Advertising Creatives are responsible for coming up with original, exciting and memorable ideas that meet client's briefs and which can then be used in a range of mediums (e.g Radio, TV).
This occupation is found in the advertising industry. In the increasingly competitive global markets, it is the brands with creative, original, engaging advertising that really stand out from the crowd. Advertising helps turn products into brands by establishing a relationship between the consumer and the brand, thus securing long term, loyal custom. This is a specialist occupation which is found principally within advertising agencies, but Junior Advertising Creatives have skills that can be applied across a wide range of sectors, wherever there is a creative need for advertising, for example in the creative department of a broadcaster. In the United Kingdom there are thousands of people employed in this busy, fast paced and vibrant industry.
The broad purpose of the occupation is to come up with creative ideas which help bring forward fresh thinking and transform businesses and behaviour. This is achieved by creating standout advertising. The Junior Advertising Creative occupation is about origination. They start with a blank piece of paper and come up with a big idea that can be executed across multiple Media touchpoints.
Junior Advertising Creatives work on campaigns that provide people with information most effective to the target audience to help them make better informed decisions. A campaign is a series of adverts running in a short period in different mediums but with the same idea. They create adverts to encourage people to buy products, change their behaviour (for example to wear seatbelts or stop smoking), give to charitable causes or even effect social change (for example, reducing the use of single use plastic). They aim to delight, move and solidify the consumer’s understanding of that product or brand, service, issue or cause. They dramatise the product or services' benefit. Junior Advertising Creatives think up, develop and produce inspiring and effective advertising campaigns for clients, which can be delivered through appropriate and exciting media channels and platforms. This includes television, radio, newspapers, cinema and social media, and other digital platforms, but the world is changing, so Junior Advertising Creatives are also always on the lookout for new ways to present their ideas.
In their daily work, an employee in this occupation interacts with a wide range of people. They report into and are supported by more Senior Advertising Creatives. They work alongside the broader advertising team in conceiving and developing ideas. The Junior Advertising Creative originates the idea, and may work with Advertising Executives who act as the link between them and the client. They also work with others in the industry who are involved in delivery of the idea, such as Junior Content Producers.
Once an idea is formed, they work with the people who bring the idea to life. Typically this includes film directors, photographers, artists, illustrators, musicians and designers. They might occasionally be asked to present their ideas to the client, but this varies from company to company. Whilst this is an office-based occupation, good ideas can happen anywhere so Junior Advertising Creatives are not exclusively office based. As part of delivering a campaign, they may visit locations such as recording studios, film sets, sound stages, colour grading studios and even overseas locations, so they need to work flexibly, particularly if on a TV commercial shoot or helping towards a big presentation.
An employee in this occupation will be responsible for originating surprising, brilliant, exciting, ingenious concepts and ideas. This can be a matter of opinion, so they need the tenacity and resilience to bounce back from setbacks, constructive feedback and also embrace criticism of their ideas. They are conscious of deadlines, budget restrictions and brief requirements. (There are two types of brief - the marketing business brief and a focused creative brief used to inform creatives of the task.) They usually have a number of creative projects running at the same time but at different stages and are responsible for making sure they all meet their deadlines. This is an occupation where you can be yourself, introvert or extrovert, because it is the ideas which matter.
This is a summary of the key things that you – the apprentice and your employer need to know about your end-point assessment (EPA). You and your employer should read the EPA plan for the full details. It has information on assessment method requirements, roles and responsibilities, and re-sits and re-takes.
An EPA is an assessment at the end of your apprenticeship. It will assess you against the knowledge, skills, and behaviours (KSBs) in the occupational standard. Your training will cover the KSBs. The EPA is your opportunity to show an independent assessor how well you can carry out the occupation you have been trained for.
Your employer will choose an end-point assessment organisation (EPAO) to deliver the EPA. Your employer and training provider should tell you what to expect and how to prepare for your EPA.
The length of the training for this apprenticeship is typically 18 months. The EPA period is typically 4 months.
The overall grades available for this apprenticeship are:
When you pass the EPA, you will be awarded your apprenticeship certificate.
The EPA gateway is when the EPAO checks and confirms that you have met any requirements required before you start the EPA. You will only enter the gateway when your employer says you are ready.
The gateway requirements for your EPA are:
A project with a slide deck
You will be asked to complete a slide deck. The title and scope will be agreed with the EPAO at the gateway. As part of the project, you need to write a slide deck and submit this to the EPAO. The slide deck should be a maximum of 500 (with a 10% tolerance).
You will have 6 weeks to complete the project and submit the slide deck to the EPAO.
You need to prepare and give a presentation to an independent assessor. Your presentation slides and any supporting materials should be submitted at the same time as the project output. The presentation with questions will last at least 60 minutes. The independent assessor will ask at least 6 questions about the project and presentation.
Professional discussion underpinned by a portfolio of evidence
You will have a professional discussion with an independent assessor. It will last 60 minutes. They will ask you at least 10 questions. The questions will be about certain aspects of your occupation. You need to compile a portfolio of evidence before the EPA gateway. You can use it to help answer the questions.
The EPAO will confirm where and when each assessment method will take place.
You should speak to your employer if you have a query that relates to your job.
You should speak to your training provider if you have any questions about your training or EPA before it starts.
You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.
If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.
This occupation is found in the advertising industry. In the increasingly competitive global markets, it is the brands with creative, original, engaging advertising that really stand out from the crowd. Advertising helps turn products into brands by establishing a relationship between the consumer and the brand, thus securing long term, loyal custom. This is a specialist occupation which is found principally within advertising agencies, but Junior Advertising Creatives have skills that can be applied across a wide range of sectors, wherever there is a creative need for advertising, for example in the creative department of a broadcaster. In the United Kingdom there are thousands of people employed in this busy, fast paced and vibrant industry.
