Instructor Manual for Advertising Design by Medium A Visual and Verbal Approach 1st Edition By Rob

Instructor Manual for Advertising Design by Medium A Visual and st Verbal Approach 1 Edition By Robyn Blakeman. NOTE (Lecture Notes and Assignments Only)

Part 1: Lecture Notes Chapter One Lecture Notes The Visual and Verbal Message is Grounded in Research There are two basic types of research: 1. Qualitative.

2. Quantitative.

The Marketing Plan is the Client’s Business Plan 1. The marketing plan organizes and analyzes the overall environment in which the brand will be seen and used.

2. Before any creative executions are undertaken, the client or marketer must first determine what they want to do—financially, strategically, and competitively.

3. It identifies the current market conditions by looking at any internal and external factors that could affect a brand’s success.

Creative Brief: The Creative Plan of Attack 1. The creative brief, also known as a copy platform, creative work plan, creative plan, or copy strategy, is the next step in the evolution of the marketing plan.

2. A small informative internal document.

3. Created by Account Management for the Creative Team. The brief serves as a road map for idea generation and visual/verbal development.

What Makes Up a Creative Brief 1. Target Audience Profile a. Demographics. b. Psychographics.

c. Behavioristics. d. Geographics.

2. Advertising or Communication Objectives a. 1-3 obtainable objectives. b. Objectives can be affected by a brands lifecycle stage: i. New. ii. Mainstream or Mature. iii. Reinvention.

3. Target Analysis a. What they currently think about the brand? b. What you would like them to think about the brand? c. Why should the target believe it?

4. Product Features and Benefits a. 5-7 Feature/Benefit combinations.

5. Positioning of the Product a. A short description of the competing brand. b.

A description of the brands similarities and differences as compared to your client’s brand.

c. A short description of their current advertising, specifically what is currently being said and shown. d.

Their key consumer benefit.

e. A short description and overall appearance of their current logo, such as type, colors, shape.

f. A description of their current slogan or tagline if using one. g. A description of any unique graphics or color combinations used. h.

If applicable a description of what their packaging looks like.

6. Key Consumer Benefit (KCB) a. Unique Selling Proposition (USP). b. Big Idea.

7. Creative Strategy a. Approach and Focus. b. Appeal and Focus.

8. Tone a. Emotional and/or Rational Tone and Focus.

9. Support Statement a. Needs to tightly support the Key Consumer Benefit.

10. Slogan or Tagline 11. Logo 12. Detail Copy a. Amount of detail depends on the medium.

13. Promotional Information a. Coupons. b. Order Forms. c. Contests. d. Sweepstakes.

Creatives Create The Words and Images Seen in Advertising

1. Creatives a. Creative Team. b. Creative Directors. c. Art Directors. d. Copywriters. e. Production.

2. Traits needed by the Creative Team.

In-House and Freelance Expertise 1. Brand Creative Teams.

2. Freelancers are independent contractors.

3. Creative Boutiques.

Need to Know Advertising Terminology 1. Brand.

2. Brand Image.

3. Brand Loyalty.

4. Brand Equity.

5. Promotional Mix. 6. Media Mix. 7. Positioning.

8. Repositioning.

Chapter Two Lecture Notes Conceptual Development: The Story of the Idea 1. Conceptual development, also known as brainstorming, is all about uncovering the unimagined.

2. Leading the creative charge in brainstorming sessions, is the creative team that includes at least one art or creative director and a copywriter. Attendees may also include an account planner and/or an account manager and even occasionally the client.

3. The creative team is responsible for strategically developing the idea, writing copy, and designing ads that seamlessly integrates the brand into the consumers’ life.

4. Once the creative team understands what needs to be accomplished, the next step is to isolate the brand’s inherent drama. a. What brand characteristics will talk directly to the target? b. How can those characteristics be made distinct or dramatically shown and talked about?

5. The first step to finding the inherent drama might simply outline: a. What the brand does. b. What it looks like. c. How it is used.

6. Once exhausted, if still looking for inspiration, the next step might focus on: a. The Unexpected. b. The Unusual.

7. It’s important to understand, whether conceptualizing, writing or designing, that consumers will not work to understand abstract ideas they want messages that can be

easily understood since they will probably be multitasking while listening, scrolling or reading the advertising message.

The Creative Brief Is the Foundation Behind Imaginative Ideas 1. Fortunately, there is no business document that determines creative direction. The documents discussed thus far: the marketing plan and creative brief, look only at the research done on the brand, target, competitors, overall marketplace and communication needs.

2. The brief’s job is to: a. Outline both brand and consumer needs and wants. b.

Clearly define what communication efforts need to accomplish.

c. Be the foundation for the visual/verbal direction. The brief supplies the creative team with an informational starting point.

3. Once the creative team understands what needs to be accomplished, the next step is determining a visual/verbal solution that will bring the brief to life.

The Black Hole of Art Versus Business.

1. The tighter the brief, the more emancipating and energizing brainstorming sessions can become.

2. Less defined briefs are more open to interpretation and can impede the teams progress as they get lost in a deluge of ideas with no strong ties to the brand or target.

3. Every word should help the creative team to see the brand in a new way. The more informative the brief, the more distinctive the final visual/verbal identity will be, helping the brand to step out and away from its competitors.

4. Most brand categories are crowded, and a lot of advertising is repetitive. A good creative recognizes this and looks for an innovative and memorable way to make their brand stand out amongst the clutter.

5. In order to position a brand as a solution to the target’s problem, it cannot mimic solutions communicated by other competitors within the brand category. The first time the target experiences a visual/verbal message, it’s seen as new, unusual, educational, or inspirational and becomes part of the brand’s image.

6. Memorable solutions to the client’s advertising problem begin with ideas that creatively and imaginatively solve a problem for the target.

Finding the Elusive Visual and Verbal Solution 1. All great ads begin and end with a strategically sound idea. Finding it is not only fun but also almost always a bit frustrating.

2. Good ideas can come from imaginative musings, life experiences, and personal interests, and some good old fashioned luck. A good idea will never come from dull, inexperienced imaginations.

Beginning the Conceptual Process: Visual and Verbal Solutions 1. The creative team initiates the creative process with a lot of daydreaming, talking, and doodling. You need to erase any preconceived notions about the brand before you can see new solutions and directions.

2. The goal of a conceptual development sessions is to illuminate the obvious and search for a new and innovative direction.

3. Good ideas are elusive but plentiful, great ideas are much less abundant, and successful and memorable ideas could be put in the once in a blue moon category. A successful idea

is certainly not defined as something you’ve seen before or that can be tweaked to fit an existing mold.

Fighting for the Idea: Everyone Will Hate an Idea at Some Point Within the Creative Process 1. At some point some one will hate some part of the final creative solution. Going back to the idea drawing board can be frustrating, time consuming, expensive, and should be avoided when possible. To circumvent this, creatives must not only be staunch advocates for their ideas but also be willing to repeatedly battle for the integrity of their words and images.

Computers Versus the Brainstorming Process on Paper 1. Brainstorming is not a technology function; it is still traditionally done the oldfashioned way, on paper.

2. Idea generation is spontaneous and original, it is not about moving the same, no longer original, ideas around the screen or repeatedly using the same stock photos or illustrations as placeholders.

3. The computer is a design tool; it is not a not an ideation tool.

4. It is important to understand that the computer reproduces ideas, it does not create them. The computer cannot dream or imagine; it reproduces, period. Once the idea is solidified, then you can move it to the computer for finishing touches.

Great Ways to Jump Start the Ideation Process. Words and Graphics as Brainstorming Devices 1. If you asked a hundred creative teams how they came up with their great ideas or over came a creative blockade, you would get as many different answers. Each team’s

approach will be uniquely theirs. Possible brainstorming options include: a. Talking It Out. b. Word Lists. c. Laddering. d. 180-Degree Brainstorming. e. Exaggerations, Interruptions, and Rejections. f. On The Flipside. g. Mindmapping or Cluster Writing. h. Starbursting. i. Charades.

Reasons Behind Mediocre Creative 1. The biggest enemy to creativity is laziness. You did not fully research both your client’s brand and the competition, and did not adhere to the creative brief, and did not exhaust the conceptual phase, so your ideas are off-target or off-strategy.

The Life Cycle of the Brand Affects the Message 1. Another consideration when conceptualizing is to know the life cycle stage the brand is in. a. New Product Launches. b. Mainstream or Mature. c. Reinvention.

Chapter Three Lecture Notes Understanding the Language of Advertising Design 1. The vocabulary behind design is not exclusive to advertising. Let’s get a few under our belt. a. Art. b. Design. c. Creativity. d. Dimension. e. One-Dimension. f. Two-Dimension. g. Three-Dimension. h. Content. i. Form.

The Elements and Principles of Design 1. The elements and principles of design are the plan behind the idea that ensures visually attractive designs. The designer employs the principles and elements in the same way a copywriter employs grammar.

2. Mastery, of these visual guidelines lays the groundwork for understanding what makes a good design work.

The Elements of Design 1. The elements are the visual things we see in a design and include: a. Line. b. Shape.

i. Geometric. ii. Organic. c. Volume. d. Texture. i. Tactile. ii. Implied. e. Value. f. Color.

The Principles of Design 1. The principles of design are the standard visual guidelines that govern the way the elements are used within the layout or the arrangement of the elements as a whole. a. Balance. i. Formal. ii. Informal. b. White Space. c. Eye Flow. d. Alignment. e. Dominance. f. Structure. g. Gradation. h. Contrast. i. Negative/Positive Space. j. Unity.

Placement of Components On the Page: What Goes Where?

1. Now that we have the elements and principles of design under our belt it’s time to dissect the types of components you will run into and how to best arrange them on the page or screen.

2. Unfortunately, advertising design is so diverse there is really no right or wrong answer to the question of what goes where in an ad.

3. Typically, a print or digital ad can be made up of any of the following five components, in varied order: h a. Headline. b. Subhead(s). c. Visual(s). d. Body Copy. e. Logo.

4. Not every component needs to be present in every ad; however, order is somewhat predetermined, especially for young designers.

5. The ultimate placement of components on the page will depend on your concept.

Chapter Four Lecture Notes 1. The creative and strategic use of visuals and symbols in advertising can visually say as much about a brand as a paragraph of copy.

2. Visuals speak faster than words, they are more memorable, persuasive and credible, and allow the art director to bring an idea to life in dynamic and emotional ways.

3. It is up to the art director to decide how to visually tell the brand’s story whether through the reality of photography or the artistic expression of an illustration or graphic.

4. The goal is to lead the reader or viewer to a specific meaning or conclusion whether assisted by text or not.

5. Whatever type of image becomes the visual voice of the client’s brand be sure it: a. Reaches the correct target audience. b. Creates interest in an often disinterested audience by focusing on the key consumer benefit. c. Reflects the target’s lifestyle. d. Builds on or develops the brand’s image. e. Ties the brand’s image to the target’s lifestyle. f. Reflects the brand’s life cycle stage. g. Highlights the brand’s current positioning. h. Strategically reflects the appropriate strategy and tone. i. Is attention grabbing. j. Is impactful in some meaningful way. k. Stimulates curiosity. l. Demonstrates specific features and benefits.

m. Gives any text a visual context. n. Reflects what the headline is saying. o. Creates a powerful and memorable brand identity.

6. How the image is shown or the placement of imagery is also diverse.

7. The brand can be: a. Featured alone. b. Shown in use. c. Placed in a unique setting or within body copy. d. Be compared to another brand. e. Show before and after results. f. Interact with the headline. g. Be grouped together with other images. h. Appear large or small. i. Be literal or abstract in appearance. j. Be a simple black-and-white or full of color image.

Visual Imagery Needs a Strong Verbal Voice 1. Advertising’s ability to communicate an informed meaning or experience visually increases the viewer or reader’s visual literacy about the brand and its use(s).

How Literal or Symbolic Do You Want To Get? 1. There are two distinct types of visuals used in advertising: a. Realistic or Literal. b. Symbolic.

2. Visuals can be used specifically for visual or artistic impact as well as an informative vehicle. Available options might include: a. Simplicity can say a lot. b. Get your target up and moving. c. Talk directly to the target audience. d. Visual metaphors can stop a viewer. e. Search for hidden visual relationships. f. Size matters. g. Surrealism is catchy and beautiful in its simplicity. h. Show don’t tell. i. Interactive options are engaging and memorable. j. Color sets a mood or tone. k. Give your ad white space. l. Eye flow, as an accent. m. Customize it. n. Negative space is a positive visual. o. Design a typeface to deliver your message.

The Expressive and Detailed Photograph 1. Photographs are believable and full of details that can help the target imagine the brand in their life and the benefits of ownership.

2. The decision to include a black-and-white or color photograph instead of an illustration or line art depends on the concept being used, the image of the brand, the budget, and the medium.

3. Photographs can be used alone to tell a visual story or as visual support for text.

4. The choice of image no matter where it will be seen must be chosen purposefully to solve a business problem not an artistic one.

5. Photography’s role in modern advertising is multidimensional. It must: a. Attract and hold the target’s attention. b. Often deliver a message with no words. c. Ensure it visually supports what the copy is saying. d. Simultaneously support and/or enhance the brand’s and target’s self image. e.

Have viral potential.

f. Project both credibility and quality. g. Create some type of emotional response. h. Motivate the target to action. i. Inspire engagement. j. Build brand loyalty. k. Ultimately produce a sale.

The Choice to Use Photographs 1. Photographs are realistic and relatable.

2. Thanks to the visual reality photographs bring to the advertised message, certain types of brands will often use them in ads promoting services.

3. They are a great option for: a.

Immersing the brand in the target’s lifestyle.

b. Projecting his interests. c. Controlling their eye movement across the page in a preset pattern.

d. Projecting status or can even tap into their senses by making their mouth water. e.

Vicariously hear the activity shown.

f. Taste or smell the image.

4. Certain images are guaranteed attention getters.

Getting the Photograph Just Right: The Photo Shoot 1. The Photo Shoot.

Black-and-White Photographs Versus Color 1. Black-and-white photographs are an anomaly and are much cheaper than color imagery.

2. Halftones.

3. Some of the strong reasons to choose black-and-white photograph over color include: a. Black-and-white photographs comprise only highlights, shadows, and the shades of gray between. In contrast, each hue in a color photograph adds an element to the image, which can distract viewers from the subject. b. Composition can be seen more readily in a black-and-white image because structure and spatial relationships take precedence. c. Shapes, lines, textures, and contrast within a black-and-white image are prominent. d. The more complete the tonal range, the more dynamic the image. e. Researchers have found that consumers view black-and-white images differently than color ones. f. Black-and-white photographs are timeless and are excellent mood or attitude setters.

Color Photographs Offer Up a Dose of Reality

1. The obvious reason to choose color photographs is they project reality.

2. Choose color images to project emotion or set a mood, or when it must be used to expose a diverse pallet of colors.

Black-And-White Images Pop with Spot Color 1. An excellent alternative to straight black-and-white or color imagery is to combine the two together using spot color.

2. Spot color is an excellent way to spice up a black-and-white photograph by calling attention to a small area that has been signaled out to receive color.

Cropping Out What’s Not Important 1. Cropping is the removal of any unnecessary section(s) of an image, it is used when the art director wants to call attention to a specific area of an image by removing any imagery that is not needed to push the key consumer benefit and visual/verbal message.

2. All cropped images need to be either placed within a box or attached to one or more of the edges.

3. The “attachment” grounds the partial images so detached body parts do not float on the page.

Black-and-White Line Art 1. A simple line drawing with no tonal qualities is known as line art.

2. Having a light and airy feel a line drawing is a great choice when you want to keep your visual message simple.

3. Drawings simplify a design and create a strong black-and-white contrast on the page or screen, as opposed to black-and-white photographs, which can cause the ad to recede by graying down the design.

4. Line art works well in many mediums when you need to highlight brands that have small delicate details, or if you need a simply rendered character representatives that can be photographed or animated.

The Style of Illustrations 1. An illustration can be defined as a drawing, painting or digitally created image that uniquely informs and visually represents a brand or concept.

2. Illustrations, unlike line art, have tonal qualities, to give them depth and dimension.

3. Illustrations can expand the number of possible conceptual solutions thanks to its ability to fantastically portray a diverse amount of abstract concepts and ideas.

4. Illustrations can portray abstract concepts and ideas more imaginatively because they are not constricted by reality bringing a sense of individuality to a concept and thus to a brand.

5. As a visual device they can: a. Bring a character representative like the Keebler Elves to life. b. Show fantastical images and scenes often unavailable in photography such as placing the brand on the moon complete with alien consumers, or by reincarnating a long dead historical figure. c. Easily reflect any historical or future time period. d. Attract attention. e. They are unique, and individualistic to the brand, making it more difficult for competitors to emulate, thanks to the fact that not everyone can illustrate, but everyone can shoot a photograph.

6. Illustrations are less expensive to use than photographs and can be much easier to use in

diverse types of media.

Budget Oriented Clip or Stock Art 1. Clip art often free, is an existing line-art drawing.

2. Stock art typically must be purchased, refers to existing photographs.

The Visual Voice of Graphics 1. A graphic uses a combination of visuals and/or shapes and type to colorfully, symbolically, and uniquely represent an idea or concept.

2. When designed especially for a brand, text is another type of expressive graphic image as is the overall alignment, spacing, size, and color treatment used to create the company or brand’s verbal personality.

Simple but Powerful Graphic Elements 1. If the goal is clean up, align, divide, or announce, then the addition of simple graphic elements can help without dominating the overall design.

Outline with A Border or Frame 1. Use a border if you want to frame or confine your design.

2. Borders or frames are not a required design element, for most mediums, but they can help in calling attention to your ad on the page or screen.

3. Borders are often used as a graphic or decorative device, tying an ad together and setting it off from surrounding copy or other ads.

4. An inset graphic border is a half-inch smaller on all four sides than the printable or viewable size of an ad. They can either confine all images and type inside, creating a ring of white space around the ad, or allow the background colors to bleed off one or more sides.

A Very Few Border Rules 1. A few rules of thumb for using borders: a. For high-end stores and merchandise, use a thin or elegant-looking border and for discount establishments, a heavier border might be required. b. Beyond these basic rules, look to your typeface for guidance. By matching the thickness of the border to the overall weight of your typeface you can create structure between components.

Chapter Five Lecture Notes Type Choice Reflects Brand Image 1. Psychologically the typeface used in logo, ad, and package design, visually has as much to say as the message itself.

2. Type is more than functional; it should be thought of as a type of graphic voice for the brand.

3. Type is an art form of shapes, curves, circles, lines, and thicknesses.

4. Type seen on a printed page and a digital screen is very different.

5. Sizing, spacing, and line lengths will differ depending not only on where the ad will be seen but also in what size it will be viewed.

Type Is Both a Visual and Verbal Tool 1. The typeface used in an ad should reflect both its image and the key consumer benefit the concept is designed around.

2. The only hard and fast rule of type design is to ensure readability and legibility.

Readability is achieved when the target can read an ad quickly, meaning that it is not too small, too tightly kerned or leaded, to decorative, set in an unfamiliar format, or has lost some of its clarity during printing.

3. Legibility refers to whether, in that short look, the target could read and understand the entire message.

The Vocabulary of Type Design 1. There are five distinct varieties of type styles: a. Serif. b. Sans Serif.

c. Script. d. Display or Decorative. e. Modern.

2. Use depends on the concept, the target audience to be reached, media choice, type size, and brand image.

3. Each set of styles is categorized by its typeface or name such as Futura or Times that identifies its unique set of letters, numbers, and punctuation.

4. A font consists of all upper and lowercase letters, numbers, and punctuation for a specific typeface.

5. Weight refers to the thickness or thinness of the typeface’s body.

Type Size and the Up and Down of Letterforms 1. Types overall size or height, affects what you want the reader to see first, second and so on, and can be used to create contrast on the page or screen.

2. The height of a letterforms body is measured in points.

3. Size is also affected by x-height or the height of a typefaces lowercase letters, and the length and height of the face’s ascenders and descenders.

4. Ascenders are the part of the letterform that extends upward from the main body of a letter, as with the letters “b,” “k,” “h,” “d” and sometimes “i” depending on the height of the dot.

5. Descenders are the part of the letterform that extends downward below the baseline, or the invisible line that type sits on, as with the letters “g,” “p,” and “j.” Ascenders and descenders play an important role in how close or open the spacing between lines of text will appear and ultimately a typeface’s overall graphic appeal.

The Manipulation of White Space Between Lines of Text and Letterforms 1. Line spacing is used to describe line spacing in design.

2. Leading is a computer and printing term that assigns a specific numerical point value to the amount of white space appearing between lines of text.

3. Letterspacing, a design term, and kerning, a computer term, refer to the removal or addition of white space between letterforms.

4. Kerning is a term, used in both printing and digital design, where a number represented in points, most often a negative one, is assigned to the space between letterforms.

Type Alignment: Setting Type on the Page or Screen 1. Type alignment, refers to the way type is aligned on the page or screen, and is driven by the layout style employed.

2. There are five ways that type can be represented in an ad: a. Center on Center. b. Flush Left, Ragged Right. c. Flush Right, Ragged Left. d. Justified Left and Right. e. Wrapped.

3. Columns. Body copy, or the small story telling text, can be set in either one column or in two or more columns.

4. Using one-quarter inch gutters, or white space, between columns is fairly standard across mediums.

5. An orphan occurs when one word, or the last line of a paragraph of copy appears at the

top of the second column of type.

6. A widow on the other hand, is a single word or first line of a paragraph at the end of a paragraph.

7. Indents. Using paragraph indents typically a quarter inch for body copy, is a quick and easy way to increase white space.

Over Designing: Common Type Faux Pas 1. Over use of all caps.

2. Large amounts of reverse body copy.

3. Over use of Italics.

4. Over use of display or decorative typefaces.

The Rules of Type Design Are Malleable 1. After vocabulary, it is important young designers understand the fundamental rules or the principles behind type design.

2. Control the number of typefaces used in an ad.

3. There is no rules on the number of different weights or point sizes that can be used within a design, but for an ad to look both unified and structured, the number should be controlled.

4. There have never been any set rules governing the mixing of serif and san serif styles in a design.

5. Typically, they can be mixed together without incident thanks to the diversity in sizing, weights, spacing and color options making these pairings an expressive way to design with type.

6. When combining varied type styles go for contrast, but watch out for conflict.

7. Newer faces known as super-families are specifically designed to compliment each other making pairing easier.

8. The choice to use a single font family is almost foolproof and thus a safe one.

9. Another consideration is ensuring the typeface is historically accurate for the brand. New age technology should not speak through a traditional looking typeface.

10. Beyond shape and form, eye flow and readability and legibility can also be controlled with color.

11. Smaller amounts of type do not have to be set horizontally. Other options include placing headlines or announcement devices vertically down the side of the page or screen.

12. Using type as a design element is an art. It is important for young designers to understand that type does more than speak for the brand it also visually and verbally represents the emotions of the words, as well as the reflects the brand’s image and the target’s self image, in its unadorned lines, peaks and valleys, or colorful rounded curves.

Print: The Breakdown of the Typeface Generation 1. Type quality is affected by the diverse steps leading up to printing.

2. Type quality can also be adversely affected when placing certain serif typefaces or those with exceptionally thin lines, on a dark or heavily screened background.

The Differences Between Type for Page Design and Digital 1. Digital media has special requirements distinctly different from print.

2. The most important aspect of moving from print to digital is to make sure the same typeface is employed across both print and digital pieces.

3. In digital design it is important you use a typeface that is web-safe, or one that displays correctly not only on a website but across different browsers and devices.

4. Digital typefaces have often been modified to enhance readability.

5. Alterations might include: a. A taller x-height. b. Shortened ascenders and descenders. c. Wider letterforms. d. More white space inserted between letterforms. e. Thin type lines and serifs are heavier, reducing the contrast between thick to thin lines. f. Modified curves and angles.

6. Thanks to the larger typefaces used on digital material the type needs more white space than print material.

7. Digital leading is referred to as line height due to how the back-end code works.

Type Design for Multiple Media Vehicles 1. There is no formula or set of rules for choosing a typeface that will speak for your brand across multiple media vehicles, just a lot of old fashioned trial and error.

2. Before deciding on any representative typeface go back and reread the creative brief.

3. Remember, type choice does more than tell the brand’s story, it is also a powerful design element.

4. When choosing a typeface for your brand consider the following: a. Know what typeface or faces competitors are using. b. Review your brainstorming sessions to help determine what face, style, and weight, will best represent the brand’s image and conceptual direction. c. Know what media vehicles will be used.

d. Know your intended target. e. Know the brands current life cycle stage.

5. The more you know the better chance you will have be able to create a unique and coordinated visual/verbal look or message.

6. As a design element, it is also important to know where and how the typeface will be used. a. Will it be used in headlines, body copy, or both? b. Will it be placed on top of a colored or screened background? c. Used in any reverses? d. Will it be set in a color or only in black? e. What type of paper stock will it be printed on? f. What size of screen will it be viewed on? g. How will that affect your choice?

7. Beyond speaking for the brand, the typeface chosen if appropriate, should also reflect the ambience of the service or store in which it can be purchased.

Chapter Six Lecture Notes The Theory of Color 1. Just thinking about a certain color sends a visual message to our brain, which in turn elicits some kind of interpretive emotion.

2. Color like the choice of visual and verbal message has a very distinct, emotional and psychological voice.

3. To harness its evocative and associative nature we must understand the theory behind its various hues.

4. Color theory, can be defined as a set of principles used to create harmonious color combinations.

5. To ensure you correctly harness the complexity of friendly and harmonious color, you need a color wheel.

6. A color wheel helps the art director to understand how the target will perceive and react to a color and how colors mix, match or clash.

7. Color theory tells us that harmonious color combinations are created by using any two colors opposite each other on the color wheel (complimentary colors).

8. Any three colors next to each other (analogous colors).

9. Or any three colors equally spaced around the wheel creating a triangle (triadic colors).

10. Two pairs opposite each other, think rectangle, (tetradic colors).

11. These “harmonious” color combinations are known as color schemes or color palettes and are considered in harmony regardless of the wheel’s rotation angle.

12. Color attracts attention and ignites an emotional response.

13. Color is a mood enhancer and image definer.

14. By understanding color theory, you can set a mood, show use, attract attention, develop a memorable brand identity, and enhance or create brand image Contrasting Colors 1. Contrast is very basically how one color stands out from another. It is important to make text and images or graphics stand out from any background colors such as grey, silver, creamy yellows, pinks, light blues or beige, to name just a few.

2. The best way to test whether colors have enough contrast and to ensure readability and legibility is to convert them to grayscale on the computer.

3. If they stand in high contrast to each other, such as yellow and dark blue are clearly distinguishable from each other, keep them.

4. If they are low contrast or it’s hard to distinguish one color from another such as with yellow and pink, keep adjusting the contrast of your color scheme until a clear differentiation is reached.

5. As a rule, high contrast colors are the best choice for attracting attention.

Degrees of Color: Tints, Shades and Tones 1. The overall reactions the target will have toward a color will depend not only on the color itself but also on its overall intensity.

2. Every color has a diverse range of: a.

Tints.

b. Shades. c. Tones.

3. Adding white, black and gray can further alter every color on the color wheel.

4. These colors or hues can lighten, darken or mute a color.

5. When white is added to a color to create a lighter hue it is known as a tint.

6. A shade is created by mixing in black.

7. A tone is created by mixing in both black and white resulting in a grayer color. Tones create a darker, subtler and less intense hue.

8. White, black, gray and sometimes brown and beige, are considered neutral colors because they don’t compete with other colors for attention.

9. Neutral colors, although lacking in excitement, are important to creating balance, focus, and accent colors that help to enhance your message.

The Color Wheel 1. The color wheel’s job as an advertising tool, is to help the creative team understand both color combinations and best use practices.

2. A modern color wheel consists of twelve colors that can be grouped into three distinct categories: a. Primary. b. Secondary. c. Tertiary or Intermediate colors.

Warm and Cool Colors 1. If you draw a line through the center of the color wheel you can segregate the warm or active colors (reds, oranges and yellows) from the cool or passive colors (blues, greens and violets). a. Advancing Colors. b. Receding Colors The Harmony Between Colors

1. There are five basic color schemes on the color wheel: a. Complimentary. b. Split Complimentary. c. Analogous. d. Triadic. e. Tetradic.

How to Choose a Color Scheme 1. The creative team will typically work with color schemes using one, two or three colors in order to illicit the desired response from the target audience.

2. A monotone or monochromatic color scheme (usually black and white) uses a single color and its various tints, shades and tones.

3. A monotone achromatic color scheme employs all the tints and shades falling between black on one end of the spectrum and white on the other.

4. Many print materials will use a two-color scheme of complimentary colors. Color psychology has shown that the most appealing color schemes are on the opposite sides of the color wheel.

5. Modern digital design tends to use a triple color scheme to create a louder more unique aesthetic.

The Mood and Meaning Behind the Color 1. Like layout styles, color choice is a design element.

2. The lightness, darkness or intensity of a color or combination of colors evokes emotional responses.

3. Because of this color can be used to set a mood, attract the eye or give meaning to a brand beyond a specific use.

4. Color when properly matched to a brand and its use can tell its story, help build brand identity and thus brand equity, and even help determine the brand’s visual and verbal voice.

The Psychology of Color in Advertising 1. Color psychology is an inexact science that determines how color influences both behavior and decision-making.

2. Determining which colors to employ in an ad however is an art, because we all interpret colors differently.

3. Typically, every logo, every package design, every layout, is carefully analyzed, tested, developed, and colorized.

Color Tells a Brand’s Conceptual Story 1. Colors that catch our eye or repel us are often hard-wired by our gender, age, education, the culture we grew up with, societal beliefs, childhood associations and overall life experiences.

2. Color can enhance a brand’s visual and verbal voice in the marketplace.

3. Some of the most commonly used colors in advertising include: a. Red. b. Yellow. c. Blue. d. Green. e. Orange.

f. Purple or Violet. g. Pink. h. Brown. i. Silver. j. Gold. k. Black. l. White. m. Gray.

The Symbolism of International Color 1. We live in a global society so it would not be unusual to be advertising a brand in very diverse cultures.

2. It is important to be aware of the symbolic meanings associated with specific colors when conceptualizing the visual/verbal message.

3. Symbolic, color is uniquely embedded within all cultures.

4. Color choice is rarely universally standardized even within a single culture.

5. Cultural color associations both positive and negative are often centuries old and engrained in tradition.

6. When in doubt, to neutralize any possible negative connotations consider mixing varied color combinations to soften or even alleviate one color or color scheme from dominating the page, package or screen. a. What does the brand stand for? b. Who is the targeted consumer audience? c. What makes the target buy in terms of color associations?

d. What do they feel? e. What color pallet matches use? f. Does the brand scream elegance, uniqueness or is it for the conservative buyer or is it a purely emotional purchase, does it promote good health, or solve a problem? g. Can a unique color be developed for the brand, one that is unique to the category?

Or can another color be combined with the brand’s existing color to make it bolder or refresh its image? h. What are the hot color pallets of the day? i. If working with an international audience is the current color choice(s) appropriate or do changes need to be made? j. What colors, graphics and so on are competitors using in their advertising, on their packaging and in their logo design? k. Versatile media choices. l. Test color choices.

7. Before choosing a representative color or combination of colors, the creative team must intimately know their brand, the brand category, and competing brands. Once your research is complete start by playing it safe with one strong color and build out from there.

The Visual/Verbal Message of Color in Advertising 1. When color cannot speak for the message, designers have to find other ways to bring attention to the ad.

2. Single color ads, typically black-and-white, don’t have to be boring. They can be enhanced with high contrast visuals, and depending on the medium, use colored paper stocks, a simple reverse, or screen tint.

3. A reverse places light colored text onto a dark colored background.

4. Screen tints also known as shades are an inexpensive way to offer tonal depth to any one single color.

5. A screen tint can ad a diverse range of gray shades to a simple black-and-white ad.

6. To ensure memorability, color can be used as a unifying element across multiple diverse mediums when developing a campaign of multiple ads.

7. The choice of color used within a brick and mortar store can also send a message.

8. As a visual and verbal voice, colors are effective for many reasons, some encourage a quick purchase, while others reassure and excite.

9. Still others are calming and relaxing and project a feeling of confidence.

10. So which should you use? The answer lies in being able to align and successfully define your brand’s identity.

Chapter Seven Lecture Notes The Stages of Design: Developing, Solidifying and Constructing the Idea 1. The stages of design refers to the creative process, or the idea, design and construction phases, the five developmental stages of design include: a. Concept. b. Thumbnails. c. Roughs. d. Super Comprehensives. e. Camera or Production Ready Art. 2. Concept refers to your thoughts and ideas on how you can creatively solve the client’s advertising problem.

Visual and Verbal Relationship Cues 1. It’s important that every visual element seamlessly reflects what is being said in the ad.

2. It doesn’t matter if an ad is loaded down with informative copy or speaks more simply through the visual and logo, both techniques must strategically scream out the key consumer benefit or concept.

The Role of Visual and Verbal Cues 1. Visual and verbal components must do more than just tell a story.

2. This requires the creative team to know what types of visual or verbal cues will not only capture the target’s attention and strategically push the key consumer benefit but also help determine how the target’s eye should move through the ad.

3. Some of the most commonly seen visual cues include: a. Framing.

b. Placement. c. Arrangement. d. Lighting. e. Color.

4. Some of the most commonly seen verbal cues include: a. Logo. b. Slogans and Taglines. c. Body Copy.

5. To help ensure success, both the visual and verbal options should radiate the concept and brand personality.

Thumbnails: Small Ways to Visually and Verbally Brainstorm 1. Thumbnails, or thumbs, are the second stage in the design process.

2. It is here where the best ideas from the brainstorming or conceptual development session will begin to take shape.

3. These internal often hastily hand rendered layouts are used by the creative team exclusively.

4. Thumbnails are small, hand drawn, proportionate sketches or doodles, large enough to easily see and understand each components role in expressing the overall concept direction.

