AP&P - Final Project

June 15, 2018

AP&P - Final Project

8/5/18 - 15/6/18 (Week 7 - Week 12)
Seoh Yi Zhen (0328497)
Advertising Principles & Practice
Final Project - Advertising Campaign (Part 2): Art Direction

LECTURE NOTES

Lecture 7
8/5/18 (Week 7)

Politics is omnipotent. Advertising needs to be weary of the socio-political climate to steer clear or leverage the prevailing phenomena. Advertising needs to be aware of the codes to not run afoul of them.

Economic factors are ever-present and continue to influence the type of media used in advertising. However, the media space has been democratised to a degree with the internet and social media platform leveling the playing field between those with deep pockets and those without.

Cultural sensitivities and practices will continue to be important factors to take into consideration either for the purpose of leverage or to be aware of sensitivities.

Forum

Fig. 1.1: Week 7 forum question.

Fig. 1.2: Week 7 forum answer.

INSTRUCTIONS

FINAL PROJECT

Week 7

For my first attempt, I didn't really have a clear idea of how I wanted my ads to look. I tried to create one by adding random elements to a background image, sort of like a collage but more photorealistic.

Fig. 2.1: Visual 1 draft (1).

Week 8

Based on the feedback I received from Mr Vinod, I worked on the visual again in order to improve it. I also did some ad mockups using this visual so that I could picture the final outcome better.

Fig. 2.2: Visual 1 draft (2).

Fig. 2.3: Twitter ad mockup (1).

Fig. 2.4: Facebook ad mockup (1).

Week 9

Fig. 2.5: Visual 2 draft (1).

Fig. 2.6: Visual 3 draft (1).

Fig. 2.7: Visual 3 draft (2).

Fig. 2.8: Overlay ad draft (1).

Fig. 2.9: Overlay ad mockup (1).

Week 10

The tagline was changed to "Where Fantasy Meets Reality" because it sounded better and stronger than the previous one.

Fig. 2.10: Visual 3 draft (3).

Fig. 2.11: Visual 4 draft (1).

Fig. 2.12: Visual 5 draft (1).

Fig. 2.13: Facebook ad mockup (2).

Fig. 2.14: Instagram ad mockup (1).

Fig. 2.15: Twitter ad mockup (2).

Fig. 2.16: Native ad mockup (1).

Fig. 2.17: Overlay ad draft (2).

Fig. 2.18: Overlay ad draft (3).

Fig. 2.19: Overlay ad mockup (2).

Fig. 2.20: Overlay ad mockup (3).

Week 11

Fig. 2.21: GIF draft (1).

Fig. 2.22: GIF draft (2).

Final Ads

Visuals

Fig. 3.1: Final visuals (1).

Fig. 3.2: Final visuals (2).

Fig. 3.3: Final visuals (3).

Fig. 3.4: Final visuals (4).

Fig. 3.5: Final visuals (5).

Social Media

Fig. 3.6: Facebook.

Fig. 3.7: Instagram.

Fig. 3.8: Twitter.

Fig. 3.9: Simulation on Facebook.

Fig. 3.10: Simulation on Instagram.

Fig. 3.11: Simulation on Twitter.

Native Ads

Fig. 3.12: Simulation on cilisos.my.

Fig. 3.13: Simulation on cilisos.my.

Overlay Ads

Fig. 3.14: Overlay ads.

Fig. 3.15: Simulation on Skype, Wikipedia, Google Drive and Spotify.

Fig. 3.16: Simulation on Google.

GIFs

Fig. 3.17: GIF (1).

Fig. 3.18: GIF (2).

Fig. 3.19: Simulation on Instagram (1).

Fig. 3.20: Simulation on Instagram (2).

FEEDBACK

Week 7

The contrast between the space background and the curtains is not strong enough. Instead of trying to make it look photorealistic, maybe try a more kitschy style.

