Academic Year:
2022/23
3382 - Bachelor's degree in Advertising and Public Relations
20494 - Creation of Advertising Messages
Teaching Plan Information
Academic Course:
2022/23
Academic Center:
338 - Faculty of Communication
Study:
3382 - Bachelor's degree in Advertising and Public Relations
Subject:
20494 - Creation of Advertising Messages
Ambit:
---
Credits:
5.0
Course:
3
Teaching languages:
| Theory: | Group 1: Catalan |
| Practice: | Group 101: Catalan |
| Group 102: Catalan |
| Group 103: Catalan |
Teachers:
Matilde Obradors Barba, Raquel Botey Lluch
Teaching Period:
Second quarter
Schedule:
Presentation
100% VIRTUAL SUBJECT
Theoretical classes: A video-capsule of contents, posted in the Global Classroom a week before and a one-hour open streaming session, on Mondays from 15:30 to 16:30, throughout the term.
Practical classes: Every Tuesday and Thursday in schedules of groups P101, P102 and P103. One week before, the briefing will be posted in the Aldea Global so that students can bring ideas to Tuesday's tutorials. We will work in subgroups of 4 students, setting 10 minutes for each subgroup, to tutor the ideas.
The practical work will be presented on Tuesday of next week, once the exercise is over.
The subject Creation of Advertising Messages takes the form of a creativity workshop and links directly with the subject Theory and Techniques of Ideation, which students take during their first year of study. Then they started in the creative process and advertising creativity and now they will learn to carry out advertising campaigns with actions and pieces aimed at different media and communication channels.
The subject, which presents a series of Continuity Practices, has been designed with the aim that students practice the concept and creative ideas, and that they finish the term with the ability to adapt their creative production to the criteria that regulate the professional environment.
Associated skills
General skills
Working on individual creation and in-group creation.
Tasks self-planning through a working calendar.
Delegating and assuming assignments in a team.
Other's work assessment and one's work self-assessment.
Showing and presenting projects.
Specific skills
1. Perfecting the skills for creating concepts and turning them into advertising messages.
2. Incorporating assessment criteria for advertising creative products, either one's products or someone else's.
3. Distinguishing the expression of suitable messages for different supports and media.
4. Distinguishing suitable registers for every objective public.
5. Distinguishing suitable communication tones and styles for specific products and brands.
6. Operating within hybrid, fragmentised and atomized contexts, using the required multidisciplinary resources to achieve so.
7. Understanding the field's rules and the social and ethical responsibility implied by the creativity exercise in the professional environment.
8. Expanding one's imagination, shrewdness and wit, in order to argue, move and seduce different objective publics in different communication spaces.
Learning outcomes
1. Understanding and mastery of the creative process: documentation, sources of inspiration, generation of ideas and verification of them.
2. Improvement of the ability to create concepts and transform them into advertising messages.
3. Mastery of criteria for the evaluation of creative advertising products, own and others.
4. Ability to differentiate the expression of appropriate messages for different media and media.
5. Ability to differentiate the appropriate records for each target audience.
6. Master the use of different tones and communication styles suitable for certain products and brands.
7. Ability to operate in hybrid, fragmented and atomized contexts, using the transdisciplinary resources necessary to achieve it.
8. Understanding the rules of the field and the social and ethical responsibility involved in exercising creativity in the professional environment.
9. Increased imaginative capacity, insight and ingenuity to argue, move and seduce different target audiences in different communication spaces.
Sustainable Development Goals
The sustainable development goals addressed in the subject are detailed below. The topics are dealt with through creativity exercises in relation to different consumer products and communication practices, taking into account the corresponding SDGs.
