Journey from Concept to Creation : Advertising

Broadcast Media (Part One).

Adman — Mon, 04 Aug 2008 05:57:00 GMT

In my last blog, I mentioned that it is appropriate to think in terms of Gross Rating Points (GRPs) – not the number of spots to be purchased – when planning broadcast media buys. Here is a short demonstration using "WXYZ TV" a mock, top-ten ACNielsen DMA network affiliate.

Suppose you want to advertise a new anti-aging, fat-burning, sun-screening, appetite-reducing, muscle-toning, beautifying, sun-tanning, skin cream product (using all natural ingredients, of course) that is proven to eliminate cellulose, varicose veins and love-handles while adding years to one's life. Extensive research indicates that the primary target market is Women 18+, stay at home moms. Your client wants to first run the ads in a top-ten, spot television market before going national.

So you call the network affiliates in your test market and request availabilities (avails) in the DMA for the Female 18+ demographic -- believing that you need to run the commercial 30 times because your client -- who recently attended a one-day beauty business seminar -- told you so. You take a look at the Morning and Daytime day-parts for your Female 18+ demo for the fourth quarter.

[Television viewers are typically loyal to programs as opposed to stations. Nevertheless, I am using availabilities from a single station for demonstration purposes. The numbers are representative of an actual "top-ten" broadcast TV market.]

As you can see in the above "avail," the Female 18+ demo has dramatically different ratings and rates depending on the program. The cost per rating points (CPPs) are also quite different...even among programs specifically targeted to women.

In the avail, Program "A" (top-rated morning show 1) and program "B's" (morning show 2) adjacent time periods have different numbers when comparing 9a-10a (1.9 rating) vs. 10a-11a. (1.4 rating). The gross rate for the 9-10a slot is $350, considerably higher than the $265 rate for the 10a-11a time period... yet the CPP and CPM are lower for the 9-10a slot. This is a better buy for the Female 18+ demo as you would be reaching 44.2 thousand vs 32.1 thousand at a lower ($7.92 vs $8.26) cost per thousand (CPM).

An even better comparsion is made when comparing Program "F" (soap opera) vs Program "G" (homemaking show) which represent programming specifically targeting women. Program "F" gets a 2.7 rating for Females 18+ (reaching 64.4 thousand) while Program "G" only gets a 0.7 rating for the same demo (17.4 thousand). Program "F" has a lower CPP of $203.70 vs $250.00 for Program "G" So, Program "F" is a much better buy -- if you can afford it at $550. This simple comparison should be enough to discredit the absurd idea of buying media based on a predetermined number of spots for the simple reason that the same number of spots on one program vs another can yield vastly different reach at dramatically different costs.

A far more viable approach would be to determine how many viewers you can afford to reach with effective frequency. Since the minimum generally accepted frequency is three times, you might want to consider shooting for an even better frequency of four times. If you bought 400 GRPs, you could reach virtually 100 percent of Females 18+ viewers in your DMA with an average frequency of four times. Assuming an average morning and daytime CPP of around $220 (based on your avails) your budget would be $88,000. It would be much more common (trust me) to purchase around 100-150 GRPs per week. So, let's assume that you propose to your client that they purchase 250 GRPs for a two-week flight. At an average CPP of $220, this would result in a budget of $55,000.

A much quicker method for determining average CPPs would be to refer to SQAD. Since SQAD (pronounced "squad") is based on actual buys, it has the added benefit of providing you with a good indicator of what is actually being negotiated and paid vs what is presented by the respective stations on their avails. In addition to being a helpful negotiating tool, SQAD might also be helpful in determining desirable test markets based on average CPP data -- in consideration of buying power index data and other marketing research. At Davis Advertising, Inc., we strive to beat SQAD by a significant amount.

Your job as a media buyer is now cut out for you -- get your client as much "bang for the buck" as possible by negotiating rates and developing a schedule -- using avails from a variety of broadcast (and cable) stations -- that will improve the numbers significantly, maximizing effective reach and frequency...based on both quantitative and qualitative insight. That will be the subject of an upcoming blog.

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Media (Introduction).

