Friday, August 27, 2010
PRODUCT: Branding
MEDIUM: Print/The Straits Times
MARKET: Families
ATTRACTION: The visual is strong and dominates nearly two thirds of the page, so this is likely the major draw. Having said that, the colours are relatively muted and the overall impression is underwhelming.
POSITIONING: Full page ad in the Home section of The Straits Times. The aesthetic speaks of Great Eastern being there for families through the generations, and therefore fits well with the more local/domestic concerns of the Home section. At first glance the aesthetic is fairly unremarkable, and lacks differentiation from other insurance providers. Upon closer reading, however, you realise that whilst what Great Eastern are saying is not particularly new, how they communicate is clear, sincere, and highly effective.
ANALYSIS: What we like most about this ad are the connections between header and visual, and between Great Eastern, their clients, and future generations of clients. The header reads:
“With over 100 years of putting you first,
you’re always covered.”
The first line speaks to the “grandmother” figure on the left of the visual, who is, we assume, a client of Great Eastern, and is therefore the one “put first”. The second line, “you’re always covered” also speaks to the grandmother/client, assuring her as she grows older. Yet it also provides a link to the future. In the visual, it is the grandmother who is helping her granddaughter button up her cardigan, thus “covering” her up and protecting her from the cold. It provides an important link across three generations (i.e. grandmother, mother (who is absent), and child/grandchild) that resonates strongly with Great Eastern’s celebration of 102 years of “putting you first”. Moreover, there are two sentences in the body copy (the last two) that tie the whole aesthetic together and affirm the connections between header and visual:
“Making life great for you today and generations to come. That’s our Great Eastern promise.”
The subtle interweaving of the Great Eastern branding slogan – “Life is Great” – into these sentences (i.e. “making life great”) is a nice touch that ensures the seamless integration of metaphors (i.e. Great Eastern as protectors of clients, and client as protectors of future generations) and branding cues into one cohesive aesthetic that is subtle, yet believable.
EVALUATION: Despite having somewhat muted appeal, we nonetheless find this ad to be an effective piece of branding. The assured approach to communicating a message of longevity and guardianship over generations is respectful, and sincere. Integrating the branding slogan “Life is Great” with a visual that draws attention to the relationship between grandmother/granddaughter adds an important touch of light heartedness that helps balance out the overall emphasis on the past by focussing on the present (e.g. “Life is still great at 102!”), with an eye on the future. Overall this reflects a well thought out and highly measured approach to advertising that we like a lot.
Monday, August 23, 2010
CLIENT: Standard Chartered
PRODUCT: Preferred Banking
MEDIUM: Print/The Straits Times
MARKET: Young, affluent individuals (we assume)
ATTRACTION: Beyond the front page colonisation of blue backdrop and rhetorical questioning in white, there is little else to draw you in. There is no visual aesthetic and little more to capture your attention than the drone of the word “prefer”, which is hardly the most beguiling of verbs.
POSITIONING: Front cover and inside page of the Home section of The Straits Times. The bold positioning is necessary to attract attention, yet is simultaneously at odds with the relative blandness of the message, especially the rhetorical questioning on the front cover (see Analysis, below). Preferred Banking is, however, a unique service offering that occupies a niche in the retail banking market. Occupying such a niche can be a drawback in so far as it occupies a grey area that holds no service precedent. It provides a service for the transitional tier of the retail banking market – those that will eventually be eligible for the various entry-level wealth management services available (i.e. SCB Priority Banking, Citigold and HSBC Premier) but likely fall short of the minimum eligibility requirements. Clear communication is therefore needed to accurately position this service relative to the others available.
ANALYSIS: We find that this ad has a solid (albeit bland) message, but the lack of any visual imagery renders the overall aesthetic less convincing than it could otherwise be. The front cover in particular puzzles us. Opening with the question “Want more of what you prefer?” hardly captures the imagination. “Preferences” lack the conviction or necessity of “wants” or “needs” and reflect a grey area of ambivalence as to whether or not they are important enough to be given much consideration. As a gateway to the inside cover, the question works well, but as a hook that is meant to attract attention, it does seem a little unconvincing (especially if you do not make the immediate associations with Preferred Banking, which, given its newness to the market, we doubt many people would).
