PROYECTO #1: RE-DISEÑO DE ANUNCIO "IMPRESO"

Como primer proyecto de clase y con el propósito de comenzar a poner en práctica nuestro entendimiento del proceso creativo y de diseño en el contexto de la publicidad comercial y la comunicación pública (ver documento II. RESEARCH AND CONCEPT DEVELOPMENT). En este proyecto cada estudiante identificará un elemento publicitario pautado en algún medio impreso (revista, periódico, afiche, valla, Internet), etc. y luego de analizarlo, genere/produzca alternativas de re-diseño.

EL RE-DISEÑO:

El re-diseño de proyectos de diseño en general y de elementos de diseño gráfico publicitarios en específico es sin duda uno de los trabajos más comunes y corrientes en el ejercicio de esta profesión. Con frecuencia el "cliente" solicita cambios en el anuncio o en la estrategia publicitaria, o alguien en el proceso interno de revisión del anuncio (directores de arte/creativos, directores de la cuenta) no esta conforme con lo que proponen los diseñadores y solicita, o requiere cambios al trabajo. En algunas ocasiones el "cliente" no esta satisfecho con el resultado del anuncio luego de ser pautado y/o cambios en el producto o servicio o en la publicidad de la competencia hacen necesario cambios en la estrategia publicitaria.

Además y quizás mas importante para nuestro proceso de aprendizaje, el re-diseño es también parte integral del proceso creativo de artistas y diseñadores (equivalente al proceso de revisión/edición en la redacción de un texto.) También, en algunos casos el re-diseño es parte del arreglo de contratación; el "cliente" contrata para que se le presenten varias alternativas para escoger, se contratan uno o más cambios luego de escoger entre las alternativas.

DESCRIPCIÓN DEL PROYECTO:

1. Identifique y presente 5 elementos publicitarios de prensa (pautado en algún medio impreso.)

2. Seleccione uno de estos elementos publicitarios y analice/evalúe el contenido y los aspectos relacionados al concepto y el diseño utilizando la guía de investigación y desarrollo de concepto sugerida y cualquier otro material pertinente. Prepare un bosquejo escrito (no más de 2 páginas) de su análisis identificando aspectos positivos y negativos.

3. Utilizando la información contenida en el anuncio y tomando en cuenta el resultado de su análisis y cualquier otra información relacionada al producto o servicio y al consumidor, desarrolle y presente por lo menos 3 bocetos ("rough sketches") sugiriendo cambios significativos a la estrategia publicitaria, al concepto de comunicación, al texto y/o al diseño.

4. Tomando en consideración los comentarios del grupo seleccione una de las alternativas sugeridas y prepare un diseño final lo más cercano a como se vería en su forma impresa, en un tamaño igual, o proporcional al de la pauta sugerida.

FECHAS DE REVISIÓN Y ENTREGA:

• Identificación y selección de anuncio original (para presentar en clase) - jueves 2 de febrero
• Bosquejo de Investigación y Desarrollo de Concepto (escrito, para discutir en clase) - martes 7 de febrero 
• 3+ bocetos, "roughs" (para presentar y discutir en clase) - jueves 9 de febrero
• Diseño final (para presentar y recibir comentarios en clase y someter para evaluación preliminar) - jueves 16 de febrero

NOTA: En los materiales y documentos de "entrega" debe incluir

1. El elemento publicitario original seleccionado
2. El bosquejo de investigación y desarrollo de concepto
3. 3 bocetos preliminares (mínimo)
4. El re-diseño final (maqueta del diseño como se va a ver impreso).

Historia del Diseño Gráfico

Historia del Diseño Gráfico

Aunque hay evidencia arqueológica de que los seres humanos ha utilizado las herramientas y técnicas del arte y el diseño desde tiempos inmemorables (las mas antiguas pinturas en cuevas datan de hace aproximadamente 30,000 años - Chauvet-Pont-d'Arc), posiblemente previo al desarrollo de los lenguajes concretos, la profesión de Diseño Gráfico, en el sentido contemporáneo del concepto es relativamente reciente (mediados del Siglo 20.)

Para información detallada, imágenes y otras referencias sobre la historia del Diseño Gráfico recomiendo el la página de Nancy Stock-Allen An Introduction to the History of Graphic Design y el libro de Richard Hollis Graphic Design: A concise History (Thames and Hudson Ltd, London, 1994)


Periódicamente incluiremos imágenes en esta sección para ilustrar el desarrollo de la practica del Diseño Gráfico en el contexto moderno y contemporáneo:

De Artes Graficas a Diseño Grafico

1890 - 1914 - La Belle Époque

El Afiche Artístico - The Art Poster

 Tolouse Lautrec

Jules Charete

 Tolouse Lautrec

Alphonse Mucha

 

Alphonse Mucha

Jules Charete y Tolouse Lautrec

II. RESEARCH AND CONCEPT DEVELOPMENT

A. RESEARCHING THE AD

1. IDENTIFY CONSUMER

• Demographics - Quantifiable characteristics of any given population. Factors of age, sex, income, occupation, civil status, geographic location etc.