5. Thumbs are not works of art, but they should be rendered tight enough for the other team members to be able to understand the concept direction.

6. The goal behind the development of multiple thumbnails is to yield a variety of visual solutions that showcase a diverse array of placements, colors, headlines and subheads,

and layout styles.

Roughs Still Have a Life to Live 1. Roughs or layouts are the third stage in the design process, and they emerge from the best thumbnail ideas.

2. Roughs are often quickly drawn ideas, used to simulate how the final ad will look.

3. Professionals often use roughs as their idea-generation stage skipping thumbnails all together.

4. Because the client will see roughs whether in their final form or not, a clean professional look is always a priority.

5. Once the roughs are complete, the account manager will present the client with three to five different visual/verbal versions of the creative solutions developed from the business parameters introduced in the creative brief, to review.

Technology Finishes the Design 1. The fourth stage in the design process includes the creation of the super comprehensive, or super comp.

2. A super comp is the finished design executed on a computer.

3. Most ads will skip the rough stage and go directly to the computer to finalize an idea.

4. Super comps will typically have body copy written and placed.

5. If for some reason body copy has not yet been completed, greeking may be used.

Greeking, also known as, placeholder text is illegible copy consisting of a haphazard arrangement of letters, numbers, punctuation, and paragraph breaks that is used to temporarily represent blocks of body copy.

6. The fifth and final step in the idea, design, and construction process is the production stage.

7. Camera ready art is the rough or super comp’s preparation for final printing.

8. This is the only stage in the design process that is often not done by the art or creative director.

9. Instead it is handed off to the production department where it is prepared by breaking it down into its individual parts and colors.

10. Camera-ready art must be scrupulously assembled and should be considered pieces of artwork in their own right.

Chapter Eight Lecture Notes Diverse Layout Styles Speak Both Visually and Verbally 1. A brand’s use, personality, and overall quality, can be expressed through its layout style, or how its components are arranged within the ad.

2. Think of layout styles as the concept’s personality.

3. Fifteen of the most commonly seen layout styles include: a. Big Type. b. Grid Pattern. c. Circus. d. Copy Heavy. e. Frame. f. Mondrian. g. Multipanel. h. Picture Window. i. Rebus. j. Silhouette. i. If the design calls for type to accompany each visual, consider using callouts. ii. Callouts include a couple of lines of descriptive text that appear near each image in the group and are connected by a small line. k. Symmetrical. l. Asymmetrical. m. Repetition.

n. Anomaly. o. Concentration.

4. Although diverse in visual scope, do not be afraid to combine one or more layout styles together.

Most Ads Will Have a Lot to Say and Show 1. Typically, most ads will have multiple components many of which on first glance may appear as being equal in importance.

2. Components might include a: a. Headline. b. Subhead(s). c. Body Copy. d. Announcement Devices. e. One or More Visuals. f. Links. g. Video. h. Descriptive Copy and/or Price Points. i. Slogan or Tagline j. Logo.

3. Traditionally, the number of components will help you determine the most appropriate layout style to employ.

Price as A Design Element 1. Whether print or digital almost all mediums have to sell.

2. Prices are ugly and usually distracting but are a must in all but a few mediums.

3. Show it boldly when you can by making it an integral part of the layout.

4. Image based advertising like that found in magazine design or any number of alternative and promotional pieces encourages your visual(s) to take center stage and dominate the page, it often forgoes showing price to focus attention on showing the product alone or in use.

Using Margins to Organize the Ad 1. No matter the layout style employed, margins play a big role in the layout process.

2. Margins help to not only ease readability and legibility issues but also ensure an organized and consistent look throughout the design.

3. All layout styles need margins, or the white of the page inside the ad where only visuals and graphics are allowed to invade.

4. Text must never go beyond the set margins, created in InDesign, to safeguard the verbal message by ensuring text is not accidentally cut off during printing or runs off a digital page.

5. Although not drawn on the page these implied lines are clearly visible to the reader or viewer.

6. Very simply, their job is to align elements and corral chaos on the page.

7. The amount of white space employed will depend on the size of the ad and the overall design.

8. Beyond an organizational tool, the judicious use of white space, can isolate a visual or verbal design component drawing the reader or viewer into the ad.

9. The more white space available, the sleeker and more elegant the ad will appear.

10. Ads that lack or have an inconsistent amount of white space appear more cluttered, projecting a negative message to the target about quality, no matter how much it is discussed in the copy or shown in the visual(s).

11. Just as distracting, is placing disproportionate amounts of white space between or around items.

12. Use the white of the page to frame components and lead the reader from one visual/verbal component to the next.

Chapter Nine Lecture Notes Spokespersons and Character Representatives: The Real and Animated Brand Voice 1. When you have something you want to visually project with personality, consider using a brand representative also known as a spokesperson or animated character representative.

2. A spokesperson is represented by a real person that is an unknown or known personality.

3. A character representative, is an imagined or animated figure.

4. Both are enduring brand symbols, and their job today is the same as brand representatives of the past, personify the brand’s image.

5. They are particularly well suited to television and varied digital mediums, where sight, sound, and motion can bring their unique personas to life, and where relationships between the brand and target audience can be further developed and nurtured.

6. As a message delivery device these very individualized images can be uniquely tied to a brand by look, feel, sound, tone of voice, and overall message.

The Role of the Spokesperson or Character Representative 1. Creatively, the use of a spokesperson or character representative can: a. Create brand awareness and build brand image. b. Build trust and help to create brand loyalty. c. Give brands a repetitive visual identity making it easier to remember. d. Easily show consumers how to use the brand. e. Project both the brand’s image and the target’s self image.

2. Once recognition is achieved it is important to keep your brand representative, whether real or imagined, growing and changing to remain a brand asset and not become stale or appear old fashioned.

The Conceptual Evolution of a Brand Representative 1. When you decide to use a spokesperson or character representative you not only give your brand a personality, but a face.

2. Conceptually, the decision to employ a brand representative is only the first stage in a multi-step evolutionary development process.

3. The creative team must begin by asking themselves: a. What are we strategically being asked to do? b. Do we have the budget for a brand representative? c. Will the client consider a spokesperson or character representative a viable creative option? d. What kind of tone do we want to set? e. What kind of personality can best deliver that tone and personality? f. Will a spokesperson or character representative strategically accomplish the objectives?

4. The best place to start when determining who will speak for a brand is with the key consumer benefit, then define possible scenarios for use, and branch out from there.

5. By highlighting characteristics that may be taken for granted, you can exploit them by giving them a bit more star quality.

6. Next dissect your target audience. a. Will the target buy into a spokesperson or character representative speaking for this brand? b. What psychographic traits can you tap into? What visual, social and cultural initiatives is the target interested in?

c. What does the target currently think about the brand, the competitors? d. How do they, or would they, use the brand?

7. Once the choice between using a living, breathing spokesperson or an animated personality is made, the next step is to determine their visual and verbal voice.

8. Finally, to ensure the brand representative resonates with the target; each step should be thoroughly researched, debated, and tested.

9. To increase the odds of success, be sure when developing a character representative or hiring a spokesperson, that each of the following traits are designed into the persona: a. Relatable Appearance. b. Likeable Personality. c. Trustworthy Demeanor. d.

Expertise.

e. Credibility.

A Spokesperson as the Brand’s Visual and Verbal Voice 1. The choice of spokesperson should be based on their relationship with, or resemblance to the target, their overall style, or some aspect of their personal lives, interests, or professional accomplishments.

2. Spokespersons can be broken down into four basic types: a. Celebrities. i. Unpaid Onscreen Spokesperson. ii. Paid Onscreen Spokesperson. iii. Celebrity Voice Over. iv. Dead-Person Endorsement.

b. Specialists and CEOs. c. Common Man and Social Influencers. d. Politicians.

Designing and Developing Character Representatives 1. When a live actor who fits the client’s or the creative teams conceived personality for the brand cannot be found, one will need to be created.

2. Although more expensive initially to create, animated character representatives are a lot cheaper to maintain over the long haul and a lot more reliable than real people.

3. They are created specifically for the brand and are: a.

Controllable.

b. He will not be arrested or seen advertising another product. c. He is the brand.

4. Character representatives also have a longer life span than any spokesperson.

5. Their popularity does not rely on a single game, show, concert, or movie.

6. Their only job is to speak for the brand, in the persona developed for them.

7. Just as successful at attracting attention as spokespersons, character representatives can: a. More easily be developed into likeable and memorable personas. b. Be easily adapted to changing trends. c. Age gracefully with a brand for decades. d. Build stronger connections with the community by employing locally recognized mascots such as those representing a local university or theme park. e.

Successfully be used across all media and at varying sizes.

f. Be merchandised and sold or given away at promotional events.

8. When you start image development from scratch, it is easier to match the character representative’s look and demeanor to that of the target and the brand, since they are created in the animator’s imagination.

9. One plus to using a character representative over a spokesperson is how adaptable and changeable they are, making it relatively easy to update them without retiring them.

10. Brand representatives can both visually and verbally represent a brand successfully across multiple mediums.

11. They are not a temporary choice, often lasting decades, so they can hinder creative options if not possessing a unique personality.

12. Those that do can often outshine the logo and the brand itself.

Chapter Ten Lecture Notes Graphic Design Decoded 1. Graphic design, can very simply be defined as the art of combining imagery with text to solve a conceptual problem.

2. What is the difference between graphic design and advertising design?

3. Advertising design focuses on strategy, idea generation, conceptual development and campaign management across multiple mediums.

4. Graphic design focuses on how to execute the concept.

5. Art directors and copywriters conceptualize from market research.

6. Graphic designers, design aesthetically, using human perception and experience to creatively show more than sell.

7. The foundation for all graphic design begins with a thorough knowledge of the principle and elements of design, imagery, color and text, and how to use them in a creative way to tell a relatable story about the brand or corporation.

8. Graphic Images can be simple and straightforward or striking and provocative and often reflect trends in pop culture, religion, art or politics.

9. When the focus is on thought provoking graphic design imagery, the visual must convey the entire message, without the need for large amounts of copy.

10. Versatile, graphic design can encompass all forms of visual and verbal imagery, come in varying shapes and colors, and be seen everywhere.

11. The most recognized and commonly seen forms of graphic design are logos.

The Logo Visually and Verbally Speaks for the Brand 1. Before a brand can achieve equity, develop or maintain loyalty, or distinguish itself from

competing brands, it must first have a consistent and recognizable brand identity.

2. This consistent identity begins with the development of a logo design that appears in all communication efforts and on all packaging.

3. A logo symbolically and/or typographically represents a company, brand, or service’s name, image, or use.

4. It will practically or abstractly represent the brand’s image, use, personality or reputation, as well as its successes and/or its failures.

5. A brand’s visual/verbal identity should both define its personality and image.

6. It should also represent a viable solution to the target’s problem.

Research and Brainstorming are the Best Places to Start 1. Logo design is not about moving a couple of typefaces and images around and showing them in different colors.

2. The best place to start as with any design project is with a list of brand features and their corresponding benefits.

3. Then take a look at the brands corporate philosophy or mission statement.

4. Then to the intangibles, like current image, use, and the target’s thoughts on the brand.

5. Once you have a firm understanding of what the logo needs to project you can begin brainstorming and ultimately working with varied imagery, colors and typefaces.

The Visual and Verbal Message Behind Logo Design 1. Logos speak for a brand often for decades so its overall design is important. It must be both visually interesting and memorable.

2. Unlike an ad, logos do not need to tell a complicated story, but it must representationally speak for the brand and/or the corporation.

3. To do this effectively, there are eight different types of visual and verbal logo design options to explore: a. Lettermarks. b. Wordmarks. c. Symbolic Marks. d. Abstract Marks. e. Mascots. f. Combination Marks. g. Emblematic Marks. h. Subliminal marks.

Symbols and Images Replace a Thousand Words 1. More and more focus is being placed on the use of symbols over lengthy and detailed brand names and designs.

2. This simplified approach to logo design is a direct result of modern use on computer screens and apps.

3. It also allows corporations greater flexibility to branch out into more diversified industries without needing to continually redesign their logos.

4. A creative workhorse, a symbol can seamlessly: a. Represent the brand’s quality and use. b. Reach an often culturally diverse targeted audience. c. Represent the brand and its overall use. d. Tap into the target’s overall beliefs, attitudes, opinions and lifestyle.

5. How well the brand is interpreted and remembered will depend on how well it matches what the brand is intended to offer the target and its ultimate use.

6. The symbols employed in logo design can take abstract concepts, ideas, uses and values and translate them into tangible attributes that can be touched, seen, heard, tasted or smelled.

7. Logo design uses two basic types of symbols: a. Shape or Imagery. i. Circles. ii. Ovals. iii. Ellipses. iv. Squares. v. Rectangles. vi. Triangles. vii. Lines. b. Color.

8. There are also cultural symbols that can be tapped such as crosses, X’s, hearts or ribbons, to name just a few.

9. Typefaces used in logo design have much less restrictions than those used in ad or package design.

10. Although readability, legibility and media options are still an issue more decorative, modern, and script, faces can be used.

11. Also logo design is a great place to design a typeface that is uniquely owned by the brand.

The Gestalt Principles 1. Gestalt translates to “unified whole” and is a set of theories that deal with visual perception.

2. Developers determined the human brain tends to organize visual imagery into groups or unified shapes when certain principles are applied.

3. Gestalt theorists believed that the whole is greater than its individual parts.

4. Meaning, that a complete logo for example, carries a different meaning than its individual components, (color, type, shapes).

5. There are five principles that relate to logo design: a. Similarity. b. Continuation. c. Closure. d. Figure and Ground. e. Proximity.

Reasons for Redesign 1. There are two types of logo redesigns: a. Rebranding. b. Repositioning.

Where Can It Go Wrong 1. Pretty much anywhere.

2. When the client or creative team does not do market research to evaluate how the target will respond to the overall design, it can result in a lucky break or a very expensive design disaster.

3. A logo’s design is the end result of dozens and dozens of stops and starts, miscues, possibles, better and best designs.

4. They are not an after thought or something to be done at the last minute, they are the most enduring visual and verbal voice for the brand and will require a great amount of designing, redesigning and debate before the final design is chosen.

5. The goal of every logo design is simple; speak openly and easily for the brand and be original, memorable and representational.

Logo Use in Design 1. The design of a company or brand’s logo does not need to match any other advertising component.

2. When used in advertising print design, it is still a good idea that be the last thing the reader or viewer sees in an ad to help with memorability.

3. For web pages, the logo can appear in the upper left, middle or right. However, during the dawn of the internet, logos were customarily placed in the upper left corner and traditionally that is where they are still found.

4. In television commercials, the logo or the logo and the packaging will typically close every commercial. On packaging, placement near the top or centered on the package tends to work best.

5. If using a tagline or slogan, placement of these one-line phrases or statements, can appear either above or below the logo.

6. There is no right or wrong placement it just depends on how you want it to read.

7. Whatever choice is made be sure the arrangement remains constant and does not change from ad to ad to avoid confusion and to ensure consistency.

8. Uniformity can also be maintained through size and placement.

9. In a campaign, when possible be sure the logo is always seen at the same size.

10. When this is not possible, be sure it is in the same proportion, or it matches the appearance and size to other ads.

11. Finally, if the logo is placed in the bottom center of one ad make sure it appears in the same position on all advertising and promotional pieces.

12. Most brands will have very specific rules surrounding how the logo can be used in varied mediums, so be sure you are acquainted with them before beginning any design project.

Package Up the Brand 1. Like your logo, packaging can give your brand personality as well as set it off from competing brands on the shelf.

2. Two simple ways to do this is through: a. Color. b. Shape.

3. Building color combinations gives additional meaning by giving your brand a chance to say something at the point of purchase, other brands are not.

4. A brand’s shelf appeal is arguably the most tangible and memorable statement a brand can make.

5. Since all consumer packaged goods (CPG), or products that are frequently used and then replaced, will be surrounded by an assortment of competing brands, it is important the choice of color(s) for your brand’s packaging be carefully considered.

6. Color theory, tends to bind brands to traditional “category” based colors as a way to clearly relay information and incite an emotional response.

7. The choice to use an uncharacteristic color(s) can send a message of individualism and exclusiveness.

8. If you are already working with a brand that has a color based brand identity don’t be afraid to combine it with another color to not only standout but differentiate it from other brand options.

9. Beyond color, a brand’s packaging should be a very engaging and tangible brand experience.

10. Your target can touch it, smell it, feel its weight, and read or scan the label for more information.

11. To ensure they get this far you first have to attract their attention.

12. Ask yourself: a. What will persuade my target to walk towards my brand in a crowded competitive environment? b. What is it about the packaging that can pique my target’s interest? c. Is it the unusual package design? d. Loud and colorful graphics? e. Trendy imagery? f. A distinctive brand identity?

13. Although knowledge of color psychology is important, when it comes to package design it is typically more important for a brand’s color(s) to support the brand’s image or personality and overall message than arbitrarily adapt to certain color stereotypes.

14. It is best when determining a packages overall color palette to never start with a vast number of colors.

15. Think one color at a time and work up from there, if you want “pop” think unusual shaped packaging instead.

The Shape of How Things Are Packaged 1. The psychology behind package design doesn’t stop with color it also includes shape.

2. Packaging needs to connect emotionally with the target through color, shape, type and graphics.

3. Consumers will typically care more about packaging that is easy to use, open, carry, and store than one that is irregularly shaped and difficult to manage.

4. Added values include packaging that is obviously tamper-proof, is recyclable or in some way ecologically friendly, and that has all nutritional or warning information clearly stated.

5. It is important to understand that the reason you don’t see more unusually shaped packaging is because it is very expensive to produce and often difficult to use.

6. Symbolically, shape can say a lot.

7. For example, masculine products are often packaged in angular shaped containers.

8. Feminine products have a tendency to be more curved.

9. Prestige can also be projected through size.

10. Smaller packages tend to be seen as higher quality especially if designed with prestige colors and graphics.

11. Larger, bulkier designs tend to scream bulk purchase and can often be heavy and difficult to store.

12. Another form of packaging is shopping bags.

13. Those with unique designs, and colors not only attract attention but are sure to be saved

and used over again, giving the store name a second, third or fourth round of attention.

Getting Down to the Business of Design 1. The best place to start when designing the brand’s packaging is to start by checking out: a.

The colors used within the brand category.

b. The brand’s logo. c. The image your target already has of the brand or that you want them to have. d. Your key consumer benefit and corporate philosophy.

2. The number of colors used on any package design should be given a great deal of thought.

3. The more colors employed, the less credible and more low-end your brand will appear.

4. So it is important to reflect on your brand category.

What the Packaging has to Say and Show 1. The typeface used on packaging can play an important role in how a brand is perceived.

2. Keep it simple, be sure the size and type style chosen is readable and legible.

3. Avoid placing light colored type on a dark background or placing a delicate serif face on uncoated paper stock, go for strong contrasts between the background color and the typeface, be sure to avoid over stylization of letterforms, and don’t forget about applying the appropriate amount of kerning and leading.

4. The imagery used should be useful.

5. At its simplest it should show the brand, ingredients and/or use.

6. At its most creative it could incorporate all of these visuals into a single graphic image.

7. Interactive and intelligent packaging can be defined as packaging that has properties beyond encompassing and protecting the brand.

8. The type of packaging selected will also make a visual statement.

9. Coated packaging’s bright colors and slick and shiny appearance feels more modern and expensive compared to the duller finished, color absorbing, aged and rugged appearance of an uncoated package.

10. Clear plastics give the viewer a peek inside while solid surfaces have a bit more mystic.

11. Glass packaging says safety and preservation and offers up a lot of label design options.

Chapter Eleven Lecture Notes Is Copy Still Important in Today’s Visual Environment?

1. Thanks to social media and the Internet, images and video often define how a large portion of advertising messages are delivered and digested today.

2. Visual only formats are interpretive, meaning every viewer will see something different and assign it a personalized meaning, whether right or wrong.

3. To ensure the target knows what the visual is saying requires an informative and creative form of visual and verbal storytelling that can hold the interest of even the most copyavoidant target member, no matter its length.

4. Because modern day consumers want to connect with brands on a more personal level, they need to know what the brand is about.

5. Visuals alone cannot build or maintain a lasting relationship between the target and the brand.

6. Copy must be vividly written, say something tangible, interesting and firmly anchor the key consumer benefit and maximize its importance to the target. To do this, it must both show and tell.

Copywriting: The Verbal Side of Concept Development 1. The copywriter will develop the copy’s verbal voice based on the direction decided upon during the brainstorming session(s).

2. Every sentence, statement, or block of copy, no matter its length or the medium it appears in, needs to capture and hold the target’s attention in the first three seconds of viewing to ensure they do not click out, turn the page, or change the channel.

3. Memorable advertising that captures attention and motivates is a mixture of a little luck and some good old-fashioned writing skills, that can successfully infiltrate, an often apathetic, distracted target’s imagination.

A Copywriter’s Role 1. Copywriters will write and rewrite until the right words are found to verbally state the visual direction. Like art directors, they will never be content with the first round of drafts.

2. The secret to great copy is never initially settling on a single way to deliver the key consumer benefit.

3. Advertising Copy is that perfect mix of visual word play, either written or spoken, that will compel the target to take a certain action after being exposed to them.

4. Successful copywriters have to be inquisitive and a voracious researcher and be constantly in search of an answer to a stated problem.

The Skeletal Structure of Copy 1. Copy must further define the key consumer benefit and strategically tie its benefits to the target’s lifestyle and needs.

2. Once a creative direction or concept has been decided upon, the copywriter must determine what needs to be said, how much copy it will take to say it, the tone and style appropriate to project the concept, and how to adapt that copy to multiple media vehicles.

3. Diverse in its roles, copy can be broken down into six main areas: a. Headlines. b. Subheads. c. Body Copy.

d. Detail Copy. e. Slogans, Taglines. f. Promotions.

The Verbal Elements That Bring the Creative Idea to Life: The Different Parts of Copy 1. Once the key consumer benefit has been determined, copywriters give it both entertainment and informational value.

2. Headlines promote it, subheads defend it, body copy develops and highlights its many virtues and detail copy tells you where and how to get something.

3. Copy is the brand’s tone of voice.

Headlines Creatively Highlight the Key Consumer Benefit 1. The headline is the initial element that carries all the weight of engaging the reader in both the copy and brand.

2. If it does not capture the target’s attention, they will either miss or ignore it, never getting down to the body copy where the actual sale is made.

1. A headline seen anywhere has only a few seconds to: a. Attract the readers or viewer’s attention. b. Connect with the target in a relatable and memorable way. c. Lure the intended target into the body copy. d. Summarize the key consumer benefit. e. Identify the brand. f. Offer a tangible benefit. g. Create a strong visual and verbal relationship.

2. To accomplish this, the headline needs to draw out the inherent drama from your key consumer benefit.

3. Many headlines are ineffectual because they: a. Ask a question that has nothing to do with the brand being advertised. b. Lack a relevant consumer benefit. c. Try to go for cleaver, rather than informative. d. Insult, condescend or patronize one or more groups in an effort to be creative.

4. We see headlines in all forms of advertising: a. In the subject line of emails. b. Homepage banners. c. Near imagery and text seen on Facebook ads and Twitter posts. d. In click-to-skip ads seen on YouTube. e. On podcasts. f. On paid search ads. g. On direct response television. h. On billboards. i. On print ads.

5. Without a great headline advertising has no chance of making an informative first impression.

6. A headline must always be the first and boldest piece of copy seen in any medium, whether it appears above or below a visual.

Headlines Have a Big Job to Do 1. Every headline needs a bit of verbal intrigue in order to seduce the target into the ad.

2. No one opens a magazine or boots up a computer to read ads, but their interest can be captured and held because the headline screams out the key consumer benefit in a creative, informative, thought provoking, or even suggestive way.

3. Its job is to tell the target how the brand can benefit them and/or solve a problem they are having.

4. It is arguably the most important first impression your brand will make.

Headlines as a Visual and Verbal Design Element 1. Headlines should have a presence on the page, not only because of what they say but also because of how they look and sound.

2. Depending on their size and typeface used, most headlines will be set in a bold weight, and require a fair amount of kerning and leading to increase their dominance on the page.

3. Placement will depend on the layout style employed.

4. The headline should not be swallowed up by too much white space and should not be blocky, for the sake of readability and legibility, it is best not to have lines of equal length.

5. No matter how the key consumer benefit is verbalized, it is important that it relate to the visual. There is no visual/verbal relationship if the headline and the visual deliver separate messages.

Getting Your Thoughts Down on the Page 1. Before setting down to write, the copywriter must review the creative brief and brainstorming sessions, conduct or run down any additional research that will be needed, and review the key consumer benefit and the media options. Why? a. To record your initial first impressions of the brand.

b. To start writing. c. To read each headline out loud, to test the line breaks, the grammar, the language. d. To rewrite and copyedit for a lot of ideas being banished to your real or digital trash can.

Pick Your Words Wisely 1. Strong words that stop attention include: •

Free

•

New

•

Love

•

Product

•

Offer

•

Exclusive

•

Secret

•

Just Arrived

•

Sale

•

Break-through •

People

•

Video

•

Proven

•

Your

•

Now

•

Announcing

•

Save

•

Shocking

•

How-to

•

Discover

•

Safety

•

Why

•

Numbers

•

This

•

Easy

•

You

•

Bargain

•

Last Chance

•

Facts

•

Quick

•

Results

•

Why

•

Introducing

•

Health

•

Amazing

•

Guarantee

Determining the Headlines Verbal Style 1. The tone of the copy’s voice is the creative expression of the message.

2. Style refers to how the headline delivers the message.

3. The brand’s overall persona, image, concept, and message direction should assist with the choice of headline style helping to alleviate a repetitive or cookie cutter voice.

4. Possible headline styles include: a. Direct. b. Indirect or Curiosity.

c. Major Benefit Promise. d. Play on Words. e. Question. f. Metaphors, Similes, Analogies. g. News or Announcement. h. Reason-Why. i. How-To. j. Product Name. k. Testimonial. l. Humor. m. Command. n. Practical Advice. o. Sexual Images and Innuendos. p. Problem/Solution. q. Reminder. r. Flag. s. Scarcity. t. Slice of Life. u. Fantasy. v. Warning or Fear. w. Talking Head. x. Personal Benefits. y. Authoritative.

z. Product Feature or Product as a Star. aa. Inherent Drama. bb. Lifestyle or Narrative. cc. Price Point.

5. The choice of headline style will set the tone for the visual and any and all copy that follows.

Headline Length Depends on its Job Description 1. The headlines length, size, and even color will be dictated by what needs to be said, the brand’s life cycle stage, visuals, the media vehicles employed, and the ads overall tone of voice.

A Subhead’s Job is to Support the Headline 1. Headlines often cannot deliver everything you need them to say.

2. The subhead is the second largest and boldest piece of copy on the page and can be used as an announcement device, as a support for the headline, or to break up long blocks of copy.

3. There are three basic types of subheads: a. Overline. b. Underline. c. Copy Breaks.

The Visual Look of Subheads 1. The subhead should be set in the same typeface, typestyle, color and weight as the headline. Size is somewhat more subjective and depends on the medium and size of the ad.

2. Alignment will usually match that of the headline but is also governed by the layout style Copy Isn’t Dead It Just Needs to Be More Creative 1. Body copy or the smaller paragraphs of text seen in both print and online ads have to fight to gain reader or viewer attention.

2. Copy helps us determine what we can afford, defines multiple features and benefits, and helps differentiate one brand from another.

Body Copy Sells the Sizzle 1. Relatable copy will concentrate on a brand’s benefits rather than its features.

2. Benefits can be uniquely owned by the brand and made unique by tying them to the target’s needs, wants, and lifestyle.

3. Most competitive brands will already have either the same or similar features so alone they are not overtly special or unique.

4. Find a way to firmly set your brand apart from competitors through the benefit delivered to the target.

5. Benefit-driven storytelling must entice the reader through each verbal and visual element to ensure they land on the body copy, where the actual sale is made.

6. The goal is to vividly bring the brand experience alive with writing that combines their interests or needs with appeals so well-crafted the target can actually experience how the brand works, tastes, or feels when being used.

7. The first or initial paragraph(s) elaborate on the statement introduced in the headline and further develop in the subhead.

8. The interior or middle paragraphs is where the actual sale will be made. Here is where brand features and benefits are tied to target needs and specifically lays out how the

brand will solve the target’s problem, or improve their lives.

9. The closing paragraph is a call to action. It needs to tell the target what they should do next, such as go to a website, call for more information, or come on down to a brick-andmortar store.

10. Each paragraph needs to collectively build upon each point made.

11. A few additional tips to keep in mind when you sit down to write your copy: a. Write concisely. b. Appeal to the target with both features and benefits. c. Use active voice. d. Be sure you have easy transitions between paragraphs. e. Compare the brand to something uniquely different. f. Stay on target. g. Avoid using: i.

Abbreviations.

ii.

Technical Jargon.

iii.

Etc.

iv.

Hyphens.

v.

Exclamation points.

h. Exaggerated claims. i. Write to the educational level of your target. j. Avoid any grammar faux pas when possible. k. Dangling constructions. l. Use italics sparingly.

m. Place only one space after a period.

Copy Length Depends On What Needs to Be Said 1. The length of body copy depends on how familiar the target is with the brand and whether the advertising or promotional efforts are meant to remind, alter, or maintain the brand’s image or use.

Say it With a Tone That Has Style 1. How copy is expressed depends on the tone of voice employed to deliver the key consumer benefit.

2. Copy needs to successfully push the key consumer benefit, and build both brand image and brand loyalty and talks to the target in a tone they will respond to.

Formats for Expressing a Message’s Tone of Voice 1. Emotional tones: a. Warning or Fear. b. Humor. c. Sex Appeal. d. Scarcity. e. Slice-of-Life. f. Fantasy. g. Play on Words. h. Testimonial. i. Command. j. Metaphors. k. Similes.

l. Analogies.

2. Rational tones: a. Authoritative. b. Direct or Straight Sell. c. News or Announcement. d. Reminder. e. Indirect or Curiosity. f. How-To. g. Inherent Drama. h. Talking Head. i. Lifestyle or Narrative. j. Question. k. Problem/Solution. l. Reason-Why. m. Product Name. n. Practical Advice. o. Flag. p. Price Point. q. Major Benefit Promise. r. Product Feature or Product as a Star.

Detail Copy Tells the Target What to do Next 1. This small detail-laden information includes one or more of the following: a. Store Address or Addresses,

b. Hours. c. Web Address. d. Phone Number(s). e. Credit Cards Excepted. f. Any Pertinent Social Media Apps.

2. Not all may be applicable for all ads or mediums.

Slogans and Taglines Define Image in a Few Words 1. To help communicate and solidify a brand’s use, image, personality, and differentiating characteristics from other brands, consider adding a tagline or slogan to the logo.

2. Slogans. Memorable slogans encapsulate the corporation’s overall strategy, philosophy, or mission statement giving them longevity.

3. Taglines. Taglines have a shorter life span than slogans, and they tend to be a bit more superficial or irrelevant.

4. You might consider using a tagline if: a. You want to showcase the values of the brand, corporation and employees. b. You need to reposition or reinvent the brand or corporation, or introduce new brand offerings. c. You want to build or reinforce brand loyalty between the brand and consumer.

Writing and Designing for Promotional Devices and Order Forms 1. Coupons. To encourage purchase, brands often reduce the price or offer an additional incentive to make it more desirable.

2. Promotional devices like coupons are a way to offer the target something in return for their loyalty or as an inducement to try a new brand.

3. Most coupons simply state the promotion, show the date the coupon expires, the logo and any tagline or slogan, and perhaps a marketing code, and/or a visual.

4. When multiple coupons appear in a single design, the goal is consistency to ensure balance, symmetry, and structure.

5. Promotions seen on coupons should be bold, and when possible the same size and length within every coupon.

6. Be sure all lines are set along the same baseline in the same point size using the same amount of leading.

7. Since coupons are either removed from the ad or printed out, it is important that the logo and any slogan or tagline appear on the ad and all coupons to ease with brand identification.

8. Additional copy and design issues to consider when adding one or more coupons to an ad include: a. Coupon size. b. Clearly stated promotions. c. Whether a Universal Product Code is needed. d. Expiration dates. e. Marketing codes.

9. Freestanding inserts (or FSIs) are single-page, full-color ads full of coupons that are inserted into the newspaper or found in your mailbox.

10. They are often double sided and usually feature coupons on one side that can be redeemed at different times within the next thirty days, and a full page color image, headline and logo, on the other that typically announces a special sale or promotion.

11. Freestanding inserts are also known as supplemental advertising.

12. Order forms need to be designed for both traditional and digital mediums.

Guarantees and Warranties 1. A guarantee offers the lowest prices and removes any risk associated with purchase.

2. Warranties are written guarantees from a brand’s manufacturer that promises to repair or replace the product if it fails in any way within a set period of time.

Photo Captions 1. Photo captions are one or two sentences, typically set in a smaller typeface than the body copy that are placed below a photograph, succinctly, not creatively, describing what the reader or viewer is seeing.

The Critical Relationship Between Visuals and the Verbal Copy 1. For an ad to tell a cohesive story the copy and visual images must work together.

2. Creative ideas that are not visually and verbally tied together create confusion.

3. Copy is every bit as complicated as design. The team needs to ensure the visual and verbal elements creatively focus on the key consumer benefit or what needs to be accomplished, and clearly demonstrate how the brand can solve a problem by offering a solution.

4. Copy needs to accomplish the objectives, push the creative strategy and tone laid out in the creative brief.

5. It also needs to accomplish the following: a. Attract attention, with the headline and/or explain the visual. b. Engage the reader or viewer, through the subheads and opening copy paragraphs. c. Make the sell in the interior paragraphs of copy.

d. Induce action in the closing paragraphs. If copy entertains, is relatable and informative, it can still define the brand’s image and create a unique identity within the brand category.

Writing for Global Brands 1. Like color used on global branding, copy will also need to be adapted to affectively address cultural differences and ensure the original meaning does not get lost in translation.