1. End of poverty.
2. Zero hunger.
3. Health and wellness.
5. Gender equality.
8. Decent work and economic growth.
9. Industry innovation and infrastructure.
12. Responsible consumption and production.
13. Climate action.
Prerequisites
There are no prerequisites
Contents
1. Topics
Contents that will be addressed in theory classes and through practice
1.1. The creative process. Phases of the creative process.
1.2. Work with different types of briefing.
1.3. The target. Ways to approach them. Break target stereotypes.
1.4. Types of messages.
1.5. Ideas that convey the right concept.
1.6. The Follow up of the campaigns.
1.7. The leading brands.
1.8. Consumer brands that communicate luxury goods. Product category change to position yourself as a leader.
1.9. Notoriety and transgression.
1.10. Break narratives. Get out of ad codes.
1.11. Creativity on social media.
1.12. Transversal Creativity. Adapt an idea to different media. Transmedia storytelling.
1.13. Social Creativity. Gender perspective / Stereotypes / Solidarity / Transmitting values.
1.14. Reduce investment in traditional media and move to Digital Marketing and Native ads. (Experience. Gamification. Technology).
1.15 Musical communication.
2. Theoretical sessions
The contents of the theoretical classes are related to the practical exercises that are done on Tuesdays and Thursdays each week.
2.1. mechanics
A 20-minute pre-recorded capsule will be posted a week in advance for students to learn about the topic and theoretical foundations of next week's practice.
An open session will be held every Monday to validate and review concepts. The schedule will be from 15:30 to 16:30. Student attendance and participation will be considered. This session will be recorded as a consultation by students.
3. Practical sessions
3.1. Campaigns
Starting from a briefing, students will develop campaigns for different products / real brands, belonging to different sectors (food, NGOs or associations, fashion, tourism, cleaning, airlines, cars, etc.) reproducing the rhythm of an advertising agency or company. of communication.
They will articulate at least two media with a clear unit of message, forming an advertising campaign. These media include (spot, press release, brochure, fence, opis, poster, video, viral, banner, social media, series, web series, websites, imageboards, gifs, memes, apps, forums, blog, street marketing, road show, event , etc.) and joint campaigns.
3.2. Video art by an NGO or Solidarity Association
Every year in this subject a project is made that gives the possibility to the students to present it in the professional field, in Competitions or Festivals. This year, students develop a video art by an NGO or Solidarity Association. Each group will choose the NGO freely according to their priorities, with the aim of offering their campaign to the chosen NGO.
3.3. The final work or examination of the subject will be the oral and written presentation of the tutored campaign in class during the eighth and ninth week.
The oral presentation will be made during week 10. The delivery of the final written work will be the day marked by the Secretary of the Faculty.
Teaching Methods
· Creation of Advertising Messages is a virtual subject-workshop, based on the realization of continuity practices that simulate the professional task of advertising creatives, through briefings or cases that must be worked on, resolved and presented in groups. Throughout the course, students will conduct a series of campaigns for different products / real brands, belonging to different sectors (food, NGOs or associations, fashion, tourism, cleaning, airlines, cars, etc.) reproducing the rhythm of a advertising agency or communications company.
A briefing will be given and presented to the students and they will develop a campaign and present it in one or two weeks, depending on the complexity of the exercise.
Students must also invest hours of work outside the classroom, devoted to the generation and improvement of ideas, reflection and research in order to be adequately prepared to participate in the following class sessions.
· The ideation by the students, will require to articulate at least two means, with a clear unit of message, conforming an advertising campaign. These media include (spot, press release, brochure, fence, opi, poster, video, viral, banner, social media, series, web series, websites, imageboards, gifs, memes, apps, forums, blog, street marketing, road show, event , etc.) and joint campaigns. In some cases, students will be able to freely choose the means.
· These exercises must contain the phases that make up a campaign: creation, writing and presentation of sketches (lay-outs) and scripts, or stories, or video editing, along with a presentation document defined with an index that the teacher will provide in advance .
· It is very important that each work includes an extensive list of ideas in addition to the final idea.
· In some exercises the briefings are detailed and in others we will work without briefing, only with some basic ideas of concept, target audience and tone of the campaign, in order to reproduce, also, the professional reality, where the advertising creative is not always receive a full briefing.
· It will work in groups of 5 students, to reproduce the work of the creative team in advertising agencies and public relations offices.
· Students are expected to actively participate in the practice and discussions developed in class.