The broad purpose of the occupation is to come up with creative ideas which help bring forward fresh thinking and transform businesses and behaviour. This is achieved by creating standout advertising. The Junior Advertising Creative occupation is about origination. They start with a blank piece of paper and come up with a big idea that can be executed across multiple Media touchpoints.
Junior Advertising Creatives work on campaigns that provide people with information most effective to the target audience to help them make better informed decisions. A campaign is a series of adverts running in a short period in different mediums but with the same idea. They create adverts to encourage people to buy products, change their behaviour (for example to wear seatbelts or stop smoking), give to charitable causes or even effect social change (for example, reducing the use of single use plastic). They aim to delight, move and solidify the consumer’s understanding of that product or brand, service, issue or cause. They dramatise the product or services' benefit. Junior Advertising Creatives think up, develop and produce inspiring and effective advertising campaigns for clients, which can be delivered through appropriate and exciting media channels and platforms. This includes television, radio, newspapers, cinema and social media, and other digital platforms, but the world is changing, so Junior Advertising Creatives are also always on the lookout for new ways to present their ideas.
In their daily work, an employee in this occupation interacts with a wide range of people. They report into and are supported by more Senior Advertising Creatives. They work alongside the broader advertising team in conceiving and developing ideas. The Junior Advertising Creative originates the idea, and may work with Advertising Executives who act as the link between them and the client. They also work with others in the industry who are involved in delivery of the idea, such as Junior Content Producers.
Once an idea is formed, they work with the people who bring the idea to life. Typically this includes film directors, photographers, artists, illustrators, musicians and designers. They might occasionally be asked to present their ideas to the client, but this varies from company to company. Whilst this is an office-based occupation, good ideas can happen anywhere so Junior Advertising Creatives are not exclusively office based. As part of delivering a campaign, they may visit locations such as recording studios, film sets, sound stages, colour grading studios and even overseas locations, so they need to work flexibly, particularly if on a TV commercial shoot or helping towards a big presentation.
An employee in this occupation will be responsible for originating surprising, brilliant, exciting, ingenious concepts and ideas. This can be a matter of opinion, so they need the tenacity and resilience to bounce back from setbacks, constructive feedback and also embrace criticism of their ideas. They are conscious of deadlines, budget restrictions and brief requirements. (There are two types of brief - the marketing business brief and a focused creative brief used to inform creatives of the task.) They usually have a number of creative projects running at the same time but at different stages and are responsible for making sure they all meet their deadlines. This is an occupation where you can be yourself, introvert or extrovert, because it is the ideas which matter.
| Duty | KSBs |
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Duty 1 Understand client marketing problems and develop creative ideas and concepts to solve the problem. |
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Duty 2 Take the creative brief from the account planner, the person in the advertising team with best understanding of how the advertising communication will help solve the client requirement, and ask intelligent questions to better understand the client’s need for example, about the target’s motivations or journey to purchase. |
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Duty 3 Articulate their creative ideas to creative directors and/or senior creatives using appropriate presentation materials such as story or mood boards, to obtain their feedback on their ideas. |
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Duty 4 Present creative ideas to the advertising team and occasionally their clients to obtain feedback on their ideas and ensure they meet the client's brief, using presentation materials such as video and music clips, photomontage storyboards. |
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Duty 5 Develop creative presentations using appropriate materials such as story boards, music, film, illustration montages, being aware of advanced materials such as an animatic and mood boards, collection of images and text, to help bring the idea to life. |
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Duty 6 Assist senior creatives to prepare for new business pitches, for example, by working on a "shadow brief" to come up with additional and or alternative ideas, which can then be presented in a competitive setting i.e. where a number of companies are pitching for business, to a potential new client. |
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Duty 7 Amend or redevelop ideas in response to feedback, this can include feedback from a range of sources such as colleagues, clients and research organisations, ensuring any actions taken are in line with the agreed brief. |
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Duty 8 Work with specialist producers to help find the right directors, casting, photographers or music, for example prior to a TV commercial pre-production meeting. |
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Duty 9 Collaborate successfully with the wider company advertising team and suppliers to help their ideas come to fruition, within budget and time scales, including basic understanding of what channels the Media Executives are recommending. |
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Duty 10 Attend external locations, for example TV & print shoots, in order to assist with the creative aspects of the production, ensuring the location enhances, rather than detracts from the creative idea. For example, if filming in the countryside, choosing a lush green field, over a muddy field, if the advert is depicting the benefits of visiting a rural location. |
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Duty 11 Attend edits and post-production sessions in order to answer any questions from the producer regarding the advertising concept and the customer's brief. |
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Duty 12 Maintain awareness of creative work done by competitors, both in the UK and internationally; market and or technology developments and cultural trends in relation to the accounts being worked on to ensure campaigns are unique and the final product meets the concept and brief. |
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Duty 13 Write text and stories, create designs and layouts: all of which bring an idea to life within different mediums, for example, TV, radio, cinema, newspaper, magazines, direct mail, promotions. |
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Duty 14 Manage the pressure of tight deadlines and busy schedules, working on multiple projects simultaneously as required. |
K1: The roles and departments and functions within an advertising team and how they interact with their own role. For example account planning, Account Executives, production specialists.
Back to Duty
K2: The way in which a creative idea is developed from brief to production for example, the key stages such as the client brief, creative briefing, presentation of ideas, research, pre-production, production, post production, delivery to the media channels, including basic understanding of what channels the Media Executives are recommending.
Back to Duty
K3: The multiple ways an idea can be communicated and distributed and their benefits e.g. TV, cinema, You Tube, social media, radio, posters, and influencers.
Back to Duty
K4: The basics of advertising ethics and the importance of work being legal, decent, honest and truthful.
Back to Duty
K5: How to put together and present an idea. Typically this might include slides, mood boards, storyboards, music, illustration and film references.
Back to Duty
K6: How to understand a client’s brief and the timing and budgetary restrictions therein.
