Link to Course Projects and Bibliography Combining Craft and Theory: It has been the instructor's experience that many communications people, regardless of where they ply their trade (industry, education, consultancy, big business, small business), must have "trade skills." That means in our profession layout and design skills, advertising production skills, and logistics management skills. This is especially true today because of technology. Because many of the tasks that were to exclusive domain of the tradesman (prepress for example) can be rendered on a computer in a desktop publishing program. This means that the communications professional in a small (and even several large businesses) does not necessarily delegate or defer design and productions decisions, but often plunges in and does the annual report themselves using PhotoShop and Quark Xpress. In this class you will learn equal amounts craft and theory. But we have only 8 weeks, and you must attend every class so as not to be left behind. We will move very fast because we have a lot to learn and a lot to do. Introduction:
Gary Olsen, Instructor This course
has been designed with the Communication Department’s overarching objectives as
a basis for transferring knowledge to our students on the topic of Advertising
Design and Production. #1 Students will gain knowledge
of the latest in evolving theoretical and practical applications in the
communication field utilizing various
resources and methods of inquiry. #2 Students will grow
intellectually (through a strong liberal arts base) in their oral and written communication
and critical thinking skills. # 3 Students will
become aware of the ethical and spiritual implications of communication on a diverse and global level. #4 Students will be knowledgeable of the latest
in technology, software applications, and visual comm. Skills with the ability
to demonstrate the skills in using technology. The
following “course matrix” outlines the basic objectives and learning goals of
the course.
Class Attendance is Mandatory: You may lose up to 2.5% of your final
grade for each unexcused absence. In case of sickness, a medical report is
required. You are supposed to come to class on time. Arriving late at lectures
is absolutely not permitted and will adversely affect your grade. The door to
the classroom will be locked at the moment the class begins. Deadlines: Assignments are due at the start of the class on the
deadline day unless otherwise scheduled by the instructor. Plagiarism: Passing off the ideas or words of another as one's own is
called plagiarism. It is unethical. It is also illegal, and actionable
according to copyright laws. Here's the class and completed assignment list
Class #1 The Process of Discovery: The Importance of Research and How to Systematically
Approach a New Design Project Learning Objectives of this Class:
Students will know the characteristics of two advertising strategies,
Push and Pull Marketing, and how it applies to the marketing and advertising
plan. Students will also be able to identify and categorize at least three
examples of each (push vs. pull) advertising strategy. Determining Look
and Feel You are assigned the
responsibility of formulating an advertising campaign. Every product should
have a distinctive look and feel. Perhaps your product is too new with no
legacy or brand recognition to evoke recognition among consumers. If that’s the
case, then it’s your job to invent a look and feel. What information do you
need to know to determine look and feel? Let’s compile a list… Features and Benefits
What’s the Marketing Plan? When is it appropriate to use a Push or Pull advertising strategy?
When can you use both? Pull advertising is geared to draw visitors to your store, a dealership, or a website
when they are actively seeking your product or service. Examples of pull
advertising include catalogs, direct mail, directory listings, yellow page ads,
advertising in trade journals that appear to a specific group of customers, and
shopping portals on the Internet such as mySimon and DealTime. In the retail marketplace, complex
products such as computers, home entertainment systems and components, and
automobiles benefit from a pull marketing approach. The dealer, for example, becomes the closer
of the sale by offering help to the consumer’s decision making process. Also
the store or sales agent can offer value adds such as service or extended
warranties. One of the most effective pull advertising strategies is the trade show.
