In the new taste of Fanta straight

In contrast to the 2016 campaign
mentioned above, Fanta had earlier attempted another creative approach for one
of their print advertisement to promote their newly updated orange flavoured
drink four years ago. The creative approach in this context, refers to a point
of interaction between the consumer and the print, in which it was featured on
several magazines. The objective was to allow consumers to tear a part of the
page for consumption in order to taste the new flavour. The agency stated that,

‘Taste, in every sense, is a
personal thing. It has to be directly experienced to be completely understood,
appreciated, sought for and subscribed to. For a beverage like Fanta which is
relatively known for its unique orange taste, introducing a new more orange-y flavour – is undeniably,
vague. No matter how much we described it. The product had to be tried, thus
the necessary means of sampling. Enabling the audience to immediately and
directly react and respond. Average and forgettable sampling was transformed
into an innovative medium using print media to showcase the taste. This allowed
for curious people to tear and try the new taste of Fanta straight from the
print ad without having to drink it.’

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While the agency took a stab at
being innovative for a print advert, it failed to take several factors into
consideration. From a consumer stand point, personal hygiene would be the first
thing that comes to mind, especially in the food and beverage industry.

Secondly, eating or tasting a piece of paper does not sound very appealing.

Visually, the advert was also not well-received. Copywriting was used as an
entirety on the page with multiple typeface and sizes. This resulted in poor
legibility and not many are keen on reading an advert full of text either. On
the contrary, the agency was able to effectively use the key graphic elements
that reflect Fanta’s brand identity. The main elements were the use of the
orange gradient as the background as well as the rounded typeface and endearing
icons, leading to instant recognition of the brand and its product. On a side
note, the advert was also accompanied by a video that showed real life action
of consumers having a go with the taste testing. Ideally, this was done to
encourage more people to do the same, which did not seem to be case, judging by
the negative comments made on the video. Controversies came around when Fanta
established this strategy as a world’s first, which some had argued that it was
false instead.

 
In Fanta’s case, both the animation and print advert managed to capture their
target audience’s attention accordingly. Unfortunately, the creative twist used
for the print advert was poorly executed and presented a lack of thought for
the consumers’ perspective. Despite the negativity, it allowed people to
express their opinions with friends and create further exposure through
word-of-mouth, which brings to mind a frequently used quote: any publicity is
good publicity. In addition, the cost of producing it may have been much
costlier rather than digital.

Other brands that are worth
mentioning of effective advertising are MTV and Redbull. MTV is well-recognized
for its odd and psychedelic interstitials in television throughout the nineties
to the present day. Its interesting use of unusual animation juxtaposed with
static images are what makes up their brand identity. As for Redbull, its
animation complements the famous tagline ‘Redbull gives you wings’. The tone
was meant to be humorous, albeit the simple, black and white cartoon animation.

For a visual so plain however, it has managed to capture the consumer’s
attention due to it’s strong, existing storytelling that made it relatable for
them.

While visuals play
an important role in advertising, it is crucial to not leave out the psychological
aspects in driving the attitude of consumers towards their decision making. The
use of emotional persuasion matters because of its power to influence and to get
them to understand the brand’s view. It may be that the important
characteristic of emotions is that they push toward action. In response to
emotion, people are compelled to do something. Emotional reactions are driven by only valence and arousal, which have
two distinct meanings. Valence is defined as to whether the emotion is positive
(high) or negative (low). In contrast, arousal is whether the emotion is active
(high) or inactive (low). Since
abstract visuals are meant to be attention-getters, it should fall under the
category of high arousal and high valence. This meant that it should evoke a
sense of excitement, delightfulness and alertness to the consumers. Even though
the category leans towards an inspirational and positive tone, abstract visuals
will do a great job of captivating the targeted audience just as well. This is
a good measure for brands to plan and draft where their brand falls within the
graph.

A consumer’s
memorability of the advert and their attention span towards it are the two
components that will be used to measure an advert’s effectiveness.

James Galpin (2012) mentioned that the memorability depends on its relevancy,
frequency and how recent they were encountered. This is especially evident on
social media and video hosting platforms because the chances of the same advert
to replay again from time are much higher. Also, a good media choice may be
able to reach the target audience in an emotionally engaging context and thus
substantially enhancing the memorability of brand communications. This would
then increase the chances of searching for the particular brand’s product or
services on search engines such as Google and Bing. This may differ from
traditional mediums as the information are not visually forced upon them,
meaning that consumers generally have control over it, just as mentioned
earlier.