Designers, however, have to tread with caution not have to take this and turn it into a literal campaign. Other visual treatments that don’t include the whole family can still provide that emotional impact while getting the
when imbuing a campaign with visual cues because
client’s message across. Designers should also take their research outside the realm of theory and see what they can learn firsthand by visiting the areas in which their clients
the line between stereotype and cultural awareness live. By seeing where their target audience shops, how they address each other and what visuals they respond to, designers can gain some good insights. Starting a dialogue
can be very thin.
with residents and shop owners can also lead to information that can help inform a campaign or address a visual issue. However, creatives need to understand that every group is unique and adjust visual messages accordingly. Part of the role of the designer is to educate the client, too. But sometimes that can be tricky, as marketing executive Albert J. Ferrer learned. His company had presented some concepts to a client and felt satisfied with the outcome of the meeting. However, colleagues who had not been present at the meeting said they felt the concepts lacked “a sort Hispanicness” (Ferrer). What the client was referring to, Ferrer said, was visual and auditory literalness: darker skin for a model, music with more salsa … all the stereotypes associated with the culture (Ferrer). “There’s a fine line here. It’s perfectly reasonable to expect that the music used in a commercial targeting Hispanics be one that deeply resonates with the target. It’s not reasonable, however, to expect that it will be lively and loud
Examples of stereotypical icons used when communicating to Hispanic audiences.
because Hispanics like salsa music. Targeting what we show in a commercial or how we portray our talent is just smart
Think Before You Type by Nancy Palm. 2012 Thesis