Adman — Sun, 04 May 2008 20:43:00 GMT

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I was honored to serve as the final judge in the 2008 DECA, International Career Development Conference (ICDC) in Atlanta this past Monday and Tuesday in the “Advertising Campaign” category. The events were held at the Georgia World Congress Center and the awards session was at the Georgia Dome.
It was an awesome experience. On Tuesday, I evaluated twenty 20-minute advertising campaign final presentations from the top high school marketing students in the world.
This was a truly humbling experience and I was impressed to say the least. It was virtually impossible to determine which of these student teams best deserved to be in the top ten -- much less the top three finalists! But, ties were not allowed and there had to be three top teams selected. ALL of the students who made it to Atlanta should be VERY proud!
There was a relatively clear first place winner. This team's "situation analysis" actually included a “SWOT” (Strengths, Weaknesses, Opportunities & Threats) analysis based on their "secondary research." As did most of the others, they defined their primary and secondary target markets in demographic, psychographic and geographic terms. Their objective was specific, workable, measurable and attainable. Their budget was realistic and comprehensive -- including development costs, production costs, media costs and agency commissions. They certainly showed evidence that they understood some of the basics of the “Journey from Concept to Creation!”

Of course, I was thinking about how these high school students could have REALLY impressed me if only they had been reading my blogs! Hopefully next year’s students are reading?

One thing that really impressed me, in addition to the SWOT analysis, was that they mentioned running television spots in the “early fringe” time period. Plus, they actually spoke in terms of FREQUENCY! – gasp! They also referred to radio formats as Contemporary Hit Radio (CHR), Adult Contemporary (AC), Album Oriented Rock (AOR), etc. They certainly knew how to impress the Adman with advertising industry terminology.
Regarding my blog topic -- I am convinced that there are gazillions (possibly even googillons) of dollars totally wasted by those who are not educated on a few basic principles of media planning and buying. I have heard comments from inexperienced prospective clients (who could use a lesson or two from high school DECA kids) that go something like, “We think we should buy 30 spots on WXYZ TV.” After recovering from my “client from hell red flag alert,” I attempt to educate them. Puhleeze listen carefully -- it AIN'T about how many spots you are buying! 30 spots on one station is NOT the equivalent of 30 spots on another. Plus, different dayparts (Early Fringe vs Primetime for example) can reach dramatically different numbers of viewers! It IS about how many impressions (as measured by ACNielsen) you are making on your target market (reach). And it is also about reaching your target market a sufficient number of times (frequency).
This leads to the basic, fundamental formula of broadcast media buying – Reach x Frequency = Gross Rating Points (GRP’s). So, when establishing a broadcast television media budget, it is prudent to first determine the average cost per rating point (CPP) for your target market in your market(s) -- as defined by the Nielsen Designated Market Area (DMA). Then determine how many impressions you can afford to make with sufficient frequency (generally a minimum of three times). Then figure on the conversion rate (generally in the two or three percent range) that is typical for your industry…while considering the added value of BRANDING your product or service in the market.
Now, when I hear something like, “We are budgeting for XXX GRP’s per week, based on the average CPP of $XXX (according to SQAD) in the target DMA for our Adults 25-54 demo…” I am as pleased as a DECA student after winning first place in the DECA ICDC awards session at the Georgia Dome in the Advertising Campaign category... celebrating by getting wet from the fountains at the Centennial Olympic Park after visiting the Georgia Aquarium and the World of Coke... with a front row seat at the NBA playoffs in the Phillips Arena watching the Atlanta Hawks beat the Boston Celtics... while enjoying Georgia peanuts and a Coke... with tickets for the studio tour at CNN..followed by tickets for "The Lion King" at the Atlanta Civic Center... or perhaps another show at the Fabulous Fox Theater...or Six Flags over Georgia...or the Stone Mountain Laser (and fireworks) Show? -- While it may sound like alphabet soup to you -- to the seasoned media professional it is music to the ears…

To be continued...

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Color.

Adman — Fri, 29 Jun 2007 06:42:00 GMT

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I was doing a demo recording for a friend a few years ago. The subject of choosing colors came up while I was working on the CD cover design. I remember her saying that she was impressed with my taste in choosing a good color scheme, claiming that it is a talent that few men possess. While there is "method to the madness" of choosing compatible colors for use in design work, I didn’t mention it to her at the time. I preferred to let her believe that I had creative talent that few men possess. Anyway, while an exhaustive study of color theory could fill many books, I will cut to the chase and try to offer a concise and useful overview.

