HEGARTY ON ADVERTISING. So how does one create that 'great idea' that turns the raw information into advertising that will engage and entertain. Hegarty on Advertising - John Hegarty - Ebook download as PDF File .pdf), Text File .txt) or read book online. Book Reviews. Edited by Stephanie O'Donohoe. The University of Edinburgh. Hegarty on Advertising: Turning. Intelligence into Magic. John Hegarty ().
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PDF - Hegarty On Criativity. Creativity isnt an occupation, its a preoccupation. It is at the very core of what makes us human. Its also a fundamental challenge that. We're all creative, but only some of us will be lucky enough to earn our living by it. Creativity isn't an occupation. It's a preoccupation. It invents, perfects and. Request PDF on ResearchGate | On Jan 1, , Charlotte Gilmore and others published John Hegarty -- Hegarty on Advertising: Turning Intelligence into Magic.
It's an industry made of entrepreneurs. It's also an industry that will prepare you for almost any other business: it's fast moving, challenging, smart and inquisitive, built on the need for competitive advantage. John Hegarty, one of the three founders of BBH, describes his view on the advertising industry and tells his pers 'You'll find exciting, funny, knowledgeable and stimulating people.
John Hegarty, one of the three founders of BBH, describes his view on the advertising industry and tells his personal story of how he arrived at where he and his agency are today. I highly recommend this book, not only to those who work in advertising, but also to anyone who wants to get an understanding of this industry and it's challenges.
There are basically two parts in this book. Part one is about Hegarty's believes and opinions on how advertising should work, how it changed over the last years, and how it needs to evolve as a discipline.
The chapters are on general topics like ideas, brands and audiences, agencies, the creative director, clients, briefs, pitches, on storytelling and Hegarty's view on the role of technology. For anyone working in this industry, there shouldn't be too many surprises there, nothing unheard of. There are even some very universal phrases that might be new to someone from outside the industry but seem redundant to people working in advertising today.
Still, some definitions and statements are fun to read and always have this kind of 'Absolutely! Sentences like 'Creativity isn't an occupation, it's a pre-occupation' or 'Do interesting things and interesting things will happen to you' or this famous Bernbach quote: 'a principle isn't a principle until it cost you money. There are also some nice definitions to use for your next presentation.
For example: 'The best definition of a brand I ever heard is this. A brand is the most valuable piece of real estate in the world: a corner of someone's mind. I am sure, this is an insightful read for everyone working in the advertising industry.
Now working fulltime in advertising, Hopkins devoted himself to finding advertising techniques that worked no matter what product, service or brand he was promoting. He believed, implicitly, that there were fundamental laws of advertising just waiting to be uncovered. A unique style takes attention from the subject.
Any apparent effort to sell creates corresponding resistance. Never try to show off Hopkins did not approve of adverts that bore the stamp of a particular advertiser.
He did not believe that an advertising agent should work to create their own style of advertising. Adverts should promote products not advertising agents.
All an advertising agent should do is apply the fundamental laws of advertising. This might be information that can inform their decision or reduces the risk of trailing a product such as a free sample or discount coupon. Aim to get action Hopkins saw advertising as a form of sales which did not try to explicitly sell. It persuaded by providing a service. He felt that new customers needed to know why they should download a new product and also be given an incentive that would reduce the risk of downloading something new.
Consequently, he favored the use of samples and discounts for new customers. In order to redeem these incentives, Hopkins demanded that consumers do something more than download the product. They needed to be convinced to take action immediately after seeing the advert — such as cutting out a coupon which would entitle them to their discount of free sample. This investment of effort on the part of the consumer, no matter how small, is essential. Give actual figures and state definite facts Hopkins believed that adverts should be specific.
General superlatives, he said, are a waste of time. Tell the full story 4 Hopkins did not approve of advertising campaigns that provided information to consumers on a piecemeal basis.
If something is important enough to motivate consumers it should be included on every advert. It was, he argued, no service to consumers to tell them that their favorite product was flawed.
It is only useful to them to explain why your product is better. Scientific advertising in action Put simply, Hopkins believed that advertising should be truthful, exact and offer a service for the consumer. It should help them to spend their money more wisely by providing them information, a reason to download or reducing the risk of trialing a product through a sample or discount.
But this did not mean that Hopkins did not go in for some good old-fashioned salesmanship. Quite the opposite, he was a big believer in the idea of advertising as salesmanship in print.
This is especially clear when we look at some of his most famous campaigns such as his work for Schlitz beer. That is to say, they were all making the same claim for their products. Hopkins wanted to be able to tell consumers why Schlitz beer was pure — he thought this would make it seem purer than the competition. He asked the manufacturer to explain how they made beer.
They described the purity of the water, their intense cleaning schedule in their factory, the provenance of the hops and the integrity of the filtering systems. Hopkins had never heard of these and he felt that consumers would be interested in them.
For Hopkins this was irrelevant. The point, he argued, is not to be unique but to be perceived as being unique. We must discover it. We must have a seeming advantage. The value of a good advertising agent is based their ability to spot these simple facts and make them to focus of the advert. Hopkins advised: 5 Tell factors and features which others deem too commonplace to claim.
Your product will come to typify those excellencies. If others claim them afterward, it will only serve to advertise you. There are few advertised products which cannot be imitated. Few who dominate a field have any exclusive advantage. So, Hopkins placed a picture of the plate- glass rooms in his adverts for Schiltz beer.