Some products, such as consumer electronics, building and home
improvement products, benefit from a bazaar or open market environment where
consumers or wholesale distributors can convene to “see what’s out there.” Essentially, it puts everyone with similar
interests and a product to sell those interests in one place at one time. And
the pull marketing strategy is the “trade show booth.” For four days in say, The objective of pull
advertising is to pull people who are already looking for your product, your
solution, or your service into your store, your dealership, or your website,
and once there, help the customer with their buying decision and close the
sale. Push advertising refers to all efforts to get the word out to an entire
group of potential customers in order to hit the few that may be currently
interested in your product or service. This is more commonly referred to as
“mass marketing.” Many products that lend
themselves to push advertising are consumables, foods, beverages, cleaning and
personal care products. Most traditional offline advertising media include mass
circulation publications, newspapers, magazines, outdoor advertising
(billboards), transit advertising, newspapers, television and radio. However, almost all media, even television,
has evolved to appeal to narrower and more specific audience groups. The best example of this is cable television
with specific channels for specific interests. The objective of push advertising is
to push the brand, the product’s identity, thereby creating a lasting memory,
an impression in the consumer’s mind. What products are best
served by Pull Advertising? What products are best
served by Push Advertising? Name some examples of
products that uses both strategies: Class #2 The
Process of Discovery (Continued) We continue the process of discovery as
we systematically approach our advertising design project… Learning Objectives of this Class: Students will
learn the “five inquisitive techniques” a creative can apply to a proposed
project to develop an effective advertising strategy. The Five Inquisitive Techniques: As you approach an advertising client
for the first time, the process of discovery actually begins. Certainly you will do thorough research on
clients before you meet with them, however, it will only serve you up to a
point and likely only help you make a good first impression. Nothing can really prepare you for what the
client really wants until you obtain answers to the following five subject
areas: What does our product look like?
What does the packaging look like?
What is your product’s legacy?
How long has this particular product been
marketed?
Who is the target audience? ·
Who is the primary demographic or target market? ·
Is there competition? If so, how is market share divided among
competitors? ·
Secondary Market… who is a potentially untapped resource that can
grow our sales if we appeal to them? ·
Does it transcend cultural or gender lines? Class #3 The Process of Discovery (Continued) Learning Objectives of this Class: This part of
the process of discovery deals with choosing the correct combination of media,
or as it’s more commonly referred to in advertising as the “media mix.” Students will about audience targeting and
the differences between Intrusive and Non-intrusive forms of advertising. This
fundamental approach to advertising strategies influences everything from ad
content to graphic choices. What media are in our mix? We learn the advantages
of Mass media vs. Targeted Media Intrusive vs.
Non-intrusive Advertising Intrusive vs. Non-intrusive Advertising The task of every
advertising team is to develop an ad that will attract attention and motivate
the viewer to think or act a way that is favorable to the product. There are two advertising
design strategies: Intrusive and Non-intrusive. For example: Publications
such as Time Magazine and USA Today are mass marketed to a broad audience. People
read these publications for news and not for the advertising. Consequently,
competition to capture the reader's attention among the pages of such
publications is strong. A copywriter and designer must quickly capture
the reader's attention, often in some provocative way. Your ad is
"intruding" in their news and feature space. On the other hand, a
publication which is targeted to a specific group, such computer enthusiasts,
actually welcomes advertising as a source of valuable information, almost as
important as the news and features contained in the publication. Thus, it is
logical to assume that ads can contain much more information to help readers
make purchasing decisions. However, such publications are often filled
with provocative advertising among what appears to be highly competitive
advertisers. Particularly if there is price competition among a product
category (catalogers for example), ads become highly detailed price listings.
Bottom line, of course, is they work among a classification of readers who are
price shoppers. Excellent examples of
non-intrusive advertising can be found in magazines such as Sports Afield,
Women's Day, InfoWorld, PC Magazine and any number of photography or camera
magazines. In some cases,
advertising is disguised as editorial content. Product roundups, buyer’s
guides, the “year in gear” editions of trade publications and product placement
in Web search engines or online product reviews can be examples of advertising
disguised as objective editorial content. Daily Newspapers can
contain both intrusive and non-intrusive advertising. Advertising
supplements for the local food store, filled with coupons and specials, are
non-intrusive to the household manager looking to save on groceries and home