Back to Duty
K7: How to interrogate and challenge a brief in a constructive way.
Back to Duty
K8: Trends and opportunities that can enhance an idea or add value to a client’s business, such as the role of influencers, new advertising delivery platforms like Virtual Reality, short form mobile videos.
Back to Duty
K9: How to identify and source the most appropriate internal and external craftsmen that can help produce the idea e.g. voice talent, directors, designers, photographers.
Back to Duty
K10: The typical characteristics of a “brand” for example, tone of voice, values.
Back to Duty
K11: How to give and receive constructive feedback.
Back to Duty
K12: How text and stories bring the idea to life including for publications, leaflets, web pages and social media.
Back to Duty
K13: How design and layout bring the idea to life including for publications, leaflets and web pages and social media.
Back to Duty
K14: Importance of approaching ideas from different perspectives for example how to combine ideas, or how to use an interesting fact.
Back to Duty
K15: How advertising can persuade people to do something e.g. change behaviour, or buy a different product
Back to Duty
K16: Typical terminology used for example, UX, Motion Graphics, Editor, Project Manager, Coder.
Back to Duty
K17: Understand the relationship between stories and the time limits of the selected media option and how to create short stories that fit the duration of the advert for example, scripts for radio.
Back to Duty
K18: That there is a legal and regulatory code (The Code) and have knowledge of how it is applied such as the basics of what can and can’t be shown in advertising for example, Portman rules on alcohol, gender stereotyping.
Back to Duty
K19: Principles and policies of equity, diversity, and inclusion in the workplace.
Back to Duty
K20: Digital tools and software to communicate and interact with a range of key stakeholders.
Back to Duty
K21: Policies and procedures relating to environmental impact and sustainability.
Back to Duty
S1: Interrogate a creative brief and find advertising potential within it, asking questions to clarify understanding.
Back to Duty
S2: Solve client communication problems for example, using mind maps.
Back to Duty
S3: Originate brand, products or service communications/ideas which answer a client’s brief.
Back to Duty
S4: Present their idea, using visual aids for example, slides, mood boards, storyboards and make use of music, photo, illustration and film references.
Back to Duty
S5: Research cultural trends and opportunities that can enhance an idea or add value to a client’s business for example, an awareness of the importance of environmental issues, or of an upcoming event and or film, could build references to this into the advert.
Back to Duty
S6: Identify and source the most appropriate internal and external experts and suppliers that can help produce the idea.
Back to Duty
S7: Research and interpret characteristics of a brand to establish most appropriate media option(s).
Back to Duty
S8: Deliver their work to brief and on time.
Back to Duty
S9: Write text and stories that bring the idea to life for publications, leaflets, web pages and social media.
Back to Duty
S10: Create design and layout that bring the idea to life for publications, leaflets, web pages and social media.
Back to Duty
S11: Apply feedback to amend or redevelop their ideas.
Back to Duty
S12: Undertake research into latest trends in advertising and new delivery platforms for example, keep abreast of new poster variants such as interactive superlite films at bus shelters and consider and recommend ways to use them.
Back to Duty
S13: Collaborate with the wider team and encourage them to share ideas to help bring the project to life.
Back to Duty
S14: Prioritise competing demands.
Back to Duty
S15: Write in any tone and or style, being aware of the need to communicate to different audiences taking into account cultural differences and social representation.
Back to Duty
S16: Influence others for example, buy a different product or change their behaviour.
Back to Duty
S17: Write scripts of different lengths to suit different media platforms and of different durations.
Back to Duty
S18: Communicate information through appropriate channels when seeking support to undertake tasks.
Back to Duty
S19: Use digital collaboration tools to work with colleagues and key stakeholders.
Back to Duty
B1: Creative curiosity – researches the brief and shares their ideas.
Back to Duty
B2: Empathy – takes into account a range of viewpoints when carrying out tasks, shows emotional intelligence when managing other people.
Back to Duty
B3: Resilience – considers feedback objectively, bounces back from criticism of their idea, and continues working on the brief with enthusiasm by continuing to achieve deadlines and maintain rapport.
Back to Duty
B4: Working under pressure – manages multiple projects and deadlines.
Back to Duty
B5: Courageous – puts forward ideas to more senior colleagues and is prepared to challenge others.
Back to Duty
B6: Accountable for tasks, actions and work proactively seeks support.
Back to Duty
B7: Support an inclusive culture treating colleagues and external stakeholders fairly and with respect.
Back to Duty
B8: Acts professionally when representing the business virtually, in person and when communicating.
Back to Duty
B9: Prioritises sustainable practices for example reducing paper waste, turning off unused lights, car sharing or using public transport to travel for business meetings.
Back to Duty
Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.
V1.1
This document explains the requirements for end-point assessment (EPA) for the junior advertising creative apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.
Junior advertising creative apprentices, their employers and training providers should read this document.
A full-time junior advertising creative apprentice typically spends 18 months on-programme. The apprentice must spend at least 12 months on-programme and complete the required amount of off-the-job training in line with the apprenticeship funding rules.
The EPA should be completed within an EPA period lasting typically 4 months.
The apprentice must complete their training and meet the gateway requirements before starting their EPA. The EPA will assess occupational competence.
An approved EPAO must conduct the EPA for this apprenticeship. Employers must select an approved EPAO from the the apprenticeship providers and assessment register (APAR).
This EPA has 2 assessment methods.
The grades available for each assessment method are below.
Assessment method 1 - project slide deck presentation and questions :
Assessment method 2 - professional discussion underpinned by a portfolio:
The result from each assessment method is combined to decide the overall apprenticeship grade. The following grades are available for the apprenticeship:
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On-programme - typically 18 months
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The apprentice must:
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End-point assessment gateway
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The apprentice’s employer must be content that the apprentice is occupationally competent. The apprentice must:
For the professional discussion underpinned by a portfolio, the apprentice must submit a portfolio of evidence.