Week 8

The kitschy style works better because it's immediately more obvious that it's hybrid. For the social media mockups, include a short description that explains the tagline. The hashtag #hybriddesigner should be put right after the tagline instead of #tds because it ties in with the tagline more.

Week 9

The second visual is good, but the third one needs more work. The tagline also needs to be changed so that it'll sound better. As for the overlay ad, the layout needs to be reconsidered because right now the logo is too small to read.

Week 10

The line that was added to the overlay ad works, just make sure that the spacing in between is equal. The description also needs to be added to the Instagram and Twitter ads in order to explain the tagline. Because the visuals are almost done, the animating process should start right away. Mr Vinod suggested a parallax effect for the animations.

Week 11
For the GIFs, make sure to include the Taylor's logo after the tagline. The parallax effect for the second GIF isn't as clear as the first one. The rest of the ad mockups are fine.

REFLECTION

Experience

If I'm being honest, I think this is the hardest assignment I've had to do so far. Executing it in Photoshop was fine, but coming up with bizarre compositions was really tough for me because I'm usually very rational and logical. As for the animating process, I found it relatively simple as I had already done something similar in my first semester.

Observation

I noticed that doing work together with other people and randomly throwing out ideas really helped me when I was creating the visuals for my ads. Whenever I was stuck, I would get inspiration by asking them to say anything that came to mind, whether or not it related to my ads. I observed that this process helped me to release any inhibitions and more importantly, stopped me from overthinking.

Findings

It doesn't matter how great an idea is if the execution does not communicate it well. Most people nowadays are quite impatient when it comes to advertising, so the visuals and headline must go hand-in-hand in order to hit the mark. Every detail, no matter how small, comes together to communicate the idea to the target audience. Hence, the idea might be king, but execution is just as important in creating a successful ad campaign.

In order to be effective communicators, the theory goes, we must first craft our messages carefully so as to maximise their impact on the audience. Then we choose a medium for injecting them into the minds of our target audience. We load our messages into the medium, inject them via the eye or ear, or both, and wait for them to work.

However, a dangerous idea that we cling to is that messages are powerful and audiences are passive. We want people to absorb what we're saying without being distracted by their own opinions or by their feelings towards us. The things we want to communicate seem so interesting and important to us that it's hard for us to believe that they're not equally interesting and important to other people.

"It's not what our message does to the reader, but what the reader does with our message, that determines our success. When we speak of a powerful message, we're really referring to the power of the message to evoke a response. Communication occurs when the audience does something with the message. The audience has the power to interpret the message. In communication terms, that's the ultimate power."

Guerrilla Advertising by Gavin Lucas and Michael Dorrian

29/5/18 - 15/6/18 (Week 10 - Week 12)

Fig. 4.2: Guerrilla Advertising.

Opportunity in the classical media is becoming more and more challenged for a number of reasons. First, there is the cost issue. Second, the fragmentation of the media; and third, related to that, the growth of new technologies. The central challenge: to continue to differentiate products and services in an even stronger and more creative and constructive way.

Rather than starting with the thought that a communication will inevitably be in the form of a television spot and then working backwards to shoehorn an idea into that format, forward-thinking agency departments look to develop brand-relevant ideas first. At the same time they nurture an impartial approach towards media channels, so ensuring that each campaign appropriates the media channel most naturally suited to it. Good advertising agencies are bound to rise not just to the challenge of the extension in the number of television channels, but also to the demand of taking on exciting new styles of non-traditional advertising.

'Guerrilla' is perhaps a surprising word to use as a blanket term for these new non-traditional advertising campaigns - especially as terms such as 'ambient', 'outdoor', 'disruptive', and 'integrated' seem to have more currency among the advertising fraternity. But this notion of a guerrilla campaign encapsulates the idea that this kind of advertising exists outside the normal rules of engagement, and works by seizing and subverting people's attention when and where they least expect it, and holding them captive until they have absorbed the message.

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