cleaning products. On the other hand, a full page ad for the BMW X-3 in
the middle of the Sports Section, is most certainly intrusive. The automobile
dealer display ads in the automotive section of the classifieds are
non-intrusive among car shoppers who are often attracted to such sections when
looking for a bargain. The term “intrusive” when
it comes to advertising should not be construed as a negative. The most effective advertising is almost
always intrusive… the well-crafted message, the provocative image, the surprise
at the turn of a page or the click of a mouse that creates a lasting memory or
image in the consumer’s mind is always something the viewer or reader didn’t
expect to see as they were reading their paper, browsing the web or viewing
their morning TV news show. Applying these terms,
intrusive and non-intrusive, in our process of discovery will help us to
quickly determine our advertising campaign’s best overall look and feel. Legislation and Obligations
Can you name some
products that must contain information legislated by governments either federal
or state? Class #4 The Process of Discovery (Continued) Creative Team Organization: Assigning Responsibilities and Matching
Talent with Tasks Learning Objectives of this Class:
Advertising campaigns are perfect examples of creative collaboration and
teamwork. Students will learn the basic roles of six key members of a creative
team: The project manager, the production manager, the creative director, the
graphic designer, the photographer/illustrator, and the copy writer. Depending
on the size and scope of the project, there can be additional key staff. Additional staff can include copy editors,
staff accountants, creative and production directors, graphic designers and
appropriate clerical and office support. Conversely, there can be less, and
roles and responsibilities can be combined as in a small creative firm. Certain tasks can be
in-sourced or out-sourced depending on the budget and staff size. Regardless
of who actually does the tasks, the tasks must be accomplished because each is
critical to the success of the outcome. The Importance of Research As a rule, the more successful a campaign, the
more thorough the research was behind it. For example, research is can
be accomplished a number of ways by a number of people. Researchers assess
market size and strength as well as measure a particular advertising message’s
effectiveness in the market. Most advertising firms today are first and
foremost research firms. Their entire
strategy is based on “the numbers.” Investments
are too large and risks to great for a marketing or creative team to rely on
guts, chances or hunches. That doesn’t mean there isn’t a little creative risk
taking. But risks are often calculated. Media Companies vs. Creative Firms In small to medium markets,
media companies offer in-house creative services. This is especially useful to
small businesses that may not be able to afford a creative firm to produce and
place their advertising. In such cases a small market newspaper, television or
radio station will have account executives who work with businesses to create a
campaign. In this case, a creative on the staff of the media company will work
directly with the company seeking to advertise or with the account executive to
produce the message and the advertisement. However, as businesses, products
and services seek to reach larger more sophisticated markets, it becomes
necessary to take a strategic and collaborative approach to creativity and
production tasks. Not only is thorough
research important to the process, but special expertise must be brought to
bear on the project to be more effective in order for the campaign to reach its
intended goals. In such collaborations, creative directors and project managers
can leverage special services and talents depending on budget. The Creative Team Managing Collaboration: The team must divide up responsibilities along areas of expertise. A Project Manager as well as other key appointments to handle the group's obligations and responsibilities: Project Manager ·
Manages the entire project. ·
Works directly with the client. ·
Serves as a communication facilitator between the client and the team. ·
Manages the finances of the project, collaborates with the client and
the team to establish a budget. ·
Manages the project’s design document that contains the contract and
schedule of project deliverables. Production Manager Works with the team
and production companies that will be contracted to apply the design to the
various media forms. These companies
include: ·
commercial printers ·
film crews ·
packaging manufacturers ·
trade show and retail space display fabricators ·
outdoor advertising firms · audio or video production houses · specialty advertising firms (imprinted sportswear, unique product manufacturers and imprinters) Creative Director The Creative Director is most typically the senior
designer and the most experienced designer on the team. The Creative Director
gives work direction to the Graphic Design Team. The Creative Director has the
ability to work well with the creative team and the executive account managers. The Creative Director is responsible for the
overall look and feel of the project. He or she may or may not be hands-on
depending on the size and scope of the client and project. Graphic Designer The Graphic Designer is the team’s visualizer. The
Graphic Designer is hands-on responsible for giving substance to the project’s
look and feel. The Graphic Designer has
strong visual talents, from illustrative to layout. Depending on the size and
sophistication of the project, there may be more than one graphic designer.