Specifying color is largely a matter of understanding the color wheel – first developed by Sir Issac Newton (a man) in 1667 – which is centered on a logically organized sequence of pure color hues. It was refined by Albert H. Munsell (another man) in 1905 (Munsell introduced the concept of Hue, Chroma (Intensity or Saturation) and Value). The order of colors on the color wheel follow the order of colors seen when light is shown through a prism. The color wheel is made up of three primary, three secondary, and six tertiary colors – a total of 12 basic hues. The three primary colors are red, yellow and blue. Mixing them creates the secondary colors; green, orange and purple. The Tertiary Colors are formed by mixing a primary color with a secondary color. They are yellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green.
When specifying color, it is necessary to understand how color impacts people. Here are a few examples:

*   Color choices should reflect your target market (women -- far more "color conscious" than men -- like red while men like blue) as well as the other strategic factors mentioned in my blogs, depending on the mood you want to convey and the emotional response you want to elicit.
*   Color choices should reflect the culture and religion where your work will be seen as color can have different meanings in different parts of the world (there is no proven “universal reaction” to colors). For example, white is associated with death in eastern cultures as black is in the west.
*   An object shown in a bright color looks larger than the same object shown in a dark color. Bright color "radiates," drawing the eye outward and expanding the object. If you are selling "size," you might consider using a brightly colored sample of the merchandise.
*   Hermann Rorschach, the Swiss psychologist found that cheerful people are more responsive to color while melancholy people respond better to shape. If you want to limit your market to those who have a more serious interest, you might want to keep the color subdued as color allows the viewer to be somewhat more passive... weeding out lukewarm prospects.
*   Color has been proven to be far more effective (up to 70%) in advertising than black and white... the added cost in printing color is marginal by comparison.

Red is considered to be a “Hot” color. It can stimulate physical activity and sexual desire… passion, aggression and anger. It can make people feel hungry and increase respiration and blood pressure. You can use it for emphasis, although it was drilled into my head in art school that yellow is the “most advancing color” – it will draw the eye first. Yellow can symbolize joy, happiness, wealth, hope, weakness, greed and friendship. Yellow and Black symbolize danger or caution. White is purity and truth. Violet is royalty... and loneliness. Green is fresh and fruitful... envy and guilt. "True blue" is fidelity. In fact, every color has symbolism that can be used to affect your market (color can also be used to implement principles of design, but it is subordinate to shape).
Blue, Green and Blue-Green are considered to be “Cold” colors. They denote coldness, cleanliness and freshness -- explaining why these colors are so popular in laundry detergent package design. Warm colors are based on red but “softened” and suffused with orange and yellows. Cool colors are based on blue and suffused with reds and yellows. Warm colors cheer and stimulate while cool colors calm and relax.
Combinations of warm grays and cool grays are often used for shadows in renderings; usually resulting in more a realistic look when compared to using black. Artists also use a color’s complement to create shadows (sunlit objects in nature will have shadows with a hint of the object color's complement). When you stare at a color and then look at a white sheet of paper you will see a "ghost" of the color's complement.
While any color can be combined (as in nature) if you choose the correct value and intensity, aesthetically pleasing color combinations have been found to lie with colors on opposite ends of the color wheel (complements), equidistant from each other (triads), those that lie on either side of the color (blended) or on either side of the complementary color (split complementary). The closer colors are on the color wheel, the more harmonious they are. Colors on opposite sides complement each other. Use of color in design should be mostly harmonious or mostly complementary; mostly cool or mostly warm. There are numerous color schemes -- achromatic, monochromatic, analogous, complementary, triadic, rectangular, pentagonal, etc. Achromatic schemes consist of blacks, whites and neutral grays. Monochromatic schemes are based on one color and its various tints and shades. Analogous schemes are three colors that are adjacent to each other on the color wheel. The Primary color scheme is made up of the three primary colors… strong and energetic, it is often used in designs targeting children. Secondary color schemes are also strong and energetic but more sophisticated.
Here are a couple of links that help to make the task of color specification easier, if not a "no brainer." Check out Color Blender and Kuler. They are awesome resources for specifying color. With tools like these, (and my blog) there is simply no reason for not having beautifully spec'd color schemes in your designs. Of course if you are a woman you won't need them.

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Sequence (eye travel).

Adman — Wed, 17 Jan 2007 05:41:00 GMT

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In addition to my interest in reading company mission statements as mentioned in a previous blog, as an advertising executive, I also can’t help myself when it comes to evaluating the visual design of television commercials and corporate videos, magazine advertisements, brochures, web sites, logos, etc. When it comes to design work, I have found that it is relatively easy to separate the design pros from the “weekend warriors” that I mentioned in my first blog. I believe that while professional artists apply design principles to their work instinctively – using them as a guide in evaluating the progress of their work -- inexperienced and untrained “designers” routinely violate design principles.