No one had ever seen this before. It did not matter that similar rooms could be found in every brewery. What mattered was that consumers could now picture how pure Schiiltz beer was.
This, Hopkins argued, gave purity a meaning. It was no longer an empty word everyone used. The result was that Schlitz jumped from fifth place in the beer market to first place within a few months. The idea that advertisers should claim some feature of the product as being unique to them was taken to its limit by Rosser Reeves — a mad man who rose to prominence in the advertising industry after Hopkins and worked at the Ted Bates agency now Bates CHI and Partners.
While Hopkins made his name using print media such as newspapers and direct mail, Reeves worked with a new medium: television. Unlike print media, television adverts were much richer.
Reeves believed that a television advert must not fall victim to this opportunity. Good adverts, he believed, must communicate a single benefit to the consumer that distinguishes the product from all its competitors. Reeves insisted that USP should be the central focus of all adverts for a product. Every advert should demonstrate the USP in action and, if possible, every advert should repeat a slogan or tagline which 6 explains the USP. These slogans should, ideally, be repeated until they enter popular consciousness — making the USP synonymous with the product or brand.
It reduced uncertainties, ambiguities and informational demands on the viewer. In summary, then, many successful advertising agents have promoted the idea that advertising is a science.
Although this does not mean that advertising is necessarily based on scientific knowledge.
Just as some academics belittle the folk knowledge of practitioners Tybout and Calder, , he belittled what he thought were the abstract and irrelevant constructions dreamed up in the ivory towers of the Ivy League. Rather, the scientific approach to advertising is based on the belief that there are fundamental laws of the market that can be uncovered through experimentation.
However, the notable mad men who approached advertising as a science tended to focus on quantifiable results such as sales.
They had little time for brand building and did not believe that advertisers should have a style that intruded on the most effective selling message — in the process, though, somewhat ironically, they produced their own distinctive styles of advertising. Whether they look for clues from behavioral science, neurological mapping of brain processes or advanced econometric statistical modeling, no science has yet to deliver foolproof results.
Advertising as an art: Bill Bernbach and Mary Wells Green By the s, a new generation of advertisers began to question the received wisdom of scientific advertising. They felt that the rules developed by Hopkins and Reeves made advertising formulaic and repetitive. A side-effect of this, they argued, was that consumers had grown both bored of advertising and developed defense mechanisms to filter out adverts.
Rather than interrupt and annoy consumers, this advertising would entertain and engage them. This revolution saw many of the fundamental laws established by the older generation of mad men pushed to the side as 7 advertisers sought to develop their own unique styles, using humor and drama and engaging with culture and art in an effort to build brands rather than increase sales.
A forerunner of this approach the work of Thomas Barrett — a marketer for the British soap company Pears during the late 19th century. As an industrial mass-produced item, Pears needed to sell their soap in large volume to generate a profit. Based on the notion of English colonialism, they had built a reputation as a producer of soap for the upper classes. But this market was small and offered few opportunities to grow.
So Barrett tried to reposition Pears as the soap of the people. First, he first tried to build their market by distributing samples.
Pears sent out free trails to parents of newborn babies. They also cajoled doctors, actresses and professors to endorse the product. These appeals had limited success.
At the time, British newspapers and magazines would build their circulation by including images and art that readers could pull out and display in their homes. Barrett encouraged Pears to adopt the same approach. Millais had sold this painting to the Illustrated London News, who printed it as a full-page illustration in their Christmas issue. Thinking that they had extracted as much value from the painting as possible, the Illustrated London News sold it to Barrett.
Barrett had the idea to add a cake of Pears soap to the painting and continue to give away free copies. He convinced Millais to edit the picture with a bar of Pears branded soap on the understanding that in so doing he would help his art reach an entire new audience.
And, more importantly, they would be welcoming the brand into their homes. No longer would it be the soap of the few, now it would be the brand of the many. Pears would cease to be a product for the upper classes and become a product for everyone.
Advertising, Barrett believed, could show its message it did not always have to say it explicitly in a repeated USP. It worked for Pears see Twitchell, This approach to advertising gradually fell out of favor as mad men like Hopkins rose to prominence in the industry. It was not until the s and s that it would return. A leading light in this change was Bill Bernbach.
Bernbach was hostile to the notion that advertising could be reduced to fundamental laws.
So, while Hopkins and Reeves argued that good advertising should be free from the personal style of the advertiser, Bernbach developed a style of advertising all of his own. His style was hip, artistic and knowing. It treated the audience with respect. Bernbach name still lives on in the history of advertising as the reason why many advertisers entered the business. It presented the Beetle as a product with a personality created through the advertising.
We have to work to see it … Unlike other ads of the time, they were not billboards passing at warp speed. At the time of this advert, car adverts were notable for three characteristics: the cars were big, the adverts included men driving fast and they included attractive women. Like Bernbach, 9 Wells Lawrence thought that advertising could be a cutting-edge commercial art form. Unlike Bernbach, she took this approach to the advertising agent as well.
While Bernbach was an unimpressive figure, Wells Lawrence was glamourous. Moreover, she saw this as part of her training. She thought that advertising should be a theatrical performance. A good advert, for Mary Wells Lawrence, dramatized a product and romanticized a brand. Wells Lawrence went as far as convincing advertisers to rethink their entire brand strategy to fit with her advertising ideas.
Her work for Alka Seltzer illustrates this well. Alka Seltzer was an indigestion relief tablet — it was largely considered a medicine.