There may also be an animator, for example. There may be a graphic designer who
specializes in television, print, or outdoor advertising. Photographer/Illustrator Almost all projects require a photographer or
illustrator or both. They work with the
Graphic designer to capture important assets that will serve to illustrate the
message in the campaign. Some messages
may be better served by illustration. Copywriter/Researcher This member of the team researches the details of
the product and the campaign once some consensus among members of the client
and creative team has been reached. This person’s responsibility is every word
that appears in print or is spoken in a commercial. The team must process its tasks and this means each team
member must meet individual objectives and expectations. Class #5 Creative Team
Organization: Assigning Responsibilities and Matching Talent with Tasks Learning Objectives of this class: Students will recognize the four types of management tasks
of a basic creative enterprise. They are: 1) Managing Assets and Agendas, 2)
Managing Compositional Elements, 3) Managing the Message, 4) Managing the
Process. The students will also learn the
meaning of “The Four Cs of Creative Management,” and they include Collaboration,
Cooperation, There are four types of
management tasks in any creative enterprise: 1. Managing Assets
and Agendas:
How to organize and manage the visual design process through assessment of
known assets, marketing objectives, client and staff agendas. The most
important responsibility, perhaps, is mediating any conflict that may arise and
moving the group toward consensus and the most effective product the team is
capable of producing. 2. Managing
Compositional Elements: How to create and use design software for the management of
compositional elements for maximum visual impact and clarity of information. 3. Managing the
Message: Through
research and assessment, craft a message, and ensure that the desired
information is effectively transferred to the reader and/or the viewer. 4. Managing the
Process: Managing
the ad production process includes media specifications from reproduction
technologies to paper stocks, from direct marketing and display advertising to
the new media and the World Wide Web. Managing your project well raises your credibility Note the word managing in the above descriptions. The
success of any team or individual is dependent on your skill to manage people,
events, and the unexpected. These skills
include working well with others, stepping up and being a leader when the
opportunity presents itself, but knowing how to follow when an obviously good
leader is identified among your colleagues. In any creative enterprise
there are critical schedules and deadlines that simply must be met. The fate of
an entire project or even the company can hang in the balance of a missed
deadline, an underestimated production schedule, or even a minor budget overage.
It all comes down to credibility. If you manage the process well, you can
compensate for difficulties or the unexpected. There is a lot of truth to the
adage, “Hope for the best but plan for the worst.” You must endeavor to give yourself some
wiggle room in the event things go badly and you may have to scramble to
recover. The Four Cs of Creative Management To many people, the creative
process is a mystery akin to magic.
Genius is often confused with experience and hard work. Developing a comprehensive advertising
package can be the vision of one incredibly creative genius, but the actual
work that must be applied to get ideas on paper, on television, on a shelf in a
supermarket are the result of a carefully managed team effort of several
creative people. To manage this process
on behalf of a major national brand is a monumental undertaking requiring many
skilled and creative people. An illustration of the
management process can best be described as “The Four C’s of Creative Management.”
Think of these as four legs of a chair. Without any one of them, the chair will
ultimately fall. It may balance
precariously for a while, but no one would want to sit on it. The Four Cs are: ·
Collaboration: Collaboration, simply put, is getting
many head together to solve a problem or meet a challenge. No one player can
win a baseball game alone. You have to respect the input of the rest of the
players even if the ball is never hit to left field on a particular game day. ·
Cooperation: It is earned through a process of
mutual respect and appreciation. Many experienced project leaders like to
assemble their own teams of professionals they’ve known and worked with before.
The relationship between the client and the creative agency is always important
and should never be taken for granted. ·
·
Credibility: This is the natural outcome if collaboration, cooperation
and consensus building are managed correctly. If any one of the four Cs is weak
or missing, credibility will be the ultimate casualty. Do you want it cheap, good, or
fast? Pick two. Working with clients can be very challenging. In an
ideal world, clients pick creative firms based on their perception of your
ability to deliver quality, and any costs will be well worth it. Alas, this is not an ideal world. Especially among small businesses, there is a
different reality that is more often motivated by price. Sometimes a client is testing the waters with
a design firm by handing out a small but challenging project. It may not be all
that calculated, but resulting from an emergency situation in which the client
finds himself. There is a proverbial
wisdom that takes the form of a question every account executive should ask a
new client when a situation appears acute.
“Do you want it cheap, good, or fast? Pick two!”
If you want it cheap and good, it won’t be fast. If you want it good and fast, it won’t be
cheap. If you want it cheap and fast, it
won’t be good. This strategic questioning, though it appears somewhat
frivolous, will assuredly earn you more credibility if not respect, and you
haven’t agreed to take on the project yet! First Level Project Goals: The class will now be
divided into companies or teams, each with an assigned goal of objective
provided by the instructor. Each team must determine who
among them will be responsible for tasks that must be performed so the team can
reach its objective. Each team must
appoint a member to the following positions (Note: due to class size and time
frame, the instructor has combined positions and their responsibilities): ·
Project Manager/Production Manager ·
Creative Director/Graphic Designer ·
Photographer/Illustrator ·
Copywriter/Researcher Responsibilities and Deliverables The team leaders are
responsible for taking the contributions of the group and distilling them into
the most effective concept. Here are the team's project goals: Logo design requires developing a production-ready
graphic. What is a production-ready graphic? One that is ready for target media
distribution or manufacture as in packaging or publishing. Look and Feel: this transcends the logo design to
prototypical ads and packaging concepts. A color scheme and some texture
samples evolve from those colors used in the logo design. Target media is
selected for tests of the look and feel: ·
A Package Design ·
A Newspaper Ad ·
An Outdoor Sign ·
A Stand-Alone Point of Purchase
Display for Retail Space ·
A Website Splash Page Teams must prepare a presentation
that will present their samples at a Client Project Review event to be
scheduled. Student team members will each be required to contribute to the
presentation offering their ideas and concepts.
