MM03Advertising and Brand Management

Assignment No.I

Assignment Code: 2011MM03B1 Last Date of Submission: 30th Sept 2011 Maximum Marks:100

Attempt all the questions. All the questions are compulsory and carry equal marks.

Section-A

Ques.1 One type of advertising that attracts the attention of regulators, critics and

consumer advocates is advertising directed at children. Why is it the focus of so much attention?

Ques.2 (a)What is media mix? How is it used in media planning?(b)How does the media mix reflect the creative strategy?

Ques.3 Explain in detail the following models of Advertising:- (i)AIDA model(ii)Fire stage and six stage model

Ques.4 Write short notes on the following: -(a)Importance of Advertising. (b)Meaning of Advertising (c)DAGMAR Approach(d)Direct Marketing & Public Relations

Section-B

Case Study: The future belongs to brands with a view.

Consider a smattering of iconic brands that the world is falling madly in love with—Apple,

Harley-Davidson, Benetton, Nokia, Body Shop, Dove. They share a common theme.

They express a sharp point of view about the world, about life, about ourselves. Or look

at timeless brands from an entirely different sphere: popular music—Beatles, the Rolling

Stones, Elvis Presley, Pink Floyd. Again, each of them has a distinct take on life, which

is what makes them endearing. A select group of brands is daring to be different. While

most ads tout the benefits of their brands with so-called product shots, this set of

particularly brave and confident brands, as experts call them, are refusing to get into the

“hard sell” mode. For them, the focus in their ads is more on insight than the product.

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For instance, the latest Titan ad featuring their brand ambassador, actor Aamir Khan,

looks more like a promo for the Bollywood actor than it does for the brand. Not run-of-

the-mill: Brands can show courage in several ways—by actually backing the claim they

make in ads, focusing on values or creating an idea that theoretically goes against the

product itself.

The spot, which is running across all major television channels, has the actor urging

consumers to live their dreams, and the brand’s new tag line says, “Be more.” The ad

ends with a few quick shots of the watch.

“A brand needs a lot of confidence to do something like that,” says Piyush Pandey, vice-

chairman, Asia Pacific, Ogilvy and Mather, or O&M, whose agency handles the Titan

account.

“Take, for instance, Fevicol, it’s not even a display brand,” he says, implying that in both

cases the insight was the focus and not the product. Fevicol too is handled by O&M.

It’s the same story for the award-winning Nike ad, featuring people playing cricket on the

roofs of buses. Nowhere in the ad is the actual focus on the product.

That’s a difficult approach to take or stick to at a time when soaring inflation has made

most advertisers focus on tangible benefits instead of brand insights.

Ads that once exalted the intangible benefits of the product now also have inserts that

scream price, packaging and weight, along with brand tags to convince consumers

about the value proposition.

Brave brands, however, are using this opportunity to stand out from the crowd.

Internationally, several brands such as Sony Bravia have actually chosen to take a risk

with their creative work. The “balls” TV spot for Sony Bravia television had colour as its

motif. A clear stance, where the insight and strategy were supreme.

They are doing this even in times of inflation, when others are focusing on tangible

benefits,So, what would make a brand confident or brave? According to Santosh Desai,

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managing director and CEO, Future Brands Ltd, confidence isn’t necessarily

demonstrated by keeping the product out of the frame. There can be many ways in

which a confident brand may display its courage, he says.

The first is when a brand can actually back the claim it is making. “Every day you will

come across some ad that claims, that ‘nine out of 10 women prefer this brand’. So to

my mind, any brand that can actually meet its claim, in a transparent manner and in full

public view, is a confident brand.”

The second is when a brand is willing to focus on values and insights that bring the

brand alive rather than just bringing in revenue. Mobile service provider Vodafone is one

such example, says Desai. The brand’s focus has always been on its value-added

services in advertising, whether it is customer care, caller ring tones or something else.

“What they advertise and talk about has nothing to do with the actual service,” says

Desai. “As a brand they recognize that value added-services amount to a small chunk of

their revenues in India. It takes a confident brand to focus on things that bring the brand

alive, rather than just focus on factors that bring in the revenue,” says Desai.

The third is when a brand creates an idea that theoretically goes against the very thing

that the category stands for. A case in point is that of Unilever’s beauty soap brand,

Dove, says K.V. Sridhar, national creative director, Leo Burnett India Pvt. Ltd.

He says that the brand’s focus on “real beauty” goes a long way in challenging the

stereotype. Some of their ads, including a short film titled Talk to Your Daughter, Before

the Beauty Industry Does... are examples of the brand’s effort to promote real beauty.

That holds true for Hindustan Unilever Ltd’s detergent brand Surf Excel that goes

against stereotypes with its Daag acche hai campaign. Some experts go further,

maintaining that a show of confidence cannot be limited to an ad campaign.