2. International copy will need to be adapted to effectively address cultural differences and ensure the original meaning does not get lost in translation.

3. This will help preserve the original visual/verbal message, not repeatedly reinvent the creative wheel.

4. Any visual/verbal components seen within an ad can all be adapted to ensure that the readers and/or viewers experience the ad in the same way.

The Nuances Associated with Translation 1. Advertising copy can rarely be translated verbatim.

2. It requires an in-depth knowledge of diverse cultural nuances, word meanings or interpretation, and the proper use of cultural references in both copy and images.

Dialogue Also Is Affected By Translation 1. Digital ads such as radio, television, and social media, will also need to be adapted in the same way as print ads, but with a few additional issues that will require attention such as: a. Subtitles. b. Alternative visual elements. c. Alternative voice overs.

d. Be careful to not offend.

Copy Sheets Record the Ads Story 1. All copywriters will organize and submit completed copy on a copy sheet. No matter how simple or complex, every word for every ad will appear on a copy sheet.

2. A good copy sheet is clearly labeled with each verbal component placed in the order in which it will be seen on the ad.

3. Formatting options.

Chapter Twelve Lecture Notes The Visual and Verbal Design of Newspaper and Magazine: Is Traditional Print Dead?

1. Print vehicles can seem dated and are often more expensive and time-intensive to produce than many digital options, but they do have their advantages such as: a. Instilling a greater sense of trust than digital advertising thanks to their age and reputation. b. Remaining excellent outlets for delivering complex visual and verbal storytelling. c. Building brand identity, awareness, and loyalty. d. Ensuring enhanced levels of engagement and memorability.

2. What continues to make print ads both a valuable and viable media option is the nearly undivided attention that readers give to magazine and newspaper content and as a result, the advertising.

The Tortoise and the Hare of Print and Digital Advertising 1. Print cannot match digital for speed if you want to get your message out quickly.

2. Print takes longer and is more expensive, thanks to the additional steps needed to produce and print the vehicle.

3. As a result, the brands ultimate return on investment (ROI) or how much money was spent on advertising versus how much money was made, will take considerably more time to determine than with digital options.

4. On the plus side, print is more permanent, making it a better option for delivering a lasting and thus more memorable message.

5. Print ads have fewer formats but offer up more visual and verbal options to help highlight the message.

6. Unlike digital, print is not hindered by strict sizing, placement, or creative options.

7. Print is also a better medium for telling a lengthier and more captivating visual and verbal story, something digital ads cannot match.

8. Digital ads, on the other hand, are often fleeting, making it difficult for the target to both recall and remember the message, necessary components to making a sale.

9. Digital advertising is a lot more flexible, offering up multiple platforms and options, but it does have its limitations.

10. Digital ads are also limited by size, which can affect the overall creativity and design of both the visual and verbal message.

11. The cluttered digital landscape makes it harder for an ad to get noticed.

The Versatility of Print 1. Newspapers can be targeted by section and magazines by content, both can be easily personalized to larger niche or segmented audiences rather than by individual consumers.

2. It is important to understand that trends change, regularly. What appears as an unstoppable decline today, will often see interest in these specialized vehicles resurrected tomorrow.

Newspaper’s Role in Modern Advertising: When to Use Newspaper 1. The majority of newspaper advertising is known as retail advertising. It must accomplish two things: a. Sell a brand or promote a service. b. Entice the target to act quickly.

2. The ads seen in newspaper are known as display ads.

3. Each display ad has approximately three seconds to catch the eye of the target, so having a simply stated, powerful visual and verbal message working together that is both easily readable and legible is critical.

4. The creative team’s job is to create a match between what is said and what is shown.

5. Many print ads can have a lot going on, knowing the job of each visual/verbal component is the key to creating structure and ensuring eye flow.

6. The copy or verbal elements include: headlines, subheads, body and detail copy, slogans/taglines, and promotional options.

7. Imagery or visual elements include: black-and-white or color illustrations, photography, graphic designs, charts/graphs, and logos, as well as type and layout styles.

8. To encourage the target to buy, takes a strong memorable sale that informs and engages.

9. The ad needs to know: a. What attracts the target’s attention? b. What is most important to the target before, during, and after the sale? c. How the target use the brand? d. Where purchase can take place?

Newspaper is All About Finding the Best Price 1. Newspapers both print and digital versions are where the target goes for sales by local businesses.

2. The major goal for all retail sales is to dissect how the client’s individualized sales events can break through the target’s apathy with a routine sale, such as bringing in a downloaded coupon that requires a code, only found in the ad, and so on. Good sales don’t have to be easy, only better than the competitors.

3. Find a way to cut out the routine.

4. Give the client’s sale a personality that reflects merchandise sold or image.

A Sale is Only as Good as its Lowest Priced Item 1. Retail advertising is all about price.

2. Scream out prices largely and boldly, no one buys or considers buying without more information and a price for comparison pricing.

3. Prices are not tacky when displayed as a part of the design.

4. You do not want the price hidden or squeezed into the ad, giving the impression it is not that good, or is an after thought or add-on.

5. Most consumer package goods, for example, need to be promoted through price points to assist with comparison shopping and ultimately purchase, whereas service categories such as banking and investing to name just a few, often focus more on customer service issues.

6. The creative team has multiple options when deciding how to promote a brand’s price.

The boldest option is to place it in the headline.

7. If you have a range of prices to promote, consider highlighting them in the main subhead.

8. Never hide prices in the body copy.

9. Small hidden prices suggest they are non-competitive with other brands in the category.

10. If they must go small for whatever reason, consider placing them in a box, perhaps with a drop shadow, along with accompanying bullet points to stand out.

The Effect of Newsprint on Design 1. The paper your ad is printed on directly affects the readability and legibility of type and the fine details within visuals.

2. Newspapers are printed on a low-grade paper stock known as newsprint. a. Colors do not pop on newsprint so photographs can look flat, and can appear to recede into the page. b. Illustrations and typefaces with delicate line work can easily “dropout” or completely disappear when printed. c. Type and imagery can also fill in, creating blobs of thick or concentrated color, effectively disrupting both readability and legibility.

3. Good design choices can help to alleviate these problems so make sure the chosen typeface has a single line width and open shapes.

Sizing Up Newspaper Columns 1. Newspaper space is measured in column inches, or the width of a column of typeset copy plus the gutter, or the white space seen between columns.

2. Column width is measured in increments from 2-1/16 inches to 13 inches.

3. The depth, or length of an ad, is measured in quarter-inch increments up to 21 inches, or a full newspaper page.

4. The typical newspaper ad doesn’t need to hit the target over the head with a complicated design but does require good organizational skills. It is important each ad have a strong visual and verbal presence on the page.

5. Headlines need to boldly inform the target about the key consumer benefit, visuals need to feature the brand and/or its use, either can be used to promote price when relevant to the brand.

6. Every ad needs to have strong black-and-white contrasts between elements, feature a single dominant visual or verbal element, and use white space effectively.

7. Type should be easy to read and be brand-image specific.

8. The ad should flow easily down the page from element to element.

Chaos is a Result of Unstructured Clutter 1. Every retail ad has way too many elements.

2. To simplify and easily organize start out thinking of the varied components as being geometric shapes, the order will ultimately reduce chaos as you size, stack, arrange, and rearrange each component across the page.

3. To suggest elegance and order, and to highlight quality over price, large amounts of white space should be used “around” components rather than “between” them.

A Look at What Newspaper Design Has to Say and Show 1. The elements used in newspaper design include: a. Headlines. b. Subheads. c. Body Copy. d. Detail Copy. e. Promotional Devices f. Announcement Devices. i.

Burst.

ii.

Snipe.

iii.

Banners.

The Show and Tell of Type 1. The choice of typeface should reflect a brand or company’s personality.

2. Type is not a whimsical or temporary choice.

3. Once a typeface is chosen, it should appear in every ad—no matter what the media vehicle.

4. The typeface should become a representative device for that brand.

5. Try to use no more than two typestyles per ad.

6. To create variety, consider using multiple weights or even italics for emphasis.

7. To attract attention, consider setting your headlines, subheads, and prices in bold to project a stronger voice.

8. Any bulky serif or san serif typeface will hold up on newsprint and standout on the page.

9. Finer, lighter serif or san serif typefaces on the other hand, will recede and can break up.

Choosing a Layout Style 1. The styles best suited to newspaper include: a.

Big Type.

b. Circus. c. Frame. d. Multipanel. e. Picture Window. f. Rebus. g. Silhouette. h. Symmetrical. i. Asymmetrical. j. Repetition. k. Concentration. l. Anomaly.

Visual Imagery Shows the Brand’s Story 1. Visuals tell the brands and thus the target’s story in pictures.

2. The visuals your target will eventually see are a representation of the client’s brand.

3. The creative team, and overall budget, decide the type of imagery used. Options include: a. Photography. b. Illustrations. c. Line Art. d. Graphics.

4. If budget is an issue, simple line drawings bring stark black-and-white contrast to the page.

5. Whatever the type of image style and/or its subject matter, be sure the headline pushes the key consumer benefit, is representative of the brand’s image, and will reproduce well on newsprint.

Framing a Print Ad 1. A common addition to newspaper ads is frames or borders.

2. Frames are used to tie the elements of an ad together and set it off from surrounding copy or other ads on the page.

3. Frames define the overall size of a newspaper ad. They can be: a. Fat. b. Thin. c. Double Ruled. d. Defined by Graphic Images.

4. For guidance on size, it is a good rule of thumb for line thickness of any frame to closely

match the weight of the typeface used.

5. Frames can have alternating weights to draw the readers eye in.

6. To ensure the frame does not interfere with either the visual or verbal images used in the ad be sure to include an equal amount of white space around the inside of the ad.

Remembering the Importance of White Space, Eye Flow, and Dominate Elements 1. The amount of white space can say as much about the quality of your brand as words can.

2. An excess of white space says elegance and quality while a lack of it says just the opposite.

3. Use the size and placement of elements to control eye flow down the page.

4. Be sure only one visual or verbal element dominates the page.

5. Although there are no set rules as to whether the visual or verbal image should dominate the design, it will ultimately depend on what the ad needs to accomplish.

6. The goal of both is to promote the key consumer benefit.

7. Dominant headlines are a great choice when you have something simple and straightforward to say.

8. Visuals work better for more complicated key consumer benefits where showing will be faster and easier than talking about it.

Interactive Options of Newspaper 1. Newspapers are fighting to stay relevant as younger generations turn to the Internet, social, and twenty-four-hour news channels for news of the day.

2. The very act of saving, tearing out, or printing a coupon is both interactive and engaging.

3. Ads that feature a link can easily whisk the target away to a website, perhaps to request an information packet, talk to a customer service representative, or even to make an

immediate purchase.

4. Including a QR code is another way to transport readers to a different location or provide more information.

5. Another option is a co-op promotion such as a cover wrap or an ad that takes over the front page above the fold.

Magazine Design: The Visual and Verbal Style of Magazine Advertising 1. Magazine advertising concentrates on developing an image or creating a mood by developing strong visual and verbal relationships.

2. Like newspapers, magazines are consumed by wealthier, educated, audiences.

3. Depending on the type of publication whether consumer, special interest, or business, advertising will typically match the editorial style of the magazine in which it appears.

4. Unlike retail newspaper advertising where the focus is on sell, sell, sell, image based advertising places focus on the benefits of owning or using the brand and interweaving the brand’s image with the target’s self-image, eliminating any hard sell tactics or the mention of price.

5. These types of ads tend to minimize copy and use visuals.

6. The optimal coated surface magazines are printed on allows for visual discussions through photographs, illustrations, and/or graphics that can show a product in use, assist with image development, as well as create an illusion of exclusivity or fun.

7. Both visual and verbal types of ads need to focus on highlighting the benefits associated with owning the brand or using the service by visually and/or verbally showcasing how the brand can successfully solve the target’s problem as well as encourage them to call, engage a mobile app, log onto a web or a social media site, or visit their nearest retailer

for more information or purchase.

Designing for Magazine 1. Magazine advertising should provide a visually stimulating experience and/or verbally entice the target.

2. Visual images should help explain brand benefits as well as develop an identity and create a visual personality for the brand.

3. The job of these colorful, informative and sometimes provocative visuals is to record daily life, capture lifestyle and immortalize trends.

4. Copy should take the target on a journey with the brand as the star. Visuals should work to tie the brand and target’s self- image together.

5. The choice to use the visually stimulating pages of a magazine to bring prestige to a brand and reflect the target’s interests, self-image, and lifestyle is a design journey into the study of human nature.

6. Magazine advertising can be anything the creative team wants, it can be elegant, engaging, and/or interactive, colorful, fun and imaginative.

7. It is a great choice for introducing a new brand and developing image, maintaining the allure of an established image, or assist with repositioning or repairing the image of an old brand.

The Paper the Design is Printed On 1. Magazines are printed on a smooth high quality clay-coated paper stock. This means the ink will not bleed or move on the page.

2. Coated stocks reproduce crisper and more detailed imagery, and boast brighter more saturated colors.

Sizing Up Magazines and Layout Options 1. The size of a typical full-page magazine ad is 8 ½ x11 inches, other page sizes include: a. One-Eighth. b. One-Fourth. c. One-Half. d. Two-Thirds.

3. Beyond single page ads, options include: a.

Two-Page Ads.

b. Double-Page Spreads. c. Big Three-Page Foldouts.

4. Whether an ad will be placed on a left or right page, needs to be considered during the conceptual stage and then again during the photo shoot.

5. Any imagery containing, people, animals or anything that can gaze in one direction or another, should gaze towards the inside of the magazine.

6. NOTE: Almost all design rules can be broken as long as you have a point or a justifiable reason for changing the rules that does not affect eye flow, balance or structure.

7. Single ads placed on multiple pages, also known as two-page ads, allow the key consumer benefit to tell an ongoing story.

8. Double-page spreads can tell a longer visual/verbal story.

9. A spread has a gutter that must be designed around.

Magazine Images Visually and Verbally Speak for the Brand 1. Whether large and dominant or small in stature, the compelling imagery used in magazine ad design needs to tell the brand’s story in a creative and informative way.

2. It is up to the creative team to decide whether full-color, black-and-white or spot color photographs, illustrations or graphics can best promote the key consumer benefit, work within the media, and fit the overall budget.

3. Photographs, the most common imagery employed, bring an exclusive viewing opportunity to the page.

4. Photographs bring the brand alive in the target’s imagination.

5. How visuals are displayed in all ads is important. There are eight distinct ways to visualize your brand in both print and most digital mediums. a. Show the product alone. b. Show the product in a relevant or irrelevant setting. c. Show the product in use. d. Dramatization. e. Explain brand uses. f. Show specific brand features. g. Make comparisons. h. Visual and verbal ties.

6. Beyond full-color photographs, additional design options include: a.

Using black-and-white photographs or ones with spot color accents. Spot color is a great way to control eye flow, as the reader is drawn directly to the spot of color.

b. Illustrations. c. Graphics.

Designing Within The Live, Trim, and Bleed

1. The layout of magazine ads is fairly regimented to ensure nothing gets cut off when the magazine is trimmed to size during printing. There are three areas that make up a magazine layout: a. Live. b. Trim. c. Bleed.

The Unique Voice of Illustrations and Graphics 1. Graphic designs and/or colorful illustrations, draw the target’s attention by highlighting interesting and creative imagery often with brilliant color variations.

2. Illustrations create an image of youth and vibrancy, as well as a clean way to display charted information.

3. The graphic or illustrative style chosen along with suggestive color choices can re-create time periods, give the imagery energy or stability, and suggest liberal or conservative views.

4. Imagery that does not exist can be created around the brands and thus the target’s image.

Cool Images Versus Informative Copy 1. Visuals help an ad get noticed; but its good cohesive visual and verbal ideas that will resonate with your target longer and help make your ads more memorable.

2. The copy and imagery need to work together to creatively show and tell the same story.

3. Not all magazine ads will have equal amounts of both visual and verbal components.

4. Typically seen verbal components within magazine include: a. Headlines. b. Subheads.

c. Body Copy. d. Limited Detail Copy.

Type That Speaks Design 1. Depending on the overall concept, magazine design allows you to get a little bolder with your choice of headline type.

2. Keeping readability and legibility in mind, headline styles might include: a.

Modern.

b. Decorative or Display. c. Script.

3. If you want to strengthen your visual/verbal tie, consider letting your main visual(s) slightly overlap the headline type.

4. How much overlap is acceptable will often depend on the typeface and its weight.

5. Body copy for both newspaper and magazine will depend on length and concept.

A Few Additional Design and Type Rules for Print 1. Here are a few additional rules to keep in mind when laying out your design: a. Place images in the optical center of the page. b. The best designs will always be the simplest ones. c. Be sure typefaces are easy to read, and type and imagery work together. d. Use white space generously to project elegance, high quality, and simplicity. e. White space needs to be balanced within the ad. f. Open placement of components. Do not crowd. g. Emphasize the logo, tagline or slogan. h. Include any detailed copy.

i. Make sure the visual and verbal messages work together. j. Be sure to think contrast when choosing your typeface and type sizes. k. Avoid dark screened backgrounds under the body copy. l. When possible, eliminate large blocks of copy. m. Use of a serif or san serif typeface is the designers choice. n. Remember to use no more than two typefaces per ad. o. The main thing to avoid in both newspaper and magazine design is clutter. p. To ensure a cohesive whole, choose what single component, type, or image will dominate the page, use large doses of white space, and use each component to lead the reader’s eye toward the logo.

Increase Engagement With a Fold or Two 1. A great interactive device common to magazine advertising is a fold.

2. The type of fold typically used is called a gatefold.

3. A gatefold can consist of one or more folds that fold inward toward the ad’s center when the magazine is closed and can fold out to view in its entirety.

4. The job of the gatefold is to extend the ad offer, a quick and easy interactive activity and peek curiosity.

5. Hidden copy might hold a coupon, announce a contest or sweepstakes, or even offer a small sample.

Newspapers and Magazines and Cooperative Advertising Opportunities 1. Co-op or cooperative advertising means that two or more separate but compatible brands have joined together to encourage their target to use the brands together.

2. There are two types of cooperative advertising:

a. Vertical. b. Horizontal.

3. The benefit of co-op advertising to the target is the ability to combine two viable brands into a package savings deal.

Chapter Thirteen Lecture Notes Why Traditional Broadcast is Relevant 1. Numerous research studies have shown that both radio and television are still the best and most used channels for discovering new brands.

2. When it comes to trust in message content and overall message recall traditional media is still the most respected and believed.

3. Today’s consumers are looking for more from their broadcast mediums than generic messages.

Radio: The Imagination Medium 1. As a spoken-only medium, radio is often today considered old and a second-rate medium when compared to other media vehicles.

2. Limited by its need for active listening by the target, radio must work hard to successfully deliver both the visual and verbal message.

3. Radio ads must create a visual experience for the target.

4. Radio advertising must tie the target’s experiences, or needs, and wants with a copy that quickly and clearly lays out the key consumer benefit.

Targetable, Inexpensive, and Timely 1. Radio’s specialty is its ability to deliver short, inexpensive messages to smaller niche audiences.

2. A very personalized medium thanks to the popularity of local radio personalities, makes building relationships between the target and the brand easier.

3. The overall length of the ad or spot: fifteen, thirty, or sixty seconds, determines cost, as does the time of day the ad will air.

4. Brand image is verbally created in radio so copy needs to be imaginative and colorful.

5. Local or spot radio is where most advertising is placed.

Find a Way to Involve the Listener in the Message 1. The creative team has three seconds to get the listener to stop and “tune in” to the message.

2. Ads have a better chance to accomplish this if the spot is interactive in some way.

3. Promotional opportunities include: a. Jingles. b. Call in Trivia Games. c. Contests and Sweepstakes. d. Giveaways. e. Remote Location Broadcasts.

4. Another option would be to bring back old-time radio storytelling, sponsored by one or more brands, and create a daily Game of Thrones or The Walking dead type of storyline.

5. Any type of story can be told on radio if visually written with compelling dialogue.

Ways to Deliver the Message 1. There are a number of creative options you can use to deliver a radio message: a. Music and Jingles. b. Narrative Drama. c. Straight Announcement. d. Celebrity Delivery. e. Live Donut. f. Single Voice.

g. Dialogue. h. Multi voice. i. Sound Effects. j. Vignette. k. Interview. l. Humor. m. Sponsorships.

Things to Remember When Designing for Radio 1. Deliver the brand name and key consumer benefits within the first three seconds.

2. Copy needs to reflect how the target speaks. Grammatical accuracy is great in print but does not transfer well to radio. Keep conversations short to make features and benefits easier to remember.

3. Repetition is great on the radio. Repeat the brand name and key consumer benefits often.

It will not get annoying as long as the repeated aspects are delivered diversely and engagingly.

4. Make the message timely.

5. Don’t bore with facts.

6. Repetitive messaging binds all ads within a campaign together.

7. Be careful with sound effects.

Choosing Who Will Speak Your Copy 1. The individual(s) chosen to deliver the dialogue heard in the radio spot needs to represent the brand’s image and target demographics.

2. It is also important to be sure every word is spoken clearly so that the message can be

understood.

3. Every radio spot should use conversational dialogue.

4. To decide whether to use talent or an announcer to deliver the copy look to the creative brief for direction and the proper tone of voice required.

Letting an On-Air Personality Speak for the Brand 1. The target will tune into a station based on the genre of music played and the local radio personality.

2. The majority of radio spots arrive at the radio station in a prerecorded digital format that is ready to be aired.

3. But another less expensive options exist such as sending a script or fact sheet to an appropriate radio personality, that can be read live and/or be prerecorded.

4. Fact sheets are nothing more than a comprehensive list of the brand’s features and benefits the DJ will use to talk about the brand and perhaps their experience with the brand, in their own words for thirty to sixty seconds.

What Was That? Sound Effects 1. Sound effects (SFX) are very simply the noises we hear in ads.

2. Every discernable sound needs to stop attention and move the storyline forward.

3. A good copywriter uses verbal imagery to deliver a message and uses sound to invoke a sense of excitement, a dose of reality, or to attract attention.

4. SFX are an excellent way to enhance copy.

The Timing of a Radio Script 1. Radio advertising uses a copy sheet known as a script.

2. For the copywriter, a script is their verbal canvas, informative words and visually

constructed sentences use the target’s ear to imaginatively paint a picture in the consumer’s mind about the brand, its benefits, and uses.

3. The copywriter needs to know how many words can be spoken in the allotted time to ensure it does not sound rushed when being read or drag to fill the time.

4. The most common radio spots are thirty- or sixty-second spots.

5. Word count is not static, the number allowed will depend on the talent reading the script, their delivery speed, and whether the copy contains any difficult word pairings or technical terms. Multiple speakers will also use up more time.

6. Approximate word count for spots of varying lengths include: a. 10 seconds 20–25 words. b. 15 seconds 30–35 words. c. 20 seconds 40–45 words. d. 30 seconds 60–70 words. e. 60 seconds 150–180 words.

Setting Up the Formatting for the Script 1. Scripts can be set up in multiple ways.

2. Give the directives for your favored script style now.

Why is Television Such a Big Deal?

1. Television is an excellent vehicle to influence style, introduce a fad or new trend, demonstrate, set a mood, or create a memory, thanks to its show and tell format.

2. It is the best mass media vehicle to reach the target audience, build awareness and develop or reinforce an image despite its expensive, and cluttered advertising environment.

3. Through the use of sight, sound, and motion, television ads can inform, show use, entertain, and attract and retain the target’s attention.

4. Although a mass medium, it is a highly targetable vehicle thanks to specialized programming options, that allow the brand’s story to be woven into the target’s lifestyle, and address their interests and needs.

5. Television when used as a primary media, is a great option, if you want to launch a new brand, remind the target about a mainstream or mature brand, or reposition an old brand.

6. Expensive, not for small brands.

How We View Television is Changing: Traditional Advertising versus Interactive 1. In its current form, television advertising is a very passive medium. For it to grow and survive, it must have more interactive properties.

2. Interactivity is known as direct-response, or interactive, television.

3. Interactive television offers the target the chance to click on a link, via keyboard or remote, or take a picture of a QR code seen on his television screen.

4. Interactive options require both action and meaningful contact, so each ad should show a toll-free number, website, or hashtag, constantly throughout the length of the commercial.

5. This lets the target know where they can go to quickly to find additional information, any technical assistance, or help to place an order.

6. Once the target sees the message, and decides to purchase, they can get a direct response from the advertised brand by clicking their mouse or making a few key strokes.

7. On the flip side, it can take weeks or even months for traditional advertising to build brand awareness and motivate a distracted target to react to an uninvited advertising message.

8. Direct response advertising happens in real time, allowing the target to purchase often before the ad finishes airing.

Infomercials: Long Form Commercials 1. An Infomercial is basically a long commercial, that lasts about thirty to sixty minutes.

2. These long-form commercials will incorporate: a. Demonstrations. b. Testimonials from Users. c. One or More Professional Endorsements. d. Payment Options. e. Ordering Options.

3. The goal of these extended commercials is no different than their shorter fifteen- to thirty-second cousins, attracting attention, informing, and entertaining the target while encouraging purchase.

Sight, Sound, and Motion Brings the Brand Alive 1. Television engages the target through sight, sound and motion.

2. Sight and sound both set and reflects the tone.

3. Motion allows the target to see how the brand works or see how it looks in a setting.

4. Used in combination, sight, sound, and motion can successfully place the brand in the target’s life.

5. By including an interactive component, television can draw the target to a web or social media site, or to customer service representatives.

6. These additional message resources can assist with building relationships between the brand and the target and lay the ground work required to build brand image, loyalty, and

eventually equity.

7. Tying television to a brand can create additional interaction.

8. This media marriage is more about stealthily integrating a brand into television programing, known as product placement, rather than interrupting programing to blatantly sell the brand.

9. When television and social media are used together it’s known as social TV. 10. Today’s television viewers are using multiple devices to virally share insights and ideas not only about programming but the advertising running while they are watching.

Messages Need to Cover all the Relevant Bases 1. Copywriters must balance copy to the video portion of the ad and art directors need to keep the action moving and relevant.

2. What will make the key consumer benefit stand out strategically? Consider the following options: a. Open with the key consumer benefit. Make sure it is screamed out so it cannot be missed. b. Make the key consumer benefit relevant to the target and their lifestyle and/or show how it can solve a problem, in every frame. c. Always talk to the target in words and about situations they can relate to. d. Be sure the commercial uses the same or similar visual/verbal aspects, and tone of voice used as the other pieces within the campaign. e. To capture attention with a more powerful message, you may have to do more showing than telling. f. Both audio and video must work cohesively together.

g. To ensure the target remembers the brand’s name, be sure to mention it often and show the packaging repeatedly. h. Be sure to deliver the benefits in a believable, relatable way. i. To hold interest longer give the target a chance to do something such as, download a mobile app, call customer service, or visit the website, in order to gather more information or make a purchase. j.

Time out the commercial. Every piece of audio and video should not appear rushed. Make sure every second is spent talking about the brand and the benefits to the target.

k. To assist with recall, especially for a new or repositioned brand, be sure to close the ad with the logo, and any slogan or tagline.

Setting the Scene for the Television Shoot 1. Nothing about television is random, every sight seen, every sound heard, and motion made, is meticulously planned out.

2. A television commercial requires the development of a storyboard and a script.

3. There are two parts to a storyboard: the visual (video) and verbal (audio) aspects, known as frames and the script, that show all copy, sounds, and camera angles.

4. The scripts are much more detailed than a radio spot. A storyboard and accompanying script, must educate not only the client, but directors, talent, light and sound people, camera operators, producers, editors, food stylists, computer animators, and composers, to name just a few possible users of the script and storyboard.

Planning and Producing a Television Shoot 1. A shoot can take anywhere from a few days to several months to complete.

2. Once the storyboard and script are completed, the creative team and the director, will go over every aspect of the shoot, anticipate problems, and any changes that may arise.

3. Next, they must hold auditions, check out possible locations, and gather together props, and costumes.

4. The production crew will advise on technical issues that need to be considered while shooting, such as, but certainly not limited to, lighting and sound, and camera positions, all before any actual footage is shot.

5. The production stage covers the shoot, and postproduction covers the editing process.

6. The team will also need to look at the budget and media placement to decide whether the commercial should be produced on film, on videotape, or digitally.

7. Most decisions will be made during the preproduction, production, and postproduction phases.

8. Preproduction, or the first step, covers development of the script and storyboard, and the hiring of talent, a director, and a production crew.

9. The production stage covers the shoot.

10. Postproduction covers the editing process.

Location, Says A Lot About the Conceptual Direction 1. Where a commercial is filmed depends on the brand, the budget, and the concept.

2. Those done locally can be shot and produced relatively inexpensively.

3. Local shoots are simple and straight-forward and often lets the client speak for the brand.

These shoots tend to get the message out as fast and efficiently as possible.

4. Commercials that are shot nationally, on the other hand, tend to pull out all the stops using all the pomp necessary to creatively attract the target.

5. Studio generated computer graphics.

The Visual and Verbal Layout of Scripts and Storyboards 1. Every television commercials verbal story is told through a script.

2. Its visual story is seen through the frames of a storyboard.

3. A television script is a relatively detailed piece of copy.

4. Its job is to document and organize everything that will be heard such as, SFX, music, and dialogue, as well as any special instructions to the camera, sound and editing crew, the talent, and any information about any important scene changes.

Storyboards Show the Action 1. Storyboards house the video portion of the commercial, as well as show the crucial timing sequences by frame, between what is said and shown.

2. The video portions of the commercial area are known as scenes.

3. Each scene is confined in a frame, or the shape of a rounded corner square, plus the rectangle audio box below it.

4. The storyboard lays out the actionable steps. Since it is impossible to show every scene on a storyboard, you must choose only those that clearly show the conceptual direction and that moves the commercial forward.

Delivery Methods Affect Length 1. Before choosing a delivery method for your commercial, look to the brief to help determine the best method or combination of methods needed to deliver the key consumer benefit.

2. Consider one, or a combination of the following commercial delivery methods to express your commercial’s tone of voice.

a. Slice of Life. b. Vignette. c. Spokesperson. d. Testimonials. e. Expert Presenters. f. Visual Images. g. Demonstration. h. Creative Comparisons. i. Metaphors. j. Torture Tests.

The Long and Short of Commercial Messages 1. Budget plays a big role in the length of a television commercial, the most common spots today are fifteen- to thirty- seconds.

2. If the brand has a lot to say, they have the option of buying a thirty-second spot that can be broken down into two separate, but related fifteen-second spots.

3. If the two messages are mutually dependent, this split messaging is known as piggybacking.

The Talk and Sounds of Television 1. Television commercials abound with sounds, some are spoken, created, or set to music.

Options include: a. Talent. b. Voice-over. c. Announcer.

d. Music. e. Sound Effects.

Assembling the Script and Storyboard 1. There are multiple ways to layout a script.

2. Talk about your favorite option here.

Opening Up That First Frame 1. The initial or opening frame will describe what will be seen in the video portion of the window when the commercial begins. OPEN: (on visual of the Mona Lisa), the next instruction is the camera shot.

What is Seen: Camera Shots 1. The camera shot is the first instruction seen in each and every frame besides frame one, where an opening description of the scene appears.

2. A camera shot’s job is to tell the cameraperson how close or far away to be from an image or scene.

3. A script can use one or more of the following camera shot options: a. ECU (extreme close-up): Chin to top of the head would appear in the shot. b. MCU (medium close-up): Throat to top of the head. c. FCU (full close-up): Neck to top of the head. d. WCU (wide close-up): Collarbone area to the top of the head. e. CU (close-up): Chest area to the top of the head. f. MCS (medium close shot): Waist to the top of the head. g. MS (medium shot): Stomach to top of the head. h. MFS (medium-full shot): Knees to the top of the head.

i. FS (full shot): Bottom of the feet to the top of the head.

Telling the Camera Where to Go: Camera Instructions 1. Camera instructions deal with camera movement. They can appear anywhere in a frame, depending on when and where the camera needs to move. a. STILL: The camera will hold on to the shot, with no movement at all. b. PAN: The camera will move horizontally left or right from a fixed point. Be sure to tell the camera, which way the pan should go, PAN LEFT or PAN RIGHT. c. TILT: The camera will move up or down from a fixed point. Again, be sure to tell the camera which direction to go, TILT UP or TILT DOWN. d. ZOOM: The camera will move in for a rapid close-up or away to a distance shot.

ZOOM IN or ZOOM OUT. e. DOLLY: The entire camera will move forward or backward more slowly than a zoom shot, DOLLY BACK or DOLLY FORWARD. f. BOOM: The camera will shoot from above, using either a boom or a crane. Used exclusively for overhead views. g. TRUCK: The camera will shoot alongside a moving subject, TRUCK SHOT (along the left side and slightly to the back of the car).

The Sounds Heard: Audio Instructions 1. The placement of audio instructions will depend on when the target will hear the noise or music and appear before or after a character speaks in a frame. a. SFX: Use SFX alone when noise is brief. b. SFX IN: Signals the sound to begin and continue. c. SFX OUT: Signals the end of the sound effect.

d. SFX UP: Signals for the volume to increase. e.

SFX DOWN: Signals for the volume to decrease.

f.

SFX UNDER: Signals for the volume to go under or to decrease in volume enough that dialogue can be spoken over it.

g. MUSIC IN: Signals the music to begin and continue. h. MUSIC (“Twinkle, Twinkle, Little Star”) IN. i. MUSIC OUT: Signals of the end of the music. j. MUSIC UP: Signals for the volume to increase. k. MUSIC DOWN: Signals the volume to decrease. l. MUSIC UNDER: Signals for the volume to go under or to decrease in volume enough that dialogue can be spoken over it. m. SEGUE: Signals there is more than one piece of music being used. A segue is a seamless musical transition between one song to another often used to indicate a change in time, place, or mood. n. MUSIC FADE: Signals that the music needs to fade out.