Teams are encouraged to make use of any and all technology and resources
available. Class #6 The Assignment Learning Objectives of this class: Students have now been divided into teams that resemble
actual creative teams that one may find in a typical advertising agency or
creative firm. The teams will be given the same production assignment, and
there objective is to produce a logo, a package design, point of purchase
display, copy and a layout for a full-page newspaper ad. This hands-on
assignment is designed to encourage a team approach to problems solving and
strategic planning. It is also designed to encourage delineation of duties,
application of the best or most qualified talent for the task, and to
demonstrate, first hand, the importance of product/market research and development. The ultimate goal of the class is to conduct
formal demonstrations and presentations to the class at the conclusion of their
projects and to showcase the students’ work. The Assignment: Natural Spring Water from In the last two decades, the
modern bottled water industry has exploded in the marketplace. What really
propelled the craze of bottle water on a level comparable to the enormous The bottled water industry
in Otis Hinckley was, at the time, a
water delivery man for the White Rock Corporation. Why is bottled water so
popular? It transcends mere convenience. There are certain implied guarantees
in bottled water that it is pure, without chemicals, and absolutely sanitary. It’s
not what’s in bottled water that makes it preferred, but what is NOT in the
beverage. In a marketplace that has become super sensitive to food additives,
pollutants finding their way into our food and water supply, and a desire for
diet and health conscious Americans to eschew sugar and calorie filled soft
drinks and alcohol, bottled water has become more popular than any category of
packaged beverage. The bottle water industry is
highly regulated. The U.S. Food and Drug Administration (FDA) categorizes
bottled water as a “packaged food product” through stringent standards for
safety, quality, production, labeling, and identity. If certification and licensing is required it
may be required on the labeling. Depending on the states in which it is bottled
and sold, there are specifications that must be published on the label. Also,
there is the Universal Product Code (UPC bars), and which states require a
cooperage or recycling deposit that can be redeemed at the beverage retailer. Here are some websites you can consult for additional
research: ·
http://www.bottledwaterweb.com ·
http://www.nrdc.org/water/drinking/bw/bwinx.asp The List of Deliverables The Logo Each team must develop a
product name and logo that incorporates the name, 1. Identify a Type Style or Type Family 2. Identify a symbol (existing or
created) will serve your brand’s identity? 3. Develop a Color Palette for all
materials developed on behalf of the brand The Package Once the logo is developed,
your team must apply it to a label design for plastic recyclable bottles from a
small size (20 oz) to a large (1 liter) size.
1. The labels must be applied to the
bottles to create prototypes. 2. Prototypes must be incorporated into
a marketing presentation for the class. 3. Prototypes must be created for photography
for ads, banners, posters and point-of-purchase display. 4. Your Team must create an innovative
point of purchase display. The Message Your team must develop an
advertising strategy for your product that includes a media mix that is both
print and web based. You have to develop copy that introduces the produce to
the consumer and promotes certain benefits your product represents. What are
the tangibles and intangibles of your product?
It’s important that your team identify those and include them in some
creative way in your copy. 1. Your responsibility is to create ad
copy for a newspaper ad 2. A Website Splash Page 3. A Point of Purchase Display 4. Any ancillary copy required on the
packaging Class #7 What makes a Graphic Design Effective? The Elements of Good Graphic Design Learning Objectives of this class: Students will learn the seven essentials of graphic design,
and they include Research,
Typography, Contrast,
Layout, Grid Systems, Identity Design and Critique & Analysis The following class content notes
are to be used with the textbook recommended for this class The Seven Essentials of Graphic Design by Allison Goodman Typography BOLD, ANGULAR CAPITAL
LETTERS SHOUT! while thin, curvy letters in upper-lower case whisper. What are the five
considerations when choosing type? (Reference
Chapter 2) Contrast doesn't just
make a design visually engaging, but it is a prime organizing factor for a
design's information. Contrast Via Shape Contrast Via Value Contrast Via Color A design's layout is a
map for the viewer. The elements of a clear
hierarchy (Refer to Chapter 4) Invisible except to the
trained eye, grid systems are a subtle but vital part of the design process. What is the reason for a
grid system? (Refer to Chapter 5) Identity Design: Logo
& Logotypes Recognition is what every
company or organization wants. (Refer to Chapter 6) Critique and analysis
actually opens your eyes to infinite possibilities. Class #8 The Importance of Shape and
Texture in Layout and Design Learning Objectives of this Class: Students learn the
importance of shape and texture in layout and design. There are 4 elements that can comprise shape
in a layout, and a variety of the 4 elements can combine to create entirely new
shapes. They include the photograph or illustration, the logo or trademark,
type elements (headlines, paragraphs, titles, and kickers), and key lines.
