ABOUT THE AD AGENCY PROJECT

1. ABOUT THE AD AGENCY • GOAL • The goal of your agency is to develop an ad campaign that will boost sales for your client. Each client has a specific target audience that must be identified and reached. In addition, it is your job to identify any new audiences for your client. Your client’s product will determine what types of advertisements are needed for their market. • Your ad agency will also have the opportunity to make and loose income. Your marketing department will be responsible for keeping track of these earnings and loses. • EARN MONEY • You earn money for each assignment that each member of your agency completes. While these payoffs range fro $100 to $2000, their total value could mean the difference between winning and not winning at the end of the simulation. • You can earn money from FATE CARDS, which will be drawn daily. • You earn money for each as campaign that you design and sell. A set price will be awarded to the agency for their campaign. Example: • Wriggly: the super bubble gum contract, $100,000. • Only the agency that prepared the best campaign presentation for their products will be awarded a renewed contract and earn extra money. All other agencies that prepared other campaigns will not have their contract renewed. • LOSE MONEY • If the wrong fate card is pulled, anywhere from a few hundred dollars to several thousand dollars can be lost. • Your agency can also lose money if Mrs. Potokar imposes fines for noise pollution, unethical practices or leaving your classroom are “a condemned waste area.” –a mess. These fines can range from $100 for the first major offense to several thousand dollars for a repeated major offense. ABOUT THE AD AGENCY PROJECT

2. THE RHETORICAL TRIANGLE ARGUMENT MODEL • MEDIA • The media – advertisements, and often TV shows and movies, are visual arguments. They attempt to persuade readers to buy a product/viewpoint using the same kinds of appeals authors use when constructing a written argument. So, when you analyze a piece of media, it is important to remember the rhetorical triangle. Ask yourself: Who is the author? How is the author trying to represent himself/herself? What is the message and how is that message coming across? Is the argument logical/emotional? Who are the intended receiversof the message? Is the argument having its desired effect on those receivers? THE ARGUMENT MESSAGE/LOGOS/RATIONAL MEDIA OR ARGUMENT AUTHOR/ETHOS/ETHICAL AUDIENCE/PATHOS/EMOTIONAL

3. THE RHETORICAL TRIANGLE ARGUMENT MODEL • LOGOS, PATHOS, ETHOS • Logos: Rational or Logical Appeals. Appeal to logical reasoning ability of the audience through use of facts, case studies, statistics, experiments, logical reasoning, analogies, anecdotes, authority voices, etc. Are writer’s claims reasonable? Is there sufficient evidence to support those claims? Does the speaker make logical conclusions? Does he/she talk about counter-arguments, other opinions or points of view? • Pathos: Emotional Appeals. Appeal to beliefs/feelings of the audience. An appeal of pathos can move an audience to anger or tears as a means of persuasion. May attempt to invoke particular emotions such as fear, envy, patriotism, lust, etc. Or, an appeal of pathos may stem from shared values between the author and the audience, or from an argument that caters to an audience’s beliefs. • Ethos: Ethical Appeals. Appeal based on the character, persona, and/or position of the speaker. This kind of appeals give the audience a sense of the author as competent/fair/an authority figure. Such an appeal may highlight the author’s trustworthiness, credibility, reliability, expert testimony, reliable sources, fairness, celebrity, etc. THE ARGUMENT MESSAGE/LOGOS/RATIONAL MEDIA OR ARGUMENT AUTHOR/ETHOS/ETHICAL AUDIENCE/PATHOS/EMOTIONAL

4. THE RHETORICAL TRIANGLE ARGUMENT MODEL • THE AUTHOR • Who is the author? Is it a business firm trying to sell you a product or a service, a public organization seeking to inform you about its policies, a politician trying to win your allegiance, an interest group or media member trying to change your opinion about an issue? Other? • What is the ethos (general credibility) of the author? • What is the ad trying to accomplish? In other words, what is the sender’s “problem?” There is often some kind of communication problem behind an ad or campaign. For example, the authors may seek more awareness on the part of the receiver, or more legitimacy for themselves. Are you aware of any problems the sender (company) may be having within that specific industry, market, or area of activity? QUESTIONS TO CONSIDER MESSAGE/LOGOS/RATIONAL MEDIA OR ARGUMENT AUTHOR/ETHOS/ETHICAL AUDIENCE/PATHOS/EMOTIONAL