Gateway evidence must be submitted to the EPAO along with any organisation specific policies and procedures requested by the EPAO. |
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End-point assessment - typically 4 months
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The grades available for each assessment method are below
Project slide deck presentation and questions :
Professional discussion underpinned by a portfolio:
Overall EPA and apprenticeship can be graded:
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Re-sits and re-takes
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The EPA is taken in the EPA period. The EPA period starts when the EPAO confirms the gateway requirements have been met and is typically 4 months.
The EPAO should confirm the gateway requirements have been met and start the EPA as quickly as possible.
The apprentice’s employer must be content that the apprentice is occupationally competent. That is, they are deemed to be working at or above the level set out in the apprenticeship standard and ready to undertake the EPA. The employer may take advice from the apprentice's training provider, but the employer must make the decision. The apprentice will then enter the gateway.
The apprentice must meet the gateway requirements before starting their EPA.
They must:
Portfolio of evidence requirements:
The apprentice must compile a portfolio of evidence during the on-programme period of the apprenticeship. It should only contain evidence related to the KSBs that will be assessed by the professional discussion. It will typically contain 18 discrete pieces of evidence. Evidence must be mapped against the KSBs. Evidence may be used to demonstrate more than one KSB; a qualitative as opposed to quantitative approach is suggested.
Evidence sources may include:
This is not a definitive list; other evidence sources can be included.
The portfolio of evidence should not include reflective accounts or any methods of self-assessment. Any employer contributions should focus on direct observation of performance, for example, witness statements, rather than opinions. The evidence provided should be valid and attributable to the apprentice; the portfolio of evidence should contain a statement from the employer and apprentice confirming this.
The EPAO should not assess the portfolio of evidence directly as it underpins the discussion. The independent assessor should review the portfolio of evidence to prepare questions for the discussion. They are not required to provide feedback after this review.
Gateway evidence must be submitted to the EPAO, along with any organisation specific policies and procedures requested by the EPAO.
The assessment methods can be delivered in any order.
The result of one assessment method does not need to be known before starting the next.
A project involves the apprentice completing a significant and defined piece of work that has a real business application and benefit. The project must meet the needs of the employer’s business and be relevant to the apprentice’s occupation and apprenticeship.
This assessment method has 2 components:
project with a project output
presentation with questions and answers
Together, these components give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method. They are assessed by an independent assessor.
This assessment method is being used because: it allows for the assessment of KSBs that take place over a long period of time it allows for a broad set of KSBs to be evidence during the post-gateway period it assesses knowledge, skills and behaviour holistically it can produce something that is of genuine business benefit to the apprentice’s employer it allows the apprentice to directly demonstrate KSBs relating to communication and presentation it allows for the presentation of evidence and testing of responses where there are a range of potential answers it can be conducted remotely, potentially reducing cost.
The apprentice must complete a project based on any of the following:
A real client brief and a creative brief with the need for creative ideas.
The Junior Advertising Creative will be given a project that has real business benefit to the
employer. This could be a significant brief for an existing client or a pitch brief for a new client.
The apprentice will be supplied with the original client brief which outlines the business
problem and the creative brief which sums up the role for communications and what
proposition the creative should communicate to the target audience via what mediums and
outlining any guidelines such as budget.
It must provide opportunity to:
• Work for clients
• Work on a client creative brief.
The apprentice must include the following in their slide deck and presentation.
That they interrogated the creative brief
That they had investigated and understood the timing, budgetary and brand guidelines restrictions
That they understood why the media options had been chosen
How they had come up with an idea and execution to meet the creative brief
How they had prepared the most appropriate materials to present the idea and bring it to life or demonstrating how it could be executed in the chosen mediums for example a rough TV commercial storyboard
How they had taken on feedback to amend or redevelop the idea
To ensure the project allows the apprentice to meet the KSBs mapped to this assessment method to the highest available grade, the EPAO must sign-off the project’s title and scope at the gateway to confirm it is suitable. The EPAO must refer to the grading descriptors to ensure that projects are pitched appropriately.
The project output must be in the form of slide deck.
The apprentice must start the project after the gateway. The employer should ensure the apprentice has the time and resources, within the project period, to plan and complete their project.
The apprentice may work as part of a team to complete the project, which could include internal colleagues or technical experts. The apprentice must however, complete their slide deck and presentation unaided and they must be reflective of their own role and contribution. The apprentice and their employer must confirm this when the slide deck and any presentation materials are submitted.
The slide deck must include at least:
12 slide deck presentation
The slide deck must have a word count of 500 words. A tolerance of 10% above or below the word count is allowed at the apprentice's discretion. Appendices, references and diagrams are not included in this total. The apprentice must produce and include a mapping in an appendix, showing how the output evidences the KSBs mapped to this assessment method.
The apprentice must complete and submit the slide deck and any presentation materials to the EPAO by the end of week of the EPA period.
The presentation with questions must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
The apprentice must prepare and deliver a presentation to an independent assessor. After the presentation, the independent assessor must ask the apprentice questions about their project, slide deck and presentation.
The presentation should cover:
The presentation with questions must last 60 minutes. This will typically include a presentation of 30 minutes and questioning lasting 30 minutes. The independent assessor must use the full time available for questioning. The independent assessor can increase the time of the presentation and questioning by up to 10%. This time is to allow the apprentice to complete their last point or respond to a question if necessary.
The independent assessor must ask at least 6 questions. They must use the questions from the EPAO’s question bank or create their own questions in line with the EPAO’s training. Follow up questions are allowed where clarification is required.
The purpose of the independent assessor's questions is:
The apprentice must submit their presentation materials to the EPAO at the same time as the slide deck - by the end of week 6 of the EPA period. The apprentice must notify the EPAO, at that point, of any technical requirements for the presentation.