Students also learn the value of Texture. Texture can be applied two ways. It
can be depicted graphically as in multi-color process reproduction, or it can
actually be applied physically to a particular advertising piece through choice
of printing substrate (paper). Shape: A good composition is an
evocative arrangement of shapes, and sometimes it can consist of a shape within
a shape, within a shape, all of which combine to direct a viewer’s attention,
evoke a mood, condition a recognition response (logos and brands). These are the visual elements that comprise shape in a
layout:
What is a texture? It is the fourth element
of design, which is defined as an object’s visual or tactile surface
characteristics and appearance… In graphic design, texture is most often used
as a secondary element to reinforce an idea, rather than as the primary element
to communicate a concept. Some examples of how
texture is used in design:
See the following
example on the Web to illustrate this class lecture: http://www.garyolsen.com/GoClarke/Ad_design_class/classnotes.htm#Lecture6 Class
#9 The
Importance of Structure in Design Learning objectives of
this class: Students will learn how to achieve structure and
balance in advertising design through the use of contrast, unity, value, color,
and the application of asymmetry. Structure Q: What is Design
Structure? A: Finding the appropriate
use of the elements of line, type, shape, and texture to create a strong and
effective design. Q: What are the FIVE
primary principles of structure? 1. Balance 2. Contrast 3. Unity 4. Value 5.
Color Balance Q: In composing our
design, is it our goal to achieve balance? A: No. True balance and
symmetry lead to boredom. In a busy newspaper ad filled with two equal columns
of line items, all details of the ad’s composition blend together in one gray
shape. The viewer doesn’t want to work that hard to figure out what the
designer is trying to achieve. Balance is all about creating mood When things appear slightly
or especially radically out of balance, the effect evokes a variety of moods
including humor, drama and tension. Contrast Effective advertising design
is all about contrast. Contrast can strengthen an idea. There are several ways to achieve contrast. Among them: Photography or
Illustration Type Size and Thickness What many neophyte designers
fail to recognize is the effect a block of body copy has on the overall
contrast of a design. Color and Value Color and value is all about
effecting the right contrast among color combinations to evoke a mood. What should you consider when striving for contrast? Unity How do you achieve unity in
your design? Through the management or
manipulation of value and color. Value Q: What is value? A: Simply put, it’s
defined as the relative lightness or darkness of an object Value creates mood.
A: Movement and direction What should you consider
when using value? Q: What does color add
to a design? A: It adds dimension. There are warm color and
cool colors Warm colors project while
cool colors recede. Symmetry vs. Asymmetry: Asymmetry (forcing a design
element out of balance) can strengthen a design. By throwing a design out of
balance you create tension. What should you consider when striving
for balance? Class
#10 Outdoor
Advertising Refer to visuals on http://www.garyolsen.com/GoClarke/Ad_design_class/classnotes.htm#lecture8 Learning Objectives of this Class:
Students will learn the three strategic design strategies of effective
outdoor advertising. They are: 1)
Effective outdoor advertising ideas are simple 2) Outdoor Advertising must be
easy to grasp and this is best achieved through the use of high contrast, 3) Images and graphics communicate
visually more effectively than words. A brief history of the oldest media form on earth Outdoor Advertising is one
of the oldest advertising media in existence. Until recently, most large
pictorials were hand painted on the sides of buildings and on poster panels. Outdoor
Advertising on large strategically placed sign panels is a uniquely American
phenomenon that had its start in the 19th Century. Before outdoor advertising
was even referred to as a media form, it was pretty much out of control, and in
some metropolitan areas, a visual nuisance. For example, as circuses came
through a town, every available space... on fences and barn sides were covered
with posters. "Bill posters" and sign painters plied their trade
until civic beautification advocates passed legislation to control them. Many
fences and buildings contained the words "Post No Bills" meaning “no
posters or signage allowed.” Circus impresario, P.T.