I have never known a professional art director at the agency level who did not receive formal training. In addition, those lucky enough to get an agency job after graduation typically work an entry level job as an assistant -- pushing the mail cart or going out for burgers for a couple of years prior taking the helm as a designer or art director. There are a handful of top (and quite expensive) creative schools from which top agencies recruit entry level creatives. Three of these (Portfolio Center, SCAD Atlanta and Creative Circus) have campuses in Atlanta and in addition to other creative schools such as The Alliance Theater School, they contribute to a great local talent pool.
Nevertheless, not all persons called on to produce designs or layouts are so fortunate. Many are asked to develop visual graphics without the benefit of formal training – sadly, never having the experience of being sent out to get burgers for the creative staff. But there is hope. These burger deprived “creatives” can improve their design work immeasurably by learning these fundamental design principles…and understanding how to apply them. This brings me to the next principle -- Sequence.
Through habit, the eye moves from left to right and then top to bottom, from big elements to smaller ones, from dark to light, from color to non-color, and from unusual shapes to common shapes. The advertising designer can start eye travel anywhere in the ad and control its direction… left, right, up or down. In a well-designed ad, a directional pattern should be evident. The professional designer takes the reader by the hand and leads him or her through the ad to the climax.
To illustrate this principle, I will point again to my Sunshine Biscuits’ poster. Note how the viewer is guided through the ad with the crayons leading the viewer from the main visual to the headline. While the main visual will attract immediate attention, the crayons help to lead the viewers’ eye into the headline… and the “warm and fuzzy” message which contains the benefit mentioned in previous blogs. In addition, The contrast of white space behind the house tends to focus the eye on the artwork… this is helped a bit by the rays of the sun -- in tandem with the chimney -- which lead the eye into the house. The shape of the door and direction of the crayons then help to lead the eye into the headline. It should be obvious that sequence is closely related to emphasis, as noted in my previous blog.
Officially, there are two more principles left to talk about. I will leave you guessing this time about the next one... This blog reminds me of how the Sunshine Biscuits' marketing director loaded me up with a big box of snacks for "inspiration" while I was creating this poster... so I’ve been thinking about food while writing this and it is definitely time for a healthy snack… no burgers for me… those Cheez-it’s are looking pretty good… or maybe some Krispy crackers and peanut butter… yum.

Perception vs. Reality.

Adman — Tue, 25 Jul 2006 23:40:00 GMT

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The next question that needs to be addressed is how the client’s products, services or brand(s) are to be “positioned” in the mind of the target market. Positioning has to do with how the target market perceives and identifies with the brand. In the mind of the target audience, perception equals reality. Of course to succeed in the highly competitive marketing arena, the perception should also BE reality. If a company positions itself as offering the highest quality product, it darn well better offer the highest quality product. If it positions itself as offering the lowest prices it needs to do just that. Abraham Lincoln was obviously thinking of modern advertising when he said, “You can fool some of the people all of the time, all of the people some of the time, but you cannot fool all the people all of the time.”

Positioning is all about how the target market perceives the brand with respect to its competition -- and how the brand will BENEFIT the target consumer. There are numerous ways a brand can be positioned… but it ALWAYS should be positioned in competitive terms… not some weak, pathetic, half-hearted claim… but a strong, sustainable and real competitive advantage.

I’ll give one classic example of positioning and let you take it from there. If the soft drink market is saturated with cola drinks, you might want to offer something a bit different -- enter 7-Up® and its world-famous positioning slogan… “the Uncola®.” (A successful brand even without peanuts or a moonpie.) Ok, you win… here is another one. If your beer market research indicates that the market has little perceived difference between brands, develop a low-calorie beer along with a cool positioning slogan like, “Lite Beer from Miller®. Everything you always wanted in a beer. And less!” And the most famous of all... Bernback's "Think Small" advertising headline for the 1959 VW® Bug -- created long before the term "Positioning" was "coined" by Ries & Trout in 1969. [This ad is the number one ad of all time according to Advertising Age Magazine.] These famous advertising slogans are ALL ABOUT POSITIONING. If you are not “stuck on stupid,” you should be able to see how, in these examples, all creative aspects work together in communicating the positioning statement to a specific target audience (note the composition of the visual in the VW ad for example). Now, I’ll let you take it from here…

…uh, except to say that when you create art you are in fact, creating an image in the mind of the audience. Like it or not, you are “positioning” the subject of your work in their mind. That is your job. So… since you are in effect doing this anyway, why not be smart and give it more than just a fleeting thought?