During the presentation, the apprentice must have access to:
In their presentation to the assessor, the apprentice would be expected to show:
The independent assessor must have at least 2 weeks to review the slide deck and any presentation materials, to allow them to prepare questions.
The apprentice must be given at least 2 weeks’ notice of the presentation with questions.
The independent assessor must make the grading decision. They must assess the project components holistically when deciding the grade.
The independent assessor must keep accurate records of the assessment. They must record:
The presentation with questions must take place in a suitable venue selected by the EPAO for example, the EPAO’s or employer’s premises. It should take place in a quiet room, free from distractions and influence.
The presentation with questions can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.
The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO must maintain the security and confidentiality of EPA materials when consulting with employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.
The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.
The EPAO must ensure that the apprentice has a different set of questions in the case of re-sits or re-takes.
EPAO must produce the following materials to support the project:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
In the professional discussion, an independent assessor and apprentice have a formal two-way conversation. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence.
This assessment method is being used because: it assesses KSBs holistically and objectively it allows for the assessment of KSBs that do not occur on a predictable or regular basis it allows for assessment of responses where there are a range of potential answers it can be conducted remotely, potentially reducing cost.
The rationale for this assessment method is:
• In this occupation it is essential that individuals maintain a “book” which showcases their work. The portfolio replicates this. • They then discuss the content of their book with stakeholders in order to gain credibility and demonstrate their competence. This is replicated in the professional discussion.
This assessment will take the form of a professional discussion which must be appropriately structured to draw out the best of the apprentice’s competence and excellence and cover the KSBs assigned to this assessment method.
It will involve questions that will focus on:
The professional discussion must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
An independent assessor must conduct and assess the professional discussion.
• To enable the apprentice to demonstrate the mapped KSBs and illustrate them with examples.
• To allow the assessor the opportunity to question the depth of their knowledge and understanding, which will allow apprentices the opportunity to meet the distinction criteria.
The EPAO must give an apprentice 2 weeks' notice of the professional discussion.
The independent assessor must have at least 2 weeks to review the supporting documentation.
The apprentice must have access to their portfolio of evidence during the professional discussion.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence however, the portfolio of evidence is not directly assessed.
The professional discussion must last for 60 minutes. The independent assessor can increase the time of the professional discussion by up to 10%. This time is to allow the apprentice to respond to a question if necessary.
The independent assessor must ask at least 10 questions. he independent assessor must use the questions from the EPAO’s question bank. Follow-up questions are allowed where clarification is required.
The independent assessor must make the grading decision.
The independent assessor must keep accurate records of the assessment. They must record:
The professional discussion must take place in a suitable venue selected by the EPAO for example, the EPAO’s or employer’s premises.
The professional discussion can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.
The professional discussion should take place in a quiet room, free from distractions and influence.
The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO must maintain the security and confidentiality of EPA materials when consulting with employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.
The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.
The EPAO must ensure that the apprentice has a different set of questions in the case of re-sits or re-takes.
The EPAO must produce the following materials to support the professional discussion underpinned by a portfolio:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
Fail - does not meet pass criteria
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Theme
KSBs
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Pass
Apprentices must demonstrate all of the pass descriptors
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Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
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Understanding the brief
K6 K7 K10 S1 |
Describes the steps they took to understand the client’s and creative briefs for example, how they have understood the consumer and the brand, including how they handled challenges, time and budgetary constraints. (K6) (K10) Explains how they selected the questions to ask the client in order to fully understand the brief and how they did so constructively. (K7, S1) |
Goes above and beyond the immediate requirements of the brief to suggest ways to enhance the brief. For example, identifying valuable insights into the target audience not apparent from the brief. (K6, K7, K10, S1) |
|
Idea development
K3 K14 S3 S7 S11 B1 |
Demonstrates how their idea for the project, including multiple media options, meets the client’s brief and brand and explains how the idea evolved. (K3, S3, S7) Explains how they researched the brief from different perspectives, presented their idea and then used feedback to build on or amend their approach. (K14, S11, B1)
|
Tests the boundaries of the brief, suggesting alternative and complementary approaches, undertaking research and suggesting new ideas. (B1) Explains how media options must interface with a client’s brand and what would lead to a media option being dismissed as unacceptable for this reason. (S7) |
|
Presentation of ideas
K5 K12 K13 S4 S9 S10 S15 S17 |
Applies writing skills to bring an idea to life demonstrating how the convey messages to the target audience. (S9, S15, S17) Demonstrates use of visual aids, e.g. mood boards, storyboard, illustration or film references. (K5, S4) Uses creative skills to bring an idea to life demonstrating use of text, story, design and layout. (K12, K13, S10)
|
Presents their idea with background material that directly links to the presentation and creates mood and context that links all aspects of the presentation together. (K5, S4) |
Fail - does not meet pass criteria
|
Theme
KSBs
|
Pass
Apprentices must demonstrate all of the pass descriptors
|
Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
|
|---|---|---|
|
Roles within advertising
K1 K9 K16 S6 |