Barnum, in the 19th Century, literally invented the modern American
outdoor advertising industry. As soon as
railroads made it possible to take his Outdoor Advertising became a
legitimate media form as the nation discovered the automobile. Suddenly,
roadways became prime real estate for advertising. The industry grew steadily
as the nation became laced with highways. In the 1950s and ‘60s, highway
beautification legislation became popular in an attempt to regulate what
critics called “the visual pollution” of outdoor signage. What this effectively
did in some communities was legislate outdoor advertising out of existence. In
several markets, where outdoor advertising was represented by strong and
influential owners, like Ted Turner’s father in Today, outdoor advertising
is a highly regulated industry. There are zoning laws which contain billboards
in industrial and commercial areas. Actually this is good for outdoor
advertisers because it puts their message right in the marketplace where people
are shopping and commuting. Today, outdoor advertising
has become even more dynamic a media with the application of computer graphic
technology. Instead of signs being painted by hand, or screen printed by
section, they are painted by computer using a process similar to a giant ink
jet printer. Designs are often spectacular in scope with or protruding
extensions that break the rectangular frame. On relationships with clients Most clients are risk averse
when it comes to any form of advertising, but particularly outdoor. There’s
something about seeing your brand on an outdoor sign that’s 48 feet long and 14
feet high that inspires thrills or dread. Some of the best ideas in outdoor
advertising are by nature risky. A local designer and outdoor
specialist once confided to a class of ours, "I designed this fantastic
board with a giant screw. The caption was something to the effect 'Remember
your last car deal?' It didn't sell the client." Often a client that may be an
outdoor advertising neophyte wants to put too much detail on a board which
cannot be read when driving by at 60 mph. The best advertising designs
work on an emotional level. That's what all advertising has to do, but
especially outdoor. Outdoor advertising design
approaches Less is more in outdoor
advertising. It's not what you put in a composition. It's what you take away. It should be a goal that you
find the essence of a product. Often you don't even have to show the product to
convey the message. One of the best samples was illustrated on a video
which Kathy brought to class. On that video, a designer was describing the
"Got Milk?" campaign for the American Dairy Association. The boards
showed a giant cookie with a bite out of it and the message... "Got
Milk?" Another board showed a pair of Hostess Cupcakes with a bite out of
one and the trademark icing on top spelled the words, "Got Milk?"
This campaign was deemed one of the most effective campaigns even though
it never actually showed the product. On the three objectives of outdoor advertising: 1. Get attention
with a simple idea.
This means think visually. Do in
picture rather than words. 2. Be Provocative by
either warming their hearts, shocking them, or making them laugh. Evocative images that make people
smile or laugh are effective because they are memorable. Making people feel good is not a bad objective in
creating memorable advertising. 3. It’s Brand
Marketing. Remember
your message is in the marketplace. Outdoor advertising is often referred to as marketplace advertising. This means it’s
seen where people drive, shop, eat,
and go about their business. Your objective is to inspire recall of a
particular brand name as that customer is shopping or searching for a restaurant
because she just saw the sign and she’s hungry. Outdoor advertising is an
important part of a total advertising or marketing mix. Often, outdoor
advertising coordinates with print, radio and television On rules or no rules: It depends on the designer
you're talking to, because some say there are no rules while others say there
are rules but they are made to be broken. There are good practices,
however: 1. Simple, easy to
read 2. Contrast: Bold black type against a white
background is the ultimate contrast, but there are a lot of color combinations
that can work. It's important that you work with color and value to maximize
contrast for the best legibility. 3. Images or
graphics communicate visually often better than words. On writers: It's best to tell writers
"forget you're a writer." Think visually. Class #11 How to Start a Print Advertising Project Learning objectives of this class: Students learn the 20 Step Process
of Discovery and how to apply what they learn during the discovery process to
designing a print advertising project. Students will also learn the 10 Steps to
Drawing up a Design Document. How I Start Designing an Ad (step-by-step) by Gary Olsen I've taken note at how you
manage (or don't manage) the design process. In the real world of there just is
too much at stake and too many risks involved in not being productive and
effective. This requires a combination of management skills as well as artistic
talents which must be blended in a way as to leverage the talent, get the best
results possible and maintain control over costs, schedules and the
relationship with the client. So I created this annotated
checklist that can be followed in sequence when beginning the design process.