5. THE RHETORICAL TRIANGLE ARGUMENT MODEL • THE MESSAGE • What is the simple message of the media? What product is the ad trying to sell? What is the subject of the movie/TV show? • What is the true message of the media? Are there any hidden meanings the receiver is intended to observe? Do any connotations come to mind when you view the media? • What ideologies or values does the piece of media invoke? In other words, what images, discourses, concepts, myths, etc. of the culture does the media use when making an appeal? • How is the message presented? In an advertisement, what is the layout? What images, text appear, etc.? If it is a TV Show or movie, who are the characters? What is the setting, etc? • How does the media connect concrete features with abstract values? In other words, how does the presentation of the message communicate deeper/abstract meanings (our values/norms) in addition to the simpler meaning (what is being sold)? QUESTIONS TO CONSIDER MESSAGE/LOGOS/RATIONAL MEDIA OR ARGUMENT AUTHOR/ETHOS/ETHICAL AUDIENCE/PATHOS/EMOTIONAL

6. THE RHETORICAL TRIANGLE ARGUMENT MODEL • THE RECEIVER • Who is the targeted audience? What individuals/group of individuals is/are intended to receive the message? • Is the media having the desired affect on the targeted audience? Are the logical/emotional/ethical appeals working? Is the audience being persuaded to buy what the media/advertisers are selling? If yes, why? If not, why not? • If the desired message comes across effectively, might there be any consequences for the receivers? For society as a whole? • In-Class Activity: • Break students into small groups of 3 or 4, and ask each group to elect a recorder and a presenter. • Teacher comes prepared with several ads from magazines, newspapers, etc. for students to analyze. • Hand out one advertisement to each group, and ask them to consider the questions above regarding the author, message, and receiver of their chosen ad. They should also consider what appeals the advertisers are using to sell their product. • The recorder should note down the most important points discussed by the group. • The presenter should present the group’s ideas to the class. QUESTIONS TO CONSIDER MESSAGE/LOGOS/RATIONAL MEDIA OR ARGUMENT AUTHOR/ETHOS/ETHICAL AUDIENCE/PATHOS/EMOTIONAL

7. THE ART OF PERSUATION Hinsdale Central High School

8. HOW TO CHANGE SOMEONE’S MIND TECHNIQUES This is the main 'how to' section. Below it, in the website, are generalized principles of changing minds and the psychological details of explanations and theories. In this section we cover specific techniques by which people change minds and otherwise persuade. * Assertiveness: Being neither passive nor aggressive. * Body language: A large part of communication is non-verbal. * Change techniques: Ways to make change happen. * Closing techniques: From the discipline of sales, a myriad of ways to gain closure. * Confidence tricks: Ways people get tricked out of their money. * Conversation: How to hold down a conversation with others. * Conversion: Converting and retaining people in different beliefs. * General persuasion techniques: Approaches and things that don't fit elsewhere. * Happiness: How to be happy. * Hypnotism: How people are hypnotized. * Interrogation: Getting answers to questions.

9. HOW TO CHANGE SOMEONE’S MIND TECHNIQUES CONT: * Negotiation tactics: Getting what you want. * Language: Much about subtle use of words. * Listening: Hear the person as well as what they say. * Objection-handling: Ways of handling objections to the sale. * Propaganda: covert persuasion of populations. * Public speaking: Presentation and speech-making. * Questioning: Using questions to get the results you want. * Resisting persuasion: A big list of ways to avoid being persuaded. * Self-development: Becoming who you want to be. * Stress Management: Keeping it down, building it up. * Tipping: How to get a bigger tip. * Using humor: Changing minds can be (and use) fun.

10. FATE CARDS • To add to adventure and to simulate some of the many things that can happen daily in an advertising agency, this simulation has fate cards. On the first day after the agencies are formed, each agency draws one fate card. Some fate cards help the agency; some do not. The fate cards give each agency opportunities to earn or to lose income. Fate may just make a slight difference between a highly successful and profitable agency and a agency that never quite makes a profit. • Unexpected New Income from an old account adds $1000 to your balance. • An error on last year’s income tax costs the agency $750 in back taxes. • Do some research before the fate card takes affect- You will earn a $900 bonus if by tomorrow, you provide Mrs. Potokar with two newspaper ads that use one of the advertising strategies to help sell a product. Using FATE CARDS

11. AD AGENCY ROLES AD AGENCY ROLES All students are assigned one major role in their team. In addition to the responsibility of your role, you will be graded on your individual designs that the team has decided upon for the presentation to the juried panel of experts. If you are absent during this mock ad agency, you are responsible to report to your Art Director to complete the work so your team does not fall behind. • Writer • Body Copy • Headline • Slogan • Editing • Psychologist • Company is shown in a Positive light • Double meaning • Color • Target Audience • Photographer • Video commercial • Bring together the Parts – whole presentation • Products for ads • Art Director • Practice Presentation • Vision and mission of team • Oversee presentation • DAILY TEAM CONTACT! • Marketing • Weekly financial excel report • Excel account maintained • Fate cards: pick and record • Identify target audience and ad types • Creative (Designer) • Presentation giveaway • Presentation look

