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
LOSE 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.
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.
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.
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ABOUT THE AD AGENCY PROJECT
ABOUT THE AD AGENCY
MESSAGE/LOGOS/RATIONAL
MEDIA OR
ARGUMENT
AUTHOR/ETHOS/ETHICAL
AUDIENCE/PATHOS/EMOTIONAL
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 receivers of the message? Is the argument having its desired effect on those receivers?
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THE ARGUMENT
THE RHETORICAL TRIANGLE ARGUMENT MODEL
MESSAGE/LOGOS/RATIONAL
MEDIA OR
ARGUMENT
AUTHOR/ETHOS/ETHICAL
AUDIENCE/PATHOS/EMOTIONAL
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.
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THE ARGUMENT
THE RHETORICAL TRIANGLE ARGUMENT MODEL
MESSAGE/LOGOS/RATIONAL
MEDIA OR
ARGUMENT
AUTHOR/ETHOS/ETHICAL
AUDIENCE/PATHOS/EMOTIONAL
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?
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QUESTIONS TO CONSIDER
THE RHETORICAL TRIANGLE ARGUMENT MODEL
MESSAGE/LOGOS/RATIONAL
MEDIA OR
ARGUMENT
AUTHOR/ETHOS/ETHICAL
AUDIENCE/PATHOS/EMOTIONAL
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)?
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QUESTIONS TO CONSIDER
THE RHETORICAL TRIANGLE ARGUMENT MODEL
MESSAGE/LOGOS/RATIONAL
MEDIA OR
ARGUMENT
AUTHOR/ETHOS/ETHICAL
AUDIENCE/PATHOS/EMOTIONAL
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.
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QUESTIONS TO CONSIDER
THE RHETORICAL TRIANGLE ARGUMENT MODEL
THE ART OF PERSUATION
Hinsdale Central High School
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.
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TECHNIQUES
HOW TO CHANGE SOMEONE’S MIND
TECHNIQUES
HOW TO CHANGE SOMEONE’S MIND
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.
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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.
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USING FATE CARDS
FATE CARDS
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
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
Photographer
Creative (Designer)
 Video commercial
 Bring together the Parts – whole
presentation
 Products for ads
 Presentation giveaway
 Presentation look
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COLOR PSYCHOLOGY & MARKETING
COLOR PSYCHOLOGY & MARKETING
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Product Division
Business Process Model
2002
2003
2004
2005
10.3 %
12.1%
13.2%
17.0%
1.3%
2.3%
2.2%
2.7%
Services
12.0%
11.0%
8.9%
9.2%
Widget Sales
78.0%
82.3%
82.5%
84.0%
Installations
5.3%
7.9%
12.2%
15.1%
Electronics
Consumer Goods
1)
2)
3)
EXAMPLE BUSINESS SUMMARY
Market Share by Division
Operating
Changing
Supporting
Percentages based on domestic comparison to competitors in directly related
industries.
Percentages based on standing at the end of each fiscal year.
Values provided by a third party agency.
Optimizing
Organizational Structure
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.
Company name
Product
Development
Design
Manufacturing
Quality
Assurance
Human
Resources
Headquarters
Finance
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.
Subsidiaries
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Fiscal Year 2010 Annual Report (Millions)
2004
2005
Quarter Ended
Average
200
Fiscal year 2003
150
Revenue
100
50
0
Interest rates
Currency rates
Equity prices
Commodity prices
Fiscal Year 2010
1st Qtr.
2nd Qtr. 3rd Qtr.
4th Qtr.
Total
$7,746
$8,541
$7,835
$8,065
$32,187
Gross profit
6,402
6,404
6,561
6,761
26,128
Net income
2,041
1,865
2,142
1,483
7,531
Basic earnings per share
0.19
0.17
0.2
0.14
0.7
Diluted earnings per share
0.19
0.17
0.2
0.14
0.69
$8,215
$10,153
$9,175
$9,292
$36,835
Gross profit
6,735
7,809
7,764
7,811
30,119
Net income
2,614
1,549
1,315
2,690
8,168
Fiscal year 2004
Revenue
25%
1st Qtr
22%
2nd Qtr
25%
28%
3rd Qtr
Basic earnings per share
0.24
0.14
0.12
0.25
0.76
4th Qtr
Diluted earnings per share
0.24
0.14
0.12
0.25
0.75
$9,189
$10,818
$9,620
$10,161
$39,788
Gross profit
7,720
8,896
8,221
8,751
33,588
Net income
2,528
3,463
2,563
3,700
12,254
Basic earnings per share
0.23
0.32
0.24
0.34
1.13
Diluted earnings per share
0.23
0.32
0.23
0.34
1.12
Fiscal year 2005
Revenue
Gross Profit
Net Revenue
10000
5000
1)
0
2)
1st Qtr
2nd Qtr
3rd Qtr
4th Qtr
3)
Includes charges totaling $750 million (pre-tax) related to the Fabrikam settlement and
$1.15 billion in impairments of investments.
Includes stock-based compensation charges totaling $2.2 billion for the employee stock
option transfer program.
Includes charges totaling $756 million (pre-tax) related to Contoso subsidiaries and
other matters.
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EXAMPLE ANNUAL REPORT
Market Risk
PROJECT GOALS
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
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.
BUY IN
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.
DESIGN EXAMPLES
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.
TIPS
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.
TARGET AUDIENCE
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.
BUDGET & SCHEDULE
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.
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HOW TO SET UP A DESIGN BRIEF
COMPANY PROFILE
THE CREATIVE ATTITUDE
1.
2.
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.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
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
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.