Tell the Brand’s Story: Dialogue 1. Dialogue includes any spoken word heard on or off-screen and can appear on the script before or after music, SFX or camera instructions. a. VO: (Voice-over) A voice-over is used when the speaker will be heard but not seen. b. ANN: (Announcer) An announcer is used when the speaker will be seen and heard. c. RUSS: If you are introducing a recurring character whose name will be spoken in

the commercial, label the part appropriately. d. WOMAN or MAN: If multiple people will be speaking, label their parts separately. If they are not recurring characters and no names are a part of the spoken dialogue, there is no reason to give them a name.

Move the Commercial Along: Frame Transitions 1. Frame transitions indicate how the commercial will move from one frame into the next.

2. They also describe what will be seen in the next video frame.

3. Possible frame transitions include: a. CUT. b. DISSOLVE. c. WIPE. d. SUPER.

Chapter Fourteen Lecture Notes

Defining Out-of-Home Advertising?

1. Out-of-home (OOH) and digital-out-of-home (DOOH) also known collectively as outdoor advertising refers to any advertising seen outside the home that advertises a product or service.

2. Impactful OOH can reach hundreds of thousands of consumers as they move about their day without disrupting what they are doing.

3. Overall growth can be attributed to the bold in-your-face creative and diverse range of interactive options that: a. Help drive consumers to a website or brick-and-mortar location. b. Encourage word of mouth and viral sharing via social media. c. Makes purchasing fast and easy via their smartphone.

4. Out-of-home, even before the addition of digital enhancements, has always been a brand’s most versatile, largest, and mobile voice.

The Continued Growth of an Old Titan Is Technology and Creatively Based 1. Outdoor advertising is an ancient practice. Use can be traced back centuries to venders in Egypt, Greece, and Rome.

2. What has changed, is many of today’s vehicles are interactive.

3. OOH is using its very visual canvases to highlight new technologies and new integrated mobile, social, and interactive options to better assist brands with how they interact with their targeted audiences.

4. Modern day outdoor advertising is a captivating, engaging, and sharable message

delivery system that can both stop attention and help start a meaningful conversation with the target.

Big, Small, and Mobile Creative 1. Grabbing the attention of a distracted, often apathetic consumer who is exposed to hundreds, if not thousands of ads a day requires an unusual visual and/or verbal solution to a client’s advertising problem.

2. Most out-of-home advertising is simply but boldly designed.

3. The best designs show rather than tell with a minimalistic approach.

4. The main copy block is limited to no more than five to seven words plus the logo and slogan or tagline, and directions if applicable.

5. The focus, whether visually or verbally is on the key consumer benefit.

6. The very diverse assortment of vehicles is unique to the medium and can be broken down into the following categories: a. Outdoor: i. Outdoor Boards. ii. Local Business Signage. iii. Wall Murals. b. Moving: i. Buses (interior and exterior). ii. Taxis (interior and exterior). iii. Subway Cars. iv. Cars and Trucks. v. Airborne.

vi. In-Flight. c. Stations, Terminals, and Shelters: i. Bus Shelters. ii. Airports. iii. Bus Depots. iv. Train Stations. v. Posters. vi. Kiosks. d. Street Furniture: i. Benches. ii. Bicycle Racks. iii. Newsstands and News Racks.

Big Canvases With Bold Designs 1. Outdoor boards, or billboards, are officially known as bulletins within the industry.

2. Its big visual/verbal voice is attractive to brands who feel the public isn’t paying attention to traditional advertising messages.

3. Outdoor design is a balance between what is said and shown, while still ensuring the design is pleasing to the eye, attention-grabbing, and most importantly, memorable.

4. It is important that each board boldly and creatively promote the brand’s key consumer benefit.

5. The best, most memorable boards show a lot and tell very little.

Outdoor Bulletins are Impactful 1. A bulletin is a large outdoor structure of varying sizes that is used to display an

advertising message that has been either printed on panels or the more commonly seen vinyl material. a. Printed bulletins are the most commonly seen standard boards today.

2. The most elaborate boards are known as spectaculars.

3. These large and very creative non-standard structures, often seen in major markets such as New York City or Los Angeles, are custom designed making them very unique in scope and in execution.

You Can’t Talk Outdoor Boards Without Understanding Size 1. Unlike the very diverse outdoor design options, sizing for these large boards is somewhat standardized.

2. Typical standard sizes include: a. 14’H x 48’W b. 10’H x 40’W c. 10’ 6” H x 36’W 3. Spectacular sizes include: d. 20’H x 60’W e. 16’H x 60’W Work Within the Live and Bleed Area 1. Every outdoor board has a live area, in this case, the actual size of the board and bleed of at least three inches (when designing) on all four sides if using an image or color that extends to the edge of the board.

Taking the Design Beyond the Board with Extensions 1. Extensions, also known as top outs, cut-outs, extenders, and embellishments refer to a

part of the design that extends beyond the live area of the existing structure. a. Extensions can generally be placed on the top, sides, or bottom of the board.

2. To ensure they can withstand the elements such as wind, rain, snow and ice, it is important the extension be a large, solid piece as opposed to the thin antennae of say a butterfly for example.

3. Local restrictions will ultimately determine the overall height of an extension.

4. Designing for any out-of-home vehicle can be a challenge thanks to the diverse shapes and sizes, but it never has to be dull.

So Much Square Footage So Little Time to Use It 1. This is a quick read, keep it simple stupid media vehicle. Because it is most often seen from a car going over the posted speed limit, this is not the vehicle for complex messages.

2. Go with a single visual that both shows an tells your key consumer benefit.

3. The most commonly seen images are photographs, although graphics and illustrations can be stunning and colorful visual alternatives.

4. Outdoor boards are not the place to use graphically obtuse imagery. Show your visual boldly and your type as big as possible to ensure the message is clear and easy to understand.

Layout Options Run Horizontal and Vertical 1. Most boards have a landscape or horizontal layout, but some designs often due to location, can have a portrait or vertical layout.

2. Format will affect the overall design and placement of components.

3. Overall orientation will also affect the balance of design components.

Visuals Scream Loudly on Bulletins 1. The images used on outdoor boards are typically photographs, most are in color but if the design calls for something more dramatic, such as showing abuse, black-and-white images can be a powerful way to show the message.

2. The best designs use a single image, make it large to increase visibility and it will be more impactful than a series of small disjointed images.

3. If you must use multiple images group them together into a silhouette layout style to give the image weight and create a strong focal point.

4. To keep down the clutter, avoid using a photograph of a landscape or a whole building, instead consider using a single architectural detail or single landscape feature.

5. Determining whether the imagery or type should dominate the design will also depend on what you are trying to accomplish.

Resist the Urge to Repeat Yourself 1. Space is at a premium in OOH, use it to your advantage.

2. Avoid repetition in the copy you do use.

Use Strong Readable and Legible Typefaces 1. To ensure your message can be easily read from a distance of 50-400 feet, kerning and leading needs to be more open.

2. Try to avoid using more than one line of text when possible, it’s easier to read at a glance.

3. Watch that ascenders and descenders have enough space that they do not touch.

4. Be careful not to insert to much white space making the headline look like two disjointed thoughts.

How Type Size and Style Effect Readability

1. The choice of typeface, size and style can and does influence the readability of an outdoor board.

2. Distance and viewing time require typefaces that are uniform in shape and style to ensure instant letter and word recognition.

3. Be sure to use bright, high contrasting colors that pop and make a statement.

4. Avoid using soft pastels and other similar soft hues.

5. Make sure the typeface chosen matches the personality of your images. For example, a fun visual requires a fun typeface, while dramatic visuals need to be paired with a more dramatic typeface.

6. Avoid any typefaces with: a. Thin lines, they optically disappear the farther away from them you get. b. Severely contrasting letter strokes that will lose definition when viewed from a distance. c. A bulky appearance, they lose definition between letterforms from a distance. d. A script, ornate, decorative, or light weight appearance, all are illegible at any distance. e. All caps or type that’s reversed out of the background unless your headline is four words or less.

The Short But Creative Work of Copywriting 1. With just a few very cleverly written words the copywriter has to impart the key consumer benefit’s message in a unique and quickly digestible way.

2. The challenge is to effectively communicate the key consumer benefit with a minimum amount of copy and a maximum amount of visual clarity.

3. Whether your target is driving or walking by, the copy needs to memorably amuse, entertain, or deliver a really big benefit.

4. Be sure your headline uses short words over longer ones for faster comprehension and because your message will be viewed from distances of 50-400 or more feet, be sure the text is as big as possible.

Color Choices 1. Make sure your color choices have high hue, value, and color contrasts.

2. Hue is the identity or recognition of color while value refers to a colors lightness and darkness.

3. The higher the contrast the easier the message can be read.

4. A few more high contrast options listed in the order of strength include: 1. Black on Yellow 2. Black on White

3. Yellow on White

4. White on Black

6. White on Navy

5. Navy on White

7. Navy on Yellow 8. Yellow on Navy 9. Red on White 10. White on Red

11. Red on Yellow

12. Yellow on Red

13. Yellow on Violet 14. White on Green 6. The use of contrasting colors within the design will not only help focus attention but also help improve retention of your message.

7. Backgrounds when used must also contrast with the colors used in the visual/verbal message and the type.

8. A quick way to check contrast is to print out the design and then make a black-and-white photocopy. If both the visual and verbal contrasts are strong, readability and legibility will be strong, if not, rework.

Make Good Use of White Space and Eye Flow 1. Because most outdoor boards are horizontal, it is not unusual to have to design around spacing issues.

2. To avoid white holes, and ensure the design has good eye flow and balance, it may take moving copy and images around, increasing or reducing elements or adjusting placement until everything fits the space just right.

3. One of the first things to consider is don’t crowd your message.

4. Be sure the message has an equal amount of white space around the visual if not a bleed, as well as above and below all verbal components.

Don’t Forget the Logo 1. Don’t forget to seamlessly merge the logo with the message; you can’t sell anything if the visual wows and the target can’t see who is selling it.

Test Your Design at Arms Length 1. Try the following test to ensure everything works. Print out your board the size of a business card approximately 2” H x 3.5” W. Hold it at arms length. Can you easily read and understand it in less than six seconds? If not, keep tweaking.

Smaller, Temporary Poster Panels 1. Poster panels, also known as papers or paper bulletins are smaller in size than outdoor bulletins and are traditionally created in pasted sections or sheets.

2. Junior Posters, also known as 8-sheet posters are often used to provide exposure in places where larger standard posters or outdoor bulletins cannot be placed.

2. Posters can be either freestanding or attached to the sides of local buildings.

3. Most freestanding boards use a landscape orientation while those attached to a building

can be designed either horizontal or vertical.

4. No matter the direction, board placement is usually just above eye level.

5. Visual/verbal messages will include at least a logo, a dominant visual and a short message, and perhaps a slogan or tagline.

6. Posters work well as business signage that advertise the location of a business or to promote a product near the point of purchase.

Computer Controlled Digital Highway Boards 1. Digital highways signs, also known as digital, LED, or electronic signage, use computerbased technology to regularly change what’s displayed on a screen and are a great choice for campaigns with multiple concepts.

2. This category includes giant boards as well as OOH mediums with smaller digital screens such as: a.

Posters.

b. Bus Shelters. c. Benches. d. Shopping Center Signage.

3. Efficient, a computer can quickly and easily change signs in minutes.

How Do Digital Boards Work?

1. The creative team can update the message on these boards remotely, by using a wireless phone network to access the board’s computer.

2. Once the art director completes the design on the computer, it can then be uploaded to any number of boards quickly and easily.

3. Each board is lit by hundreds of LED bulbs but LEDs can only be one color at a time,

which makes displaying crisp fine lines and deep shading difficult.

Design For All Big Boards is the Same 1. Design rules follow those for outdoor bulletins, keep your message short, push a strong visual, use bright colors, and have easy to read type.

Tri-Vision Bulletins 1. Colorful, these digitally controlled and manipulated boards are composed of long, tightlypositioned, triangular prisms or strips that turn or flip every seven-to-eight seconds.

2. Each side of the prism can showcase three different messages from one or more brands.

3. When all three sides are locked in by a single brand the board can be used to create a message that builds known as storyboarding, or display a three part message.

4. Design for these colorful boards is identical to outdoor bulletins with one major exception; there are no options for extensions, three-dimensional enhancements, or incorporating the landscape into the design.

Wallscapes Cover Buildings 1. Wallscapes are custom designed to fit a variety of unique shapes and sizes.

2. These creative boards are either painted on the surface of a building as a mural or are printed on vinyl and then attached to a building.

3. They can be found on: a. High-Rise Apartment Buildings. b. Parking Garages. c. Office Buildings. d. Hotels.

e. Attached to Scaffolding.

4. Many will use more than one building when they appear close together and are the same architectural size, width and height.

5. Others will use the parking lots below to extend the design.

6. When deciding whether to use a wallscape it is important to know where it will be viewed.

7. A good design fits in well with the surrounding landscape to ensure it wows rather than annoys.

Local Business Storefront Signage 1. The most important signage for any brick and mortar business is its exterior signage or name.

2. Every sign whether elevated (seen by motorists), or seen on a storefront (by pedestrians), should be readable at a glance. Exterior signage can also help your client’s business stand out and away from surrounding storefronts, and give their business long-standing exposure.

3. Signs come in every shape, size, and material so make sure your choice of size is readable at the distance you expect your sign to be viewed. a. Functionality. The first thing to remember when designing signage is scale. Be sure the sign is readable and legible at a distance What looks good on your computer screen can look like a series of disjointed dots and bars that say and show nothing at a distance. b. Secondly, all signage must relate back to the brand. c. Thirdly, be sure it reflects the personality of the brand, the store, and the

experience the target will have when shopping and interacting with sales personnel. d. Signage is more than a name it should reflect the attitude and essence of the brand. e. Exterior signage is the first step to building a memorable first impression.

4. One way to negatively affect image is to use materials that are not durable. It is important they be able to withstand the local weather conditions so it does not easily break or tear.

5. The most commonly seen types of exterior signage include: a. Fabric Signs. b. Wooden Signs. c. Glass Signage. d. Punched Metal or Laser Cut Signage. e. Storefront Metal Signage. f. Awning Signage. g. Rock or Concrete Signage. h. Glass Tubing or Neon Signage.

6. The best and most recognizable exterior business signs will just reproduce the brand’s logo design with perhaps the addition of the slogan or tagline.

7. Knowing who the client’s target audience is will help determine design choices.

Designing Exterior Signage 1. When first determining what a sign should look like make sure you are aware of all the local zoning ordinances that will govern the type of signage that can be used.

2. It is also a good idea to check out where your sign will be seen.

3. Visibility issues must be designed around to ensure your sign design stands out in the visually cluttered crowd.

4. Finally you will need to know whether you need to design an elevated sign, a storefront sign, or both.

5. This signage will be viewable 24/7 as a branding tool, so beyond the logo and/or slogan or tagline, you will want to include any colors or representative typefaces used in other mediums to create an identifiable and harmonious appearance.

6. Signage is a lesson in practical design, its goal is simple: a. To help consumers locate the store. b. Get consumers not familiar with the brand to notice you.

7. Good readable design manages the balance between positive and negative space.

8. Positive space includes content, or the letters and images.

9. Negative space is the blank areas around and between those components.

10. The negative space helps define and give meaning to the positive.

Say It Fast the Message is Moving 1. Transit advertising, another form of out-of-home, reaches the millions of people who use public transportation or see public vehicles while moving about on foot, by car, or bicycles, or from their office windows.

2. Public transit includes: a. Taxis. b. Buses. c. Trains. d. Terminals.

e. Stations and Platforms. f. Bus Shelters. g. Benches. h. Vehicles. i. Three-Dimensional Kiosks.

3. Transit, like outdoor, is short on advertising space, and thus requires a short, visually dominate message—making it another great support vehicle.

Designing For a Moving Canvas 1. Design for a moving canvas follows the same rules as outdoor boards.

2. Keep the design simple but bold.

3. It should clearly push the key consumer benefit, be brightly colored, always creative, use a single bold visual, and, if applicable to the brand, another option is to use the brand’s spokesperson or character representative, feature a short headline, if relevant the package design, and/or a slogan or tagline.

4. Because of the unusual variety of shapes and sizes, transit messages need to get to the point in no more than three to five words in most cases.

5. Copy must be set in a bold typeface that is easy to read from distances of up to five hundred feet.

CRAP is Important 1. This principle makes a great quick tip or design checklist especially for OOH and transit design when the goal is to have a clean readable often repetitive message that will be seen in diverse mediums and locales.

2. Straightforward, the CRAP principle is composed of four parts:

a. Contrast. Strong contrast is created through visual and verbal differences, avoid similarities when designing. b. Repetition. Keeping contrast in mind, be sure to repeat visual elements throughout the design. c. Alignment. The alignment of every component must be thoroughly thought out. d. Proximity. This principle deals with grouping related objects close together.

Exterior and Interior Bus Advertising 1. Bus advertising because of its large size can be thought of as a moving billboard.

2. Design should be loud, and entertaining to commuters.

3. Buses are effective advertising vehicles thanks to their large amounts of exterior and interior ad space.

4. Exterior ads reach everyone the bus passes whether walking, driving, or sitting in their office.

5. Interior ads can catch and hold the attention of consumers who are riding the bus for an extended period of time.

6. Exterior bus displays come in five distinct categories: a. King Size Posters. b. Queen Size Posters. c. Full Bus Wraps. d. King Kongs. e. Tail Signs.

7. The type of display chosen is based in part on a bus’s route.

8. King-size posters, used by both local and national brands, display the advertised message

on both the curb and street sides of the bus.

9. Queen-size posters appear on the curbside only.

10. Full-size bus wraps sport very creative ads that are attention getting.

11. They are very large designs that colorfully carry a storyline over and around the bus, making use of every available surface, including the doors, windows and wheels.

12. King Kongs, are also known as ultra or super kings.

13. Seen on the driver’s side of the bus they partially wrap an ad around the buses mid section.

14. Tail signs are located on the rear of the bus.

Interior Ad Design.

1. Bus advertising found inside the bus is known as interior cards and can take many forms.

2. Top interior bus ads are located in horizontal frames above the window, they can be either backlit or non-backlit, or fitted with car cards.

3. Desirable, front interiors are known as bulkheads.

4. They resemble posters and are placed behind the driver.

5. Ads can also be placed on the ceiling known as Michelangelo’s and on the seats.

6. Repetition is the reason to choose interior cards as a media option.

7. Diverse in size and shape, interior advertising is just as limited in what it can say and show as the exterior designs with one exception, brands can buy out the entire interior inventory if needed creating a branded bus, to deliver a more detailed and focused message.

8. Interior advertising can also be a great direct-response vehicle when removable order cards know as car-cards are added to the message.

Hold On: Interior Hand Hold Bus or Subway Advertising 1. Creative ideas can also be extended to those structures that riders without a seat hold onto such as polls and hand straps.

The Target Has to Sit Somewhere: Bus Shelters and Benches 1. Transit shelters, also known as street furniture are the places where riders wait for the bus making them great for point of purchase, event, and promotional advertising.

2. They offer a very creative and often interactive canvas at eye level.

3. Typically placed in high traffic areas they attract riders, those passing by on foot, and drivers.

4. Bus shelters come in many shapes and sizes but most are partially enclosed three sided structures that feature two short sides and a longer back.

5. Designs can use all three sides, the ceiling or even extend above the enclosed shelter and use the roof.

6. These ads can duplicate the same ads used on other transit vehicles to reinforce the message or continue an on-going theme, began elsewhere in the campaign.

7. Shelters can also have one or more benches that can be used as an advertising canvas.

8. Bench advertising need not be confined only to bus shelters.

9. Usable bench surfaces can be found in local parks, restaurants, malls, subways, bus and airport waiting areas, and college campuses, to name just a few.

10. When designing you can use the whole bench or deconstruct it and use only a small portion.

Taxi Advertising Moves the Message Around 1. Advertising on vehicles—whether taxis, cars, or trucks—can be both creative and

informative, no matter the level of detail or size.

2. Taxi advertising can be bold, static, or technology-driven no matter where it appears on the vehicle.

3. Exterior advertising can appear on roofs, trunks, windows, as traditional wraps or support three-dimensional visual enhancements.

4. Interior advertising appears on the back of the front seat and can be either printed or digital.

5. Taxi advertising is a great way for local advertisers to promote their message close to their place of business.

6. Taxis are the only vehicle that supports interior video advertising.

Moving Truck Billboards 1. Another form of movable outdoor advertising appears on the backs and sides of semitrailer trucks.

2. Designs can be either stationary or digitally scroll or rotate several messages in the same way digital outdoor boards do.

Subway, Airline, and Train Terminal Posters 1. Terminal posters are large, typically local ads located in bus, train, or subway stations or airline terminals.

2. For greater impact, many of these posters will be illuminated or backlit.

3. Messages, tend to focus attention on brands that visitors can enjoy while visiting a city, or that locals can find near the station or stop.

4. Interior advertising can be: a. Freestanding.

b. Adhered to terminal walls, c. Windows. d. Columns. e. Ceilings. f. Moving walkways. g. Trams. h. Turnstiles. i. Floors.

5. Beyond posters, station and terminal advertising might include: a. Wall murals. b. Dioramas. c. Floor Graphics. d. Elevator and Escalator wraps.

6. It can be placed in diverse locations throughout the terminal including: a. Arrival and Departure Gates. b. Ticketing Areas. c. Baggage Claims. d. Concourses. e. Retail Shops. f. VIP Lounges.

7. Glass floor displays are also common advertising vehicles; these three or four sided freestanding units are known as kiosks and are used when displaying the physical product is a better way to attract attention than a photographic image.

8. Rail and subway advertising include both static and backlit posters appearing on platforms and walkways, entrance displays, station clocks, and special in-car signage.

9. Advertising seen at subway entrances are known as urban panels.

10. Additional options include: a. Dioramas. b. Mini-Spectaculars.

11. To increase memorability advertisers can often buy all or a combination of advertised locations within a station often referred to as station domination.

12. Many of these ads use advanced technology to stop attention.

13. Other transit options include: a. Airborne Displays. b. Banners Trailed Behind Small Aircraft. c. Blimps. d. Sails of Marine Vessels. e. Pedicabs. f. Horse Drawn Carriages. g. Bicycles and Racks.

Chapter Fifteen Lecture Notes Direct Marketing and Sales Promotion Incentives 1. Direct marketing, also known as direct response, along with sales promotion, uses digital (text, e-mail, internet, social) print media (newspapers, magazines, catalogs, direct mail) and radio and television to reach an individualized member of the target audience with a personalized message.

2. Direct marketing uses purchasing and inquiry information stored in databases to personalize its message on an individual basis, allowing them to address the target by name.

3. One thing direct marketing and advertising have in common is the use of promotional offers.

4. Sales promotion, also known as purchase incentives, entices purchase by offering packaged deals, or exclusive offers, it can also be used to build awareness, encourage trial, and/or reward brand loyal users.

5. Direct marketing can offer deeper incentives than traditional advertising efforts because it knocks out the middleman or the wholesaler or retailer, making it easier to sell at a lower price point, and reach the consumer at a time when there are less distractions making them more receptive to opening and reading the message.

6. Brands who choose to sell directly to their target audience have a greater amount of control over how their brand is promoted.

Direct Marketing Talks to the Target By Name 1. When you know exactly who the target audience is and want to talk to him one on one, direct marketing is the way to go.

2. The more the creative team knows about the target, the better they can create a more individually tailored visual/verbal message.

3. This intimate advertising environment makes interacting with and talking to the target about situations he can relate to and about a topic or situation he is interested in easier and often more creative.

4. Beyond personalized interaction, interest is also spiked by the overall visual and verbal design.

5. These pieces are often very creative and unique to the brand and are great at stopping attention.

6. As an added incentive to purchase and ensure a quick response, direct marketing often uses a diverse type of sales promotion devices such as coupons, contests and sweepstakes, samples, and giveaways, to name just a few.

7. Most forms of direct marketing are not considered intrusive because the target decides what message to respond to, when to respond, and where and how to make further inquiries or make a purchase.

8. Direct marketing is a great vehicle to: a. Reach the target in a shorter amount of time, and more effectively, than traditional advertising, b. Introduce a new or reinvented product. c. Remind or encourage retrial. d. Update the consumer on product changes or additions.

The Ups and Downs of Sales Promotion Use 1. Promotional offers are typically paired with direct marketing, to give the target some type

of gift or incentive to entice an inquiry such as requesting: a. Catalogs. b. Brochures. c. Price Lists. d. Sales Promotion Packages. e. Stimulate Trial. f. Encourage Purchase or Repurchase.

2. The goal of sales promotion is to rapidly increase sales or interest through low pricing or other motivation driven device that is exclusive and available for only a limited amount of time.

3. What makes sales promotion unique is its intent. For example, direct marketing brings a brand and message directly to the target, sales promotion sidesteps the message altogether and brings the target to the brand.

4. Sales promotion techniques are silent promotional devices.

5. The goal, like advertising, is to move the brand now, so the use of many devices are the brands final chance either before or immediately after purchase, to educate, interact with, and remind the target about a brand.

6. Although a popular tactic, the use of promotional devices do have a downside.

7. It’s easy for brands to get caught in the rollercoaster cycle of promotion, making it difficult to get even loyal users to purchase at a time when there is no current promotion available.

8. Other negative results include the devaluation of the brand to the target over time, overall cost, and an end-of-promotion fall-off in sales.

9. To ensure promotions are not overused, the type of promotion used should be based on the brand and where it is in its life cycle stage.

The Biggest Voice Used in Direct Marketing 1. After being exposed to all the digital sales vehicles available in your daily life, taking a look at old-school advertising options like sending a physical advertising piece through snail mail may seem like a history lesson on the dark ages.

2. Tangible material is memorable, interactive, unusual, and relatively rare, unlike the multitudes of fleeting digital messaging that floods our e-mail and phones daily.

3. Direct marketing uses a diverse number and types of contract vehicles, including: a. Mass Media. b. Mail. c. Internet. d. Social Media. e. Mobile. f. Personal Contact.

Direct Mail: The Granddaddy of All Direct Response Offers 1. Direct mail, is a highly targetable and personalized, form of direct response.

2. Consumers respond to and interact with most direct mail pieces because they specifically address their interests and lifestyles.

3. Direct mail fulfills many advertising roles.

4. Direct mail fulfills many advertising roles. As an informational tool it can announce, build and shape brand image, reward loyal users or as an enticement device to non-users, to try a new or existing brand.

5. Very interactive, a mailer with multiple and diverse pieces can attract and hold the target’s attention making the interaction more memorable.

6. Do not make the interaction quick and easy. Make sure every piece they open and hopefully read, offers valuable non-repetitive information about the brand. If a piece with movable parts or perhaps can be scratched off, are a part of the mailer, it holds attention, creates additional interest, and builds curiosity.

7. As a media option, direct mail is an informative and creative device. It can be used for any type of brand as a straight advertising vehicle a sales promotional device or a combination of both.

A Direct-Mail Kit is Full of Sales and Promotional Material 1. Direct mail can be defined as any advertising material sent by mail to a targeted consumer to encourage a sale or further inquiry.

2. The visual/verbal voice of direct mail reflects a variety of diverse faces, shapes, and sizes.

3. A typical direct mail kit is not small, it could contain a variety of: a. Handwritten Notes. b. Postcards.

4. The overall design might showcase: a. Die-Cuts. b. Embossing. c. Varied Types of Folds and Perforations. d. Pocketed Folders.

5. Additional content may include:

a. Brochures. b. Price Lists. c. CDs. d. Calendars. e. Key Chains. f. Menus.

6. More spectacularly creative direct-mail pieces might include: a. Three-Dimensional Designs. b. Popups. c. Pop-Outs. d. Multiple Moving Parts. e. Sound.

7. Other useable promotional devices include: a. Water Bottles. b. Pens.

8. Direct mail, better known as “junk mail,” is easily dismissed or tossed because it does not create interest or curiosity or provide any new insights. It’s considered junk for two reasons: a. It arrives unrequested into the target’s home. b. The whole design is junk.

9. A direct-mail kit is a design whole or a small contained campaign.

10. One piece should not stand out alone; every piece in the kit must work together to create one visual/verbal message.

11. The kit should reflect the key consumer benefit and strategy as defined in the creative brief and use the same tone of voice and reflect the same overall appearance as the other advertising and promotional pieces.

12. The multiple pieces that typically make up a direct mail kit must be tied together by a key consumer benefit driven headline style, type style, color, layout, and perhaps the use of a spokesperson or animated character.

The Outside Envelope Is the First Visual and Verbal Step 1. The design of the envelope is important. Its look, feel and visual verbal voice is what will initially entice the target to open the kit or packaged content.

2. Make it creative, colorful and be sure it boldly states your key consumer benefit in a creative and unique way.

3. You can additionally attract attention by using an oddly shaped envelope or one with a die-cut. a. A die-cut is simply the process of cutting a surface (paper) into an interesting customized shape.

4. The copy seen on the outer envelope of the direct-mail kit is known as teaser copy.

5. Its job is to stop the target’s attention long enough to build interest and entice them to open and interact with the multiple pieces.

6. If the envelope is initially seen as an interesting piece of design ingenuity, the target’s attention will be held.

Must-Have Promotional Devices 1. The best promotions always offer consumers additional benefits, such as: a. Discount Pricing.

b. First-to-Own Opportunities. c. Upgrades. d. Two-for-One Offers. e. Limited-Time Offers. f. Coupons.

2. If working with a smaller budget, create a colorful expressive key consumer benefitdriven message that is accompanied by some type of interactive promotional device such as a scratch-off card.

3. If budget is a bit more fluid, include some type of stimulating mental device that supports the overall message inside.

4. To create even more interactivity consider adding movable pieces that reveal one part of the message at a time, allowing the target to spin a wheel or open a window or door for perhaps a promotional offer.

5. For exclusive brands you may want to include some kind of image the target can hold up to a webcam to see an augmented reality (AR) image, or use a QR code the target can take a picture of to unlock an exclusive offer.

6. The inclusion of any three-dimensional interactive devices will increase your target’s time with the overall kit.

The Pitch or Business Letter 1. A direct-mail letter is an introduction.

2. The letter’s job is to open the sale, give a complete and detailed sales pitch, and close the sale.

3. It tells the target what he should do next such as pick up the phone, tap an app, or boot up

the computer.

4. Many pitch letters specifically, will include headlines and subheads in order to break the pitch up into individualized sections.

5. Every pitch and business letter should open by calling the target by name.

6. The overall tone of the letter will depend on the price and type of product being advertised.

7. Give the target as much information as possible, such as how the brand is constructed, prices, and sizes, as well as how to purchase and/or reach a customer service representative.

8. Keep the letter professional looking.

The Creative Look and Sound of Brochures 1. Brochures bring a lot of class to direct mail because of their quality paper stock, use of multiple colors, photographs, graphics, and/or illustrations.

2. Brochure copy can be more creative, replacing a pitch or business letter with creatively written copy and spectacular visuals.

3. Its job is to educate, push the key consumer benefit and highlight what the brand can bring to enhance the target’s lifestyle or business environment.

4. A brochure is made up of multiple folded two-sided panels that can include both copy and/or imagery.

5. Panels can be broken down into front and back covers, interior panels, and depending on size, exterior panels.

6. You can devote entire panels to a different aspect of your key consumer benefit or even split panels into smaller sections.

Laying Out The Brochure 1. One of the first things you need to consider after you have exhausted all your brainstorming options is how the brochure will be read.

2. This will ultimately be determined by how it will fold.

3. After exposure to the cover do you want the piece to be opened one panel at a time or will it need to be fully extended to read the entire message? The best way to answer that question is to create a dummy folded layout.

4. These thumbnail size layouts help the designer see how the brochure or self mailer will be laid out flat when printed, and how the varied types of folds will affect the overall design and visual/verbal message.

5. Brochures are created from a single sheet of paper and are always designed and produced flat.

6. It is important to keep the placement of the fold in mind when designing to ensure no body or detail copy will fall into it affecting not only readability and legibility but also the overall design.

7. The white space on either side of the fold is known as the gutter.

8. Many designs will allow visuals and headlines to cross the gutter and span multiple panels.

9. Many designs will allow visuals and headlines to cross the gutter and span multiple panels. Although this layout option is popular it is important to keep a few things in mind. Be sure the fold: a. Does not fall across someone’s face. b. Does not block a critical component of the brand, especially if pointing out

accessories. c. Falls between not through letterforms when possible.

Every Panel Plays an Important Role 1. A typical brochure can have anywhere from four to eight double-sided panels.

2. Each panel has an important role to play.

3. The front cover screams out the key consumer benefit, the back cover holds detail information and the inside panels tell the brand’s story, and tells the target what to do next. a. Cover Design. Cover designs can be either visually or verbally driven. b. Interior Panels. The interior panels are where the sale is made. c. Outside Back Panel. This panel may also contain pricing information, or feature tear-away coupons or order forms, show seating charts, hold a discounted ticket to an event, or show any endorsements or testimonials attesting to what the brand can deliver, before and after pictures, statistical information, frequently asked questions, or information on studies conducted. d. Back Center Panel. The center back panel is always reserved for contact and/or mailer information, and a logo and tagline if using one. e. Pockets. Many brochures will have pockets that hold pull-out cards, stacked inside.

4. Beyond pockets you may find pop-up pieces, noise-makers, or even be able to smell some type of scent.

5. Using the panels or pockets to organize what you have to say allows your audience to compartmentalize information as well as help with information flow.

6. Make sure copy flows in an easy to follow path across panels.

Folds Are a Design Option 1. All brochures and most postcards and self mailers are designed on both the front and back of a single sheet of paper.

1. It is important visual/verbal content flows in a logical manner so the target will not miss a well-constructed word or stunning image.

2. One of the most interesting aspects of brochure design is the number of folding options that are available for use.

3. The type of fold you choose reflects on the brand so it is important to adapt the design to the specific shape of the brochure you select.