Explains the typical roles within an advertising team and how they interact with their own role, using appropriate terminology. (K1, K16) Describes how they source expertise such as craftsmen and internal and external experts, to help produce the idea. (K9, S6) |
None |
|
Creative process
K2 S2 |
Explains the key stages in which a creative idea is evolved from brief to production. (K2) Describes a technique they have used to generate ideas to solve a problem. (S2) |
None |
|
Advertising ethics
K4 K18 |
Explains the importance of work being legal, decent, honest and truthful. (K4) Describes the purpose of the legal and regulatory code and the basics of what can and can’t be shown in adverts. (K18) |
Explains the short term and long term implications of failing to work to ethical guidelines. (K4) |
|
Trends and behaviours
K8 K15 S5 S12 S16 |
Explains the steps they have taken to research current cultural trends and new delivery platforms in advertising, supported with evidence. Provides one example of how a new trend could add value to a client’s business. (K8, S5, S12) Describes how advertising can persuade people to do something different and explains when they have influenced others to change their behaviour or buy a product. (K15, S16) |
Provides an example of use of a new delivery platform and explains the advantage this has over the previous more traditional method. (S12) |
|
Bringing ideas to life
K17 |
Applies writing skills to bring an idea to life and convey messages to the target audience. How the varying lengths fitted the selected media space. (K17)
|
Explains how they have come up with innovative approaches to bring their ideas to life and convey messages to the target audience. (K17) |
|
Team working
K19 K20 S13 S19 B2 B7 B8 |
Describes how they shared their own ideas, made contributions at team meetings, encouraged others to contribute and took into account a wide range of viewpoints. (S13, B2) Explains how they support equity, diversity and inclusion in their workplace. (K19, B7) Explains how they use digital tools to collaborate and communicate in line with policies and procedures. Highlighting how they are professional when communicating using these tools and in person. (K20, S19, B8)
|
Explains the benefits of gathering the views of others and of liaising with other teams and how this can be of benefit to the employer and their client For example, across departments, design, tv producers, strategists (S13) |
|
Challenging others
K11 B5 |
Explains how they have changed creative ideas based on colleague's feedback. Explains how they have challenged others constructively with examples. (K11, B5)
|
None |
|
Working under pressure
S8 S14 S18 B3 B4 B6 |
Explains how they prioritise the multiple demands on their time, to ensure that deadlines and requirements from briefs are met, illustrated with an example. (S8, S14, B4) Describes the channels of communication available and when to seek support. (S18, B6) Describes how they took account of feedback which changed and or rejected their idea and amended their approach accordingly, with enthusiasm and within an agreed deadline. (B3) |
Explains how they have taken positive steps to build and maintain resilience and shared those ideas with others (B3) |
|
Sustainable practices
K21 B9 |
Explains how they prioritises sustainable practices complying with policies and procedures. (K21, B9)
|
None |
Performance in the EPA determines the overall grade of:
An independent assessor must individually grade the project slide deck presentation and questions and professional discussion underpinned by a portfolio in line with this EPA plan.
The EPAO must combine the individual assessment method grades to determine the overall EPA grade.
If the apprentice fails one assessment method or more, they will be awarded an overall fail.
To achieve an overall pass, the apprentice must achieve at least a pass in all the assessment methods. All assessment methods are weighted equally in their contribution to the overall EPA grade.Performance in the EPA will determine the apprenticeship grade of fail, pass, merit or distinction. Independent assessors must individually grade each assessment method, according to the requirements set out in this plan. EPAOs must combine the individual assessment method grades to determine the overall EPA grade.In order to achieve an overall EPA merit, apprentices must achieve a distinction in at least one of the assessment methods. In order to achieve an overall distinction, apprentices must achieve a distinction in both assessment methods.
Grades from individual assessment methods must be combined in the following way to determine the grade of the EPA overall.
| Project slide deck presentation and questions | Professional discussion underpinned by a portfolio | Overall Grading |
|---|---|---|
| Fail | Any grade | Fail |
| Any grade | Fail | Fail |
| Pass | Pass | Pass |
| Pass | Distinction | Merit |
| Distinction | Pass | Merit |
| Distinction | Distinction | Distinction |
If the apprentice fails one assessment method or more, they can take a re-sit or a re-take at their employer’s discretion. The apprentice’s employer needs to agree that a re-sit or re-take is appropriate. A re-sit does not need further learning, whereas a re-take does. The apprentice should have a supportive action plan to prepare for a re-sit or a re-take.
The employer and the EPAO should agree the timescale for a re-sit or re-take. A re-sit is typically taken within 3 months of the EPA outcome notification. The timescale for a re-take is dependent on how much re-training is required and is typically taken within 4 months of the EPA outcome notification.
If the apprentice fails the project assessment method, they must amend the project output in line with the independent assessor’s feedback. The apprentice will be given 2 weeks to rework and submit the amended slide deck.
Failed assessment methods must be re-sat or re-taken within a 6-month period from the EPA outcome notification, otherwise the entire EPA will need to be re-sat or re-taken in full.
Re-sits and re-takes are not offered to an apprentice wishing to move from pass to a higher grade.
The apprentice will get a maximum EPA grade of if pass they need to re-sit or re-take one or more assessment methods, unless the EPAO determines there are exceptional circumstances.
| Roles | Responsibilities |
|---|---|
|
Apprentice |
As a minimum, the apprentice should:
|
|
Employer |
As a minimum, the apprentice's employer must:
|
|
EPAO |
As a minimum, the EPAO must:
|
|
Independent assessor |
As a minimum, an independent assessor must:
|
|
Training provider |
As a minimum, the training provider must:
|
The EPAO must have reasonable adjustments arrangements for the EPA.
This should include:
Adjustments must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
Special considerations
The EPAO must have special consideration arrangements for the EPA.
This should include:
Special considerations must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
Internal quality assurance refers to the strategies, policies and procedures that an EPAO must have in place to ensure valid, consistent and reliable EPA decisions.
EPAOs for this EPA must adhere to the requirements within the roles and responsibilities table.