“A brand cannot be deemed confident or brave on the basis of one campaign,” says

Anand Halve, co-founder, Chlorophyll Brand and Communications Consultancy Pvt. Ltd.

“Companies also have to make that confidence and boldness an aspect of their business

model. You have to be able to put your money where your mouth is.”

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Questions:

1. Why do the few brands with strong and distinctive points of view achieve iconic

cult status so easily while, in contrast, so many brands struggle to just maintain

consumer loyalty?

2. According to experts “Middling brands can perhaps get by for some time with

appealing product benefits and excellent marketing. But compared with brands

with powerful points of view, they always run a far greater risk of

commoditization.” Critically evaluate this statement.

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MM03Advertising and Brand Management

Assignment No.II

Assignment Code: 2011MM03B2 Last Date of Submission: 15th Nov 2011 Maximum Marks:100

Attempt all the questions. All the questions are compulsory and carry equal marks.

Section-A

Ques.1 Summarize the nine-message strategy. Elaborate each one of them with

examples.

Ques.2 Explain the following terms:(a)Media reach and frequency(b)Account Management(c)Advertising Budget

Ques.3 What is a CPM? Why do media planner compare the cost of a unit of time

or space rather than just counting the audience?

Ques.4 Which media of Advertising can be more effective for a company

promoting light food snacks for children and why?

Section-B

Case Study: Indian Airlines’ Change of Identity to Indian

Indian Airlines, the domestic carrier in public sector, underwent a change in corporate identity in

2006. In this case study we shall look at the brief given by it to the advertising agency, together

with the rationale and the change in identity.

Exhibit 1:Client brief: An underlined need to signal the change strongly

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New Fleet , New Identity, New

Beginning….

To re-brand and create a new livery for

Indian Airlines, which should

communicate a new image for the

airline – progressive, contemporary

and Indian.

This new branding will replace the

existing Indian Airlines logo/branding

across elements to infuse freshness.

This branding will also be extended to

the new A319 aircrafts, being flown for

the first time in India.

To create a fresh and contemporary image

and yet have an instant association with the

brand built over the years.

The new design therefore should:

Connote Indian –ness

Highlight our strengths

Project us as progressive and

contemporary

Yet maintain continuity with the existing

design

The BrandingContinue to carry the word Indian as

Integral to our core value

It is easily appropriated to us for our

image of being the national carrier

Lends strong continuity with the

existing branding

The New Identity

The new identity of Indian Airlines

emanates from its core value of being the

epitome of Indian hospitality.

The inspiration being the wheel of

Konark Sun Temple.

Implies that life is in

‘motion’/progress, dynamism and

technology

It also has the feel of both convergence

and divergence strongly connoting one

of the strengths of Indian Airlines – the

network.

When used in a contemporarized

graphical form, showing only the partial

Wheel also gives a feeling of openness

and vastness. It also symbolizes the

timeless motion that has kept Indian

Airlines ahead in the past, the present

and will continue to do so in the future.

The Colours:

Vibrant colours to signify youthfulness

and surge of energy.

Orange colour

o to leverage on the current brand

equity

o also connotes determination and

encapsulates the warmth of true

Indian spirit.

A dash of blue

o represents innovation and vibrancy

o blue also has strong affiliation with

sky and flying

The Fonts Same font as in the current design to

maintain continuity

Bold fonts to signify the strength and

stability of India’s premier airline.

Reproduction

Old logo, new logo, an aircraft carrying

the new identity.

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The company, in order to familiarize more and more people about the change of identity, carried it as

the cover story in its in-flight magazine Swagat, which is published in English and Hindi. The New Year

calendar for 2006 also featured its aircraft with the new identity. The brief to the agency , as articulated

in the cover story of Swagat was ‘four words = “more modern, more contemporary”. Predictable

symbols, according to the story – such as the peacock, lotus, tiger and the tricolor – were considered

and discarded.

Interestingly, the articles carried quotes from well known personalities from various fields on the new

corporate identity. For instance, Agnello Dias, the Creative Director of JWT advertising agency, was

quoted saying, ‘The concept is great because it takes us back to our roots’. Famous filmmaker Shyam

Benegal, who worked as an art director in an advertising agency, had this to say: ‘It’s a terrific idea to

call the airline “Indian”. Evokes the case of national pride. Certainly, a good move ‘ Industrialist and

parliamentarian Naveen Jindal, who became famous after winning a court case on the right of the

average Indian to hoist the national flag, said of the new identity, ‘it reminds me of the national flag. It’s

beautiful and innovative. The person who designed it should be rewarded.’

Many international airlines in the past have also gone for similar change of corporate identity, such as

Air Lanka which was rechristened Sri Lankan; Thai Airways, which is now just Thai; and Austrian

Airlines, now simply Austrian.

Questions:

1. What was the reason for Indian Airlines to change its corporate identify after decades?

2. What is the rationale behind the new name and new identity?

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