True… generally a successful brand will already have a competitive position… so more often than not, the creative director’s job is to communicate that position. It is a primary role of the marketing communications process. Therefore, the "Positioning Statement" has a well-deserved and honorable place in our journey to creative excellence. Ok, at long last I will finally let you take it from here…

A big, wet, French kiss.

Adman — Wed, 19 Jul 2006 04:40:00 GMT

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Any creative director with half a brain should understand the importance of defining the target market. If you are not “two fries short of a Happy Meal®” you should know that to produce great creative work you need to understand everything you can about your target audience. You should know your target market very well… intimately well… so well that you can feel free to plant a big, wet, sloppy, French kiss right on their ruby red lips. Ok… maybe not. At any rate, you should at least get to know your target market in both quantitative and qualitative terms.

Any creative director who ever enjoyed a burger and fries (I’m trying to eat healthier myself) should know that you need to define your target market demographically. The major ratings services such as Nielsen®, Arbitron® and Birch® have very specific “demos” that are used in presenting program availabilities (avails) and radio station rankings (rankers). They are broken down into specific pre-defined groups such as Adults 18-49, Women 25-54, etc. Broadcast media is negotiated and purchased according to these demographic breakouts so it is logical to use them in defining the market quantitatively.

As far as qualitative information, a well-defined target market can include psychographics (personality, interests, attitudes, opinions, lifestyles), socioeconomics (economic activity and social life) and geodemography (location dynamics). This might include “buying power index” information (BPI); lifestyle clusters (Boomers, Yuppies, Gen X, Empty Nesters, etc.); beliefs, attitudes and values (BAV); activities (golfing, boating, bungee jumping, nose picking, nail biting, music, nightlife, travel) and numerous other criteria that is available through various media resources.

Is your target market business-to-business or consumer? How do you reach them, where do you reach them, what creative appeals will they be most receptive to? ... How does the product/service benefit them… What is the best way to communicate with them. How do you get their attention… arrest their interest… create desire within them… motivate them to take action? These questions cannot be answered properly until you have defined your target audience in writing.

Defining the target market will affect your creative work in infinite ways; including the graphic treatment, photography, artwork, font selection, motion graphics, color scheme, page-style, creative appeals, copy points, shooting venues, location scouting, talent selection, brand personality, camera-work, editing, music, sound design/effects/foley, burgers, fries, hotdogs, milk shakes, sushi :-) , etc. While you don’t need a degree in marketing research to understand your market, it can’t hurt to know some of the basics. Who knows, your target audience might even start a love affair with you... er... at least with your creative work anyway.

The "Idea Catcher."

Adman — Tue, 20 Jun 2006 23:38:00 GMT

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As I mentioned, I have found that the research process can help stimulate creative ideas. I believe that arguably one of the best ways to stimulate creative ideas is to immerse yourself in the learning process. While you are digging into the research, your subconscious mind goes to work and ideas will usually start to flow. It is very important to get these ideas on paper no matter how insignificant they might seem at the time. Oftentimes, these ideas will end up in the final creative work, or at least stimulate other ideas down the road. You never know when an idea that seems pretty small at the time may lead to what, in advertising, we call the “Big Idea.”

Speaking of ideas, there is an old American Indian legend that basically says that nobody really comes up with ideas -- that the ideas are already out there (in the air) and it is up to the artist to “catch” them. Indeed, creative artists will often say that they didn’t feel like they created their work themselves -- that another force (a "higher power") was providing the ideas and that they only felt like they were an instrument for getting the ideas on paper. I have often felt the same way and the research process often facilitates this “nirvana.”

On a similar note, according to the Old Testament book of Ecclesiastes, King Solomon concluded that “there is nothing new under the sun.” I believe that this ancient wisdom is still quite true today. Creativity can indeed be a matter of taking existing ideas and combining them in new and interesting ways. [One technique is to think of two relevant but unrelated ideas and consider how you might combine them into one.] One of the first things I learned in commercial art school is to keep a "swatch file" of reference material for use in designing new material. When you see work that "strikes a chord," it is a good idea to file it away for future reference and "inspiration."