They must also appoint independent assessors who:
Affordability of the EPA will be aided by using at least some of the following:
This apprenticeship is not aligned to professional recognition.
| Knowledge | Assessment methods |
|---|---|
|
K1
The roles and departments and functions within an advertising team and how they interact with their own role. For example account planning, Account Executives, production specialists. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K2
The way in which a creative idea is developed from brief to production for example, the key stages such as the client brief, creative briefing, presentation of ideas, research, pre-production, production, post production, delivery to the media channels, including basic understanding of what channels the Media Executives are recommending. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K3
The multiple ways an idea can be communicated and distributed and their benefits e.g. TV, cinema, You Tube, social media, radio, posters, and influencers. Back to Grading |
Project slide deck presentation and questions |
|
K4
The basics of advertising ethics and the importance of work being legal, decent, honest and truthful. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K5
How to put together and present an idea. Typically this might include slides, mood boards, storyboards, music, illustration and film references. Back to Grading |
Project slide deck presentation and questions |
|
K6
How to understand a client’s brief and the timing and budgetary restrictions therein. Back to Grading |
Project slide deck presentation and questions |
|
K7
How to interrogate and challenge a brief in a constructive way. Back to Grading |
Project slide deck presentation and questions |
|
K8
Trends and opportunities that can enhance an idea or add value to a client’s business, such as the role of influencers, new advertising delivery platforms like Virtual Reality, short form mobile videos. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K9
How to identify and source the most appropriate internal and external craftsmen that can help produce the idea e.g. voice talent, directors, designers, photographers. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K10
The typical characteristics of a “brand” for example, tone of voice, values. Back to Grading |
Project slide deck presentation and questions |
|
K11
How to give and receive constructive feedback. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K12
How text and stories bring the idea to life including for publications, leaflets, web pages and social media. Back to Grading |
Project slide deck presentation and questions |
|
K13
How design and layout bring the idea to life including for publications, leaflets and web pages and social media. Back to Grading |
Project slide deck presentation and questions |
|
K14
Importance of approaching ideas from different perspectives for example how to combine ideas, or how to use an interesting fact. Back to Grading |
Project slide deck presentation and questions |
|
K15
How advertising can persuade people to do something e.g. change behaviour, or buy a different product Back to Grading |
Professional discussion underpinned by a portfolio |
|
K16
Typical terminology used for example, UX, Motion Graphics, Editor, Project Manager, Coder. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K17
Understand the relationship between stories and the time limits of the selected media option and how to create short stories that fit the duration of the advert for example, scripts for radio. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K18
That there is a legal and regulatory code (The Code) and have knowledge of how it is applied such as the basics of what can and can’t be shown in advertising for example, Portman rules on alcohol, gender stereotyping. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K19
Principles and policies of equity, diversity, and inclusion in the workplace. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K20
Digital tools and software to communicate and interact with a range of key stakeholders. Back to Grading |
Professional discussion underpinned by a portfolio |
|
K21
Policies and procedures relating to environmental impact and sustainability. Back to Grading |
Professional discussion underpinned by a portfolio |
| Skill | Assessment methods |
|---|---|
|
S1
Interrogate a creative brief and find advertising potential within it, asking questions to clarify understanding. Back to Grading |
Project slide deck presentation and questions |
|
S2
Solve client communication problems for example, using mind maps. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S3
Originate brand, products or service communications/ideas which answer a client’s brief. Back to Grading |
Project slide deck presentation and questions |
|
S4
Present their idea, using visual aids for example, slides, mood boards, storyboards and make use of music, photo, illustration and film references. Back to Grading |
Project slide deck presentation and questions |
|
S5
Research cultural trends and opportunities that can enhance an idea or add value to a client’s business for example, an awareness of the importance of environmental issues, or of an upcoming event and or film, could build references to this into the advert. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S6
Identify and source the most appropriate internal and external experts and suppliers that can help produce the idea. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S7
Research and interpret characteristics of a brand to establish most appropriate media option(s). Back to Grading |
Project slide deck presentation and questions |
|
S8
Deliver their work to brief and on time. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S9
Write text and stories that bring the idea to life for publications, leaflets, web pages and social media. Back to Grading |
Project slide deck presentation and questions |
|
S10
Create design and layout that bring the idea to life for publications, leaflets, web pages and social media. Back to Grading |
Project slide deck presentation and questions |
|
S11
Apply feedback to amend or redevelop their ideas. Back to Grading |
Project slide deck presentation and questions |
|
S12
Undertake research into latest trends in advertising and new delivery platforms for example, keep abreast of new poster variants such as interactive superlite films at bus shelters and consider and recommend ways to use them. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S13
Collaborate with the wider team and encourage them to share ideas to help bring the project to life. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S14
Prioritise competing demands. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S15
Write in any tone and or style, being aware of the need to communicate to different audiences taking into account cultural differences and social representation. Back to Grading |
Project slide deck presentation and questions |
|
S16
Influence others for example, buy a different product or change their behaviour. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S17
Write scripts of different lengths to suit different media platforms and of different durations. Back to Grading |
Project slide deck presentation and questions |
|
S18
Communicate information through appropriate channels when seeking support to undertake tasks. Back to Grading |
Professional discussion underpinned by a portfolio |
|
S19
Use digital collaboration tools to work with colleagues and key stakeholders. Back to Grading |
Professional discussion underpinned by a portfolio |
| Behaviour | Assessment methods |
|---|---|
|
B1
Creative curiosity – researches the brief and shares their ideas. Back to Grading |
Project slide deck presentation and questions |
|
B2
Empathy – takes into account a range of viewpoints when carrying out tasks, shows emotional intelligence when managing other people. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B3
Resilience – considers feedback objectively, bounces back from criticism of their idea, and continues working on the brief with enthusiasm by continuing to achieve deadlines and maintain rapport. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B4