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CREATIVITY IN THE DESIGN WORLD
CREATIVITY KEY CONCEPTS
CARETIVE CONDITIONS
CREATIVITY CONDITIONS
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1.
2.
3.
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
i. Fear
ii. Need to conform
iii. Frustration
iv. Inappropriate motivation; boredom, not
challenging, too much
v. A tendency to judge ideas. Creativity requires a
positive outlook not a negative judgmental one
vi. 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
vii. Ego & self satisfaction-don’t commit to soon
B. Perceptual Blocks involve your perceptions of a
problem as your mind goes about solving it.
i. Poor problem definition-Do you understand the
problem
ii. Using the wrong approach-use the right
language
1. a drawing/diagram
2. a mathematical equation
3. words-written or spoken
4. sounds
5. emotion
6. time
7. physical change-movement
8. logic
9. intuition
iii. using incorrect data
iv. failure to use your senses-each sense is a type
of language for creative problem solving
v. 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”
C. Cultural Blocks are caused by attitudes in society and
among our peers that inhibit creativity. They define what is
right and wrong.
i. “Now, let’s be logical” linear thinking is top dog.
Intuit thinking, feelings are underdogs in our
society.
ii. Role stereotyping. The assumption that gender
determines our abilities is an example of a cultural
block.
iii. 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.
iv. Fantasy and dreams are bad. Society teaches us
that too many fantasies can be a symptom of
maladjustment. Try to daydream.
v. Thou shalt try nothing new. Tradition, status quo
are known, liked and comfortable. Change is
unknown, disliked, and anxiety producing
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HOW CREATIVITY WORKS
HOW CREATIVITY WORKS
Creativity is the ability to solve problems in imaginative ways.
There are five steps that will help the search for new ideas.
1. define the problem
2. assemble all the information
3. ideate (conceive or imagine) many solutions
4. incubate, rest, and relax
5. evaluate which idea is best.
Here are 12 strategies to ideate a solution.
1. Organize the problem by breaking it down into related sub-problems
2. Make a list. One idea naturally leads to another. You have a written record.
3. Free associate the subconscious mind often makes connections that the conscious mind is unable to perceive.
4. Use a checklist
5. Force connections
6. Brainstorm
7. Non-verbalize; visual, auditory, kinesthetic.
8. Sketch or doodle
9. Feel the solution: ask your self, What does it feel like?
10. Communicate with the subconscious-lie awake for a few moments as you transition from sleep to an awake state.
11. Play-relax some of the controls you live with all day.
12. Incubation may resolve itself to drop the problem .
1. 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
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GENERATING CREATIVE IDEAS
HOW TO CREATE IDEAS
CLIENTS SEMESTER 1
Hinsdale Central High School
World Bikes Relief
Product
Development
Design
Products
Ecology
Audience
Target
Future target
Easter Seals
Finance
Advertising
budget
Market research
Product
Development
Design
Products
Design
Products
Ecology
Audience
Target
Future target
Finance
Advertising
budget
Market research
Audience
Ecology
REAL Sports: Play Outside
Product
Development
CAMPAIGNS
Organizational Structure
Target
Future target
Finance
Advertising
budget
Market research
School Corps
Product
Development
Design
Products
Ecology
Audience
Target
Future target
Finance
Advertising
budget
Market research
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JOB NUMBER
DESIGN BRIEF
THE DESIGN BRIEF
2010.01.1
COMPANY NAME
COMPANY PROFILE
PROJECT GOALS
TARGET AUDIENCE
BUDGET AND SCHEDULE MAP
BUY IN
DESIGN EXAMPLES
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JOB NUMBER
DESIGN BRIEF
THE DESIGN BRIEF
2010.01.____
DUE DATE
ART DIRECTOR
PHOTOGRAPHER
MARKETING
PSYCHOLOGIST
WRITER
CREATIVE
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JOB NUMBER
DESIGN BRIEF
THE DESIGN BRIEF
2010.01.____
SLOGAN
PRODUCT 1
PRODUCT 2
PRODUCT 3
PRODUCT 4
PRODUCT 5
PRODUCT 6 (IF 6 IN GROUP )
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JOB NUMBER
2010.01.____
LOGO
NEW OR EXISTING
DESIGN BRIEF
THE DESIGN BRIEF
TRENDS IN THE MARKET
COMPETITORS
PANTONE COLORS -SPOT
CMYK 4 COLOR PROCESS
COLOR ANALYSIS
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Collaboration Means…
• Students work together toward a
It Does Not Mean…
• Divide up assignment into individual
common solution or product
• All members share equal
tasks for each group member
• Copy group members’ work or give
responsibility from start to finish
• Each group member understands
answers to people in your group
•
You can only explain your “section”
all aspects of the group’s work
• Being responsible for your
presence and share of the work
• Expect your group members to do
your share of the work
When in doubt, ask yourself…
Would your teacher approve of my “collaboration”?
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COLLABORATION
COLLABORATION
ArtAssessment
Judge’s Rubric
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.
Ad Agency Rubric
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)
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CLIENTS SEMESTER 2
Hinsdale Central High School
King Kiser Sports
Rolling Stones: Reunion Tour
Product
Development
Design
Products
Ecology
Audience
Target
Future target
Finance
Advertising
budget
Market research
Product
Development
Design
New TV Reality Show
Product
Development
Design
Products
Ecology
Audience
Target
Future target
Products
Ecology
Audience
Target
Future target
Finance
Advertising
budget
Market research
Chicago Transit Authority
Finance
Advertising
budget
CAMPAIGNS
Organizational Structure
Market research
Product
Development
Design
Products
Ecology
Audience
Target
Future target
Finance
Advertising
budget
Market research
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