· The seventh and eighth week of the subject will be used for students to develop the Final Project. There will be an oral presentation in the last week of the course, which will have the feedback of classmates. The delivery of the final work will be the date that the Faculty has destined as day of delivery of work, within the weeks of examinations.
The ability to build a creative and impactful presentation of the contents of the campaign will be valued. All presentations must have: a global idea, a direction of own art and a correct global analysis.
To guide the creative quality and rigor of the presentation, this final campaign will be tutored if requested by the students.
The individual tutorials will be agreed in advance between the teacher and the students.
This program may be subject to any changes that may be conveniently announced.
Evaluation
The theoretical classes, the practical works, the attendance and participation in class, and the final work and its oral presentation, is the one that configures the evaluation. The final grade of the subject and the recovery will be established according to the following percentages.
● Practical work and theoretical sessions: 60%
● Final work / exam (written and oral): 30%
● Class participation (exercises and discussions) and attendance to both theoretical and practical classes: 10%
As already mentioned in the methodology, the practices are organized in groups (of 4 students), both in the weekly exercises and in the final work and in the final oral presentation.
The number of Internships assigned to student groups in the form of briefings will be a total of 5 plus the Final Project.
The percentage of the grade dedicated to active participation and attendance (10%) is relevant as it serves to evaluate students individually according to their interest and personal effort.
The presentation and exhibition of the work done by each group will consist of
lay-outs for graphic and three-dimensional pieces, and for scripts or story-boards in the case of audiovisual pieces, video montages can also be made. The sketched pieces will be accompanied by a presentation document.
Any work of the students will have to fulfill the own conditions of an academic exercise: suitable structure, normative correction and sufficiency in the writing. According to the teacher, if a Practice is not correct enough, he / she must repeat it. Punctual delivery and the quality of oral presentations will also be valued.
* Important: It should be noted that to pass the course it will be necessary to submit all the required exercises and pass them all (the average will not be averaged if there are exercises not delivered or suspended).
In case the student does not attend, at least, 95% of the sessions and does not deliver the totality of the exercises will not be able to appear to the recovery of the month of March, being not apt. Only those students who, having attended class in this percentage and having delivered all the Practices, have suspended the subject will have access to the recovery.
** Important: Specifically in the practical sessions attendance is mandatory. Excused allowed absences can be recovered by submitting a document explaining the ideas that were provided to the group on the day of the absence, expanding the list if deemed appropriate and include explanations that show that the practice is known. , its evolution, its dynamics and its contents. In this way we can assess whether the student, despite his lack of attendance, is involved in the working group.
|
Activity
|
Practical work
|
Final work and oral presentation
|
Class participation and assistance
|
|
Value of the evaluation
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60 %
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30 %
|
10 %
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|
Evaluation criteria
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To approve practical work you need to obtain one grade equal or superior to 50/100
|
To approve the final work and oral presentation is necessary to obtain a score equal to or greater than 50/100
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To pass it is necessary to participate in class and attendance is mandatory.
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Minimum requirements to opt for recovery
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Approve all practical work.
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Approve final work and oral presentation
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Class participation and compulsory attendance.
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Minimum requirements to opt for recovery
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To appear for recovery, it is necessary to have obtained a grade equal to 40/100 for practical work.
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To appear for recovery, it is necessary to have obtained a grade equal to 40/100 at the oral presentation.
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To appear for recovery, it is necessary to have attended 90% of the sessions of the seminar.
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Recovery activity
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New presentation of the improved practical works.
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|
|
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Minimum requirements for passing the subject (recovery)
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Approve improved work practices.
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|
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Bibliography and information resources
Bibliography
1. Basic bibliography
Arden, P. (2016). Whatever you think, think the opposite.
Barry, P. (2016): The Advertising Concept Book. Think Now, Design later. Londres, Thames & Hudson.
Cosme, S. (2017): Superpoderes creativos. Trucos y astucias para crear anuncios. Sevilla, Advook.