4. The type of fold employed will depend on your content, and of course budget.

5. There are nine different types of commonly used folds including: a. Bi-Fold. b. Tri-Fold. c. Z Fold. d. Gatefold. e. French Fold. f. Roll Fold. g. Accordion Fold. h. Double parallel Fold. i. Die-Cut Fold.

6. Choosing the right weight of paper stock for your brochure is important.

7. The flimsier the paper the cheaper it will look and feel.

8. Coated paper stocks will give your piece a high sheen, similar to that found in magazines.

Colors will be brighter and type crisper.

9. Uncoated stocks, often project a heavier weight and can deliver an old world or more traditional look.

10. Colors will be softer and the typeface chosen will have to be heavier since the ink will bleed into the paper.

11. Choice will depend on the look and image you’re are going after.

Reply Cards and Order Forms 1. As a part of the kit they should also reflect the overall design perhaps through color and/or typeface, style, or layout.

2. Use a headline to remind the target about the offer and a few lines of copy that sums up any relevant features and benefits.

3. The design must also include: a. Space for the target’s name, address, city, state, zip code, day and evening phone numbers, and an e-mail address.

4. Provide the proper boxes or lines if the consumer needs to make a color or size choice.

5. The size of the response or reply card and whether it is single- or double-sided will vary, depending on the number of items the consumer has to choose from and brand details such as size or color choices.

The Return Envelope 1. The return envelope should be plain and show the preprinted return and mailing address, along with a postage bar code and a representative stamp with the copy, “No Postage Needed If Mailed In The United States.”

2. It is important the reply card fits easily inside the accompanying envelope without excessive folding or scrunching.

Individual Direct Mail Pieces 1. Beyond a direct mail kit, some of the most popular stand alone direct mail pieces include: a. Postcards. b. Folded Self Mailers. c. Catalogs. d. Boxed Mailers.

Designing Tips For Direct Mail Pieces 1. The choice of piece(s) and overall layout used is important because each dictates the amount of copy and images you can use.

2. To ensure you have enough space, size will be an important consideration.

3. To further promote the brand, you may also want to include a sample, feature a few interactive options or introduce a contest or sweepstakes.

4. Because there is so much going on in a direct mail kit, it is important to ensure every piece in your kit gets noticed.

5. The best way to do this is to be sure that each piece is a different size and if possible, uses a diverse selection of colors from your brand color pallet.

6. The most comprehensively designed pieces will reuse graphic or illustrative styles, a photographic theme, or colors from the envelop on the inside pieces. a. Simplistic Design. Always go for simple and clean. b. Visuals. The memorable design relies on good storytelling and powerful visuals. i.

Choice of imagery should help push your key consumer benefit, reflect the

message, the brand’s image, and reflect your target’s lifestyle and interests. ii.

Make sure visuals appearing inside the piece are sized and when possible cropped in the same way.

iii.

Images do not have to be confined to individual panels. Both imagery and headlines can span across panels, or slightly overlap into another panel.

c. Typeface. It is easy to ruin a concept and negatively affect readability and legibility if the typeface(s) you use cannot be read. d. Color. Choosing a color that attracts and doesn’t alienate is always a crapshoot. e. Weights, Paper Stocks, and Finishes. The look and feel of a direct mail piece can affect the design and overall response rate. i.

Paper also affects any special techniques you might be considering such as embossing or debossing.

ii.

Embossing creates a raised image out of the background paper creating a 3D graphic effect.

iii.

Debossing pushes the image into and slightly below the paper’s surface.

f. White Space. Like all designs, ensuring you’re using an adequate amount of white space is critical. i.

White space fills a very important additional role in self-mailers.

ii.

If your direct marketing piece does not arrive in an envelope, it’s critical to remember that a big hunk of space needs to be reserved for the address and postal information.

Direct Mail Copy That Entices Action

1. Beautiful images and eye-catching colors can only carry your message so far.

2. To ensure you educate your target about how your key consumer benefit can enhance their lifestyle, you need to have creatively written copy.

3. What you say will depend on how much space and how many pieces you have to work with.

4. The components of copy in direct mail include: a. Headlines. Be sure the headline is the first and largest piece of copy on the page and screams out both the feature and benefit that makes up the key consumer benefit in an interesting and informative way. b. It is important to keep the headline short, to no more than five to seven words.

5. Subheads. Copy in direct mail is typically longer. a. If you want your headline and subhead to be any color other than black, make sure the color choice is easily legible against any background colors you might be using.

6. Body Copy. Although it appears you have a lot of space to work with, in most direct mail pieces, it is still important to get to the point quickly and succinctly. a. The paragraphs of body copy seen in any direct mail piece should be concise yet long enough to educate your target about the key consumer benefit. b. To help support your key consumer benefit focus on what the brand can do and/or offer, stay away from competing brands’ comparisons. c. A good copywriter must be able to turn an ordinary feature into a unique one, giving it a personality, and perhaps a new twist for an old use. d. Keep each paragraph to around three to four sentences in length.

7. The Offer. Every direct mail piece needs to include some type of compelling offer.

8. Call to Action. Be sure to close the sale. b. It’s important to remember that no matter how well your copy is written, your audience may not be immediately inspired to act quickly.

9. Detail Copy. Make sure your contact information or detailed copy is clearly stated and easy to find.

10. Disclaimers. Some copies and promotions require the use of a disclaimer.

11. Type Use. Headlines and subheads should be set in bold and can be either centered or set flush left, rag right within a single panel, or run across multiple panels depending on the design.

12. Proofing. Proofing your work is critical, always be sure to proof your piece for spelling and grammatical errors.

A Final Look at Sales Promotion 1. The type of sales promotion used must be an extension of the brand’s image and the visual/verbal message.

2. Depending on the amount of available surface space, promotional devices should take their cue from print, online, or direct-marketing materials.

3. Always, consider adapting, when possible, the unique headline styles, color combinations, typefaces, and styles, or any visual themes used elsewhere.

4. Be sure the logo and slogan or tagline are seen on all sales promotion pieces.

5. Point-of-purchase or in-store advertising that reflects the overall visual/verbal appearance of other advertising or promotional pieces can assist with brand recognition should the target forget the product name while shopping.

6. If the goal is to entice the target through trial or gifts and games, then sales promotion is the best outlet.

Sales Promotion Gives Something Back to the Target 1. The job of sales promotion is to give the target something for purchasing or for remaining a brand loyal customer.

2. All types of sales promotions are consumer motivated.

3. There are two basic types of sales promotions: in-store and out-of-store promotions.

Some will fall into both categories. a. In-Store Options Include: i.

Coupons.

ii.

Point-of-Purchase (POP) or In-Store Signage.

iii.

Price-Off Offers or “Sales.”

iv.

Specialty Packaging.

v.

Loyalty Programs.

vi.

Bonus Packs.

vii.

Sampling.

b. Out-of-Store Options Include: i.

Continuity Programs.

ii.

Trial Offers.

iii.

Product Warranties or Guarantees.

iv.

Refunds and Rebates.

v.

Special Events

c. In-Store or Out of Store Options Include:

i.

Giveaways.

ii.

Contests and Sweepstakes.

iii.

Premiums.

Chapter Sixteen Lecture Notes Online Advertising Has Personalized the Advertised Message 1. Internet marketing is also known as online marketing. It is the promoting of a business or brand over the Internet which is becoming better known as content marketing.

2. It is no longer just about distributing content, it’s about delivering truly relevant, useful and personalized content to the correct target, at the right time, to help them solve their problem on demand, or when and where it is convenient to them.

3. Today’s consumers turn to the Internet and/or social media to help with purchasing decisions.

4. Twenty-four-seven availability and customer reviews have fundamentally changed buying behavior when it comes to researching, evaluating and selecting one brand over another whether the purchase is made on or offline from our home, office, desktop, tablet, or mobile device.

5. Cyber marketing is a combination of traditional advertising and Internet marketing and they are effective at building brand awareness, initiating interactive opportunities, and educating consumers about a brand.

6. When used as an informational tool, the Internet specifically, is a great place to direct the target to read about tests or medical results, news articles, testimonials and professional advice or tips from relevant experts, or find current promotions.

7. A website is often the target’s first informational impression of a brand or corporation before purchase.

8. Advertising in any medium is all about perception and the way the visual/verbal message is delivered.

9. Internet marketing offers up yet another attribute: interactivity.

Interactive and Engaging Internet Marketing 1. Interactive mediums such as the Internet and Social Media build relationships between the target and the brand by providing multiple channels of informational interactivity to encourage target interaction and/or feedback.

2. Engagement is a direct result of this interaction.

3. It can be a challenge to find ways to make advertising interactive and interesting.

4. Interactive to creative teams, means creating and delivering an activity that both attracts attention and informs.

5. To marketers, it is a chance to create opportunities to interact directly with the target.

6. To accomplish both initiatives, Internet advertising uses many diverse forms of advertising options such as: a. Websites. b. Banner Ads. c. Pop-Ups. d. Search. e. Pay-Per-Click. f. Floating Ads. 7. More sophisticated interactive options might include: a. Streaming Audio and Video. b. Webisodes. c. Augmented Reality. d. Interactive Television.

8. It can also include more promotional or direct response options such as: a. Social Media. b.

Personalized E-mail.

c. Contest or Sweepstakes. d. Coupons.

9. The most successful Internet advertising can also create “buzz” between consumers, known as viral or word-of-mouth advertising.

10. This free form of advertising can carry more sales value than any type of advertised message alone ever will.

11. The biggest and most complex Internet vehicle is a website.

12. Knowledge about the design of these online storefronts will lay the foundation for how to design for all other Internet vehicles.

Internet Design Has its Roots in Traditional Media: Defining Web Design 1. Design on the Internet is one-part print and one-part broadcast.

2. Breaking it down even further, it is text-heavy with visual accents.

3. At its most complex, the visual/verbal message is delivered using sight, sound, and motion.

4. A brand website needs to break down and informatively tell the story of a brand and/or company.

5. A well designed site, needs to take the target on an informative and hopefully creative visual and verbal journey that showcases the features and benefits of the brand and what they will bring to the target’s life.

6. To do this well, the creative team will use all the visual and verbal components available

to them to inform and engage.

7. Using the same components from print advertising, a website will have headlines, subheads, visuals, body and detail copy, and a consistently viewable logo.

8. Layout will employ almost all of the principles and elements of design as well as rely on the psychology of color.

9. Interactive options, exclusive to Internet design will use the visuals to: a. Demonstrate Use. b. Act as links that can be clicked on to access any augmented reality options. c. Streaming Audio and Video. d. Webisodes. e. Podcast.

10. Beyond the copy and layout basics, there are many additional aspects the creative team needs to consider including the: a. Information Architecture, or the order content will appear. b. User Interface, or how components interact within the website. c. Site Structure, or what the site will look like. d. Navigation, or how viewers will move around the site. e. Interactive Options.

11. Websites are a critical part of a brand’s identity and are often the target’s first interaction with the brand. Because of this, it’s imperative for brands to craft a website that reflects the brand’s and target’s self-image.

12. The target’s first impressions are often planted, nurtured, and developed, based on their initial exposure to content on your brand’s website.

Front-End Design and Back-End Production 1. Front-end design refers to the creative teams that imagine and initially create the designs that will then be handed off to the back-end production designers who will code and implement the designs.

2. Sitemap: A diagram (sometimes a word document) that works as a table of contents identifying all the pages on a site and how they will be organized.

3. Wireframes: simple line drawings that show the placement of both continual and changing content. a. Continual content: It will be seen on every page including page headers and page footers. b. Changing content: It includes visuals, headlines, subheads, body copy, and varied links that will change on every page. c. User Experience: Experience or how visitors will interact with the website. d. User Interface: The visual communication between components on the page.

4. A wireframe will need to be completed for each page specified in the site map.

5. This results in a lot of wireframes being created during the exploratory or brainstorming process.

6. Beyond mere sketches, wireframes will also have a lot of comments describing how certain elements will act in the layout.

7. Another important aspect the creative team needs to keep in mind is what is known as the “above the fold” space on websites.

8. This is the space the site will open to and refers to what visitors will see first without having to scroll.

The Design Components That Make Up a Website 1. Once the sitemaps and wireframes are completed and approved by the client, the design team will determine how each design component will be used to construct the visual and verbal look the site will ultimately have.

Color: 1. Color plays an integral part in web design; it can help lead the target through the site and help create consistency between campaign materials.

2. Color is often used on websites to create a visual hierarchy or better user experience.

3. There are four basic color schemes that can be used on a website: a. Monochromatic (using color of the same hue). b. Analogous (colors close on the color wheel). c. Complimentary (opposite colors on the color wheel). d. Triadic (colors evenly spaced around the color wheel).

4. Once you have your color pallet set up, pick one color that will dominate the design.

5. Background color, if using one, should not annoy visitors or make it difficult to read and understand content by using colors that are too dark or bold.

Type: 1. A typeface needs to be a web-safe face to display correctly on a website seen across different browsers and devices.

2. San-serif fonts typically display better on digital platforms and make for a better user experience.

3. Serif fonts are typically harder to read online especially if placed on a background color.

4. Leading is referred to as line height on the web due to how the back-end code works.

Imagery: 1. The best kinds of images fall into two very specific categories: a. Story appeal (Images with story appeal are best placed above the headline). b. Demonstrative (Demonstrative images are best placed within or near the copy).

Copy: 1. One of the best ways to engage the viewer is to include a creative, interesting, and informational copy.

2. The best way to move the target towards the purchase and hold their attention for any length of time is a well-written copy.

3. Be sure to not visually overwhelm your target with a lot of copy. Intermix the site with headlines to divide sections, visuals to illustrate copy points, and subheads to help break up long blocks of intimidating looking copy.

4. Readability and legibility are as important in web design as it is in print.

5. Finally, tell the target what you want them to do, call for additional information, set up an appointment, or make a purchase. If the website is the targets final stop, be sure to make purchasing easy and to provide several payment options.

Layout Options: 1. Keeping visitors on your site is more than just the products being sold; it is also about ambiance or page layout.

2. Some of the top layout options seen on the web today include: a. Symmetrical or Single Column.

b. Asymmetrical. c. Grid or Magazine Layout. d. Zigzag. e. Gallery, or Grid Cards. f. Split Screen. g. Boxes. h. Fixed Sidebar Navigation. i. Dominant Visual. j. 3D Screenshots. k. Thumbnail Gallery. l. Radial Symmetry.

Breaking Down the Parts of a Website 1. Every site will have specific categories or subject heads where specialized information will be placed. Depending on the websites overall function these categories will vary between sites. Most sites will include the following categories: a. Home Page. b. Navigation. c. Menu Options. d. Links. e. Text-Only Format Options. f. News Releases or Relevant News Items. g. Blogs. h. Frequently Asked Questions (FAQ).

i. Banners. j. Contact or Customer Service Options. k. Back Button.

Technical Considerations 1. There are several uncontrollable technical considerations the creative team needs to keep in mind including file size, resolution, and connection speeds.

2. Be aware of the monitor resolution the target may be using.

3. Another important design consideration is the connection speed of the end-user.

4. Not everyone has a high-end computer system or fast Internet access, so it is important to design for both the low-end and high-end viewer.

Diversify Your Internet Presence: Additional Website Options 1. Today’s advertising options are creative, informational, engaging and interactive.

2. To ensure engagement, all forms of Internet advertising must be clutter free because simple ideas are more memorable, and promote some type of interactive component to hold the target’s interest long enough to educate.

3. Each medium will follow the design rules laid out for website development.

4. A few of the most notable options include: a. Microsites. b. Pop-Up Ads. c.

Floating Ads.

d. Digital Coupons. e. Streaming Audio and Video. f. Webisodes.

g. Augmented Reality. h. Search Engine Marketing. i.

Pay-Per-click Advertising.

j. Interactive Television. k. Interstitials. l. E-mail Marketing.

5. When the target elects to receive e-mail advertising, it’s known as permission or opt-in marketing.

A Quick Look at Experiential Advertising Options 1. Experiential marketing, typically associated with a live event, can be combined with the Internet to create an immersive experience between the target and the brand.

2. Experiential marketing also known as engagement marketing, uses physical or interactive experiences that set the company or brand apart from competitors by helping to create an emotional attachment to the brand.

3. Because of its memorable interactive qualities, experiential marketing can be a relatively inexpensive way to build awareness, work as an excellent reminder option, update a mature brand’s image, or help to memorably introduce a new brand in the marketplace.

Social is About Promotion Not the Hard Sell 1. Unlike traditional media vehicles, social media encourages a dialogue between the target and the brand as well as between consumers.

2. A promotional vehicle, it is important to keep in mind that all social media sites are networking sites.

3. This is not the place for hard sell advertising tactics.

4. Social media, also known as user-generated content (UGC) or consumer-generated media (CGM) is a great choice for increasing brand awareness, encouraging viral and word-ofmouth discussions, creating interactive opportunities between brand users, giving and receiving feedback, distributing promotional items such as coupons, and promoting repeat visits to both web and social media sites.

5. Social sites are also great brand-building tools, outlets for consumer idea generation, and a means of identifying brand influencers, to name just a few.

6. Additional opportunities include exposure to: a. Diverse Promotional Offers. b. Customer Service or Technical Representatives. c. Diverse Types of Blogs. d. Varied Reviews. e. How-To Information. f. Humorous or Motivational Stories. g. Imaginative/Creative Product Ideas. h. Real Time Answers to Questions. i. Music or Videos. j. Debatable or Controversial Content. k. Influencer Posts.

Social Media Design Doesn’t Have a Lot to Say or Show 1. Design considerations for all social media platforms should mimic those used for website design.

2. Keep the design simple and clean.

3. Sponsored videos allow the target to see the product in use.

4. Visual cues help the target remember the brand at the time of purchase as well as help build loyalty.

Social Media Reaches Consumers From Many Different Venues 1. Unlike most forms of advertising and promotion, social media, is not forced upon consumers but is used by choice.

2. It is certainly not a medium devoid of brand advertising but relies most heavily on usergenerated content to reinforce the brand’s visual/verbal message.

3. Diverse, the most common social media options include: a. Facebook: i. Users view organic content though unpaid distribution (friends sharing, page followers). ii. Paid content reaches its viewers as a result of advertising. iii. Having a presence on Facebook opens up opportunities: ▪

To have on-going conversations with your brand loyal target.

▪

To help build brand awareness.

▪

To promote new brands.

▪

To get feedback on current brands.

▪

For distributing varied types of sales promotions that encourage word-of-mouth and viral sharing, and initial purchase or repurchase of the brand.

Advertising Options For Facebook and Instagram 1. Facebook offers a variety of advertising formats to successfully deliver the brand’s

message. Options include ads with simple visual and/or verbal components to more complex and creative long or short form videos that are viewable on every device.

2. Currently, there are eleven major ad formats used by both Facebook and Instagram, including: a. Video. b. Image. c. Collection. d. Carousel. e. Slideshow. f. Offers. g. Event responses.

Instagram 1. Best used as a promotional tool, Instagram can help build new and existing brands and increase consumer trust.

2. Instagram has several ad options (identical to user options) such as: a. Photo. b. Video. c. Carousel. d. Stories.

Pinterest 1. Pinterest is a place to “pin-up” photographs.

2. This very visual bookmarking site allows viewers to share personal images or videos of images found online.

3. As an advertising tool, it is a great way to show uses, options, or sponsored events.

4. To be successful, these mini virtual showrooms must either solve a problem for the target and/or entertain them.

5. Pinterest has several options for advertising such as: a. Promoted Pins. b. Promoted Video Pins. c. Promoted Carousels. d. Promoted App Pins.

Twitter 1. Learning to write concisely and pointedly is a Twitter strength.

2. Hashtags, pinned tweets, and social media influencers, all help a brand increase sales, boost brand awareness and improve customer service.

3. Its ease of use makes it a popular vehicle for promoting more in-depth word-of-mouth discussions.

4. Additionally, one of its most important attributes to marketers is the insight into public opinion.

5. Like Facebook, Twitter has organic and promoted (paid) content.

6. Videos will play on the Twitter platform while content will link to external sources.

7. The only design difference for Twitter is the suggested image size.

8. Twitter currently offers ten different ad formats including: a. Plan Text Tweet. b. Image Website Card. c. Image App Card.

d. Promoted Video. e. Single Image Tweets. f. GIFs, Multi-Image Tweets. g. Video App Card. h. Video Website Card. i. Conversational Ads. j. Direct Message Card.

Snapchat 1. Snapchat, similar to Instagram is photo and video based.

2. Snapchat has a different set of ad options available to advertisers such as: a. Snap Ads. b. 10-Second Videos With a Swipe Up Option. c. Lenses, Allowing Viewers to Make Modifications to Images. d. Filters, or Customized Overlays.

3. The biggest difference between Snapchat and other social media options is that it pushes the use of augmented reality within its platform.

YouTube 1. YouTube, as an advertising vehicle is a relatively inexpensive way, beyond initial production costs, to consistently entertain, educate, and influence the target, often without hard-sell advertising tactics.

2. There are three basic types of YouTube Video ads: a. True View Ads, b. Preroll Ads.

c. Bumpers.

3. Like television, the creative team will need to develop both a storyboard and script for ads seen on YouTube.

4. The ultimate goal is to have the video go viral where the target shares the creative content with their friends.

5. There is really no way to guarantee any video will go viral, but to help it along, there should be no advertising sales pitch, but it does have to be, if possible, all of the following: a. Entertaining. b. Creative. c. Unique. d. Engaging, to encourage viewers to share it repeatedly with others within their social network.

Chapter Seventeen Lecture Notes Always on Mobile 1. Mobile advertising, also known as mobile-in-app, is the advertising seen specifically on smartphones, or mobile geofencing, location-based mobile advertising that reaches the target near or at the point of purchase, is very sophisticated.

2. A technology-driven advertising vehicle that takes advantage of developing mobile capabilities by reaching out to the millions of consumers who see their smartphone as an extension of their personal and business personas.

3. Mobiles major advantage is its ability to open up a channel between the brand and its target, by offering a diverse amount of personalized options.

4. Successful mobile advertising must: a. Deliver relevant and creative content that encourages the target to opt-in to receive messages. b. Deliver visual/verbal messages, promotional, and entertainment options that can be used across multiple and diverse platforms. c. Find multiple interactive opportunities for branded entertainment to both educate and engage.

5. Options for reaching and interacting with the target are diverse and include but are certainly not limited to: a. Augmented Reality. b. Search. c. Text Messaging. d. Banners.

e. Audio and Video. f. Animation. g. Interstitials. h. Coupons. i. Location-Based Mapping Capabilities. j. Gaming.

Mobile Phones Make Life Easier 1. Mobile phones play a role in almost everything we do today.

2. It has become one of the major ways consumers access the Internet, shop, play games, seek out entertainment options, connect with friends, and check out both the news and the weather, to name just a few uses.

3. As consumers’ constant companions, it has made reaching the target at the right time, with the right message, a whole lot easier for marketers.

4. Not only is it consumers primary search tool but thanks to its built in GPS (global positioning system) capabilities, the target can easily receive timely geographically useful ads.

5. Mobile’s ability to reach those who have opted-in to receive messages, gives it the ability to reach the target with messages they are interested in.

6. Content sent to the target is relevant, timely, and often immediately advantageous, making the visual/verbal message appear as a brand loyalty reward rather than annoying spam or junk mail.

Strategy is Built Around Use

1. Thanks to the short attention spans and reduced patience levels of today’s consumers, mobile advertising has to make the most of the first three seconds of the targets exposure to the message count.

2. Be sure to give them what they came for immediately before they click out and move on to another site that is easier to peruse and/or navigate.

3. To ensure they stop, look, and/or listen to the ad, it must be pertinent, address their individualized interests and needs, and embrace the KISS principle: a. Keep It Simple Stupid, or your message will be ignored with your target happily remaining ignorant about what your brand has to offer.

4. To strategically ensure engagement, focus on using more images and less text, make the message a quick read by using larger text that can be easily scanned, consider where the target is when reading the ad, and use it to your advantage.

5. Avoid clutter, don’t make the target hunt for information.

6. It is imperative the search for information or the shopping experience be intuitive and as easy and quick as possible.

7. It is also important to provide some type of promotional incentive with the ad.

Why Mobile Advertising is a Good Strategic Investment 1. First, research has shown that consumers interact with diverse types of information more often from their smartphones than from their desktops.

2. Secondly, because the consumer is on the move they are more likely to make an immediate purchase using their phone than they would when setting at their desktop.

3. Brands employing mobile will find it a great promotional device for increasing brand awareness, building or strengthening brand loyalty, and/or encouraging interaction.

4. It is also a great vehicle for increasing both recall and response rates, increasing Internet traffic, pushing real-time promotions, encouraging visits to sponsoring websites, and making a quick and easy purchase.

5. Apps that work over time delivering useful information, video or promotional material, or offers a game or two, will always be more attention-grabbing and memorable, creating multiple opportunities for word-of-mouth or viral sharing.

Design for the Mobile Screen 1. There are basically two kinds of mobile ad categories: a. Mobile Web Ads. b. Mobile In-App Ads. 2. Mobile web ads are located in mobile web browsers in the same way they are in traditional web browsers.

3. In-app ads, on the other hand, are seen inside the mobile apps consumers download.

4. Formats include both video and display and offer creative teams a wide range of advertising options.

In-App Display Ad Formats 1. Very diverse, in-app display formats offer creative teams a flexible way to reach their targeted audience.

2. These formats typically deliver content that is tailored to the app as well as the target’s interests. Most will include a: a. Visual. b. Headline. c. Small Amount of Descriptive and/or Actionable Copy.

3. The most commonly seen options include: a. Banners. b. Text Messages. c. Push Notifications. d. Text and Video. e. Interstitials. f. Native. g. In-App Mobile Video. h. Interstitial Video Ads. i. Outstream Video Ads. j. Instream Pre-Roll Video Ads. k. Rich Media. l. Quick Response Codes. m. Mobile Augmented Reality. n. Social Media.

Type Design on the Go 1. Using a typeface that is too small, too light, to decorative or incorrectly kerned and leaded can cause the reader or viewer to turn the page or click out.

2. Some rules surrounding mobile type use include: a. Typeface. Type may arguably be one of the most important components of UX design. If the type isn’t readable and legible, viewers will exit a site and/or app quickly. b. The choice of typeface and overall layout of that space, rule user experience.

c. Remember, if a brand’s typeface is not available online you will want to choose a typeface that matches the brand’s typeface and style as closely as possible. d. Never use more than two typefaces in your design. e. There are currently two categories of typeface used in mobile design: i. Custom. ii. Native. f. Custom typefaces are those chosen by the creative team that reflect the brand’s image and concept. g. Native faces are those built into each platform, for example, iOS currently uses San Francisco and Android uses Roboto, the differences between the two are negligible. h. Benefits of using a native typeface over a customized one include: i. Faster download times. ii. They work across a wide selection of supported platforms, screen sizes and resolutions. iii. Better readability and legibility at varied sizes. The downside of using either is the lack of customization for the brand.

3. Mobile Faux Pas. When choosing the best typeface(s) to use be sure to stay away from any that are overly decorative or condensed.

4. Type Size. Once you have determined which typeface(s) to use you will next have to determine size. a. Determining type size in mobile design is a bit more complicated than other digital or print vehicles and will depend on the device used.

b. Unfortunately, mobile needs to adjust for iOS and Android specifications, which of course are different. c. iOS sizes are based on point (pt.) size, d. Android devices use scalable pixels (sp.) or “sips” for short, and the mobile web uses pixels (px.). e. Because space is limited on smartphones, it’s important to vary both type size and weight to ensure an optimal amount of contrast on the screen and ensure an optimal reading experience.

5. Leading. Leading should not be too tight on a small screen. The best rule of thumb is that your leading should be 150 percent of the type size.

6. Kerning and Tracking. Since it is okay to use all-cap headlines in mobile design it means you will have to pay more attention to kerning between letterforms. a. Tracking for body copy should be limited.

7. Alignment. The best alignment for mobile body copy is flush left/rag right. a. Although all type can be set in this alignment style, to break up the page and increase white space headlines and any subheads can be set center on center.

8. Call to Action Links. a. Make sure they standout. b. The best way to stand them out is to place them in a colored box and be sure they are big enough to tap on.

9. White Space. a. White space keeps a design from looking cluttered and improves both readability and legibility.

b. As in all design the amount of white space to be managed falls between lines of text, within the margins, around components, and between paragraphs. It is important to understand that an abundant use of white space also gives a site a more modern appearance and makes taping easier and keeps accidental clicks to a minimum.

Color and Contrast for Small Screens 1. Color is just as important in mobile design as it has been in all the other mediums we have covered thus far.

2. Since mobile tends to be a more visual medium there is a lot you can say with the color palette you chose for your overall design, images, and text.

3. Because of this, it is important when placing headline type on top of a visual or dark color for example, that the contrast be strong so as not to adversely affect readability and legibility.

4. To minimize a cluttered look, try to keep this overlapping of color-saturated elements to a minimum if not avoiding it altogether.

5. Choice of color palette should begin with the colors currently being used by the brand.

Visuals Sometimes Have to Say it All 1. The use of high-quality visuals is crucial, so be sure they are not distorted or pixelated in any way.

2. To ensure this, be sure to display your visuals at 100 percent of size, or in other words don’t overly enlarge or reduce them.

3. Design options that heavily feature visuals include: a. Image-led landing pages.

b.

Search results featuring large scrollable images.

c.

Image only browsing.

d. Click to enlarge imagery. e. Image only product screens. f. Slide shows. g. Static imagery with accompanying video.

4. Be sure your primary image is visible above the fold, don’t make your target scroll or have their first impression of your brand be of a partially viewable visual.

5. They must be of high quality and of enough interest to your target to entice them to click on the imagery. Once clicked on, that image will take them to a landing page.

6. A landing page is a single web page that opens after the viewer clicks on a search result or online ad. The best ones stop attention, demand an action, and get a conversion.

7. These pages typically focus on a single call-to-action and showcase clean design and simple navigation.

8. The best landing pages are developed around the user experience and nothing enhances this experience more than imagery.

9. Be sure the images are correctly placed within the design.

10. The more important the visual to the main storyline the more dominant it should be.

Headlines, Subheads, and Body Copy the Mobile Way 1. Headlines still rule in mobile and still are responsible for screaming out the key consumer benefit.

2. Technically there are no subheads in mobile, just varying sizes of headlines. A good rule of thumb, is for any secondary headlines to be about half the size of the headline to

standout from the body copy.

3. Mobile copy needs to be captivating but succinct, there is not a lot of room for long visually descriptive storylines.

4. The more abbreviated the copy the more cleaver and colorful what is said needs to be.

5. To make scanning easier, think about using bullet points to make reading faster.

6. The more compelling the copy, the more likely it is to persuade the target to take an action such as a purchase.

7. Incentives are a proven way to get conversions.

8. Be sure the call to action is prominent and simple.

9. Finally, every ad needs to include detail copy, especially contact information to assist the target with getting any additional questions they may have answered quickly.

10. To encourage a quick purchase be sure to include a streamlined, easy to fill out order form.

What Can Go Wrong?

1. A few things you can look out for to ensure a positive user experience for the target include: a. Keep Typefaces to a Minimum. b. Less is More. c. Consistency Counts. d. Key Consumer Benefit. e. Navigation.

The Mobile Web is Not Your Desktop’s Web 1. The visual and verbal look of a mobile webpage is vital to the success of any mobile

strategy.

2. Research shows that more and more consumers are turning to their smartphones over their desktops for web searches.

3. When developing a website specifically for these mobile vehicles keep the following in mind: a. Mobile users read less than desktop users, so keep the delivery simple. b. Be sure load times are as fast as possible, consumers have less patience on mobile devices than on desktops. c. Prioritize usability with call-to-action (CTA) buttons that are easy to find and tap.

Designing for the Mobile Web 1. The Simplified Mobile-Friendly Web. Websites seen on a smartphone’s small screen must be mobile-friendly or easy to use.

2. Designing Your Website for Multiple Screen Sizes. Designing with multiple screen sizes in mind is a key factor in the delivery of a mobile website. a. Responsive design. It automatically reacts to changes in screen size by adjusting the placement of both visual and verbal design elements to ensure they fit in the available space. b. Adaptive design. To use multiple fixed layout sizes makes it not only more expensive but more time-consuming to produce.

The Simplified Mobile-Friendly Web 1. For the design of a mobile website to be successful, it must understand not only the type of visual/verbal content that will be displayed, but how it will be employed across devices, and of course, its smaller viewable size.

2. Understanding how the site will be used by the target is critical.

3. It is also important to know what features are important to the target and what features they find frustrating when using mobile websites.

4. Consider what type of device(s) do they use when accessing the mobile web? This places an enormous emphasis on context.

5. Context is all about the environment in which content is viewed.

6. Since most consumers use their device on the go, speed and ease of use will be a priority, as will be the need for designing a graphic yet straightforward and stripped down site that focuses on a streamlined experience.

Designing Your Website for Multiple Screen Sizes 1. Designing with multiple screen sizes in mind is a key factor in the delivery of a mobile website.

2. To address the diversity of sizes, creative teams can choose between using either a: a. Responsive. b. Adaptive Design.

Are Brand Centric Apps Necessary?

1. There are two ways to end up on a brand’s site, through a web link or via an app.

2. If they arrive at a site via a shared link, an app would be repetitive since they will visit the site whether they have downloaded the app or not.

3. If you want to create a more personal and focused experience, apps are a great choice.

4. An app is warranted if a large number of the target audience will go to the site directly and often.

Designing for a New Digital Medium

1. Creating a user-friendly experience is critical when designing for mobile. Users expect pages to match the integrity, quality, and performance the brand projects elsewhere.

2. There are five main differences between the mobile and desktop experience. a. Probably the most important difference is the minimal amount of space there is to work with. b. Visitors are not as focused on a mobile site in the same way they may be when visiting a desktop site. i. Mobile sites will offer a lot less information than that found on a traditional website. c. Design simply, avoid using unnecessary visuals and graphics when possible, and give visitors an option to view any video content. d. Always keep in mind that mobile web users are typically in a hurry. Keep the design simple. e. Battery life.