Getting back to the strategic planning process -- after the research is completed, a concise overview of the findings is written. This is called the “situation analysis” or “management overview.” It is basically a quick-read -- a few pages -- to enable the client to get a quick overview of the situation. If the client has any questions, the more lengthy research findings section which provides footnoted support for the findings, can help provide the answers. It provides documented support for the arguments in the overview.

Creative work can be very subjective. But, when you develop your creative ideas from a systematic approach, you will have facts to support your arguments. By following the strategic planning process, you are building a strong case for your decisions and providing strong support for your "Big Idea."

Knowledge is power!

Adman — Wed, 14 Jun 2006 04:38:00 GMT

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You often hear people say stuff like, "everybody I know says 'so and so.'" It is easy to draw conclusions based on what you say "everyone else says." But -- keeping it real -- these kinds of conclusions (along with many website polls, cable news polls, etc.) are hardly reliable enough to build a business on...much less a creative platform for your next advertising campaign. While knowledge is indeed power, incorrect information can be devastating to any creative endeavor.

Successful creative work is usually the result of proper strategic planning -- based on solid research. Top advertising agencies usually have their own planning model. I have also developed a proprietary model for my agency based on my experience in the field. It all starts with fact-finding research broken into four categories -- the market, the competition, the product and the company. At this stage, it is critically important to be unbiased and state the facts. The research can come from a variety of primary and secondary sources.

Primary research might include the development of mailed questionnaires, field interviews and/or focus groups. It is important that the research questions are written by experienced marketing research professionals to eliminate human bias (the "stuff" mentioned above). It is also important to use a sufficient “simple random sample” of appropriate respondents to ensure statistically accurate findings within a reasonable “confidence level.” When done properly, a relatively small sample of respondents can provide highly accurate findings that are representative of the target market as a whole.

Secondary research comes from existing research material. Public libraries are, of course, a great resource. College alumni are also allowed access to university library resources...on-site and online. It is amazing how much information is readily available. A visit to your local library can be remarkably informative...and you will find the library personnel to be knowledgeable and helpful. You can usually access your public libary holdings on-line as well. My local library, for example, has the same databases available that are used by top ad agencies and research firms (paying big bucks for the subscriptions, btw). All you need is a library card number to log in.

While proper research is crucial for strategic planning, it is very important for creative development as well. Creative schools have begun to address this in their curriculum. They have come to realize that the creative program represents a solution to marketing problems -- a direct outgrowth of strategic planning. While providing invaluable information, the research process can also help stimulate creative ideas. Immersing yourself in research can indeed be a great way to get your "creative juices" flowing.

Analysis Paralysis?

Adman — Tue, 30 May 2006 16:55:00 GMT

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While attending college, I was Vice President of the marketing fraternity where I competed in a national student marketing and advertising competition of over 50 colleges and universities throughout the United States; hosted by a major "Madison Avenue" agency. My winning written plan, in addition to getting me interviewed by the college newspaper for a story (which made me even more popular with the babes -- as if that was possible), had gotten the attention of one of the marketing fraternity's professional advisors who was an account supervisor at a large local advertising agency. Although I was currently employed at the agency where I had interned, we discussed the possibility of coming to work for him at some time in the future. A couple of years later I accepted his offer to work for him as a strategic account planner and research analyst at his new agency. The agency had numerous broadcast oriented accounts including a couple of major (non-competing) restaurant chains. There were also banking and real estate accounts, among others. This agency was larger than the previous one and even more "strategically oriented." I was offered bigger bucks and a nice window office with lots of cool tropical plants and a very cool view -- people will sell their souls for a window office, eh?

As I mentioned, prior to deciding to go back to college to study marketing, I had worked as an advertising artist for several years. I also had training in developing television storyboards while attending commercial art school. As a student of marketing and commercial art, I was intrigued by the fact that -- in addition to an array of creative disciplines such as scriptwriting, casting, location scouting, set design, acting, makeup, wardrobe, voiceovers, graphics, 3d modeling/animation, camera, music/audio scoring, recording, video editing and finishing, and so forth (Whew!) -- a 30 second television spot can be the outgrowth of a very sophisticated strategic planning process.

I was always taught to have a reason for creative decision-making. While you can run the risk of "analysis paralysis," it is important to have a logical explanation for the arguments and decisions you make in developing creative work. It is also invaluable when presenting creative ideas to clients who typically (and justifiably) have numerous questions and concerns. Knowing that you have solid reasoning behind your arguments is a great confidence booster in a client presentation. After all, the client boardroom is not the place for opinions without solid support.