Having said that, it does link well with the headers of the inside cover. Dominated by the word “MORE”, which is repeated three times in bold, the Preferred Banking service is clearly positioned as one for people who “prefer more”. This sets Preferred Banking apart from standard retail banking services, as one that provides more rewards, convenience, and personalised service.
Whilst we like the connections, the lack of visual imagery means there is little to capture the reader’s aesthetic imagination. We know what the benefits of Preferred Banking are, and we know from the penultimate line of body copy the qualification requirements. But beyond hard numbers and facts (e.g. minimum assets or income), we are given no idea as to what sort of person Preferred Banking is really for. Our assumption is that it is for the young affluent segment that, over time, will qualify for entry-level wealth management services. Positioning the service as the first step towards more comprehensive wealth management solutions - one that recognises and celebrates the future value of this admittedly neglected market segment - provides a solid grounding upon which any visual imagery can be built. Talking about a service that is “more rewarding/convenient/personal” provides a description of what it offers, but it provides little guidance as to who this service should appeal to, and why.
EVALUATION: This is a good service that should appeal to a hitherto neglected segment of the retail banking market. But the lack of any visual imagery compromises the ability of this ad to really reach out to the people it is trying to speak to. Whilst Standard Chartered’s branding comes through clearly, the product branding is almost non-existent. Thus whilst this ad could potentially be very effective, its limited aesthetic appeal renders it almost obsolete.
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Tuesday, August 17, 2010
PRODUCT: HSBC Business
MEDIUM: Print/The Straits Times
MARKET: Small- and medium-sized businesses in Singapore
ATTRACTION: HSBC’s advertisements are often breath of fresh air. They are typically colourful, culturally acute, and aesthetically interesting. In this case the aesthetic clearly depicts "international trade", and will resonate with small businesses in Singapore, which has long served as a trading hub for the region and beyond.
POSITIONING: Full-page ad in the Business section of The Straits Times. Their consistent and highly entrenched brand positioning as “The world’s local bank” immediately helps position this ad as one that caters to businesses with an international outlook.
ANALYSIS: The visual dominates, showing a Chinese businessman overseeing the loading of boxes of wellies into containers for distribution to different markets around the world. The combination of three distinct elements – the Chinese businessman, the colourful wellies, and the industrial containers – makes for an interesting visual with a lot of depth. It tells us a story, but we’re not quite sure what the story is. The different colours and styles of the wellies suggests that they are intended for different people; the professional look of the Chinese businessman suggests that he is the owner of a business; and the open containers suggest that they are either being packed ready for shipment, or have just been received. To find out how these elements work together, we are drawn to the headlines for explanation:
“For the rice fields of China.
On the construction sites of Brazil.
In the fashion shows of France.”
The “For”, “On”, and “In” of the headlines refer to the wellies being packed, and provide the missing thread that ties the three elements of the visual together. The wellies, we assume, are being exported to be used by farmers in China, builders in Brazil, and models in France. The visual is local and grounded in the present; the header is global and speaks to the future; combined they represent a supply chain that HSBC Business banking can help you manage. This is a good creative aesthetic, but one that is not without its problems.
The main problem is that of integration. Without the reader making the very specific associations between visual and header, the aesthetic is meaningless. By overlooking the wellies, the visual could be (mis)interpreted as a composite of all three headlines; the Chinese businessman representing China’s rice industry, the containers representing construction in Brazil, and the wellies themselves representing a French fashion show. As it is, we would argue that the connections between visual and header could be clearer. For one, the three different sentence prefixes – “For”, “On”, and “In” – could easily suggest that HSBC are talking about three different products, or scenarios. Using “For”, followed by "Or" and "Or" at the beginning of each sentence could be clearer alternative, but runs the risk of being monotonous.
EVALUATION: We really like the creative as it tells a good story by cleverly integrating a variety of different visual and textual cues. As usual HSBC do a good job of attracting attention through their use of vivid imagery from around the world. But we also think it runs the risk of confusing those readers who do not immediately make the associations between the wellies and the different markets. Overall, we think this ad scores highly for appeal, but greater consistency between visual and header would help make it more effective.