1. Desktop experience. a. Sites that require viewers to fill out forms need to use a more simplified version than those found on a traditional website. b. Keep them short. c. Be sure any data entered or page screen viewed is savable for use in later visits or readable at a later time by the target. d. To show the user a step they made has been accepted.

Website Type Sizing 1. Type sizes for the mobile web are measured in pixels (px.) if you are designing a website

that can be viewed on a smartphone there is only one rule, your body copy can be no smaller than 16 px.

Navigation Must Be Easy 1. Navigation devices should be easy to find and intuitive to use.

2. The use of what’s known as sticky headers and footers keeps navigation options in the same place throughout the site making it easier for viewers to find what they are looking for.

3. Be sure to put all call-to-action and search devices at the top of the site above the fold.

4. It is important to remember that the opening page will be the first visual and verbal impression the viewer has of the site.

5. The placement of navigation devices will depend on content. More comprehensive sites may place a menu link at the top and navigation buttons on the bottom of the screen to alleviate any unnecessary scrolling.

6. To save valuable viewing space, still others may partially hide the menu until the user taps on it. Links can be text only or have an accompanying visual.

7. Drop down menus are another option to help ensure the target can accomplish everything they set out to do when visiting the site. Most menus are located on the top right hand side of the screen and remain hidden until tapped on.

8. The acceptable tap size of any link (width and height) can range from 28- to-34-pixels depending on the device.

A Little Bit on Tablet Design 1. Tablet design is similar to designing for a website.

2. It must be easy to use, informative and showcases relevant visual and verbal content.

3. Go for clean and simple, battery time is limited.

4. Design must take into consideration that the target will use desktop, mobile, and tablet interfaces differently.

5. All design for digital devices is affected by resolution, screen size, and speed, so a onesize-fits-all space does not apply.

6. Tablet design should use simple, clean user interfaces with large, well-spaced, easy to find navigational options.

7. Tablet layout options match those used for the Internet. The major difference is sizing.

Chapter Eighteen Lecture Notes Putting All the Visual and Verbal Pieces Together: Campaign Development 1. A campaign is a family of ads that deliver a synergistic, strategic, and cohesive collection of planned messages.

2. Coordination requires that advertising seen in all mediums has a single message, driven by the key consumer benefit, uses the same tone of voice, strategy, and common imagery.

3. A brand may develop a campaign for any number of reasons but the most common include: a. Initiating or building on existing brand awareness. b.

The launch of a new brand.

c.

Improving name/brand recognition.

d.

Promoting a new brand use.

e.

Showcasing a reinvented or improved brand.

4. The key consumer benefit will lay the foundation for the development of the campaign.

5. Creating a uniform set of messages does not necessarily mean copying and pasting a visual and/or verbal component directly from one medium into another.

6. From a design standpoint, it doesn’t matter whether a campaign’s role will be a complex introduction or reintroduction of a brand or a series of simple reminder ads.

Creative Teams Need To Know a Lot More Than Copy and Design 1. First, it’s important to remember that all advertising messages revolve around the targeted audience.

2. Secondly, make sure you understand your brand’s attributes, capabilities, and limitations.

Ask: a. How is the brand currently perceived within the brand category? b. How does its current image affect what needs to be accomplished? c. Does the brand’s image need to be strengthened or corrected? d. How many features does the brand have? e. How is it manufactured? f. Is it the same, similar to, or completely unique from competing brands? g. What is the quality of materials used, and how is it reflected in the price, packaging, store layout, and so on?

3. It is also important to know whether the brand offers some kind of actual benefit competitors either do not have or are not advertised as important.

4. Lastly, to ensure the brand stands out both creatively and informatively you must also know as much as possible about the brands’ immediate competitors.

5. Knowledge is priceless when building a visual/verbal concept that must stand out from competitors’ brands.

Reviewing The Promotional and Media Mix of Design 1. Before the concept is solidified and imagery and copy developed the creative team needs to know about both the promotional and media mix the campaign will employ.

2. The promotional mix includes any combination of: a. Public Relations. b. Traditional Advertising. c. Direct Marketing.

d. Sales Promotion. e. Out-of-Home. f. Transit. g. Internet. h. Social Media. i. Mobile. j. Alternative Media.

2. The media mix breaks the promotional mix down into specific media vehicles such as: a. Newspaper. b. Magazine. c. Radio. d. Television. e. Direct Mail. f. Twitter. g. Event Marketing. h. Gaming.

3. The use of a concentrated media mix places all advertising efforts into one medium.

4. An assorted media mix employs more diverse types of media vehicles.

5. To show and/or tell the brand’s message effectively the creative team needs to know where the ads will be seen and/or heard.

Looking for Uniformity in Campaigns 1. The typical campaign has three interrelated components that can directly affect concept development and appearance:

a. Campaign Uniformity. b. Visual Uniformity. c. Verbal Uniformity.

2. Campaign uniformity means that the visual/verbal message is consistent across diverse types of media vehicles.

3. Visual uniformity means that all images have a distinct look or style. a. This happens when typefaces, layout style, visual images, representative character representatives or spokespersons, slogans/taglines, and brand color combinations are exhibited on all pieces. b. Each visual element employed should help the target see or experience the brand and the benefit it will bring to his life. c. Visually when possible, try to do something unusual or unexpected. d. If the brand has no distinguishing features or uses from that of competing brands, then the visual and verbal concept will have to set it apart.

4. Verbal uniformity is all about using a universal tone of voice to push the key consumer benefit across multiple media vehicles. a. The verbal elements such as headlines, subheads, body copy, slogans or taglines, and jingles should create a cohesive and consistent tone of voice throughout the campaign and across all media.

5. The choice to use a diverse promotional mix that spotlights the same verbal tone of voice and visual appearance increases its memorability with the target, and will help position the client’s brand as different from competing brands.

6. The campaign’s visual/verbal foundation will emerge from the creative brief.

7. Before any concept moves forward towards final development of the visual and verbal message, it must encompass and accomplish each of the following: a. The campaign concept is driven by the key consumer benefit in the form of either a big idea or USP. b. Strategically, every ad must both visually and verbally work together to accomplish the stated objectives. c. It is imperative every message used in the campaign speaks directly to the target about how the brand can solve her immediate problem. d. All visual/verbal messages no matter the media, employ the same strategy and tone as laid out in the creative brief. e. The overall visual and verbal concept is expressed through one or more of the following: i. Key Consumer Benefit Driven Idea. ii. Layout and/or Headline Style. iii. Visual Theme. iv. Typeface and Style. v. Color Use. f. The campaigns overall visual/verbal identity is clearly recognizable in all advertising and promotional pieces, no matter the size or shape of the media vehicle. g. To set the brand off from the competition the overall concept needs to create and successfully promote a unique brand identity.

Managing the Details for Uniformity

1. What sets a good designer apart from a great designer is their ability to hone in on the smaller less immediately noticeable details.

2. Paying close attention to detail is particularly critical to maintaining a consistent visual/verbal identity across multiple media vehicles.

3. Beyond what the imagery shows, all visuals must be similarly sized, cropped, and displayed.

4. Details are just as important to maintain when space is at a premium.

5. Typestyles should be consistent across mediums, and headlines, subheads, body copy, and logos should be the same size and similarly placed when possible.

A Campaign’s Verbal Storyline 1. Beyond what the imagery shows, all visuals must be similarly sized, cropped, and displayed.

2. One of the first things the creative team will need to decide is whether the campaign will need to tell a simple one-dimensional story or use a more complex multi-dimensional story built around the key consumer benefit.

3. A one-dimensional story will simply introduce or elaborate on the key consumer benefit using a repetitive headline style and/or visuals.

4. A multi-dimensional story will let the key consumer benefit develop slowly across the promotional mix using a diverse but cohesive set of copy and visuals.

5. The story can be developed all at once using multiple ads or over a specific set of time using a series of ads that are strategically released one-by-one.

6. Good copy no matter where it appears will always rely on the following:

a. A strong key consumer benefit-driven headline that stops attention and delivers relevant information of interest to the target. b. Be sure the copy matches the tone of voice used by the headline. c. Be sure your copy is scannable or quick and easy to read. d. The entire ad needs to push and creatively develop the key consumer benefit. e. Be sure every ad in the campaign leaves the target wanting to know more about the brand so they will feel compelled to take some kind of action. f. All ads need detail copy that makes contact with the brand or its representatives fast and easy.

Not All Campaigns Have the Same Job to Do 1. There are four distinct types of campaigns the creative team can pick and chose from: a. National Campaigns. b. Service Campaigns. c. Corporate Campaigns. d. Retail Campaigns. i. Brand intensive retail campaigns rarely stand out with cutting-edge creative, since they need to push a lot of price-focused merchandise.

Media Choice Affects Design Decisions 1. For a campaign to be considered successful it will take more than just a good idea and a coordinated look.

2. It will require a consistent and relevant visual and verbal message, media vehicles that are sure to be seen by the target and more than a little bit of old-fashioned luck.

3. Modern campaigns are inventive, highly personalized and may never employ a traditional

vehicle relying instead on vehicles that are more personalized to reach the target, where they are and with what they care about such as: a. Internet. b. Direct Mail. c. Sales Promotions. d. Mobile. e. Social Media.

4. The rules dictate that a campaign employ media vehicle(s) that research has proven the target uses.

5. Beyond the creative message it is important to consider: a. When the message will be seen and how often? b. What media vehicle(s) will be employed to deliver the message and when? c. How many messages will be available to the target? d. Will multiple messages be available to the target at the same time?

6. Every media vehicle chosen needs to say something important about the key consumer benefit and by default the brand.

7. Whether or not to reuse any visual or verbal design element will depend on the media vehicles delivering the campaign’s message.

Campaign Messages Versus Single Shot Messaging 1. During a campaign’s lifetime there may be incidences when a single shot ad will be needed.

2. This could happen due to overstocks or the need to clarify information, no matter the reason, the key is to be sure the ad uses the same imaging and messaging devices used in

the original campaign.

3. The need for reoccurring visual/verbal ties is what sets a campaign apart from single-shot messages.

4. Single-shot ads are not memorable to a distracted advertising saturated target.

5. To ensure the target gives your visual/verbal message more than a glance it must be seen in multiple mediums and have a consistent message.

Budget Restraints Do Not Rule a Good Idea 1. Good ideas are what drive a campaign not its budget.

2. A great idea has nothing to do with a hefty budget, it has everything to do with the creative teams interpretation of the key consumer benefit.

3. Great creative ideas are not the best advertising solution for every brand.

4. Unique ideas are best suited to well-known brands, that simply need to remind, not sell.

5. With that said, to be successful ads don’t need to excite or surprise.

6. Creatively, they just need to be genuine.

Making the Message Last and Last 1. Successful campaigns have longevity.

2. Campaigns that are on-target and on-strategy do not need to compete with a competitors’ constantly changing message.

3. How long a campaign is used will depend on how many storylines can be adopted.

4. The goal of all campaigns is to bring uniformity to the creative message.

5. The biggest advantage of a well targeted, well designed, multimedia campaign is the ability to deliver the brand’s message at the right time to the right audience with a

coordinated multifaceted visual and/or verbal message that successfully educates, informs, and entertains every time the ads are encountered.

Chapter Nineteen Lecture Notes Client Direction and the Agency Pitch Process 1. The purpose behind every advertising agency pitch is to determine whether the agency: a. Understands a brand’s current advertising problem. b. Whether the agency can deliver a viable solution with enough creative ingenuity to give the brand a significant point of difference between it and other brands within the category.

2. Covering a lot of ground, a typical pitch must state the objectives to be accomplished, the target to be reached, the advertising problem to be solved, the media to be used, and the visual and verbal solution that will help to deliver the intended results.

3. It must also demonstrate the agency’s ability to find and promote a significant difference between the brand and competitors within the brand category that will ultimately enhance the brand’s image and create awareness.

4. Brands look for a new agency for any number of reasons: a. Slow sales. b. Dysfunctional relationships between the brand and the agency. c. Costs. d. Overall return on investment. e. Distrust. f. The need for a new visual and verbal direction. g. New and diverse media specialization. h. The move to the use of in-house agencies, to name just a few.

5. A brand will typically request pitches from three-to-five agencies, although there could be more depending on the size of the new business.

Who is in Charge of Dazzling the Client During the Pitch?

1. Today’s clients want to see and meet the actual team members that will be working on their accounts.

2. The strongest, and often the most long lasting business relationships, are built on credibility and trust.

3. It is important the client not only pick a team they both respect and won’t mind spending a lot of time with but that can also show a strong return on investment.

4. The number of people to include in a pitch will typically depend on the size of the client.

5. Pitches to a large brand with a big budget, will require a more formal pitch, where each member of the account, media and creative team, and depending on client needs, specialist teams such as those responsible for public relations, direct response, web development and social media, to name just a few, will present.

6. Pitches to smaller brands will typically include one or two key people.

7. No matter whether the pitch will be formal or informal, the key is to bring the experts needed to solve the client’s advertising problem.

Preparation For the Perfect Pitch: Breaking Down What Needs to Be Accomplished 1. The pitch process will begin as all advertising does with an internal deconstruction of the pitch brief also known as a request for proposal (RFP) supplied by the client.

2. Before the creative team can begin any brainstorming sessions they will need access to any research gathered and information on media direction.

3. Once a final direction is solidified, the team will move on to finalizing both the copy and layout for any print and/or digital options, as requested by the client.

4. The more ideas need to be reworked the more taxing and frantic the “pitch mode” or pace becomes.

The Steps to Preparing a Pitch Deck 1. Once each team has completed their assigned sections, the next step is the development of the pitch presentation.

2. This will begin with all the teams regrouping to discuss directions and create a brief outline of what the presentation of the pitch should say and show followed by the development of a pitch or presentation deck.

3. A pitch deck, typically created using PowerPoint or Keynote, introduces the agency to the client and outlines the agency’s solution to their advertising problem.

4. The best pitches will tell a captivating story.

5. Well-organized pitch presentations that revolve around a storyline follow a detailed presentation formula.

6. Each deck should open by introducing the characters (the agency and team) and the three key points the team wants to make based on the problem set up in the RFP. 7. The plot or middle section should introduce the conflict or villain (the problem) and show and tell ways the hero (the creative solution) can overcome obstacles (competitors, target attitudes).

8. The ending will wrap up the three main points and how they will help the brand overcome any hurdles.

9. Step One: The opening.

a. The opening, also known as the upfront is the time for the agency to toot its own horn.

10. Step Two: Tell a story. a. Here is where you will weave your solutions to the three main points presented in the opening, into a story rather than just dryly pitching an idea.

11. Step Three: The creative solution. a. This is the challenge solved or the hero to the rescue.

12. Step Four: Closing and summary. a. To ensure your audience didn’t miss anything important, be sure to close the presentation by summarizing the three main points that were introduced in the opening moments of the presentation and fleshed out in the middle.

13. Step Five: Q&A. Open up the floor for questions. a. Be prepared before the pitch for as many questions as possible.

PowerPoint Should Be Considered a Design Tool Not Just a Presentation Tool 1. Most presentation pitches are created in PowerPoint or Keynote.

2. The steps needed to develop a persuasive presentation include: a. Laying Out the Slides. i.

How clearly information is arranged on each slide reflects organization and hopefully clarity.

ii.

The first step to determining what will be said and shown is to create a storyboard and script.

iii.

Be sure to limit each slide to expressing a single idea, in a single sentence or less.

b. Keep the layout simple. i.

Use text only to highlight your most important points.

ii.

Every visual needs to punctuate a concept or thought you are making.

iii.

Every image needs to move your presentation storyline succinctly along.

iv.

Visuals should be used to support the spoken word and/or replace the written word.

The Visual and Verbal Look of a Pitch Deck 1. As in all design for multiple pieces you are going for a unified Look.

2. Each slide should be a part of a unified family, not an individual expressionist.

3. To ensure strong branding, be sure each slide has a consistent look and tone of voice.

4. To ensure consistency be sure to: a. Place only one key point per slide. State each point in a single sentence. b. Make your main points obvious. c. Consider using a strong, informative headline to set up each slide. Ask: i. What is the point I’m trying to convey with this piece of information? ii. How does this information connect back to the problem and set up the solution? iii. What is the key take-a-way for the audience? d. Promote each point with a visual and let a single dominant visual tell your story whenever possible. i. Visuals make information or concepts easier to digest. ii. If it can’t be stated or emphasized with a visual, rethink your presentation script.

e. Always use high-quality images. i. Make sure every image uses a high resolution, 300 ppi or higher. ii. Always stay away from clip and stock art images, they are not original ideas. iii. Be sure to never stretch or skew an image to fit in a desired frame and avoid excessive use of visual effects such as shadows, reflections, arrows and moving or blinking accessories. f. Work with diverse types of photographic crops. g. If you have a lot to show, visuals can be cropped in a multitude of different ways. h. Use no more than two typefaces in the presentation. i. If you need differentiation, consider adjusting the weight and/or size of the typeface. i. Use typefaces creatively. i. Be sure they match the message behind the presentation or consider using the client’s existing typefaces, brand colors, photographic style and/or any unique shapes that match the brand or packaging. ii. Be sure all text is readable and legible from anywhere in the room where the presentation will take place. iii. Bold san serif typefaces always work well visually. iv. For titles, use at least 32-44 point type. v. Keep bullet points to no smaller than 28 point. j. Always use present tense, active voice, and descriptive words. k. Avoid using all caps, reverses, and italics.

l. Be sure more than one person has thoroughly proofed the presentation for any grammar and/or spelling errors. m. Use strong color contrasts on your slides to ensure information pops and attracts and holds attention. n. Consider using bright colors that scream look at me. o. Watch out for balance, text alignment, white space use, and page margins. p. Consider uniformly diversifying the look of each slide. q. Intersperse the deck with interactive options when possible. i. Consider adding handouts, packaging options, mock-ups, or even an oldfashioned flip chart to encourage discussion. r. To make it more memorable, understandable, and visual, consider corralling this type of information into some type of visually informative graph, chart or infographic. Consider the following options: i. Line Graph. ii. Bar Graph. iii. Pie Chart. iv. Pictogram or Infographic.

Getting Your Pitch Ducks In A Row: Preparing For The Pitch 1. A few preparation techniques: 2. Practice makes perfect. Rehearse, rehearse, rehearse, and don’t stop until you feel confident about your part in the pitch.

3. Role Playing. Do a little role playing to prepare, or consider watching yourself in the mirror, or have a friend video tape you to highlight your visual/verbal style.

4. Energy is Enthusiasm. Channel all that pent up energy into enthusiasm about what you have to say. Enthusiasm is infectious.

5. Arrive Early. By arriving early you will have time to relax a bit before hitting the presentation stage.

6. Look Around. Spend a little quality time in the room where the presentation will take place.

7. Breathe. A few deep breaths can relieve a lot of nervous energy.

8. Smile. A big smile increases endorphins, helping to replace anxiety with an aura of confidence.

9. Appropriate Pauses. When you are nervous it’s easy to race through your part in the presentation. There are typically three times you want to pause during a presentation: a. Before and after you deliver an important piece of content. b. Before and after a transition between talking points. c. Between the beginning, middle and ending closing points. i. Be sure not to fill pauses with wasted noises or words such as um, ah, or ya know. ii. These are wasted words. iii. A good silent pause can attract attention, so don’t fill it.

10. Speak Clearly. Show off your personality and passion for the project by speaking clearly an animatedly.

11. Dry Mouth. Anxiety often causes dry mouth, so be sure to have a bottle of water with you.

12. Don’t Fear Anxiety. Anxiety can actually help keep you in the moment. Embrace that nervous energy and use it to land the account.

13. Try not to let the unexpected throw you.

14. Be sure to always have at least one backup of the presentation. It’s always a good idea to bring your own adapters and clickers even if the client assures you they have everything you will need.

If You Need To Pitch It, There Is A Way To Say It 1. There is no one-way to make a pitch. Consider the following options to find one that best fits your style.

2. Visual Style. This style focuses on the visual rather than bulleted points.

3. Freeform Style. If you are a great storyteller and absolutely hate PowerPoint presentations consider this option.

4. Instructor Style. This presentation style allows the speaker to deliver relatively detailed information using figures of speech, voice moderation, metaphors, body language and visual aids like PowerPoint.

5. Coaching Style. This style is for the energetic, inspirational, and charismatic speaker.

They can use their voice and body language, role-playing, and audience participation, to help make their point as well as effectively connect with, and engage with, their audience.

6. Storytelling Style. This style is all about engaging through anecdotes and examples the audience can relate too.

7. Connector Style. The connector style presentation, allows the speaker to connect with listeners by tying their wants, needs, and lifestyle choices, back to his own.

8. Lessig Style. When you are short on time, this is the presentation style to choose. It requires the presenter to address each slide within 15 seconds.

9. Takahashi Style. This presentation style uses large bold text that dominates each slide.

10. When placing your personality into the presentation you cannot only deliver a memorable pitch, but you help to make a connection with the audience.

Mannerisms That Annoy and Distract 1. Body language can speak volumes.

2. During every presentation you should always use controlled facial expressions and hand movements to effectively communicate important points.

3. It is also a great way to show off your confidence as a presenter.

4. A few of the most commonly made mistakes include: a. Hand movements. Use them wisely, don’t clasp them together, or use them to fidget with a hangnail or to tap, anything. b. Grouchy Stance. Whenever you cross your arms you look aggressive, bored, or inattentive. c. Darting Eyes. When you avoid eye contact, by checking your watch or looking at the wall or an empty chair, it appears dismissive and rude. d. Slumping. If your posture is not upright you appear to lack confidence. Go for a comfortable but neural position. e. Bodies in Motion. Be sure not to pace back and forth, do not fidget or make any quick gestures or repeated motions. f. Jumpy Legs. Don’t jiggle them, or rock back and forth. Shifting legs make you appear uncomfortable and restless.

g. Grumpy Face. Your face and its open or closed appearance will determine how the audience feels about you. Make it natural, be sure not to frown when making a point. Smile the minute you step up to the podium. h. Slide Reader. If you want to appear dismissive, disinterested, and unprepared, turn your back on your audience and read directly from your slides. i. Jargon. Never use jargon, rhetoric, trade, or pretentious language. Always speak plainly and to the point. j. Nervous Gestures. Don’t fold or hold onto any paper, pencil, pen, or marker, touch your face, finger your jewelry, run your hands through your hair, scratch anywhere, or clear your throat excessively.

What Should You Look Like: What Does Your Attire Say About You? 1. You are not only presenting your solutions during a pitch but yourself.

2. How you dress reflects how your message is received.

3. The safest bet is to always dress more stylishly and professionally than your audience.

4. Always avoid impractical accessories, anything too revealing, casual, scruffy, or distracting.

Presentation Length: Don’t Bore, Leave Them Wanting More 1. It is important to get a clear presentation schedule from the client so you know how long the team will have to present.

2. You never want to go over your allotted time.

Working With a Client’s Personality Quirks 1. The first step is to get to know them, begin building trust and credibility.

2. Learn how to avoid unpleasant disagreements and how to negotiate through their level of

tolerance for change and surprise.

3. Many problems center around communication issues. Clients want agencies too: a. Know their business almost as well as they do. b. Communicate constantly, surprises are rarely welcomed. c. Have a strong creative and media strategy. d. Manage and use consumer insights. e. Accomplish more with a smaller budget. f. Show quantifiable results.

The Tedious Approval Process For Existing Clients 1. There are only two absolutes in advertising, that changes will happen during both the internal and external approval processes, and that they will happen at the last minute.

2. Necessary, internal, and external approvals ensure the quality of the work not only meets both the agency and client standards but is also soundly on-strategy and on-target.

3. There are three times an existing client will need to approve a design: a. When a new concept direction is needed. b.

After the super comps are completed.

c.

Before the ad is printed or uploaded.

Presenting New Concept Directions to Existing Clients 1. Once internal approvals to the copy and layout are complete, the entire concept will have to be sold externally to the client.

2. Once a design direction is approved, the account manager will bring any and all changes, corrections and/or additions back to the creative team.

3. The next step is to complete the final ads.

Presenting the Final Design 1. This final step in the creative process can often be a very stressful and frustrating one for the creative team.

2. No matter how good the account team is, or how much client input there initially was, it is unlikely any ad or series of ads will ever be approved by the client without additional changes.

3. Although often tedious, it is critical the creative team always be open to client feedback.

4. The external review process can often be slow if more than one approval is needed.

Understanding the Importance of Deadlines 1. Missed deadlines for any reason, for any type of medium, will not get produced, on time and on budget.

2. There are big consequences to missed deadlines, so, no deadline is ever missed.

3. To avoid springing any unnecessary surprises on the client, it is important that the creative team adhere to the creative brief as closely as possible.

Today’s Streamlined Approval Process 1. The approval process of yesteryear required the account manager to physically drive the ads over to the client’s office or use a courier service to deliver them.

2. Today, thanks to the computer, the approval process is more streamlined, less timeconsuming, and more collaborative, under most circumstances.

3. The introduction of easy-to-use desktop publishing tools allows for online proofing by the client.

4. Collaboration early and often creates less uncertainty on the client’s part often resulting in smaller and fewer changes.

5. Whether presenting a new pitch to a future client or new ideas to an existing one creative teams will always need to passionately sell the sizzle of a big idea and capture the essence of the brand.

Part 2: Assignment Chapter 1 Assignment Creative Brief NOTE: Assign a brand and outline with a couple of sentences what students need to accomplish in the brief. See example brand below.

RITZ. The client wants you to promote the variety of RITZ crackers in this (add media) ad and how they can be used as more than just a plain cracker. They want you to talk about what makes RITZ unique. Perhaps its toppings or fun times with the family such as parties, camping trips, or as just a snack while spending a cozy day at home.

NOTE: Points are lost for not completely following the above paragraph. Reread often to ensure everything you need appears in the creative brief.

Additional information might include the following: • Create a new tagline for RITZ that highlights your creative direction.

• Decide if you need some type of promotion, such as a contest or sweepstakes or perhaps some type of digital coupons. This is not required.

• Add any social networking information you may feel appropriate at this time.

• Do not forget to include any applicable detail copy.

Creative Brief Develop a Creative Brief for the current medium. Use your creative brief template from the text to determine a target, objectives, features and benefits, target analysis, the main competitor, a key consumer benefit, support statement, strategy, tone, tagline and logo, as well as detail and any coupon or other promotional copy. Be sure to clearly define your product’s most important features and benefits. This creative brief should clearly be tailored towards the current medium discussed in class, so be sure to follow the lecture and readings for what needs to be a part of the brief. Be sure to also include any and all information associated with any promotions if applicable. Adapt your concept/big idea to fit the client’s direction and media. See sample creative brief for style and match.

Do Your Research

Chapter 2 Assignment Concept Wordlists or any one or more types of conceptualization techniques.

This assignment also works well when students are broken into groups and assigned a different conceptual option. This allows each group to not only report their ideas but how the conceptual option worked.

Wordlists Before beginning any creative project, complete a wordlist. This is one of the best ways to experience how consumers think, and at the same time build your conceptual skills. Consider using a wordlist to assist with idea generation, this process gets all those been there, done that thoughts out of your head so you can move on to original.

Conceptual development Assignment This assignment can be for either the brand the creative brief was developed for or as a separate activity with a non-related brand. If for the brief, brand concepts can also be shared. If for a separate brand, ideas can be shared verbally. This is very helpful as students learn to be very clear and concise when explaining directions.

Introduction to Group Project 1. Your client for this brainstorming assignment will be Rutabagas (cover its diversity). Be sure to do your research on this wonderful product.

2. Target Audience. Your target will be Aliens from Mars; they have just arrived on earth.

They do not know what this product is, or what it is for. It is your job to sell me (your resident Alien), on the wonders of this product. What would Aliens find interesting, enticing? The depiction of these Aliens is up to your group’s imagination. Be very specific when describing them to the class.

3. Research your features, create your own direction. Your job is to inspire and titillate me about this product, its taste, feel, smell and purpose. No particular brand should be emphasized.

4. Step 1: Develop a creative brief to help you sell your product to Aliens. Start out by defining your Alien target market, your objectives, a summary target analysis, key consumer benefit, support statement, strategy and tone.

NOTE: You do not have to cover the competition for the presentation unless they have to specifically do with one or more of your ideas. You will also not have to present the class with any features/benefits beyond your key consumer benefit and support statement.

5. How do you avoid been there, done that, ideas? What will you push? How will you push it? What media will you use?

6. Step 2: Next create a wordlist of 15-20 words. From this list choose 3-5 words that inspire you and develop three entirely different ideas based on one or more of those words and adapt it to the information laid out in your creative brief. Before presenting each idea tell the class what words were used to inspire the idea.

7. Step 3: Present your creative brief outlining your target, objectives, summary target analysis, key consumer benefit, support statement, strategy and tone to the class. Also include a discussion on your tagline and media options. Condense the discussion down to no longer than 3-4 minutes total.

8. Step 4: Present your three creative ideas in descending order or from least to best idea, to the class and tell us why your target will or will not respond to the concept and why the objectives, key consumer benefit, target analysis summary, support statement and strategy and tone will or will not work with the creative brief. Deal with each section separately for each idea, do not combine, and be specific. When presenting each idea be sure to tell us what the headline will be and what visuals we would be seeing to strengthen the tie between the visual/verbal message and the KCB. See point 9 below.

DO NOT GET WORDY THROUGH HERE. NOTE: For creative ideas 3 and 2, not all sections may match the creative brief.

This is fine. Idea number one (1) however, must work with and snuggly fit with your target, objectives, target analysis summary, key consumer benefit, support statement, strategy and tone.

9. When presenting each creative idea, tell the class what the headline and visual(s) will be for each idea. Do not reuse any headline or visual.

10. Finally, create a tagline and explain to the class how it will sell this product and/or idea.

You can use one (1) tagline for all ideas or present three (3) separate taglines that match each idea presented. If using one tagline for all repeat it for each idea but you will only need to explain its relevance once.

11. You will be presenting your ideas to the class.

12. You will be graded on how well you follow instructions, your ideas and how well you present them to the class. When presenting, do not jump around, match order of discussion points to the order they appear on the creative brief.

13. Everyone must have a speaking part in the presentation.

14. Present your word list ideas and explain how you decided the order. Again, be sure to tie the order of choices or ideas back to what worked in the creative brief and what did not.

15. Each presentation should take no more than 7-10 minutes. So work on your timing before presenting.

16. Nothing will be turned in. Grading will depend on whether I have questions or not and whether any presenter looks unprepared by burying their face in their notes. One pt. (1) will be deducted for every question I must ask on sections omitted or incorrectly presented.

Chapter 3 Assignment Elements and Principles of Design Elements Shape Draw out a 3- or 4-inch square. Blacken it in solid with your marker. Now using thumbnails how can you cut it up design wise and use the varying sized pieces, your choice, to create a new more exciting design. Create 5 Thumbs. The goal is to ensure the viewer cannot recognize the original square.

Line Beginning with thumbnails draw out 5 designs using only horizontal and vertical lines of varying lengths and widths. Secondly, draw out 5 designs using only diagonal lines. Thirdly, do the same thing using only curved lines. Finally, create 5 more designs that use at least one horizontal or vertical, one diagonal, and one curved line. Take the best of each idea and place in four individual 2.5 x3 inch boxes.

Texture Use letter forms, numbers or punctuation from one or more styles of type that you like. The goal is to arrange them in such a way that they lose their identity as letters and present instead a textual work of art.

When using letters in design they can become organic shapes even lines, when enlarged or are seen in bold they dominate. This problem gives you a chance to discover how letter forms can seem to rise off the page, visually creating the illusion of ridges or rough edges that you could feel with your hand.

The letters could lose their identity by becoming something else, by enlarging, reducing, or removing parts of their initial shape. Size creates contrast, repetition creates new reality and shapes that overlap draw the eye in.

Texture Option 2 Use varied sizes, shapes and styles of letterforms to create a recognizable picture of a still life, a landscape or a person. Another option, rather than using individual letterforms is to use representational words. For example, if creating an apple, you might repetitively use the words apple and core, to create the apple shape. By changing the size, spacing, and value of the letters you give the design the illusion of texture. Begin working out ideas in thumbnail form. Once you have an idea you like, transfer it into a 3 x 4 inch or 4 x 3 inch box. Fill the box with the design.

B/W. Value Using your black colored pencil, create a design using letterforms of any size or weight in their original shape. Use a range of gray values in the letters and/or the spaces between them. Can use

both black and white but the design should clearly show a gradation of gray values. The beautiful shape of varied typefaces shows that type can be used in varied ways to create beautiful designs.

Volume Volume is created by shading or tonality. Pick any 3 geometric shapes ranging from the simple circle, triangle, square, rectangle to the more interesting 5-sided pentagon, or 6-sided hexagon or 8-sided octagon. Create a design by attaching the shapes together. Once you have a design you like come back in with your black colored pencil and use shading to show volume. Repeat this exercise for shapes two and three.

Begin by working with thumbnails. Once you have three finalized designs you like move it to fill a 3x3 inch box.

Shapes from Black-and-White to Color Find a head and shoulders picture of yourself you like. This image will be manipulated three different ways. This project looks at an image as organic, or round, soft and smooth, and then again as geometric, or sharp and angular. The final design will recreate one of the smooth or angular images using only 2 colors that best represent either your personality or just colors you generally like to see together. Be bold in your choices.

Once you have your image, you may want to photocopy it to help you see it as only black and white shapes. Avoid scanning your image, it recreates the image to sharply to show the blackand-white shapes created by both deep and subtle shading.

There are three parts to this assignment: 1. Angular. Do 5 black-and-white representational (recognizable) thumbnails for the photograph. Make all the edges and lines sharp. Work with large black-and-white areas.

Color all in solid black using your black marker.

2. Curved. Using the same image, do 5 black-and-white representational (recognizable) thumbnails for the design, making all edges and lines curved or soft. Again, work with large black and/or white areas. To further manipulate this design, use a spot of another color somewhere in the design.