• Psychographics - Qualitative differences (or similarities) among consumers with similar (or different) demographic characteristics: lifestyle (dress, music, food and leisure activities preferences), personal goals and values (moral/religious), individual/group psychological traits and others.

2. ANALYZE PRODUCT / SERVICE

• Fact sheet about the product including characteristics and other information: design, ingredients or materials, quality, workmanship, price, usability tests, sales records, and general information about the company that manufactures / produces / distributes it

• Study and/or use the product/service (and the competition's) yourself: talk to sales people, specialists, and dealers; secondary sources research (library, trade publications, reports).

• Conduct or contract primary research: interviews, surveys, focus groups and analysis of data (quantitative and/or qualitative).

• List all usable benefits (attributes) of the product/service and keep in mind "problem issues."

•  Determine product/service stage of its market history: new, mature, or declining.

• Determine product/service "positioning" goals: Advertising could attempt to establish, reinforce, or change customers' perception / attitudes towards product/service.

3. SET OBJECTIVES

• Short term / Retail Objectives - Oriented to immediate action, like drawing traffic into a store, developing a "personality" for a store, or announcing new product lines or services, promoting a concert, get someone elected, etc.

• Long Term / National (International) Objectives - Concerned with longer periods of time, as well as, long lasting results like introducing new products, building company's image, announcing product / service improvements, promoting a concert tour or a performer, drawing attention to a political issues.

B. CONCEPT DEVELOPMENT

1. DEVELOP A CONCEPT - The concept is based of information analysis (brainstorming) and the resulting insight (new understanding/realization based on acquired sense, intuition, wisdom).

•  Write an information outline - Summary of all relevant information, and written statement of objectives.

• Develop Concept: A unifying idea, or organizing thought that provides the basis for the selection and arrangement of the ad material. Based on the product/service benefits, its capacity to satisfy material and/or psychological need. The concept could focus on the positive results or consequences of using the product/service (negative consequences of not using).

2. WRITE COPY AND SELECT IMAGES - The copy/text (tag line, slogan and body text) and images (photo, illustration, graphics and text type/style) are developed or selected in response to the concept and take into consideration a desired approach (Tone and Style).

• TONE: The tone of an ad can be factual, emotional, humorous, or a combination.

•  Factual - Presents the facts in a descriptive, straightforward manner. Information dissemination.

• Emotional - Appealing to he heart or the gut, and involves the reader by dwelling on feelings (hopes, desires and aspirations)

• Humorous - To create interest by entertaining. Appealing to the sense of humor of the reader.

•  STYLE: In terms of style, or how the ad concept can presented, there are three basic options -dramatization, demonstration, presentation, or a combination.

• Dramatization - Narrative re-enactment of story, usually emotional or humorous, evoking a particular mood. Informing and entertaining.

• Demonstration - Usually factual in tone, shows (demonstrates) how a product/service is used.

• Presentation - Features or benefits are presented rather than dramatized or demonstrated. Could be factual or humorous in tone (usually depending on the presenter). Testimonials where presenter describes experience with product/service.

NOTE: In addition to taking into consideration the processes described above, graphic artists have to create/select images and typographic elements and develop a format for presentation based on the principles of design and composition, and applicable concepts of color theory. The images, typographic elements and the format are intended to enhance/facilitate the communication with the audience (consumers) and/or draw attention to the ad and to the product or service (brand, family of products, or individual product). In addition, graphic artists have to take into consideration other aspects related to the placement/location of the advertising element as well as, production and placement costs and time/schedule requirements.

I. CREATIVE PHILOSOPHIES*

* Albert C. Book and C. Dennis Schick: FUNDAMENTALS OF COPY AND LAYOUT, Third Edition, NTC Business Books, Lincolnwood, Illinois USA, 1997.

FAIFAX CONE - Foot, Cone, & Belding (FCB)

Five Rules:
1. Clear Position - People have no time to waste.
2. Proposition must express a well defined value.
3. Present value in personal terms - Consumer's perspective
4. Express personality of advertiser
5. Demand action (from consumer) - mental pledge

WILLIAM BERNBACH - Doyle, Dane, & Bernbach

Sales argument is not enough. You have to startle people into immediate awareness.
Memorability and originality (appeal, likebility) over sales argument (persuasion).

Message has to be conveyed with vitality.
The message (communication) has to be fresh, original, and imaginative (strike the imagination).

LEO BURNETT - Leo Burnett

Inherent drama in very product, publicist has to find it and convey it.