Of course this list is based on a first time encounter with the client. When
you receive the opportunity to design an ad campaign, what are the first things
you should do. What questions should you ask: 1.
What's the Target Publication? 2.
What are their ad specifications? 3.
Dimensions? 4.
Color(s)? Will I use four color, one color, spot
color, black and white? 5.
What
format files do they prefer? a.
Quark? b.
PDF? c.
Native Photoshop? d.
EPS? 6.
What
are my marketing objectives? 7.
What
is the client's agenda? 8.
Who
will we be working with? 9.
What
do we want this ad to accomplish? a.
Phone call to a closer? b.
Web visit? 10.
What
are the assets of this campaign? a.
Are
they available digitally? b.
What
additional photography or illustration may need to take place for this ad
project? 11.
Is there an established slogan or tag line? 12.
Is there a specific type style associated with any
design or legacy element in the ad? 13.
Packaging? 14.
Where’s the Ad Portfolio of past work on this
product? 15.
What other media projects have been executed for
this product? 16.
When is my drop dead date? 17.
When is the publication deadline? 18.
Who is the contact person at the media company we
must deal with? 19.
Can we see a proof of the ad before it runs? a.
PDF? b.
FAX? c.
Color Proof? The
Ten Steps to Preparing a Design Document A design document is a detailed agreement containing the concept
treatment (description of the project), list of deliverables, design and
production schedule, budget, and client contract. 1.
Now
you can begin to draw up a master production schedule with intermediate deadlines
as project milestones. 2.
Begin
with the ultimate deadline and work backwards 3.
Schedule
the first Brainstorming Session with staff. 4.
From
this Brainstorming Session, we will determine the treatment with a one or more
of our best ideas from this session. 5.
Draw
up a design document which outlines the project from concept through production
it must contain: a.
Treatment: This is a one paragraph statement of the
campaign's goals with the best idea(s) proffered by the Staff Brainstorming
Session. b.
Production Schedule and Deadlines c.
Sample thumbnail sketches based on the treatment d.
A Schedule of all Associated Costs of Production e.
Copy of the Contract 6.
Establish the Budget and an estimate of costs
associated with design and production. 7.
Draw up Contract to be attached to the design
document. 8.
Present the contract and design document to the
client at the formal design document presentation. 9.
Get the Contract signed. 10.
Begin Design and Production Production Steps Critical to the Success of any Project In managing your design, there are three important things you need to know before you can begin the design process. DESIGN 1) What are the PMS colors that are specified for this logo, package design, poster or advertisement? Provide Pantone Matching System Color Chips (PMS). 2) Size: What size must your design be to accomodate target applications from business cards on up to outdoor signs or the side of a mass transit bus? 3) Applications -- What Are They? Embroidery? Screen Printing? Offset Printing, Pad Printing? In moviing your project from the Design to the Production Stage there are three important considerations to ensure success. In this critical step, the process is akin to raising a child and then sending that child into the world. At some point you must depend on and trust the skills and instincts of other trained professionals. PRODUCTION 1) Relationships: To ensure success, it's important that you develop a communication with the printer, publisher, manufacturer, embroiderer, or screen printer. This relationship will provide you with details that could be critical to the success of this project and all future projects that run through this professional service. 2) File Compatibility: The number one problem reported by printers, screen printers, large print vendors, and embroiders is customers turning in electronic files that are incorrectly specified, improperly formatted, incorrectly sized, and generally unreadable or incompatible with the design software or platform the printer is using. 3) Transportation: Welcome to the world of large files that must be handled in special ways. Most cannot be attached to e-mail because the files are simply to large. However, files can be posted or transferred via an Internet Website or FTP site. |
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| © Gary Olsen 2002, 2003, 2004, 2005 all rights reserved. All graphics and copy in this Web site are the intellectual property of Gary Olsen and/or his clients' property, used with permission, and cannot be used for any purpose without permission. Address correspondence to olsega@mchsi.com. |
This is the name of the company for which you must prepare a logo. However, the big challenge is to create an icon that evokes one's Life Story. What should it be? Suggestion: Look at vintage wood cuts or engravings for inspiration. 