3. Color. Using either the angular of curved image do 5 color options of the design. You can use as many colors as you wish. (You could also have students, do one design using a single color a second design using two colors a third design using three colors and a fourth using for colors). Perhaps the fifth would use only tints, shades and/or hues.

The goal of this assignment is to show how shapes and color or the absence of color affects a design.

Thumbnails: Do 15 thumbnails. Five for angular, 5 for curved and 5 for the color options.

Roughs (Optional): Pick one angular, one matching curved and one matching color and reproduce all in three horizontal or vertical 5x7 inch boxes.

Super Comps.: Reproduce your three images in Illustrator.

Thumbnails and Roughs can be done with markers or colored pencils.

Principles Use four black squares to create a graphic image to express the meaning of each of the following ten words: balance, white space, eye flow, alignment, dominance, structure, gradation, contrast, negative/positive space and unity. Make two thumbnails sketches for each word. Using only four squares may seem to be a rather limited palette for expressing such diverse words, but consider how these squares can be expanded by just altering their size, stacking, piling or overlapping them to name just a few options. Label each square with the appropriate principle.

Work on marker paper, make each box 2x2 inches, use your black marker.

Chapter 4 Assignment Visuals 1. Find an ad you like with a prominent color visual.

2. Relay it out changing the visual each time using: a. b. c. d. e.

A black-and-white visual.

A black-and-white visual with spot color.

An illustration.

A graphic design.

Black-and white line art.

3. The goal here is to see how the different types of visuals can change the overall look of the ad.

Cropping 1. Next using the original color ad: 2. Relay out the ad cropping the original visual three different ways.

3. The goal for this portion of the assignment is the same, seeing how different types of crops can change the overall look of the ad.

Chapter 5 Assignment Assignment 1 1. Find a color ad you like. Be sure it has some body copy.

2. Relay it out 4 different ways using each of the varied styles of type not currently appearing in the ad: • Serif, • Sans Serif, • Script, • Display or Decorative.

• Modern.

Assignment 2 1. Choose your best design and relay it out three different times adjusting the kerning and leading each time for the headline and any subheads or body copy present.

2. Next, choose your best design and relay it out three different times adjusting the alignment and/or number of columns of the body copy each time being sure to not match the alignment of the original ad. Choose from the following: • Center on Center.

• Flush Left, Rag Right.

• Flush Right, Rag Left.

• Justified.

• Wrap.

• • •

One Column.

Two Columns.

Three Columns.

Assignment 3 The Expression of Type 1. Play with varied typefaces to create 10 thumbnail illustrations for your local zoo using letters and words to create a graphic image. Start with a sentence that can be used to represent the introduction of a new animal to your local zoo. These illustrations should be created from your sentence and/or out of relevant words that might create the shape of an elephant head for example, representing the new addition.

2. The goal of this assignment is to use words to create an image that pushes your above sentence for the brand.

Chapter 6 Assignment 1. Using paint, markers or colored pencils, demonstrate the differences between each of the following: • • • • •

Contrast.

Hue. Tint.

Shade.

Tone.

2. Again, using paint, markers or colored pencils, develop your own individual color wheel samples showcasing: • • •

Primary Colors.

Secondary Colors.

Tertiary or Intermediate Colors.

3. There are five basic color schemes on the color wheel, develop a sample using paint, markers or colored pencils for: • • • • •

Complimentary.

Split Complimentary.

Analogous.

Triadic.

Tetradic.

Assignment 2 1. Pick five of the colors discussed in chapter 6. Choose an object and reproduce it five ways using a different color each time. Discuss in class how the diverse color choices altered the way the object appeared on the page.

Chapter 7 Assignment Pick a brand.

OR Using the brand you created the brief for in chapter one: 1. Get into a team made up of one art director and one copywriter. Together concept direction.

2. Create 25 thumbnails designs to showcase your conceptual direction.

3. The group or the instructor can help narrow down a single direction.

4. Go back and come up with 20 more ideas that showcase that direction.

5. (Optional) From these 20 pick two that will be taken to hand drawn roughs.

6. Once the roughs have been critiqued, take both to super comps on the computer using Word, Photoshop, Illustrator and InDesign.

Chapter 8 Assignment 1. Using either the brand used in the brief or a new ad. Relay it out using 10 of the 15 layout styles discussed in chapter 8 including: • • • • • • • • • • • • • • •

Big Type.

Circus.

Grid Pattern.

Copy Heavy.

Frame.

Mondrian.

Multipanel.

Picture Window.

Rebus.

Silhouette.

Symmetrical.

Asymmetrical.

Repetition.

Anomaly.

Concentration.

2. The redesign can be done either as thumbnails or as full size roughs. The final two best designs should go to super comps.

Chapter 9 Assignment 1. Using a new brand or the brand from your creative brief, create 10 different thumbnails ideas for a new or reimagined spokesperson.

2. Then using the same brand create 10 more thumbnail ideas for a new or reimagined character representative.

3. Critique either with the instructor or class, discuss where you got your inspiration and how your ideas express the image of the brand and its corresponding target.

Chapter 10 Assignment 1. Using a new brand or the brand used for the creative brief in chapter one, create 30 thumbnail options for a redesign of the brand’s logo. Use all eight options presented in the text that include: • • • • • • • •

Lettermarks.

Wordmarks.

Symbolic marks.

Abstract marks Mascots Combination Marks.

Emblematic Marks.

Subliminal Marks.

2. Be sure to play around with varied color combinations and type styles.

Assignment 2 Pictogram Personal Logo Assignment Objective: To portray one object three ways, each becoming progressively more simplistic. The final version results in a Pictogram, which is the basis for most logos.

Directions: We will be working in two design phases: thumbnails and supercomps. (You can insert the rough stage so students understand the process before moving onto super comps if preferred). Using a color magazine photograph as a reference no larger than 2 inches to 2 ½ inches in diameter, select (3) organic objects from this list: Bird, Reptile, Insect, Mammal (not human) Fish.

Phase One: Thumbnails. Begin by choosing (3) different magazine or personal photographs, that in some way represents you, your goals and/or your personality, for this thumbnail or idea stage. We will work with them all. Through critique, together we will choose just one picture to take to the final rough stage. This assignment will have a total of 18 thumbs. Be sure to bring the original photographs you worked from to the class or individual critique.

Thumbnail Stylized Version. Begin by taking one of your images and take “creative license.”

Interpret the image in a different way. What do you see in the image? You might want to decorate the image, or change the images’ shape. Create (3) entirely different interpretations of it. Next, take your second and third images and repeat the thumbnail design process for each. For Example: (3) stylized thumbs for image one perhaps a pig, (3) stylized thumbs for image two, say a cow, and (3) stylized thumbs for image three, say a horse. This gives you a total of (9) stylized images for this stage. Place them on your marker paper. Each thumbnail design

must contain 4 colors. Keep in mind black is a color and white is not. Do not sketch or scribble on your your thumbnails. Go for clean and crisp always.

Thumbnail Pictogram Version. Begin the design process all over again using the same three images from the stylized thumbs above, and simplify each one down to black-and-white lines and filled in black shapes making your images progressively more simplistic. Eliminate all extraneous information down to its absolute most simple form, never losing sight of the original shape. We must still be able to identify the object. This will be the Pictogram image, or what you know as a logo. This image will show the strong use of graphic shapes. Be sure not to connect all the lines together. This should be more graphic or interpretive, than illustrative. Each thumbnail design must have at least one solid area of black within it. Do not sketch or scribble on your your thumbnails. Again, go for clean and crisp always.

Begin by creating (3) entirely different pictogram images for image one. Next take your second and third images and repeat the pictogram thumbnail design process for each. For Example: (3) black-and-white pictogram thumbs for image one, the pig, (3) black-and-white pictogram thumbs for image two, the cow, and (3) black-and-white pictogram thumbs for image three, the horse. This gives you a total of (9) pictogram images for this stage. On marker paper, group the stylized thumbs with the matching pictogram thumbs when possible. If you make a mistake, no problem, just label them. This design is black-and-white only and must have at least one area of solid black.

Remember, all thumbnails are sized in proportion to the final size of the ad. The final size of this assignment is 3x3 (See Rough Portion of this Assignment). For this assignment the thumbs can be the final size of those on the roughs or 3x3 since they fit within the smallest and largest parameters allowed.

NOTE: Be sure the images in both sets of thumbs are the same size and appear in the exact same position within the thumbnails. Also, if you add in the background in one image you must add the background in all three images.

Phase Two: Super Comp or Rough Instructions. Using a 12 x 9 inch sheet of marker paper, (if using roughs) draw out (3) boxes using your ruler and black marker. Each box should measure 3 x 3 inches. Place 3 inches of space on the top and the bottom and 3/4 inches of space on either side. They should line up in a row. Together we will choose one idea to take to a final rough.

NOTE: If working with roughs: Be sure each image appears in each box the exact same size and is in the exact position to show the movement or changes between styles clearly.

Rough Box One - Original Version: Reproduce the “original image” we selected in your first box as close to the original photograph as possible, trace it with as much detail and color as possible. No manipulation is done in box (1). It is a detailed trace of the original photograph done in full color.

Rough Box Two - Stylized Version: We will select one idea from your best-stylized thumbnails. Using the exact same object as used in box (1), and positioned and sized in the exact same way, place it in box (2). Again, use only four colors to represent this version.

Rough Box Three - Pictogram Version: We will select one idea from your best-pictogram thumbnails. Again, using the exact same object used in boxes 1 and 2, place it in the exact same position and size as in boxes (1) and (2), place image in box (3). Your pictogram image should be represented using only black-and-white.

NOTE: During the rough stage, if you do want or need to make any changes not previously discussed, they must first be approved by the instructor. Any changes without approval will cost you points.

Pictogram Super Comp Instructions You will be reproducing box (3) of your pictogram rough in Illustrator. This is the B/W pictogram (not the 4-color stylized).

• • • • • • • • • • • • •

Scan the pictogram, Box 3.

When scanning, enlarge the image to 5 x 5 inches. Crop out the box around the image.

Save it as an Illustrator EPS or as an EPS. Open the image in Illustrator and save as an Illustrator file.

Open your layers pallet.

Create a new layer. Working on this layer draw on top of the pictogram rough to recreate it.

Be sure to determine your stroke.

Be sure fill has either a color (it can be different than black if you want) or the red slash through it depending on the design.

When completed throw your original scan in the trash.

Use any color you wish, try to stay away from light or pastel colors, they do not reproduce well if you want to put this on a business card or cover letter.

The image can be reproduced using the pen, pencil or brush tool, depending on design.

Submit pictogram centered on the page. Be sure the box around the design has been removed.

Turn it in with original image, graded pictogram thumbnails, and rough (if used).

Chapter 11 Assignment Copy 1. Write body copy for your creative brief product that has at least 75-100 words. Medium to be chosen by the instructor. Write enough so as to entice your target market and get them searching for more information and purchasing. This count does not include headlines, subheads, and detail or coupon copy.

2. Use the copy sheet template found in your text.

3. Body copy should be completed in Word.

4. Be sure the headline strongly pushes both your KCB feature and benefit. See notes for headline information, styles, etc.

5. If using a main subhead be sure it works seamlessly with the headline.

6. Be sure body copy also strongly pushes your KCB and Support Statement, uses the same strategy and tone-of-voice and accomplishes your objective(s). Both the feature and benefit associated with your support statement can appear in either a subhead or within the body copy.

7. If applicable to your medium, be sure to include prices in either the headline, subhead or within callouts. PRICES NEVER APPEAR IN THE BODY COPY. Use your creative brief for guidance when writing copy. I will use it to grade from.

8. Be sure your opening paragraph continues the thoughts expressed in the headline and any main subhead used.

9. Be sure you do not include any information that was not in the original creative brief.

Remember, if it did not appear in the features and benefit section of your creative brief you cannot write about or show it now without permission.

10. Be sure to include detail copy as applicable to the medium(s) used such as: phone, address, hours, web address, credit cards accepted, social media used.

11. If using any coupons or other type of promotion be sure all the necessary information appears on the copy sheet as needed per medium.

12. Be sure to specifically promote each point laid out in the brief.

13. Include the tagline or slogan from your creative brief. Be sure the tagline or slogan and logo match placement (order) shown on the creative brief and place on copy sheet.

14. Be sure to include the logo.

15. Double-check your work with the brief and assignment before submitting.

Assignment 2 1. There are three parts to this assignment: 1) Start out by determining a key consumer benefit (KCB). A key consumer benefit consists of one viable brand feature and the benefit that feature has for the target. Each should be one sentence in length. Place it at the top of the page in the following format: Feature: Benefit:

2. Next write one headline and one corresponding subhead for each of the 22 headline styles listed below that focus specifically on the KCB you have chosen. Headlines can be statements of no less than 5-7 words or one or two complete sentences in length.

Subheads must be complete sentences and can be up to two sentences long. Be sure to add periods to the end of each headline and subhead. Double space. Number and label each headline style. Do not repeat any heads or subheads.

NOTE: Avoid using any exclamation points anywhere in advertising copy.

Remember the functions of a headline: a. b. c. d. e. f.

Capture the reader's attention.

Scream out the Key Consumer Benefit.

Lure readers into the body copy.

Reinforce brand name or brand identity.

Connect with the target audience.

Enhance a visual/verbal relationship.

Below are the different types of headlines discussed in the text. Be sure to use your Key Consumer Benefit from above to determine what will be said in each of the headline/subhead combinations.

1. Direct.

2. Indirect or Curiosity.

3. Major Benefit Promise.

4. Play on Words.

5. Question.

6. Metaphor.

7. Simile.

8. Analogy.

9. News or Announcement.

10. Reason-Why. 11. How-To. 12. Product Name.

13. Testimonial.

14. Humor.

15. Command.

16. Practical Advice.

17. Sexual Innuendos.

18. Problem/Solution 19. Reminder 20. Flag.

21. Scarcity.

22. Slice-of-Life.

23. Fantasy.

24. Warning or Fear.

25. Talking Head.

26. Personal Benefits.

27. Authoritative.

28. Product Feature or Product as a Star.

29. Inherent Drama.

30. Lifestyle or Narrative.

31. Price Point.

3. Finally, write body copy to go along with two of your best headline/subhead combinations.

Body copy must be 75-100 words, not including the headline or the subhead.

Chapter 12 Assignment Newspaper and Magazine 1. Create a new brief for newspaper and magazine or continue working with the original brief and brand.

Newspaper Copy 1. Newspaper: Write body copy for your product that has at least 75-100 words. Write enough so as to entice your target market and get them searching for more information and purchasing. This count does not include headlines, subheads, and detail or coupon copy.

2. Use the copy sheet template found in your text.

3. All copy should initially be completed in Word.

4. Be sure the headline highlights both the feature and benefit associated with your key consumer benefit (KCB).

5. Be sure body copy strongly pushes your KCB and Support Statement and uses the same strategy and tone-of-voice. Look to your choice of strategy and tone from the creative brief.

6. Be sure body copy accomplishes your communication objective(s).

7. (Optional) Be sure to use multiple subheads. See template for placement options.

8. Both the feature and benefit associated with your support statement can appear in either a subhead or within the body copy.

9. Be sure to include prices in either the headline, subhead or within callouts. PRICES NEVER APPEAR IN THE BODY COPY. Also be sure to include coupon information, detail copy, a tagline and a logo.

10. Use your creative brief for guidance when writing copy. I will use it to grade from.

11. Be sure your opening paragraph continues the thoughts expressed in the headline and main subhead.

12. Be sure you do not include any information that was not in the original creative brief.

Remember, if it did not appear in the features and benefit section of your creative brief you cannot write about or show it now.

13. Be sure to include prices and local detail copy such as phone, address, hours, web address, credit cards accepted, social media used as applicable to the medium.

14. The copy sheet must have two (2) entirely different coupons (two per ad), for a total of four (4). Each coupon must have a readable promotion, tagline or slogan and logo.

Visuals and UPC codes are optional. Be sure to include one (1) marketing code per super comp for a total of two (2), four (4) expiration dates and four (4) separate promotional offers. See text for assistance if needed.

15. (Optional). Coupons should be equally spaced across the bottom of the ads and be around 3 ¼ to 3 ½ inches tall depending on design.

16. Be sure to specifically promote each point laid out in the brief.

17. Include the tagline from your creative brief. Be sure the tagline and logo match placement (order) shown on the creative brief and place on copy sheet.

18. Be sure to include the logo.

19. Remember, if it does not appear in the creative brief you cannot say it here.

The following information for the Thumbs, Roughs and/or Super Comps will include: • • • • • • •

Black & White Newspaper Ads. Final Size Super Comp: 6 7/16 x 10 ½.

Thumbs must be proportionate to the final size of the Rough and/or Super Comp.

Must include a border, readable headline and subhead, body and detail copy, tagline, logo, photo(s) and/or tonal graphics and/or callouts as needed.

4 different coupons, (2 per each Rough and/or Super Comp).

Be sure prices are present and prominent in either your headline, subhead or within callouts. NEVER MAKE THEM SMALL. Don’t forget to indicate detail copy.

Newspaper Thumbnails 1. Each thumb must have a readable headline, subheads, tagline and logo, as well as show lined body and detail copy, photos and/or tonal graphics. Each should be correctly placed within the ad. The headline, subheads, tagline and logo combination should come from the final copy sheet for all thumbs and final Super Comps. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, and subhead(s) based off information found in the brief.

2. Thumbs should be done in Black-and-White.

3. Each thumb must have a different layout style. You may choose from the layout styles discussed in the text. Do not reuse any layout style, be sure to label each thumb with the layout style used.

4. Each thumb should be done on marker paper and in black marker.

5. Each thumb must have at least three (3) visuals. Do not reuse any. Yes, that means you will need 30 different visuals. Visuals should be traced or drawn into position and can be taken from either magazines, personal photos or from the Internet.

6. Body and detail copy should be represented with drawn lines, placed in position.

7. It is all right to X out any thumbnail mistakes, I will not grade them. Just be sure you have 10 completed ones to submit.

8. Thumbnail size should be a reduced proportion of the above assignment size. The only rules are they must be vertical. Depending on the size of your thumbs you may be turning in 1-3 pieces of marker paper.

9. Each thumb needs to have two coupons per thumbnail.

10. Be sure the promotion, tagline or slogan and logo are readable on each thumb. Show expiration date and any marketing codes with lines.

B/W Roughs (Optional) 1. From your Thumbs chosen in consultation with your instructor or via class critique, choose two of the checked thumbs to take to Roughs. If more than two are checked, you will still only do two. I can help you make a choice if needed. Do not alter approved thumbs when working on the roughs unless first approved by the instructor to avoid losing points.

2.

3.

4.

5.

Roughs are done full size or 100 percent and by hand.

Black-and-White.

Final Rough size: 6 7/16 x 10 ½ Vertical.

One Rough per sheet of marker paper. You will be submitting two completed full size roughs and the previously approved thumbnails.

6. Use a ruler to draw the border and any parallel lines within the ad.

7. Be sure to leave at least a ¼" margin of white space around the inside of the ad, type, visuals and graphics.

8. Visuals and/or color can bleed to the boarder.

9. Draw out the border (size of ad) using your black marker and center on your marker paper.

10. Set type for the headline, subheads(s), prices, tagline and logo, on the computer using Word.

Print out and trace all into position or hand indicate if able, on the Rough using your black marker. Be sure all are the correct size before beginning.

11. Be sure all type is blackened in. No outlines.

12. Be sure to watch for kerning and leading issues. I will be deducting points for this.

13. Enlarge the visuals chosen from your Thumbs and trace or hand draw them into position on the Rough using your black marker.

14. Use your black colored pencil or appropriate markers to add in shading. Alternating the pressure on your pencil tip will give you multiple tones for both images and screen tints.

Never Scribble. By going over your colors or shading you can smooth out the color. It is sometimes easier to see tones if you print out your images in black-and-white first.

15. Body and detail copy is still indicated with lines on the Roughs, use your black marker. Use a ruler.

16. If placing copy on top of a light background, with colored pencils be sure to place the marker indicated copy down first then add in the background. The wax in the pencils will smear otherwise.

17. Roughs need to be very tight. This is what you will take to Super Comp.

18. Be sure to go over your thumbnails, and any pertinent information found in the text before starting the roughs. Points will be based on your knowledge and execution of design principles and practices as discussed in the text.

19. Be sure to turn in all Thumbs with your final Roughs.

Super Comps 1.

2.

3.

4.

The information presented below is identical to the thumbnail assignment.

Black & White Newspaper Ads. Final Super Comp Size: 6 7/16 x 10 ½.

Must include a border, at least ¼ inch margins, a readable headline and subheads, body copy, tagline or slogan, and logo (from brief and/or copy sheet), photo(s) and/or tonal graphics, and callouts if you choose from thumbs.

5. 4 different coupons, (2 per each Super Comp, from previous copy assignment and/or brief if copy is not yet complete).

6. Be sure prices are present and prominent in either the headline, subhead or within callouts.

7. Be sure to include local detail copy.

Newspaper Super Comps.

1. Size is 6 7/16 by 10 1/2. Be sure to place a black border around the ad. You may use a simple border or one with graphic overtones.

2. This is a black-and-white ad.

3. Must have at least three visuals and/or graphics. Choices include: photographs (Photoshop), and/or tonal graphics (Illustrator).These will come from your thumbs. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 4. Body copy should be written in Word, large text such as headlines, subheads and prices should be done in Illustrator. Any photo manipulation should be done in Photoshop. All elements should be imported into and assembled and tweaked in InDesign.

5. Create two (2) Super Comps. Each should have a different layout style, typeface, two (2) different coupons per ad, and visual(s). Each should conceptually represent your key consumer benefit. (All copy will come from your previous newspaper copy assignment. (If completed).

6. Use two typefaces only per ad. One for the headline, subheads, prices, and any announcement devices and the second for body and detail copy. Nothing decorative, reversed, or set in all caps should be used. Think readability and legibility.

7. Be sure the headline is the largest piece of copy on the page, with the main subhead the next largest. The headline and all subheads and prices should be set in bold.

8. Be sure to kern and lead the headline and subheads. Points will be deducted per infraction.

9. Each Super Comp should show the same headline and subhead(s) from your corresponding copy sheet. (If copy is not complete it needs to be done before moving onto the Super Comp stage.) All should promote your concept/KCB. All secondary subheads, body and detail copy must be represented on the Super Comp.

10. Each Super Comp should have different visuals, no duplications, and show the tagline and logo. Be sure the positioning matches what you have on the creative brief. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad. Be sure the size of the tagline does not overpower the logo.

11. (Optional) Body copy needs a ¼ inch indent, for each paragraph and can be no smaller than 10 pt. and no larger than 11pt. Be sure to use 1 pt. of increased leading throughout body copy. Times and Times Roman are the easiest typefaces to read.

12. Body copy is never centered, justified, kerned or reversed out. The easiest alignment to read is flush left, rag right.

13. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad, between any columns of copy or around any wrapped images.

14. Visuals and/or background can bleed to the boarder if appropriate to the design.

15. Be sure to avoid setting body copy in reverse or placing it on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting headlines and subheads in all caps.

16. Be sure social media icons are no larger than ¼ inch.

17. Print out in black-and-white.

18. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

19. Be sure to print the ad out centered on the page.

20. Super Comps must be executed very, very tightly. Use the text for help. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

21. Problems with your computer or printer will not be considered acceptable excuses for late work. Work ahead, do not print at the last minute, have an alternative plan available should any problems arise.

Magazine Copy 1. Magazine: Write magazine copy of 300-350 words for your product. Write enough so as to entice your target market and build image. This word count does not include headlines subheads, detail copy or any promotions.

2. If you chose some type of promotion in the creative brief, be sure to include it in your body copy or as a separate coupon(s) or promotions.

3. Be sure to use multiple subheads. See sample copy sheet for style and match.

4. For this assignment you must have at least the following on every copy sheet: headline, subhead(s), body and detail copy (of varied lengths), a tagline or slogan and a logo. The rest is up to your creative imagination and creative goals for your product.

5. Be sure your creative product (copy) is dead bang on your creative brief.

Magazine Thumbnails 1. Final Rough and Super Comp trim size: 8.5 x 11 Vertical. For help with determining proportion for Thumbs only.

2. Thumbnail size should be a reduced proportion of the above final size. The only rules are they must be vertical.

3. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

4. Use the creative brief to help with conceptual direction.

5. Build ten (10) different Thumbnail ideas around this information.

6. Each Thumbnail must use a different designated layout style appropriate for magazine and have a different concept based on the key consumer benefit found in the brief, for each design. See lecture and text for appropriate magazine layout styles.

7. Label the layout style used under each Thumbnail box.

8. Each thumb must have a readable headline, subheads, tagline or slogan and logo, as well as show lined body and detail copy, photos and/or tonal graphics. Each should be correctly placed within the ad. The headline, subheads, tagline and logo combination should come from the final copy sheet. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, and subhead(s) based off information found in the brief.

9. Detail copy on a national magazine ad might include a 1-800 number, fax, social media and/or web address.

10. At least two (2) separate visuals, (as opposed to two images in one photograph) and/or graphic must appear in the ad for a total of 20 separate images. Do not reuse any visual. DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

11. Prices should be eliminated in magazine design.

12. Again, be sure to consider the use of graphic images as well as photographs.

13. Visuals and/or color can bleed to the boarder if appropriate to design.

14. Be sure to do your research so your images and copy work strongly together.

15. Outline each thumb with a black border. No borders will be used on the super comps, (unless inset graphic ones) No local maps or phone numbers or addresses for this nationally distributed magazine ad.

16. Be unique, avoid the obvious and been there done that design.

17. Research the product.

Color Roughs (Optional) 1. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

2. Roughs are done full size and by hand.

3. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

4. Final Rough trim size: 8.5 x11 Vertical. Magazines have a live area of 7x10 and a bleed of ¼ inch larger than the trim.

5. One rough per sheet of marker paper. You will be submitting two completed roughs.

6. Use a ruler to draw a light 8.5 x 11 pencil border. Use your black marker to draw any parallel lines within the ad. Center on your marker paper.

7. Be sure to leave at least a ¼" margin of white space within the ad.

8. Set type for the headline, subhead(s), tagline and logo, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your black marker. Be sure all are the correct size before beginning.

9. Be sure all type is blackened or colored in. No outlines. Headlines and subheads can be in color if you wish.

10. Be sure to watch for kerning and leading issues. I will be deducting points for this.

11. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough using your black marker. Use your colored pencils to add color in to match photos as closely as possible.

12. Visuals and/or color can bleed to the boarder if appropriate to design.

13. Body and detail copy is still indicated with lines on the Roughs using your black marker. Use a ruler.

14. Roughs need to be very tight. This is what you will take to Super Comp.

15. Be sure to go over your thumbnails, and any pertinent information found in the text. Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

16. Be sure to turn in all Thumbs with your final Roughs.

Magazine Super Comps.

1. Trim size is 8.5 x 11. Note, you may use a graphic border but it must be inset at least ½ inch from the outer black borders (or ad size in InDesign).

2. Need to show live, trim and bleed.

3. This is a full-color ad. Use as many colors as you wish.

4. Must have at least two (2) visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 5. Body copy should be written in Word, large text such as headlines and subheads should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

6. Create two (2) color Super Comps. Each should use a different layout style, (see text for magazine styles), and typeface. Each should use two (2) different visual(s). Never repeat visuals anywhere. Each should conceptually represent your KCB. 7. Typefaces chosen should match the creative direction and medium.

8. Use two typefaces only per ad. One for the headline and subheads and the second for body and detail copy. Nothing decorative, reversed, or set in all caps should be used.

Think readability and legibility.

9. Be sure the headline is the largest piece of copy on the page, with the main subhead, if using, the next largest. The headline and all subheads should be set in bold.

10. Be sure to kern and lead the headline and subheads. Points will be deducted per infraction.

11. Each Super Comp should show the same headline and subhead(s) body and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB. 12. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

13. (Optional) Body copy needs a ¼ inch indent, for each paragraph and can be no smaller than 10 pt. and no larger than 11pt. Be sure to use 1 pt. of increased leading throughout body copy. Times and Times Roman are the easiest typefaces to read.

14. Lengthy body copy is never centered, justified, kerned, or reversed. The easiest alignment to read for any length is flush left, rag right.

15. Decide what magazine layout styles will assist with screaming out your key consumer benefit, (see text for magazine styles).

16. Be sure to avoid setting body copy in reverse or placing it on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting headlines and subheads in reverse or all caps when applicable.

17. Be sure social media icons are no larger than a ¼ inch.

18. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad, between any columns of copy and/or around wrapped images.

19. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

20. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

21. Problems with your computer or printer will not be considered acceptable excuses for late work. Work ahead, do not print at the last minute, have an alternative plan available should any problems arise.

22. Be sure to center the ad on the printed page.

Chapter 13 Assignment Creative Brief 1. Create a new creative brief for radio and television or continue to use the original brief.

Radio Script 1. Radio: Write a radio script for a 30-second spot. Write enough so as to entice your target market and get them up and participating in the promotion or visiting the location. Use the script template found in the text.

2. (Optional) Create a complete word list of 15-20 words.

3. You must use both music and sound effects to attract your listener’s attention.

4. Use your brief to determine conceptual direction.

5. Be sure to mention the product often. Give an address or phone number as appropriate. It is not a bad idea to mention that a few times as well. Talk about price(s). What about a promotion? Can you set the phone number or address to music, making it easier to remember? The rest is up to your creative imagination and creative goals for your product.

6. Again, radio is local, so detail copy should reflect that.

7. If you would prefer, you can do two 15-second spots instead of one 30-second spot if that works better for your creative direction. If using this dual option you will need to create two (2) separate scripts and staple them together.

8. Be sure your creative product (copy) is dead bang on your creative brief.

Television Script and Storyboard 1. Television. Write a 30-second television spot for your product. You will need to complete both a storyboard and a script. Use the template found in your text. A 30second spot is 6-8 frames.

2. The script must follow the template presented in lecture and must include not only the script but also an accompanying hand done color thumbnail storyboard for each frame.

3. You must use both music and SFX in the storyboard.

4. Create 10 storyboard thumbnails to solidify your direction before writing your script.

5. You have the option of creating two 15-second spots instead of one 30-second spot if this fits with your concept and message direction better.

6. A 15-second spot is 4-6 frames in length. (This dual option requires two (2) final scripts and storyboards).

7. Final storyboards must be tightly executed and be in color. (Hand Done).

8. For more advanced classes, the storyboard can be taken and reproduced/animated on the computer.

9. Be sure to go over your thumbnails, and any pertinent information found in the text.

Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

Chapter 14 Assignments Assignment 1 Out-of-Home and Transit 1. Create a new brief or continue working with the original brief and brand.

Outdoor Board Copy 1. Headline copy for outdoor will scream out your key consumer benefit.

2. Headline copy can be no longer than 5 to 7 words.

3. You can have additional detail copy that gives direction. This additional information should be kept as short and informational as possible.

4. The tagline or slogan and logo is also required.

5. Use one (1) or two (2) Copy Sheets as appropriate for design.

6. Create a wordlist to assist with conceptualizing.

7. Copy sheet layout will be the same used for newspaper and magazine.

Outdoor Board Thumbnails 1. Outdoor: Final Rough and Super Comp size for a 48-foot x 14-foot board is: 10.5 inches x 4.25 inches. For help with determining proportion for Thumbs only.

2. Thumbnail size should be a reduced proportion of the above final size. The only rules are they must be horizontal.

3. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

4. Use the creative brief to help with conceptual direction.

5. Build ten (10) different Thumbnail ideas around this information.

6. Each thumb must have a readable headline of no more than 5-7 words, and if using, any directional copy. The headline, any directional information, tagline or slogan and logo combination should come from the final brief and copy sheet if completed. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, based off information found in the brief.

7. Show any extensions or three-dimensional add ons, on the thumbs if using.

8. Detail copy on an outdoor board might include an exit number and/or an address.

9. Use no more than two (2) separate visuals, and/or graphics must appear in the ad. Do not reuse any visual. DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

10. Again, be sure to consider the use of graphic images as well as photographs.

11. Be sure to do your research so your images and copy work strongly together.

12. Outline each thumb with a black border. Borders will be used on the super comps. No local maps or phone numbers for this medium.

13. Be unique, avoid the obvious and been there done that design.

14. Research the product.

Color Roughs: (Optional) 1. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

2. Final rough size: 10.5 inches x 4.25 inches horizontally.

3. Extensions, if using off one or more sides, will be around 1-inch.

4. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

5. One rough per sheet of marker paper. You will be submitting two completed roughs.

6. Use a ruler and marker to draw dimensions.

7. Be sure to leave at least a ¼" margin of white space within the ad as a safety net for type.

8. Visuals and/or color can bleed to the boarder if appropriate to design.

9. Set type for the headline, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your black marker. Be sure all are the correct size before beginning.

10. Be sure all type is blackened or colored in. No outlines. Headlines can be in color if you wish.

11. Be sure to watch for kerning and leading issues. Outdoor requires a small amount of additional kerning.

12. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough using your black marker. Use your colored pencils or markers to add color in to match photos as closely as possible.

13. Detail copy is still indicated with lines on the Roughs using your black marker. Use a ruler.

14. Roughs need to be very tight. This is what you will take to Super Comp.

15. Be sure to go over your thumbnails, and any pertinent information found in the text. Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

16. Additionally, be sure to turn in all Thumbs with your final Roughs.

Outdoor Super Comps.

1. Size is 10.5 v 4.25. Note, you may use a graphic border but it must be inset at least ½ inch from the outer black borders (or ad size in InDesign).

2. This is a full-color ad. Use as many colors as you wish.

3. Must have no more than two (2) visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 4. Detail copy should be written in Word, large text such as headlines should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

5. Create two (2) color Super Comps. Each should use the same layout style, (see text for appropriate outdoor styles), and typeface. Each should use different visual(s). Never repeat visuals anywhere. Each should conceptually represent your KCB. 6. Typefaces chosen should match the creative direction and medium.

7. Use one typeface only per ad. Nothing decorative, reversed, or set in all caps should be used. Think readability and legibility.