Creativity - Establishing new and meaningful relationships between previously unrelated things in a manner that is relevant, believable, and in good taste, that presents the product (message, activity, information) in a new light.

You don't have to be "off beat" to be interesting. A truly interesting ad or commercial will be "off beat" by its very rarity.

Great advertising writing is always deceptively and disarmingly simple. It has the common touch without sounding or being patronizing


CAMBELL - EWALD Co. - Company philosophy
Understand marketing objectives and advertising strategy before creative activities (production).
Doing your "home work" will bring order to your originality, clarity to your cleverness, and credibility to your creative product.

ROSSER REEVES - Ted Bates & Company

U.S.P. (Unique Selling Proposition)

1. Advertisement must make a proposition to the consumer. Not just words, or puffery (show), but clear and specific benefits.

2. Proposition must be unique, one that the competition cannot, or does not offer. Something unique to the brand (object, activity, message, information) or a claim not otherwise made in that particular field of advertising.

3. Proposition must be so strong (important) that it can move the mass, i.e., pull over customers to your product.

DAVID OGLILVY - Oglilvy & Mather

Individual ads are contributions to a larger, long term marketing program based on the product's "brand image."


JACK TROUT - Ries, Cappiello Cowell

The era of "positioning" - Recognizes the importance of product features and the company's image, but stresses, more than anything, the need to create a "position" in the prospect's mind.

Rules for playing the "game"

1. Get players with good marketing sense, "vision", and experience in both.

2. Be brutally frank about your product. Eliminate "ego" decision making (my personal little farm). It clouds the issues.

3. Don't be afraid to change what you have o change. Take advantage of all your resources. And base decisions on the marketplace, not on what's in the company.

4. Establish your "position" and build a program around it that's big enough (appealing enough) to get noticed.

THOMAS DILLON - Batten, Barton, Durstine & Orborn, Inc. (BBDO)

Common sins of advertising: 1. Creativity for the sake of technique - confuses the message , not addressing the specific consumer.

2. No creativity at all - boring and obvious selling message.
Advertising persuasion - to influence consumption/purchase decision.

Creative Process:

1. Identify prime prospect (consumers) - to whom is the message going to be sent.

2. Determine consumer's "problems" (needs, desires etc.) and decision making process.

3. Examine product (service) in light of what you know about the consumer - visualize product from the perspective of the consumer.

The purpose is to develop a "copy concept" (statement) that match up the consumer's "problems" with the characteristics of the product / service. Consumers should be able to "carry" this concept in their memory.

Ad or commercial must be able to: • Get the attention of the consumer.
• Register the memory of your product / service - the content of the copy concept.
• Link the concept to the brand.

EXAMPLES OF CONTEMPORARY CREATIVE PHILOSOPHIES

JOHN MAEDA (Founder MIT Medial Lab, President of RSDI )

I prefer to look out further and beyond, but fueled by the incredible traditional and classical core that represents more of the "what is good" versus just the more technology-centered approach of "what is new." You see it today so often—we desire great experiences, not just new experiences.

10 Laws of Simplicity

1. The simplest way to achieve simplicity is through thoughtful reduction.
2. Organization makes a system of many appear fewer.
3. Savings in time feel like simplicity.
4. Knowledge makes everything simpler.
5. Simplicity and complexity need each other.
6. What lies in the periphery of simplicity is definitely not peripheral.
7. More emotions are better than less.
8. In simplicity we trust.
9. Some things can never be made simple.
10. Simplicity is about subtracting the obvious, and adding the meaningful.


ALEX BOGUSKY (Crispin Porter + Bogusky)

"Our basic philosophy is we're going to take a brand and make it famous."

I tend to not think about it as entertainment. You can't just entertain and slap a logo on it. The work you do has to be about what the brand is about. You have to be interesting and you have to be surprising--that tends to be entertaining.

Advertising is more like mining. You've got lots of people doing their work, others culling through that work tying to find the gems. There's a lot of just dirt and a few gems.

Creativity Advertising Awards Report 2011

Les incluyo el link para el listado de los mas premiados este año en el mundo de la publicidad y el diseño gráfico compilado por la gente de CREATIVITY.  De ahí pueden conectarse a las agencias, compañías y personas y a los trabajos que resultaron premiados en todas las competencias importantes en este campo durante todo el año. Es una super compilación de lo mejor de lo mejor.

Creativity compiles results from the seven most significant awards shows: ADC, AICP, ANDYS, Cannes, Clios, D&AD, and One Show. Companies and people are credited with award wins in every category at all the included shows.

Creativity Awards Report 2011: The biggest creative winners of 2011. Published: Oct 30, 2011

BTW vale la pena subscribirse (gratis) al los mailings semanales de newletters de CREATIVITYl, son la misma gente de AdCritic http://creativity-online.com/register Ahi puedes seleccionar los newletters que quieras recibir.