García-García F, Tur-Viñes V, Arroyo-Almaraz I, Rodrigo- Martín L. (2018): Creatividad en publicidad. Del impacto al comparto. 1 ed. Madrid, Dykinson
Gobé, M. (2005): Branding emocional: el nuevo paradigma para conectar las marcas emocionalmente con las personas. Barcelona, Divine Egg.
Lezzi, T. (2010): The idea writers. New York, Palgrave Macmillan.
Mahon N. (2012): Ideación. Cómo generar grandes ideas publicitarias. Barcelona, Gustavo Gili.
Obradors, M. (2007): Creatividad y generación de ideas. Barcelona, Aldea Global.
Obradors, M. (2018): Proceso creativo y técnicas de ideación publicitaria. El imaginario personal como fuente de inspiración. Dins: García-García F, Tur-Viñes V, Arroyo-Almaraz I, Rodrigo-Martín L. Creatividad en publicidad. Del impacto al comparto. 1 ed. Madrid, Dykinson, p. 139-164.
Pricken, M. (2004) Publicidad creativa. Ideas y técnicas de las mejores campañas internacionales. Barcelona, Gustavo Gili.
Sanagustin, E. (ed.) (2009). Del 1.0 al 2.0: Claves para entender el nuevo marketing. Versión 1.0 - Marzo 2009. Creative Commons.
URL: http://www.box.net/shared/tgoujqjm72
Segarra, T. (2009): Desde el otro lado del escaparate. Madrid, Espasa.
Solana, D. (2010): Postpublicidad. Barcelona, Dobleyou.
Versión digital reducida: https://postpublicidad.es
Sullivan, L. (1998). Hey whipple squeeze this: a guide to creating great ads. New York, Wiley & Sons.
Veksner, S. (2009): Ser un buen creativo publicitario. Barcelona, Blume.
2. Complementary bibliography
Banks, J. (1996). Monopoly Television. MTV’s Quest to Control the Music. Colorado: Westview Press.
Baumann, Z. (2007): Vida de consumo. Madrid, Fondo de Cultura Económica (FCE).
Catmull, E., Wallace, A. (2014): Creatividad, S.A.: Cómo llevar la inspiración hasta el infinito y más allá. Barcelona, Conecta.
Csikszentmihalyi, M. (1996): Creatividad (El fluir y la psicología del descubrimiento y la invención). Barcelona, Paidós Ibérica.
Eliade, M. (2000) El vuelo mágico. Madrid, Siruela.
Equizábal, R. (2011): Teoría de la publicidad. Madrid, Cátedra.
Martín Pardo, E. (2009): Nominología: cómo diseñar, seleccionar y proteger Nombres de Marca. Madrid, F. C.
Martín Parreño, J. (2010): Funny Marketing. Madrid, Wolters Kluwer.
Mckee, R. (2009) El Guión.
Medina, A. (2016). 742 Idees per escriure.
Mull, E. (2014) Creatividad SA.
Roberts, K. (2005). Lovemarks. El futuro más allá de las marcas. Barcelona, Urano.
Sawyer, R. (2015): Kiss & Sell: redacción publicitaria. Barcelona, Índex Book.
Solana D. (2015): Desorden. El éxito no obedece a un plan. Madrid, Lid Editorial.
VV.AA. (2005): Lenguaje publicitario. Mª Victoria Romero (coord.), Barcelona, Ariel.
VV.AA. (2017): Anuario de la creatividad española 2017. Barcelona,Club de Creativos.
VV.AA: (2022): Anuario de la creatividad española 2021. Barcelona,Club de Creativos. 26/10/2022
https://www.clubdecreativos.com/xxiii-anuario-de-la-creatividad-espanola/
3. Teaching resources
www.adforum.com
www.adlatina.com
www.anuncios.com
www.clubdecreativos.com
www.controlpublicidad.com
www.elpublicista.com
www.estrategiasdepublicidad.com
www.ihaveanidea.com
www.interactivadigital.com
www.ipmark.ecom
www.marketingdirecto.com
www.maspublicidadymarketing.com
www.neuronilla.com
www.publitv.com
www.reasonwhy.es/
www.spotstv.com
www.yorokobu.es
http://www.buenapublicidad.com