12. COLOR PSYCHOLOGY & MARKETING COLOR PSYCHOLOGY & MARKETING

13. Market Share by Division • Organizational Structure • Business Process Model • Summary • Example: • This has been a pivotal year for the company in growth, but also in development of our infrastructure and business processes. We’ll continue to focus on our internal systems over the next year. • Specific growth areas include Electronics where (your Company Name) has seen a 6.7% increase in market share over the last three years. An area to monitor closely is the Services division, where market share has dropped slightly. EXAMPLE Business Summary

14. Fiscal Year 2010 Annual Report (Millions) • Market Risk • Fiscal Year 2010 EXAMPLE Annual Report

15. PROJECT GOALS • COMPANY PROFILE • Identify your primary audience and address new markets you want to reach. Be specific with any demographic figures about your audience that you have. These figures will be useful to the designer. Include age, gender, household income level, occupation, and geographic location. • Providing budget expectations will give the designer a good idea of the type of solution they will be able to provide. With holding this information for fear of being over charged is a common misconception about working with designers. Start with honesty up front and most likely you will receive good service in return. Let your designer know if there is a specific deadline, such as a holiday or special event, that has to be met. • TARGET AUDIENCE • Introduce your company with a short description of your organization. Tell your designer: • What product or service you provide. • A company mission statement or philosophy • Give a concise company history • Describe your company niche and industry sector • If your project will involve the approval of other people in the organization make sure they have helped you write the brief or thoroughly reviewed it. Resolve any differences now to ensure the brief is as effective as possible. Also explain the approval process. It is helpful to include an organizational diagram of how the team will work together. • Start a “swipe file” of any visuals you like as you prepare the brief. Design is a visual medium so a verbal description of “the cool web site with a taupe background” has little meaning. Include a few of these examples in the brief describing what you like about the colors, imagery and typography. Also attach samples of your company's current marketing materials for further reference. • Write with professional language but you can also include a voice that reflects the unique personality of your company. • Review and refine the brief before sending it out. This is the first step of the project and the attention spent now will guide its future success. • Define the project and desired outcomes. Good design can influence the success of a company but clear goals must be set. Sitting down to write the design brief will help you set those goals. For example, do you want to: • Design a direct mail piece to generate holiday sales? • Design a web site with online store to reach young athletes? • Rebrand to reflect the changes in your company? • Share how these goals will be measured if testing or evaluation of the project is planned. HOW TO SET UP A DESIGN BRIEF BUY IN DESIGN EXAMPLES BUDGET & SCHEDULE TIPS

16. THE CREATIVE ATTITUDE • CREATIVITY KEY CONCEPTS • creative abilities can be exercised and strengthened. • creativity is needed to be an accomplished problem solver. • creativity involves imagination • creativity and experience are complementary skills • creativity involves phases: Maslow sites inspiration, working out and development of the inspiration • Experience helps you learn new skills-skills in themselves are not the creative part • creative inquiry-ask questions-the goal of the art teacher is to guide the students into thinking deeply and originally so they make individual choices. • willingness to take risks • creativity blooms best in an environment of relaxed awareness • creativity requires a positive attitude • creativity is strengthened with motivation • understand what blocks your creativity; emotional, perceptual, cultural blocks • Begin by asserting the simple statement “I am creative” Affirm your own creative abilities will minimize debilitation self-doubts and create a positive mind set that ; is an essential aspect of the creative attitude. • Learn to relax. Being physically tense or mentally uptight is a crippling liability. Trying too hard to solve a problem sometimes moves you away form the answer. • Learn to suspend your judgment for awhile. Give your imagination the green light and don’t stop. • Open your awareness and perceptions. Question, search, break down the problem into manageable components. • Be receptive to your rhythms. Begin to trust your instincts and your hunches. Certain times of the day your minds are sharp and focused. Learn to take advantage of this ebb and flow to make the most of your creative energy. • Give yourself permission to be creative. Learning to relax is part of it. Give yourself permission to be silly. Learn to accept your own self-worth. No criticism, no comments, no second guessing. CREATIVITY IN THE DESIGN WORLD