8. Be sure the headline is the largest piece of copy on the page. The headline should be set in bold.

9. Be sure to kern and lead the headline as recommended in the text.

10. Each Super Comp should show the same headline and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB. 11. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

12. Visuals and/or color can bleed to the boarder if appropriate to design.

13. Watch out for white holes. It is difficult to design in a horizontal format.

14. Decide what layout styles will assist with screaming out your key consumer benefit, (see appropriate text for styles).

15. Be sure to avoid setting copy in reverse or placing it on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting copy in reverse or all caps when applicable.

16. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad as a safety net for type.

17. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

18. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade. Once again: all copy is created in Word. Only photographs are done in Photoshop. Large text such as headlines, detail copy, taglines or slogan and logos should be initially leaded and kerned in Illustrator. Any tonal graphic elements are created in Illustrator. InDesign is where all the software elements are assembled, tweaked and printed.

19. Problems with your computer or printer will not be considered acceptable excuses for late work. Work ahead, do not print at the last minute, have an alternative plan available should any problems arise.

20. Be sure to center the ad on the printed page.

Assignment 2 Transit 1. Create a new brief or continue working with the original brief and brand.

Transit Terminal Poster Copy 1. Transit: Headline copy for posters will scream out your key consumer benefit.

2. Headline copy should be kept to no longer than 5 to 7 words.

3. You can have additional detail copy that gives contact information. This additional information should be kept as short and informational as possible.

4. The tagline or slogan and logo is also required.

5. Use one (1) or two (2) Copy Sheets as appropriate for design.

6. Create a wordlist to assist with conceptualizing.

7. Copy sheet layout will be the same used for newspaper and magazine.

Transit Terminal Poster Thumbnails 1. Poster size 23-foot W x 11-foot H. For help with determining proportion for Thumbs only.

2. Posters have both a trim and a live area. For the size above the Live Area would be: 21.75-foot W x 9.5-foot H. The trim area would be: 22.75-foot W x 10.5-foot H. 3. Thumbnail size should be a reduced proportion of the above final size. The only rules are they must be vertical.

4. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

5. Use the creative brief to help with conceptual direction.

6. Build ten (10) different Thumbnail ideas around this information.

7. Each thumb must have a readable headline of no more than 5-7 words, and contact copy.

8. The headline, any directional information, tagline or slogan and logo combination should come from the final brief and copy sheet if completed.

9. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, based off information found in the brief.

10. Detail copy on a terminal poster might include any or all of the following: phone number, physical address, web address and/or social media options.

11. Use no more than two (2) separate visuals, and/or graphics must appear in the ad. Do not reuse any visual. DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

12. Again, be sure to consider the use of graphic images as well as photographs.

13. Be sure to do your research so your images and copy work strongly together.

14. Outline each thumb with a black border.

15. Be unique, avoid the obvious and been there done that design.

16. These should stun to capture and hold a harried travelers attention.

15. Research the product.

Color Roughs (Optional) 1. Poster size 23-foot W x 11-foot H. For help with determining proportion for Thumbs only.

2. Posters have both a trim and a live area. For the size above the Live Area would be: 21.75-foot W x 9.5-foot H. The trim area would be: 22.75-foot W x 10.5-foot H. 3. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

4. Final rough size: 11.5 x 5.5 inches or chosen by instructor.

5. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

6. One rough per sheet of marker paper. You will be submitting two completed roughs.

7. Use a ruler and marker to draw dimensions.

8. Be sure to leave at least a ¼" margin of white space for any type used within the ad.

9. Any visuals and/or color can bleed.

10. Set type for the headline, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your marker or colored pencils. Be sure all are the correct size before beginning.

11. Be sure all type is blackened or colored in. No outlines. Headlines can be in color if you wish.

12. Be sure to watch for kerning and leading issues.

13. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough. Use your colored pencils or markers to add color in to match photos as closely as possible.

14. Detail copy is still indicated with lines on the Roughs using your black marker. Use a ruler.

15. Roughs need to be very tight. This is what you will take to Super Comp.

16. Be sure to go over your thumbnails, and any pertinent information found in the text.

Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

17. Be sure to turn in all Thumbs with your final Roughs.

Transit Terminal Poster Super Comps.

1. Poster size 23-foot W x 11-foot H. 2. Posters have a both a trim and a live area. For the size above the Live Area would be: 21.75-foot W x 9.5-foot H. The trim area would be: 22.75-foot W x 10.5-foot H. 3. Final Super Comp size: 11.5 x 5.5 inches or chosen by the instructor.

4. This is a full-color ad. Use as many colors as you wish.

5. Must have no more than two (2) visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 6. Any visuals and/or color can bleed.

7. Detail copy should be written in Word, large text such as headlines should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

8. Create two (2) color Super Comps. Each should use the same layout style, (see text for applicable options), and typeface. Each should use different visual(s). Never repeat visuals anywhere. Each should conceptually represent your KCB. 9. Typefaces chosen should match the creative direction and medium.

10. Be sure any typeface(s) chosen are easy to read by a target that is distracted and in a hurry. Think readability and legibility.

11. Be sure the headline is the largest piece of copy on the page. The headline should be set in bold.

12. Be sure to kern and lead the headline as recommended in the text.

13. Each Super Comp should show the same headline and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB.

14. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

15. Decide what layout styles will assist with screaming out your key consumer benefit, (see text for applicable styles).

16. Be sure to avoid setting any small copy in reverse or placing it on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting copy in reverse or all caps when applicable.

17. Be sure to have at least a ¼ inch margin of white space around any text within the ad.

18. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

19. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

20. Problems with your computer or printer will not be considered acceptable excuses for late work. Work ahead, do not print at the last minute, have an alternative plan available should any problems arise.

21. Be sure to center the ad on the printed page.

Assignment 3 King or Queen Bus Ad See information for thumbnails, roughs and super comps above. Substitute either King or Queen options for both bus ads to the directions. See sizing options in the text.

Chapter 15 Assignment

Assignment 1 Direct Mail Postcard 1. Create a new brief or continue working with the original brief and brand.

Direct Mail Postcard Copy 1. Postcard: Write postcard copy of 80-100 words for your product. Write enough so as to entice your target market to interact with the postcard and not throw it out.

2. Be sure your headline screams out your key consumer benefit. Any subheads used front or back should offer some kind of incentive.

3. For this assignment you must have at least the following on every copy sheet: headline, subhead(s), body and detail copy, a tagline or slogan and a logo. The rest is up to your creative imagination and creative goals for your product.

4. Be sure your creative product (copy) is dead bang on your creative brief.

Direct Mail Postcard Thumbnails 1.

2.

3.

4.

5.

6.

7.

8.

9.

Size: 8 inches x 4 inches.

Final word count not including the headline and any main subheads used, 80-100 words.

Color. (Can be limited two 1 or 2 colors to challenge).

Headline, subhead(s), body and detail copy, tagline or slogan and logo, (from copy sheet) required.

One or more visuals must appear on each card.

Can use tonal graphic elements.

Detail Copy: 1-800, web address, social media options, as applicable to the medium and assignment parameters.

Complete Wordlist.

10 Thumbnails (hand done).

Thumbnails 1. Final Rough and Super Comp size: 8 inches x 4 inches. Horizontal. For help with determining proportion for Thumbs only.

2. Thumbnail size should be a reduced proportion of the above final size. The only rules are they must be horizontal.

3. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

4. Use the creative brief to help with conceptual direction.

5. Build ten (10) different Thumbnail ideas around this information.

6. Each Thumbnail must use a different designated layout style appropriate for direct mail and have a different concept based on the key consumer benefit found in the brief, for each design. See text for appropriate direct mail layout styles.

7. Label the layout style used under each Thumbnail box.

8. Each thumb must have a readable headline, one or more subheads, tagline or slogan and logo, as well as show lined body and detail copy, photos and/or tonal graphics. Each should be correctly placed within the ad. The headline, subheads, tagline and logo combination should come from the final copy sheet. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, and subhead(s) based off information found in the brief.

9. Detail copy on a direct mail postcard might include an address, phone number, social media and/or web address.

10. One or two separate visuals, and/or graphic must appear in the ad. Do not reuse any visual. DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

11. Prices can be used on postcard design. Use will depend on the assignment.

12. Again, be sure to consider the use of graphic images as well as photographs. Creativity here will help attract and hold attention.

13. Be sure to do your research so your images and copy work strongly together.

14. Outline each thumb with a black border. No borders will be used on the super comps, (unless inset graphic ones) 15. Be unique, avoid the obvious and been there done that design.

16. Research the product.

Color Postcard Roughs (Optional) 1. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

2. Roughs are done full size and by hand.

3. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

4. Final Rough size: 8 inches x 4 inches horizontal.

5. One rough per sheet of marker paper. You will be submitting two completed roughs.

6. Use your black marker to draw any parallel copy lines within the ad. Center on your marker paper.

7. Be sure to leave at least a ¼" margin of white space within the ad as a safety net for type.

8. Visuals and/or color can bleed to the boarder if appropriate to design.

9. Set type for the headline, subhead(s), tagline and logo, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your black or color markers or pencils. Be sure all are the correct size before beginning.

10. Be sure all type is blackened or colored in. Avoid outline type unless critical to the visual/verbal design story. Headlines and subheads can be in color if you wish.

11. Be sure to watch for kerning and leading issues. I will be deducting points for this.

12. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough. Use your marker or colored pencils to add color in to match photos as closely as possible.

13. Body and detail copy is still indicated with lines on the Roughs using your black marker if applicable. Use a ruler.

14. Roughs need to be very tight. This is what you will take to Super Comp.

15. Be sure to go over your thumbnails, and any pertinent information found in the text.

Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

16. Additionally, be sure to turn in all Thumbs with your final Roughs.

Postcard Super Comps.

1. Size is 8 inches x 4 inches. Note, you may use a graphic border but it must be inset at least 1/8 inches to 1/4 inches from the outer black borders (or ad size in InDesign).

2. This is a full-color ad. Use as many colors as you wish. (Again, students could be challenged further if confined to using only one or two colors).

3. Must have at least one or two visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics, line art, (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART OR STOCK ART. 4. Body copy should be written in Word, large text such as headlines and subheads should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

5. Create two (2) color Super Comps. Each should use a different layout style, and typeface. Each should use one or more different visual(s). Never repeat visuals anywhere. Each should conceptually represent your KCB. 6. Typefaces chosen should match the creative direction and medium.

7. Use as many typefaces as needed to project your concept. If using decorative, reversed, or text set in all caps be sure not to over use them. Think readability and legibility.

8. Be sure the headline is the largest piece of copy on the page, with the main subhead, if using, the next largest. The headline and all subheads should be set in bold.

9. Be sure to kern and lead the headline and subheads. Points will be deducted per infraction.

10. Each Super Comp should show the same headline and subhead(s) body and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB. 11. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

12. (Optional) Body copy for each paragraph and can be no smaller than 10 pt. and no larger than 11pt. Be sure to use 1 pt. of increased leading throughout body copy. Times and Times Roman are the easiest typefaces to read.

13. Lengthy body copy has no place in postcard design and is never centered, justified, or kerned. The easiest alignment to read for any length is flush left, rag right.

14. Decide what layout styles will assist with screaming out your key consumer benefit, (see text for applicable options).

15. Be sure to avoid overusing any body copy set in reverse or placed on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting headlines and subheads in reverse or all caps when applicable.

16. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad, between any columns of copy and/or around wrapped images.

17. Be sure to leave enough space on the back for address and postage information. Typically this will take up about half the space.

18. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

19. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

20. Be sure to center the ad on the printed page.

Assignment 2 Direct Marketing Brochure 1. Create a new brief or continue working with the original brief and brand.

Direct Mail Brochure Copy 1. Brochure: Write brochure copy of at least 500-750 words for your product or service.

Write enough so as to entice your target market to interact with the brochure and not throw it out. This count does not include headlines, subheads, detail or any promotional offers.

2. Use the copy sheet template found in the text.

3. For this assignment you must have at least the following on every copy sheet: headline, subhead(s), body and detail copy, a tagline or slogan and a logo. Any promotions are up to your creative imagination and creative goals for your brand.

4. All copy should initially be complete in Word.

5. Be sure the front page headline screams out your key consumer benefit. Any subheads used should tie the brand into the target’s lifestyle and offer some kind of incentive for taking the next step.

6. Be sure body copy strongly pushes your KCB and Support Statement and uses the same strategy and tone-of-voice. Look to your choice of strategy and tone from the creative brief.

7. Be sure body copy accomplishes your communication objective(s).

8. (Optional) Be sure to use multiple subheads. See template for placement options.

9. Both the feature and benefit associated with your support statement can appear in either a subhead or within the body copy.

10. (Optional) Be sure to include prices in either the headline, subhead or within callouts.

PRICES NEVER APPEAR IN THE BODY COPY. However, in a brochure they can be placed within a chart or even on pull out cards. Also, be sure to include any promotional information, detail copy, a tagline or slogan and a logo.

11. Be sure your opening paragraph continues the thoughts expressed in the headline and main subhead.

12. Be sure to include prices and local detail copy such as phone, address, hours, web address, credit cards accepted, social media used as applicable to the medium and assignment.

13. Use your creative brief for guidance when writing copy. I will use it to grade from.

14. Be sure you do not include any information that was not in the original creative brief.

Remember, if it did not appear in the features and benefit section of your creative brief you cannot write about or show it now.

15. Be sure your creative product (copy) is dead bang on your creative brief.

16. Be sure to specifically promote each point laid out in the brief.

17. Include the tagline or slogan from your creative brief. Be sure the tagline and logo match placement (order) shown on the creative brief and place on copy sheet.

18. Be sure to include the logo.

19. Remember, if it does not appear in the creative brief you cannot say it here.

The following information for the Thumbs, Roughs and/or Super Comps includes: Brochure Thumbnails 1.

2.

3.

4.

5.

Size: 8.5 inches x 11 inches.

Double fold.

Final word count not including the headline and any subhead use, at least 500-700 words.

Full color.

Headline, subhead(s), body and detail copy, tagline or slogan and logo, (from copy sheet) required.

6. Use as many visuals as you feel will help support your verbal message.

7. Can use tonal graphic elements.

8. Detail Copy: Phone, web address, social media options, as applicable to the medium and assignment parameters.

9. (Optional) Promotion with order form or coupon(s).

10. Complete Wordlist.

11. 10 Thumbnails (hand done).

Thumbnails 1. Final Rough and Super Comp size: 8.5 inches x 11 inches. For help with determining proportion for Thumbs only.

2. Thumbnail size should be a reduced proportion of the above final size.

3. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

4. Use the creative brief to help with conceptual direction.

5. Build ten (10) different Thumbnail ideas around this information.

6. Each Thumbnail must use a different designated layout style appropriate for brochures and have a different concept based on the key consumer benefit found in the brief, for each design.

7. Label the layout style used under each Thumbnail box.

8. Each thumbnail must use two folds.

9. Brochures are laid out flat not folded. You will be drawing out three (3) panels for the outside of the brochure and three (3) panels for the inside of the brochure.

10. You will be working with six (6) separate panels for each thumb, rough and super comp.

11. This will be a mailer so be sure to leave the appropriate space on the back panel.

12. Each thumb must have a readable headline, one or more subheads, tagline or slogan and logo, as well as show lined body and detail copy, photos and/or tonal graphics. Each should be correctly placed within the ad. The headline, subheads, tagline and logo combination should come from the final copy sheet. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, and subhead(s) based off information found in the brief.

13. Turn each thumb into a folded dummy to ensure understanding of how the design works.

14. Detail copy on a direct mail brochure might include an address, phone number, social media, web address, credit card information, and/or hours as appropriate for the assignment.

15. Use as many visuals, as necessary to accomplish the assignment and brief requirements. Do not reuse any visual. DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

16. Prices can be used on brochure design. Use will depend on the assignment.

17. Again, be sure to consider the use of graphic images as well as photographs. Creativity here will help attract and hold attention. These designs should standout even stun.

18. Be sure to do your research so your images and copy work strongly together.

19. Outline each thumb with a black border. No borders will be used on the roughs or super comps, (unless inset graphic ones) 20. Be unique, avoid the obvious and been there done that design.

21. Research the product.

Brochure Color Roughs (Optional) 1. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

2. Roughs are done full size and by hand.

3. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

4. Final Rough size: 8.5 inches x 11 inches horizontal.

5. One rough of three panels each per sheet of marker paper totaling, four (4). You will be submitting two completed roughs of six panels each.

6. Use your black marker to draw any parallel copy lines within the ad. Center on your marker paper.

7. Headlines and visuals can cross the gutter created by the folds if applicable to the design.

8. Be sure to leave at least a ¼" margin of white space within the ad along the edges and the gutter.

9. Visuals and/or color can bleed to the boarder if appropriate to design.

10. Set type for the headline, subhead(s), tagline and logo, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your markers or colored pencils. Be sure all are the correct size before beginning.

11. Be sure all type is blackened or colored in. Avoid outline type unless critical to the visual/verbal design story. Headlines and subheads can be in color if you wish.

12. Be sure to watch for kerning and leading issues and any type appearing to close to the gutters. I will be deducting points for this.

13. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough. Use your markers or colored pencils to add color in to match photos as closely as possible.

14. Body and detail copy is still indicated with lines on the Roughs using your black marker if applicable. Use a ruler.

15. Roughs need to be very tight. This is what you will take to Super Comp.

16. Be sure to go over your thumbnails, and any pertinent information found in the text. Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

17. Additionally, be sure to turn in all dummy Thumbs with your final Roughs.

Brochure Super Comps.

1. Size is 8.5 inches x 4 inches. Note, you may use a graphic border but it must be inset at least ½ inch from the outer black borders (or ad size in InDesign).

2. This is a full-color ad. Use as many colors as you wish.

3. Use as many visuals as needed to promote your concept. Choices include: photographs (Photoshop), and/or tonal or color graphics, line art, (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART OR STOCK ART. 4. Body copy should be written in Word, large text such as headlines and subheads should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

5. Create two (2) color Super Comps. Each should use a different layout style, and typeface. Each should use enough visuals to accomplish the visual/verbal message. Never repeat visuals anywhere. Each should conceptually represent your KCB. 6. Visuals and/or color can bleed to the boarder if appropriate to design.

7. Typefaces chosen should match the creative direction and medium.

8. Use two typefaces only per ad. One for the headline and subheads and the second for body and detail copy. If using decorative, reversed, or text set in all caps be sure not to over use them. Think readability and legibility.

9. Be sure the headline is the largest piece of copy on the page, with the main subhead, if using, the next largest. The headline and all subheads should be set in bold.

10. Be sure to kern and lead the headline and subheads. Points will be deducted per infraction.

11. Each Super Comp should show the same headline and subhead(s) body and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB. 12. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

13. (Optional) Body copy for each paragraph and can be no smaller than 10 pt. and no larger than 11pt. Be sure to use 1 pt. of increased leading throughout body copy. Times and Times Roman are the easiest typefaces to read.

14. Brochures tell a detailed story. Lengthy body copy is common in brochure design. Be sure to never center, justify (unless designed to fit, avoiding words stretched across

columns or multiple hyphens), or kern it. The easiest alignment to read for any length is flush left, rag right.

15. Brochure body copy is set in columns. Headlines can cross over folds as can images. Be sure nothing important like a face falls within the fold.

16. Decide what layout styles will assist with screaming out your key consumer benefit.

17. Be sure to avoid using any body copy set in reverse or placed on a screened background that is too dark, using large amounts of italics (single words or phrases only), or setting headlines and subheads in reverse or all caps when applicable.

18. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad, between any columns of copy and/or around gutters and wrapped images.

19. Be sure to leave enough space on the back for address and postage information.

20. Brochures are designed flat with folds shown with dashed lines.

21. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

22. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

23. Be sure to center the ad on the printed page.

Chapter 16 Assignments Internet and Social Media Assignment 1 Internet Landing Page 1. Create a new brief or continue working with the original brief and brand.

Landing Page Copy 1. Headline: Be sure your headline is large, to the point and strongly projects your key consumer benefit.

2. Subhead: Subheads used on landing pages that push your support statement clarifies what is being offered with additional clarity and hopefully is educational.

3. Body Copy: There is no set length for copy on a landing page. The goal is to deliver the key consumer benefit with enough supporting facts all questions about the brand or offer is clear and pushes the target to action.

4. Be sure to clearly offer up features and their corresponding benefits. This can be in sentence form or even shown with bullets or some type of graphic icon.

5. Be sure body copy strongly pushes your KCB and Support Statement and uses the same strategy and tone-of-voice. Look to your choice of strategy and tone from the creative brief.

6. Be sure body copy accomplishes your communication objective(s).

7. Testimonials: A good landing page will often offer up testimonials from current users to support what is being said in the body copy.

8. Call-to-Action: Every landing page needs a call to action. This can be a button or form to fill in depending on the assignment given.

9. Order Forms: If using an order form they should be kept short and simple, asking only for the necessary information needed to accomplish the required action.

10. (Optional) Be sure to include prices in either the headline, subhead or within callouts.

PRICES NEVER APPEAR IN THE BODY COPY. However, on a landing page they can be placed within a chart, shown under a clickable icon or link or within a spotlighted box.

11. Be sure to include any promotional information, detail copy, a tagline or slogan and a logo.

12. Use your creative brief for guidance when writing copy. I will use it to grade from.

13. Be sure you do not include any information that was not in the original creative brief.

Remember, if it did not appear in the features and benefit section of your creative brief you cannot write about or show it now.

14. Be sure your creative product (copy) is dead bang on your creative brief.

15. Be sure to specifically promote each point laid out in the brief.

16. Include the tagline or slogan from your creative brief. Be sure the tagline or slogan and logo match placement (order) shown on the creative brief and place on copy sheet.

17. Be sure to include the logo.

18. Remember, if it does not appear in the creative brief you cannot say it here.

Landing Page Visuals 1. Images used can be static images, animation or videos.

2. For animation or videos, depending on the level of the class, can be produced or just indicated on the Thumbs, Roughs and/or Super Comps.

Landing Page Thumbnails 1. Size: To be determined by the instructor.

2. Full color.

3. Headline, subhead(s), body and detail copy, tagline or slogan and logo, (from copy sheet) required.

4. Use as many visuals as you feel will help support your verbal message. However, one large image is the best way to stop attention, smaller images can be used to support copy.

5. Can use tonal graphic elements.

6. (Optional) Promotion with order form.

7. Complete Wordlist.

8. 10 Thumbnails (hand done).

Thumbnails 1. Landing Pages: Final Rough and Super Comp size: To be determined by your instructor.

2. Thumbnail size should be a reduced proportion of the above final size.

3. All thumbs will be done in color. Remember do not scribble on the thumbs or roughs when filling in color.

4. Use the creative brief to help with conceptual direction.

5. Build ten (10) different Thumbnail ideas around this information.

6. Each Thumbnail must use a different designated layout style appropriate for landing pages found in the text, and have a different concept based on the key consumer benefit found in the brief, for each design.

7. Label the layout style used under each Thumbnail box.

8. Each thumb must have a readable headline, an optional subhead(s), tagline or slogan and logo, as well as show lined body and detail copy, photos and/or tonal graphics. Each should be correctly placed within the ad. The headline, subheads, tagline and logo combination should come from the final copy sheet.

9. Each thumb will have the same headline and subheads. If copy has not been completed, each thumb will have a different headline, and subhead(s) based off information found in the brief.

10. Detail copy on a landing page might include an address, phone number, social media, credit card information, and/or hours as appropriate for the assignment.

11. Use as many visuals, as necessary to accomplish the assignment and brief requirements. Do not reuse any visual. The best landing pages are clean and easy to follow, do not get carried away placing to much on the page.DO NOT USE ANY CLIP OR STOCK ART. All images will be traced or hand drawn into position on the thumbs.

12. Visuals and/or color can bleed to the boarder if appropriate to design.

13. Be sure there is clearly one dominant visual.

14. (Optional) Prices can be used on a landing page.

15. Again, be sure to consider the use of graphic images as well as photographs. Creativity here will help attract and hold attention. These designs should quickly grab attention with the reason why the target visited the page.

16. Be sure to do your research so your images and copy work strongly together.

17. No borders will be used on the roughs or super comps, (unless inset graphic ones) 18. Be unique, avoid the obvious and been there done that design.

19. Research the brand.

Landing Page Color Roughs (Optional) 1. From your Thumbs chosen in consultation with your instructor or critiqued in class, choose two thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs or super comps unless first approved by the instructor to avoid losing points.

2. Roughs are done full size and by hand.

3. Roughs will be done in color. Remember, do not scribble on the roughs when filling in color.

4. Final Rough size: To be determined by the instructor.

5. Use your black marker to draw any parallel copy lines within the ad. Center on your marker paper.

6. If planning on using any animation or video, draw out a visual that clearly represents where you are headed. Place the word “animation” or “video” over the image to highlight your direction.

7. Be sure to leave at least a ¼" margin of white space within the ad.

8. Set type for the headline, subhead(s), tagline and logo, on the computer using Word. Print out and trace or hand draw all into position on the Rough using your markers or colored pencils. Be sure all are the correct size before beginning.

9. Be sure all type is blackened or colored in. Avoid outline type unless critical to the visual/verbal design story. Headlines and subheads can be in color if you wish.

10. Be sure to watch for kerning and leading. I will be deducting points for this.

11. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough. Use your marker or colored pencils to add color in to match photos as closely as possible.

12. Visuals and/or color can bleed to the boarder if appropriate to design.

13. Body and detail copy is still indicated with lines on the Roughs using your black marker if applicable. Use a ruler.

14. Roughs need to be very tight. This is what you will take to Super Comp.

15. Be sure to go over your thumbnails, and any pertinent information found in the text. Points will be based on your knowledge and execution of design principles and practices as discussed in lecture.

16. Be sure to turn in all Thumbs with your final Roughs.

Landing Page Super Comps.

1. Size to be determined by the instructor. Note, you may use a graphic border but it must be inset at least ½ inch from the outer black borders (or ad size in InDesign).

2. This is a full-color ad. Use as many colors as you wish.

3. Use as many visuals as needed to promote your concept. Choices include: photographs (Photoshop), and/or tonal or color graphics, line art, (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP OR STOCK ART. 4. Body copy should be written in Word, large text such as headlines and subheads should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

5. Create two (2) color Super Comps. Each should use the same layout style, and typeface.

Each should use one or more different visual(s) depending on creative direction. Never repeat visuals anywhere. Each should conceptually represent your KCB. 6. Typefaces chosen should match the creative direction and medium.

7. Use two typefaces only per ad. One for the headline and subheads and the second for any body and detail copy. If using decorative, reversed, or text set in all caps be sure not to over use them. Think readability and legibility.

8. Be sure the headline is the largest piece of copy on the page, with the main subhead, if using, the next largest. The headline and all subheads should be set in bold.

9. Be sure to kern and lead the headline and subheads. Points will be deducted per infraction.

10. Each Super Comp should show the same headline and subhead(s) body and detail copy from your corresponding copy sheet. If copy is not complete it needs to be done now before completing the super comp. All should promote your concept/KCB. 11. Each Super Comp should show the tagline or slogan and logo positioned to match placement shown on creative brief and copy sheet if complete. The typeface for the tagline and logo do not need to match any other typeface appearing in the ad.

12. Decide what layout styles will assist with screaming out your key consumer benefit.

13. Be sure to avoid using any large blocks of body copy set in reverse or placed on a screened background or over an image that is too dark or busy, using large amounts of italics (single words or phrases only), or setting headlines and subheads in reverse or all caps when applicable.

14. Be sure to have at least a ¼ inch margin of white space on all four sides within the ad, between any columns of copy and/or around wrapped images. Images, colors, and graphics can bleed.

15. Super Comps must be executed very, very tightly. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

16. Any Super Comp not completed in the correct software will receive a zero for that portion of the grade.

17. Be sure to center the ad on the printed page.

Assignment 2 Social Media Social Media Ads 1. Create a new brief or continue working with the original brief and brand.

Social Media: Copy, Thumbnails, Roughs and Super Comps.

1. The assignment for social media will depend on the platform(s) used and whether or not students have the ability/time to create video for their ads.

2. Follow the same design steps and strategies as used in previous ads once you decide which platforms will be a part of the assignment.

3. A basic outline will include an ad that has a small amount of copy, no more than 1-2 sentences tops.

4. A strong key consumer benefit driven headline.

5. Multiple images can be used especially if using a carousel format.

6. Video of no more than 15-20 seconds is advised for all social content when possible.

7. Static images should boldly and clearly reflect the KCB. 8. All will include the logo and/or tagline or slogan.

9. Detail copy may also be an option.

10. Again, depending on the assignment and platform, price(s) may also be present.

11. Close button.

Chapter 17 Assignment Creative Brief 1. Create a new brief for newspaper and magazine or continue working with the original brief and brand.

Mobile Copy 1. The typical pop-up mobile ad has little copy. Typically no more than one maybe two sentences.

2. Headline use is optional.

3. Headlines can flash, although not encouraged.

4. Clearly shown call-to-action button.

5. Logo.

Visuals 1.

2.

3.

4.

Can use one or more bold visuals. Best to keep to a minimum when possible.

Video options available.

Can have flashing images to attract attention. Not advised.

Close option.

Mobile Thumbs 1. Thumbnail size should be a reduced proportion of the assignment size as determined by the instructor.

2. Write brief body copy for your band. How much will depend on size and platform. Write enough so as to entice your target market to click on the ad.

3. Use the copy sheet template found in your text.

4. If using a headline be sure to highlight both the feature and benefit associated with your key consumer benefit (KCB).

5. Be sure any body copy used strongly pushes your KCB and offer.

6. Use your creative brief for guidance when writing copy. I will use it to grade from.

7. Be sure you do not include any information that was not in the original creative brief.

8. Be sure to include the logo.

The following information for the Thumbs, Roughs and/or Super Comps will include: 1.

2.

3.

4.

5.

Color Ads. Final Size Super Comp: Up to instructor.

Thumbs must be proportionate to the final size of the Rough and/or Super Comp.

Be sure ad has at least one dominate image.

Consider grouping items if using more than one image.

Thumbnails

1. Mobile: Options for copy include: Headline, detail copy, logo. Copy should come from the final copy sheet for all thumbs and final Super Comps. If copy has not been completed, each thumb will have a different copy options based off information found in the brief.

2. Thumbs should be done in Color.

3. Each thumb must have a different layout style. You may choose from the layout styles discussed in the text. Do not reuse any layout style, be sure to label each thumb with the layout style used. Designs can be either vertical or horizontal.

4. Each thumb should be done on marker paper and in marker or colored pencil.

5. Each thumb must have at least one dominate visual. Do not reuse any. Visuals should be traced or drawn into position and can be taken from either magazines, personal photos or from the Internet.

6. Body and detail copy should be limited. What is used should be represented with drawn lines, placed in position.

7. Thumbnail size should be a reduced proportion of the assignment size as determined by the instructor.

Mobile Roughs: (Optional) 1. From your Thumbs chosen in consultation with your instructor or via class critique, choose five of the checked thumbs to take to Roughs. Do not alter approved thumbs when working on the roughs unless first approved by the instructor to avoid losing points.

2. Roughs are done full size or 100 percent and by hand.

3. Color.

4. Final Rough size: To be determined by instructor.

5. Use a ruler to draw the border and any parallel lines within the ad.

6. Be sure to leave at least a small margin of white space around the inside of the ad, type, visuals and graphics.

7. All images and/or color(s) can bleed, designers choice.

8. Be sure all type is blackened in. No outlines.

9. Be sure to watch for kerning and leading issues. I will be deducting points for this.

10. Enlarge the visuals chosen from your Thumbs and trace or hand draw into position on the Rough. Use your markers or colored pencils.

11. Body and detail copy is still indicated with lines on the Roughs, use your black marker. Use a ruler.

12. If placing copy on top of a light background, with colored pencils be sure to place the marker indicated copy down first then add in the background. The wax in the pencils will smear otherwise.

13. Must have no more than two (2) visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 14. All copy should be written in Word, large text such as headlines should be done in Illustrator.

All elements should be imported into and assembled and tweaked in InDesign.

15. Roughs need to be very tight. This is what you will take to Super Comp.

16. Be sure to go over your thumbnails, and any pertinent information found in the text before starting the roughs. Points will be based on your knowledge and execution of design principles and practices as discussed in the text.

17. Be sure to turn in all Thumbs with your final Roughs.

Mobile Super Comps.

1.

2.

3.

4.

Color.

Final Super Comp Size: To be determined by the instructor.

Type of ad to be determined by instructor. See options in text.

At least one dominate visual. If using more than one try to group them together to not junk up the ad or waste space.

5. Be sure to include any relevant detail copy. Need will depend on the type of ad designed.

6. Use only one typeface per ad. Can alter weights.

7. Can use announcement devices. Keep decorative, reversed, or type set in all caps to a minimum. Think readability and legibility.

8. Be sure to have leave a margin of white space on all four sides within the ad, to ensure copy does not get to close to the edges.

9. Images and/or color(s) can bleed.

10. Must have no more than two (2) visuals. Choices include: photographs (Photoshop), and/or tonal or color graphics (Illustrator). These can come from anywhere. Do not need to be original. DO NOT USE ANY CLIP ART, LINE ART or STOCK ART. 11. All copy should be written in Word, large text such as headlines should be done in Illustrator. All elements should be imported into and assembled and tweaked in InDesign.

12. Super Comps must be executed very, very tightly. Use the text for help. Be sure to give yourself enough time to complete them. Grading will be based on not only your computer knowledge but also your knowledge of design.

Chapter 18 Assignment Campaign 1. Create a new brief for a product or service to be determined by the instructor.

2. Place students in teams of three or more.

3. Develop a campaign around the above brand comprising 5 or more mediums to be determined by the instructor or each team.

4. From the brief students will develop thumbs, copy and super comps.

Chapter 19 Assignment Pitch Decks 1. Using the same teams as assigned for the campaign, have each group prepare a pitch deck for their campaign 2. Once completed, each team will present their campaign to the class.