Thursday, August 12, 2010
CLIENT: HPB
PRODUCT: Health screening
MEDIUM: Print/The Straits Times
MARKET: Adults, Singaporeans, parents
ATTRACTION: Ensconced within the hubbub of National Day pictures, “ParadeBites”, and audience/participant quotes, readers will already be scanning the page for all the visual cues available, and will likely to take a second glance at this ad. The visual is “normal” enough to fit seamlessly into the Parade montage (it’s just a photo of a girl tying her shoelace after all), yet composed enough to suggest that there is something more to it than photojournalism alone (the lighting in particular gives it away).
PRODUCT: Health screening
MEDIUM: Print/The Straits Times
MARKET: Adults, Singaporeans, parents
ATTRACTION: Ensconced within the hubbub of National Day pictures, “ParadeBites”, and audience/participant quotes, readers will already be scanning the page for all the visual cues available, and will likely to take a second glance at this ad. The visual is “normal” enough to fit seamlessly into the Parade montage (it’s just a photo of a girl tying her shoelace after all), yet composed enough to suggest that there is something more to it than photojournalism alone (the lighting in particular gives it away).
POSITIONING: Home section of Tuesday's Straits Times, situated right in the middle of the NDP 2010 segment. It cleverly rides on the feelings of nationhood and togetherness that NDP evokes, and that the photos and reportage attempt to re-ignite. Whilst NDP is a celebration of nationhood, this ad is a reminder of the importance of the individuals that make up the nation. The guardianship of the state in orchestrating the Parade reflects the guardianship and responsibility of the parent in looking after their health so that they can nurture future generations of Singaporeans. Whether intentional or not, the parallels drawn between HPB and the NDP are clear, and effective.
ANALYSIS: Whilst the visual is well aligned with the photos taken of the NDP celebrations, it is the header and copy that draw your attention to the fact that this is an advertisement. The note in the top right hand corner is in the uncertain handwriting of a young child, and reads:
I’m big now
I tie my own shoelaces.
And brush my teeth.
I can add and subtract.
I can spell Monday and papaya.
I know what sound a tiger makes
And I learnt it all myself.
Mum would be so proud of me.
If only she were here.
Again, the milestones that the girl has accomplished (that make her “big now”) reflect Singapore’s accomplishments since independence (the transition from “third” world to “first”). Yet whilst NDP captures the pride felt for Singapore’s achievements over the past 45 years, the pride of an absent mother (“if only she were here”) creates a juncture that expands the message, making the reader think about issues of guardianship and responsibility. The header – “If you’re not here, who else can they rely on?” – speaks immediately to the mother of the girl, but also resonates with the nation, which relies on the support of individuals to ensure continued growth and prosperity in the years ahead. It’s subtle, but it’s a message that resonates strongly with the overall NDP aesthetic of celebration, with a hint of caution at what the future may hold. NDP showcases military power to show how Singapore can defend the nation; this ad tells you to go for regular health checks to show how you can defend yourself against illness. Enjoying the continued accomplishments of the nation and of our children are the respective outcomes of being cautionary. Moreover, the fact that “us” and “our children” are part of the nation ties everything together seamlessly.
EVALUATION: This ad is all about positioning. The seamless integration and parallels with the feeling of togetherness roused by the NDP is skilfully exploited by HPB to send a meaningful message to the individuals that comprise the nation. Doing so not only creates multiple, yet complementary, layers of meaning, but it also circumvents a lot of (potential) criticisms of the ad; that it may be trite, and even emotionally blackmailing. It sends a serious message about the importance of “self” in achieving collective goals, whether it be the growth of a family, or the growth of a nation. Altogether, we feel that HPB’s deft positioning and awareness have led to the creation of an ad that is conceptually brilliant.
Thursday, August 5, 2010
ATTRACTION: It certainly doesn’t look like a condominium ad, which is both a strength and weakness. The blown-away newsprint is interesting and the bright colours attention grabbing, but there is too much going on to make this ad particularly impactful at first glance.
