Tips on creative campaign ideas

No two minds are alike. Two people, with the same creative acronym, will create very different campaigns. This is because ideas do not come from thin air. They come from what is read, experienced and observed daily.

Also, some people are more creative than others, because they use creative thinking more often. The creative power of the brain is like a muscle – the more flexible it is, the stronger it is and the faster ideas come.

Many of the techniques that art directors and copywriters use to create advertisements are borrowed from fiction writing, film and theater. Books on these topics make good background readings.

There must be a healthy selection of art and industry advertising books in the office. Get some D&A copies and specialty reds like Alastair Crompton Copyright skills.

Here are some techniques you can use to strengthen your campaign creatively, improve brand awareness and campaign response rate.

Keep it simple, crazy

KISS Keep it simple. Express an idea in a small space. On the next note, on a handkerchief. If you can’t express yourself in a solid outline or sentence, you probably have no idea. At most, you can have many irrelevant parts.

Many marketers find it difficult to figure out what their childhood ideas are. Without the idea presented with the prepared images, they can’t imagine how far the idea can go, or how far the idea is worth campaigning. However, evaluating ideas without too much polish is beneficial.

It lets ideas come to the surface and good ideas shine.

Areas covered – your locations.

The more ideas you can come up with, the more areas or areas you can cover. It is not enough to come up with some different ideas. Creations instead map ideas into spaces or areas. They identify these areas with customer insights, research and simple insights.

An idea may be good, but is it strategically placed in the right area? Choosing the right campaign in the most fertile area can be a matter of finding the right idea.

Creators are looking for new ways to view new areas or existing areas. Otherwise their ideas are unrealistic and have no effect.

Campaign your idea

Creators and clients hate campaign ideas that can’t be spread across different media. It requires a lot of exposure, and often only work in television.

Marketers should go for campaign ideas that can work not only in the abundance of television but also in small banner advertisements. Otherwise, they miss out on important touch points.

Turn it on its head

During mindfulness sessions, clients and agencies often complain that they ‘get the same ideas’. This could be because the group is afraid to challenge thinking, or because the group is suppressing ideas that seem ridiculous in terms of value.

Unless the group is ready to take the ‘unshakable’ path, brainstorming sessions will yield the same results each time. Participants need to let go of their fears and criticisms and turn their thinking around.

If car manufacturers always advertise their cars with four wheels, then try an idea in which the car is without wheels. These are ideas that challenge consumers and lead to free press coverage.

The inclusion of ‘what if’ exercise during a brainstorming session can increase the volume and effectiveness of the group. The sum of the parts contributed by the group is greater than any collaboration of one mind.

Straight headline, unique visual

The main components of a print campaign are a headline and a visual. Creating an ad that shows a weird visual, and a weird headline, is usually an ad whose interpretation is very strange to the audience. Similarly, if both the headline and the visual are straight, the addition feels literal and does not ‘sigh’.

In order to get the right balance, it seems that you need literal and weird parts in the ad. It is important to note that not every ad contains headlines or visuals. Some are just a visual, and some are just a headline.

Is the headline visual?

Junior creators often make the mistake of creating ads with headlines and visuals that say the same thing. There is another example. This creative work is not working hard. Headlines and visuals say the same thing.

Instead, try to combine an irrelevant title and a visual on the page. Separately they don’t mean much, but when put together they become a puzzle for the audience to solve.

Be careful. Or too smart?

The debate over ‘smart’ advertising never ends. Smart ads completely lose the risk of their audience. In contrast, lame advertisements go unnoticed.

Both statements are correct. Lame advertising has no effect. And because of the cleverness of the awards, everyone except the judging panel is excluded. Medium, brand and creative, all have to be weighed to create the desired effect.

For example, a piece for EPURON, which is designed for viral video, can be considered very smart. The idea works on many levels, showing the wind and the audience needs to see it twice. You have to look at it to get it.

If it were a TVC, it would be impossible to ask the audience to watch it twice. However, given the fact that the creation was destined to become a viral YouTube video (so it can be played more than once), the interesting element works in its favor to make it even more viral.

Cite related issues.

Advertising can take advantage of the context that exists in the public domain. Sports, religion, politics, sex – these are all fertile places to take advantage of. Making an idea around a thematic issue can be very powerful, and often leads to controversy.

Humor, Giggs, Punch Lines, Pay Off

Humorous gigs, punch lines, payoffs – these are good techniques for reading to the audience. Understand that most ads are interrupted. There is little that we can do to compensate consumers for their smiles.

Ideas that feature gigs that are really funny can get a lot of love and mileage. In fact, ridiculous people often annoy certain sections of society.

When using humor, make sure it is funny and connected to the brand. Otherwise, Gage will be missed, but the brand quickly forgot.

The value of shock

For some industries, showing real people dying from smoking-related cancer is more statistically effective than other techniques. The problem with the shock campaign is that they get tired quickly. They lose the value of trauma. What was shocking today is worldly tomorrow.

This forces advertisers to pursue the next shocking visual or statistic. It is not easy to sustain these campaigns in the long run.

puns and visual puns

These were once very popular techniques. There was a time when you could look through a magazine, and there was a sentence on almost every page.

Alerts are not made as a headline, but visually. These are called visual puns. Most creative people agree that the use of puns should be avoided.

Pens are dangerous. They often have no basic idea in their heart, and so they are a threat to the campaign.

Pin is really a last resort.

Joint position

Juxtaposition is obtained when bipolar visuals are placed side by side. Take, for example, the faces of two opposing coaches on a football team. Or a cheap car and a luxury car. These are two extremes that have one thing in common, but very different. Together they create an amazing visual. Their extreme differences, when put together, give rise to a new meaning.

Juxtaposition can be useful for challenging stereotypes and changing opinions.

Metaphors and hyperbol

Metaphors are one of the most common storytelling techniques. It is not surprising that advertisers use them so often. The metaphors borrow from the construction that the audience understands, to explain another construction of which they have little knowledge.

For example, a power plug can be a metaphor for sexuality.

Metaphors can also be a hyperbol. Deliberately exaggerating for a hyperbol emotional effect. The effect is deliberate, and the audience is not expected to interpret the hyperbull verbatim.

Ironically

Persecution is a form of humorous expression that draws attention to the differences between the two levels of knowledge. The definition of irony, in its simplest form, is the difference between what one would reasonably expect to happen and what actually happens. This means that something that you don’t even expect to happen is considered ironic.

Anarchy

Elevation is a series of repetitive consonant sounds, occurring at the beginning of words or within words. Illumination is used to create melodies, to set moods, to draw attention to key words, and to identify similarities and differences. They appear in headlines, taglines and campaign titles.

Anarchy makes a sentence a little more charming and memorable.

Sticky thoughts

Sticky is usually what you get when one or the other of the above works really well. You end up with an ad that is talked about and written about. An ad campaign that gets sticky goes viral. Audiences pass on and share the idea, often editing it and making it their own, without much interference or media spending.

This recent TVC from Heineken, combines many of the techniques included in this article, and nailed it.

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