Working under pressure – manages multiple projects and deadlines. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B5
Courageous – puts forward ideas to more senior colleagues and is prepared to challenge others. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B6
Accountable for tasks, actions and work proactively seeks support. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B7
Support an inclusive culture treating colleagues and external stakeholders fairly and with respect. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B8
Acts professionally when representing the business virtually, in person and when communicating. Back to Grading |
Professional discussion underpinned by a portfolio |
|
B9
Prioritises sustainable practices for example reducing paper waste, turning off unused lights, car sharing or using public transport to travel for business meetings. Back to Grading |
Professional discussion underpinned by a portfolio |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
|
Understanding the brief
K6 K7 K10 S1 |
How to understand a client’s brief and the timing and budgetary restrictions therein. (K6) How to interrogate and challenge a brief in a constructive way. (K7) The typical characteristics of a “brand” for example, tone of voice, values. (K10) |
Interrogate a creative brief and find advertising potential within it, asking questions to clarify understanding. (S1) |
None |
|
Idea development
K3 K14 S3 S7 S11 B1 |
The multiple ways an idea can be communicated and distributed and their benefits e.g. TV, cinema, You Tube, social media, radio, posters, and influencers. (K3) Importance of approaching ideas from different perspectives for example how to combine ideas, or how to use an interesting fact. (K14) |
Originate brand, products or service communications/ideas which answer a client’s brief. (S3) Research and interpret characteristics of a brand to establish most appropriate media option(s). (S7) Apply feedback to amend or redevelop their ideas. (S11) |
Creative curiosity – researches the brief and shares their ideas. (B1) |
|
Presentation of ideas
K5 K12 K13 S4 S9 S10 S15 S17 |
How to put together and present an idea. Typically this might include slides, mood boards, storyboards, music, illustration and film references. (K5) How text and stories bring the idea to life including for publications, leaflets, web pages and social media. (K12) How design and layout bring the idea to life including for publications, leaflets and web pages and social media. (K13) |
Present their idea, using visual aids for example, slides, mood boards, storyboards and make use of music, photo, illustration and film references. (S4) Write text and stories that bring the idea to life for publications, leaflets, web pages and social media. (S9) Create design and layout that bring the idea to life for publications, leaflets, web pages and social media. (S10) Write in any tone and or style, being aware of the need to communicate to different audiences taking into account cultural differences and social representation. (S15) Write scripts of different lengths to suit different media platforms and of different durations. (S17) |
None |
| KSBS GROUPED BY THEME | Knowledge | Skills | Behaviour |
|---|---|---|---|
|
Roles within advertising
K1 K9 K16 S6 |
The roles and departments and functions within an advertising team and how they interact with their own role. For example account planning, Account Executives, production specialists. (K1) How to identify and source the most appropriate internal and external craftsmen that can help produce the idea e.g. voice talent, directors, designers, photographers. (K9) Typical terminology used for example, UX, Motion Graphics, Editor, Project Manager, Coder. (K16) |
Identify and source the most appropriate internal and external experts and suppliers that can help produce the idea. (S6) |
None |
|
Creative process
K2 S2 |
The way in which a creative idea is developed from brief to production for example, the key stages such as the client brief, creative briefing, presentation of ideas, research, pre-production, production, post production, delivery to the media channels, including basic understanding of what channels the Media Executives are recommending. (K2) |
Solve client communication problems for example, using mind maps. (S2) |
None |
|
Advertising ethics
K4 K18 |
The basics of advertising ethics and the importance of work being legal, decent, honest and truthful. (K4) That there is a legal and regulatory code (The Code) and have knowledge of how it is applied such as the basics of what can and can’t be shown in advertising for example, Portman rules on alcohol, gender stereotyping. (K18) |
None |
None |
|
Trends and behaviours
K8 K15 S5 S12 S16 |
Trends and opportunities that can enhance an idea or add value to a client’s business, such as the role of influencers, new advertising delivery platforms like Virtual Reality, short form mobile videos. (K8) How advertising can persuade people to do something e.g. change behaviour, or buy a different product (K15) |
Research cultural trends and opportunities that can enhance an idea or add value to a client’s business for example, an awareness of the importance of environmental issues, or of an upcoming event and or film, could build references to this into the advert. (S5) Undertake research into latest trends in advertising and new delivery platforms for example, keep abreast of new poster variants such as interactive superlite films at bus shelters and consider and recommend ways to use them. (S12) Influence others for example, buy a different product or change their behaviour. (S16) |
None |
|
Bringing ideas to life
K17 |
Understand the relationship between stories and the time limits of the selected media option and how to create short stories that fit the duration of the advert for example, scripts for radio. (K17) |
None |
None |
|
Team working
K19 K20 S13 S19 B2 B7 B8 |
Principles and policies of equity, diversity, and inclusion in the workplace. (K19) Digital tools and software to communicate and interact with a range of key stakeholders. (K20) |
Collaborate with the wider team and encourage them to share ideas to help bring the project to life. (S13) Use digital collaboration tools to work with colleagues and key stakeholders. (S19) |
Empathy – takes into account a range of viewpoints when carrying out tasks, shows emotional intelligence when managing other people. (B2) Support an inclusive culture treating colleagues and external stakeholders fairly and with respect. (B7) Acts professionally when representing the business virtually, in person and when communicating. (B8) |
|
Challenging others
K11 B5 |
How to give and receive constructive feedback. (K11) |
None |
Courageous – puts forward ideas to more senior colleagues and is prepared to challenge others. (B5) |
|
Working under pressure
S8 S14 S18 B3 B4 B6 |
None |
Deliver their work to brief and on time. (S8) Prioritise competing demands. (S14) Communicate information through appropriate channels when seeking support to undertake tasks. (S18) |
Resilience – considers feedback objectively, bounces back from criticism of their idea, and continues working on the brief with enthusiasm by continuing to achieve deadlines and maintain rapport. (B3) Working under pressure – manages multiple projects and deadlines. (B4) Accountable for tasks, actions and work proactively seeks support. (B6) |
|
Sustainable practices
K21 B9 |
Policies and procedures relating to environmental impact and sustainability. (K21) |
None |
Prioritises sustainable practices for example reducing paper waste, turning off unused lights, car sharing or using public transport to travel for business meetings. (B9) |
Contact us about this apprenticeship
| Version | Change detail | Earliest start date | Latest start date | Latest end date |
|---|---|---|---|---|
| 1.1 | Occupational standard, end-point assessment plan and funding band revised. | 23/01/2024 | Not set | Not set |
| 1.0 | Approved for delivery | 10/07/2020 | 22/01/2024 | Not set |
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