POSITIONING: Back cover of the Home section of Saturday’s Straits Times. Its break from the conventional condominium mould of highly stylised artist impressions and fanciful graphics is refreshing, and reflects a good amount of creative thought. This does, however, make it difficult to place, with the lack of a strong overall aesthetic forcing the reader to work hard in order to figure out what this ad is for, and what it is trying to say. That it is positioned as a back cover rather than embedded within the newspaper will only increase the propensity for readers to overlook it.
ANALYSIS: Where do you start? The problem we have is that there is too much going on. The short snippets of copy, the colours, the different text directions, and the jumble of words around the border all amount to noise rather than coherence. They create confusion rather than clarity. The centre rectangle of text and image is the focal point, but is it meant to represent a condominium tower, a metaphor for how The Trizon has managed to create a space for itself amongst a crowded page of newsprint, or just a neat way of bringing together different snippets of information? Probably a mixture of all three, but the message is lost in the difficulty of interpretation.
Moving out to the border, the five news headlines that are supposed to inform the product features in the centre rectangle again take a lot of effort to read, not least because they are cramped, and drowned out by the jumble of copy around them. The headers provide a backdrop to the product positioning – they tell us how land scarcity has resulted in more units being crammed into smaller plots at higher prices whilst buyers want bigger bedrooms, and to “live in space” in District 10. They pit supply against demand, creating a problem that is expected to resonate with readers and be resolved by the unique features of The Trizon.
Again, it’s a good idea, but it falls short of the mark because of the weak overall aesthetic. We like the fact that the newsprint background represents District 10 and The Trizon a development that has literally carved its own space out of a page of cluttered newsprint, and we like how each of the product features addresses the problems raised by the newsprint. But, again, there is just too much going on. It requires a lot of interpretation, which places a lot of expectation on the reader to invest time and concentration in joining the dots and figuring out what it is they are trying to say.
EVALUATION: The lack of synergy compromises the ability of this ad to live up to its creative potential. Whilst the idea is there, the desired effect isn’t. The title of this post suggests that all the information you need is available (i.e. it says a lot), but the incoherence undermines the overall aesthetic (i.e. it tells you little). Instead of telling you what to think, the reader is forced to think about what the ad is trying to tell them - something that requires time, concentration, and a willingness to read on. Overall, this ad reflects a good idea that is let down by the execution.
Tuesday, August 3, 2010
POSITIONING: Front page and inside front cover of the Home section of the Straits Times. This is interesting as the M series is a range of high-performance cars (as suggested by the header) that are not for the average consumer in Singapore, suggesting that this ad is more for brand positioning/differentiation than it is the product itself.
ANALYSIS: The front cover comes across as bold, confident, and unusual enough to stand out. The header – “THE CAR THAT WAS NEVER MEANT TO BE ON THE ROAD” – sets up a "forbidden fruit" kind of metaphor that attracts wide-ranging attention, not just that of car or BMW aficionado’s. Why was this car never meant to be on the road? Why is it now on the road? What is it? All you know is that you weren't meant to have it, and that's why you want it. The lack of visual and small BMW logo in the top right corner are conspicuously absent. Such an absence is necessary, as they would otherwise detract attention from what is by itself a very clear and powerful message.
Turn the page and the ad is brought to life. The header – “NOW SCORCHING THE STREETS OF SINGAPORE” – not only brings the reader’s attention back to Singapore, but also gives an indication of what sort of car this is with the word “scorching” – it’s fast, performance-driven, and obviously unique. There is a visual, but it is revealing inconspicuous. White in colour and lacking any sort of background detail, to the untrained eye the car looks little different from any other BMW. So you’re drawn into the body copy, which explains the story of the M series in detail – and answers the questions triggered by the header on the front page. Again the visual cues are minimal, leaving most of the work to the reader and their imagination. BMW’s effectiveness in doing this is partly due to the clarity of both messages – they are pithy, different, and there is an air of danger to the fact that BMW are bringing a car that was not meant to be on the road to "the streets of Singapore". In doing so, they do a fantastic job of setting BMW apart from other brands of luxury cars.
