, example 5

Examples here from T1 2021

Example 1, example 2, example 3, example 4, example 5

Examples here from T2 2021

Example 1, example 2, example 3, example 4

Let me know when you are done so I can check your work!

References

Burtenshaw, Mahon, & Barfoot, 2011, The Fundamentals of Creative Advertising, AVA Publishing, Lausanne, Switzerland, Chapter 2, pp.80?84.

Moriarty, et al 2014, Advertising Principles and Practice, 3rd edition, Pearson, Melbourne, Chapter 13, pp.430?440.

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