17. CREATIVITY CONDITIONS CARETIVE CONDITIONS

18. C. Cultural Blocks are caused by attitudes in society and among our peers that inhibit creativity. They define what is right and wrong. • “Now, let’s be logical” linear thinking is top dog. Intuit thinking, feelings are underdogs in our society. • Role stereotyping. The assumption that gender determines our abilities is an example of a cultural block. • Playing is for kids. As adults, we are expected to grow up and not play. Being creative means being able to play, with ideas, materials and reality. • Fantasy and dreams are bad. Society teaches us that too many fantasies can be a symptom of maladjustment. Try to daydream. • Thou shalt try nothing new. Tradition, status quo are known, liked and comfortable. Change is unknown, disliked, and anxiety producing • You need a desire to flex your creativity • Dreams are imaginative pieces of pure fantasy, short stories, plot, rich symbolic references, visual imagery contribute to creativity. • Creativity can be stunted by blocks • A. Emotional Blocks • Fear • Need to conform • Frustration • Inappropriate motivation; boredom, not challenging, too much • A tendency to judge ideas. Creativity requires a positive outlook not a negative judgmental one • An intolerance for chaos may cause you to select a solution prematurely resulting in a wrong or incomplete solution. Defer closure, incubate, make better choices • Ego & self satisfaction-don’t commit to soon • B. Perceptual Blocks involve your perceptions of a problem as your mind goes about solving it. • Poor problem definition-Do you understand the problem • Using the wrong approach-use the right language • a drawing/diagram • a mathematical equation • words-written or spoken • sounds • emotion • time • physical change-movement • logic • intuition • using incorrect data • failure to use your senses-each sense is a type of language for creative problem solving • the inability to use all of your abilities-behavior repertoires vary in individuals. They are determined by our attitude towards ourselves. To be more creative, learn how to expand your repertoires and learn not to say “I Can’t” • HOW CREATIVITY WORKS HOW CREATIVITY WORKS

19. HOW TO CREATE IDEAS GENERATING CREATIVE IDEAS • Creativity is the ability to solve problems in imaginative ways. • There are five steps that will help the search for new ideas. • define the problem • assemble all the information • ideate (conceive or imagine) many solutions • incubate, rest, and relax • evaluate which idea is best. • Here are 12 strategies to ideate a solution. • Organize the problem by breaking it down into related sub-problems • Make a list. One idea naturally leads to another. You have a written record. • Free associate the subconscious mind often makes connections that the conscious mind is unable to perceive. • Use a checklist • Force connections • Brainstorm • Non-verbalize; visual, auditory, kinesthetic. • Sketch or doodle • Feel the solution: ask your self, What does it feel like? • Communicate with the subconscious-lie awake for a few moments as you transition from sleep to an awake state. • Play-relax some of the controls you live with all day. • Incubation may resolve itself to drop the problem . • Do nothing, go for a walk, go fishing. What you are doing is putting the subconscious mind to work on the solution. Recognize the power of incubation but inspiration favors the prepared mind. It is only the lazy thinker who sits and waits for the flash of genius that may never come. • How to be More Creative, David D. Edwards • Summary by Pat Potokar

20. Clients Semester 1 Hinsdale Central High School

21. Organizational Structure Campaigns

22. THE DESIGN BRIEF DESIGN BRIEF

23. THE DESIGN BRIEF DESIGN BRIEF

24. THE DESIGN BRIEF DESIGN BRIEF

25. THE DESIGN BRIEF DESIGN BRIEF

26. COLLABORATION COLLABORATION Collaboration Means… It Does Not Mean… • Students work together toward a common solution or product • All members share equal responsibility from start to finish • Each group member understands all aspects of the group’s work • Being responsible for your presence and share of the work • Divide up assignment into individual tasks for each group member • Copy group members’ work or give answers to people in your group • You can only explain your “section” • Expect your group members to do your share of the work When in doubt, ask yourself… Would your teacher approve of my “collaboration”?

27. ArtAssessment • The art of praise • The art of critique and the art of praise are entwined. • Be specific • Pick a significant part. Focus on the specifics saying what the person did well, what was done poorly and how it could be changed. • Offer a solution • Like all useful feedback, the critique should point the way to fix a problem if one exists. • Be Present • Critiques, like praise, are most effective face to face. Allow the person receiving it an opportunity to respond or clarify. • Be Sensitive • This is c a call for empathy. Be attuned to the impact of what you say and how you say it on the person at the receiving end of you criticism. • Receiving Advise • Advise to those on the receiving end of criticism include: • How to do it Better • See Criticism as valuable information about how to do better, not as a personal attack. • Take Responsibility • Watch out for the impulse to be defensive instead of taking responsibility. • Work Together • See it as an opportunity to work together with the critic to solve the problem. • Watching and Receiving • How can you assess the shadow “between idea and reality, between motion and the act?” (T.S. Elliot, The Hollow Men) • Judge’s Rubric • Ad Agency Rubric

28. Clients Semester 2 Hinsdale Central High School

29. Organizational Structure Campaigns