EVALUATION: What interests us most about this ad is its positioning. By colonising the front and inside covers of the Home section, BMW are going for the broadest possible coverage. They want to set BMW apart from their competitors as a brand on the edge. This is done to maximum effect by showcasing the edgiest range of cars they have, in the clearest way possible. They come across as motoring mavericks, injecting something raw and exciting into Singapore’s roads. This, we find, is very appealing, with the body copy on the inside cover effectively focussing the reader's attention on the Munich Automobiles showroom - the home of the M series in Singapore.
Thursday, July 29, 2010
CLIENT: OCBC
PRODUCT: OCBC Titanium Card
MEDIUM: Print/The Straits Times
MARKET: Individuals with "passion"
ATTRACTION: The dark hues and muted colour scheme make this ad almost antithetical to the advertising rules of attraction (read: bright colours and/or attention-grabbing visuals). It is the thoroughly unique style that draws you in.
PRODUCT: OCBC Titanium Card
MEDIUM: Print/The Straits Times
MARKET: Individuals with "passion"
ATTRACTION: The dark hues and muted colour scheme make this ad almost antithetical to the advertising rules of attraction (read: bright colours and/or attention-grabbing visuals). It is the thoroughly unique style that draws you in.
POSITIONING: A full-page ad in the main section of The Straits Times. Whilst other credit card ads bombard you with product features, offers, statistics, and reasoning as to why you should sign up, this ad goes for style alone. And it’s a style juggernaut at that. Can you think of a credit card ad like this? We can’t.
ANALYSIS: The creative aesthetic is ethereal and, at first glance, fairly nondescript given its lack of colour and other visual cues. After a couple of seconds, however, the majestic visual of a diver photographing a manta ray takes over, drawing you into the body copy for explanation. The copy does just that; explains, illuminates, and ties everything back to the product in question. Here’s the copy in full:
The waters are very different.
The rush you feel isn’t just the currents.
The locals around seem unfamiliar.
Yet you’ve never felt so at home.
Live your passions.
The poetic quality of the first four lines all fit with the dreamlike visual, but are brought to life by the "Live your passions" statement, which brings home the fact that the ad is actually a reflection of something real – somebody's passion for underwater photography. Given that "passion" itself is so personal, this ad does a good job of creating a very niche aesthetic, and then giving it wide-ranging appeal by linking it back to the product through the assertion that the OCBC Titanium Card can help you “Live your passions”. The fact that they do so in such an unobtrusive way is also refreshing (the only reference to product features are in the footer, which goes for a relatively reserved “Use your OCBC Titanium Card overseas and enjoy 3X OCBC$”).
Finally, a note on branding. Whilst OCBC are probably best known in the marketplace for their playful, almost childish (or perhaps, accessible?) approach to advertising and branding - marked by bright colours, smiley faces, and cartoon characters - this ad reflects a more sincere understanding of customer need. It is essentially a branding piece that chooses aesthetic style over merciless product pushing. As such OCBC create a unique value proposition and carve out a distinct niche for themselves amongst other credit card issuers.
EVALUATION: If you hadn't already guessed, we are big fans of this advertisement’s aesthetic appeal, and believe that it reflects a high level of creative thought. Pragmatically speaking, we would question its effectiveness in driving product sales and spend. Singaporeans are, by and large, practical people who want savings, rewards, and flexibility from their credit card providers. Whilst downplaying the product features is, as we have argued, an important part of the overall aesthetic, its appeal may be misaligned with the wants and needs of the average Singaporean consumer. Nonetheless we think that this sets the creative standard for banks in general, and an interesting direction for OCBC in particular.
Tuesday, July 27, 2010
POSITIONING: Front page of The Straits Times – it’s hard to avoid. On the front page alone there are four separate mentions of the YOG, all indicative of the scale of preparation that Singapore is undergoing. The use of the YOG branding sets Omega apart from other luxury watch brands, and provides an important link between sport and luxury goods.
ANALYSIS: For us, what stands out is the inconsistency between visual and header. Whilst the header enforces the Omega brand through its sponsorship of the YOG by reading “OLYMPIANS OF TOMORROW”, the visual is of a typical Omega product – a watch. Reading the header and visual in conjunction with each other, are we supposed to conclude that the watch is an "Olympian of tomorrow"? This is plausible, given Omega's long history of Olympic timekeeping. But then again, a wristwatch is hardly an "Olympian", more an Olympic timekeeper, and a very outdated one at that (which is precisely the point, perhaps..?). Or are they trying to say that the watch shown will become as coveted as the "Olympians of tomorrow" (i.e. the athletes)? Or is the watch one of the prizes that medallists will be given, and is therefore the watch worn by the "Olympians of tomorrow"? We don't know.
The intended meaning, we assume, is that Omega supports and endorses the “Olympians of tomorrow” – the YOG athletes – through its sponsorship and role as “official timekeeper” of the YOG. Factually this is inaccurate, as some YOG athletes already have “real” Olympic experience (e.g. British diver Tom Daley), and are therefore “Olympians of today”. Moreover the implication that YOG athletes are not “real” Olympians can easily be interpreted as belittling. And where does a watch fit into this message of endorsement and support? The temporal parallels between YOG athletes and future Olympians, and the changes in personal and Olympic timekeeping over time are certainly interesting, yet lack the explanation needed to really enable the reader to understand what this aesthetic is trying to get at.
The intended meaning, we assume, is that Omega supports and endorses the “Olympians of tomorrow” – the YOG athletes – through its sponsorship and role as “official timekeeper” of the YOG. Factually this is inaccurate, as some YOG athletes already have “real” Olympic experience (e.g. British diver Tom Daley), and are therefore “Olympians of today”. Moreover the implication that YOG athletes are not “real” Olympians can easily be interpreted as belittling. And where does a watch fit into this message of endorsement and support? The temporal parallels between YOG athletes and future Olympians, and the changes in personal and Olympic timekeeping over time are certainly interesting, yet lack the explanation needed to really enable the reader to understand what this aesthetic is trying to get at.
EVALUATION: It’s one of those adverts that talks big, but struggles to deliver. Aligning themselves with the YOG brand and Olympians is undoubtedly appealing, yet the message appears fraught for the reasons outlined above. It is the confusion between visual and header that forces you to take a closer, more questioning look at both. Doing so exposes a number of inconsistencies that undermine the message being communicated, and the overall effectiveness of the ad. We would suggest drawing a clearer line between whether or not this is a branding piece, or a product piece. If the former, the visual could easily be improved by showing an action shot of a sprinter and Omega time-board. If the latter, the headline should better reflect the product visual by suggesting that Omega watches are the watch of choice for elite athletes around the world. As it is the ad shouts to get your attention, yet the words used are rendered meaningless in the noise of confusion.
Thursday, July 22, 2010
Over the past few days we have been distilling some of our proprietary Ad Reading materials into a shorter, more palatable version for this blog. These can now be accessed as "pages" on the right-hand toolbar. You can also access them here:
Ad Reading 1 : Attraction
Ad Reading 2 : Positioning
Ad Reading 3 : Analysis
Ad Reading 4 : Evaluation
Enjoy! And, of course, do let us know what you think.
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Wednesday, July 14, 2010
But there is another side to the story that should not be overlooked, that is, CEO Piyush Gupta’s letter of apology to all DBS customers. The Straits Times today called it a “very personal apology” running to three pages long, admitting that the crisis could have been better handled, and emphasising that DBS took full responsibility for the crash. The personal tone (he signed off “Piyush”), alongside the sense of accountability, responsibility, and ownership of the situation (IBM engineers were implicated, but not indicted) all convey a message of humility and respect. In the post-financial crisis world, where banks are demonised for the smallest wrongdoing, this is exactly what consumers want to hear, with Gupta’s timely response pushing all the right buttons.
In addition, as we have learnt from the PR mismanagement of the Gulf of Mexico oil spill at the hands of BP, such incidences offer unparalleled insight into the leadership quality of the companies involved. Whilst Tony Hayward shirked his responsibility (as reflected by a number of now infamous PR gaffes), Piyush Gupta has fully accepted his. Whilst BP have done nothing more than add insult to injury through a series of communications failures, DBS have drawn a line under the situation and appeased their stakeholders by communicating with them in a sincere and direct way. Overall, therefore, Gupta’s letter of apology presents a communications coup that will force closure, rebuild trust, and pay dividends in the future.
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