An amazing website with a fantastic blog that you should read regularly as part of your studies!
http://www.creativereview.co.uk/home
14 years ago
Showing posts with label Advertising. Show all posts
Showing posts with label Advertising. Show all posts
Saturday, 22 October 2011
Tuesday, 15 February 2011
EVALUATION: Response to Media Brief
Dear Ms Heath,
In response to your creative brief I would like to introduce to you ‘The Graces’ 2011 Spring collection. The campaign draws its inspiration from mythology as suggested in your brief. The aim of the production was to show that a woman can be whoever she wishes to be, despite her current financial or emotional circumstances; that by the fragrance she chooses to wear she could reflect the personality she wishes to portray at that time or the person she is today: mother, career woman, seductress or goddess. These aims were an important element of the campaign as women today have so many roles in society. The ultimate message is that a woman can be multi-faceted. ‘The Graces’ reflect these complexities by offering three varieties: Euphrosyne, Thalia and Aglaia.
The brand of ‘The Graces’ is a new label for 2011. The heritage of the brand has been developed through its mythological connotations and the Garamond Font used in the brand nameplate connotes tradition, style and elegance. This gives the brand an alluded sense of familiarity for the consumer. The tagline of “Beauty, Pleasure, Blossom” stems from the representation that the three characters, Aglaia, Euphrosyne, and Thalia, portrayed in the myths from which they came. It also supports the production aim that women are more than they appear. All women, no matter what demographic they fit, aspire to be beautiful and seek pleasure, whereas blossom offers connotations of nature and motherhood.
This leads me on to the Target Audience for this campaign: women. The primary target audience for ‘The Graces’ is similar to the ITV Sales category W3: women aged 16-34. These women could be from any social demographic background, but would primarily be more affluent due to the price of the fragrance: £40 for 75ml. However, the campaign would not target these women exclusively as all ‘aspirers’ could buy into the glamorous lifestyle we are portraying and would offer additional revenue. In addition to the ‘aspiring’ primary audience, the individual fragrances in the range could also appeal to alternative audiences. Thalia, blossom, for instance would also appeal to ‘mainstreamers’, ‘utopians’ and mothers whereas Euphrosyne, pleasure, would appeal to egoists. The brand as a whole could even appeal to ‘drifters’, those who can’t make their mind up about who they are, thus buying into the whole range. This wide ranging target audience has many needs and this has been incorporated into the campaign through the portrayal of three very different personalities- the dark, sultry seductress that is Euphrosyne, who needs attention and prominence, she holds her arms above her head in a sexually submissive suggestive manner, is dressed in leather and wears heavy makeup, who gazes at the viewer from the dark of night; the hippy chick, Thalia, who needs to nurture and find meaning in life, she sits cross legged amongst natural tones and hues, in a floaty cotton dress, sexy yet motherly; and Aglaia, who needs affiliation and to feel safe, she is a beautiful, natural women who is self-doubting and cannot see how wonderful she truly is. These three characters meet the wide ranging needs of a vast target audience.
I would like the campaign is to be launched within the first right hand three pages of magazines Vogue, Tatler and Bazaar to begin. These high end magazines offer us the ability to target women who still have disposable income despite current economic situations; these women are more likely to be career women with many roles who would buy into our messages. The second phase of the campaign would then launch within Cosmopolitan, Company and Style magazines, further drawing more of the TA in. In terms of cross media promotions I believe that an event at this time would be inappropriate. However, press releases (see R&P pg 3) have been sent to many publishers, department stores and buyers. The advertising standards authority regulations have been adhered to in the development of these products and no unreasonable claims are suggested in my production. This is obviously important as if the ASA found my advertising to be inappropriate or not adhering to their standards they could ban this production.
Both primary and secondary research was carried out as was continuing research at each stage of development. These informed decisions that were made in the final layout of the adverts. For instance in using reed networks I discovered that an ethereal background was more popular than a field or nightclub setting. This supports the notion that the power of fragrance advertising lies in the ability to make the consumer dream. The escapism that fragrance advertising offers the consumer is clearly gratifying.
The codes of fragrance advertising that I have conformed to in this campaign are, firstly, the placement of an enlarged perfume bottle in the bottom right third of each layout. This offers the opportunity of exposure even in non purchase due to unconscious recognition in the consumer from flicking through the magazine. It is an enlarged bottle to engage with the ‘need for prominence’ and as a suggestion that the consumer will get more for their money. In addition I have used an attractive model in the campaign- she represents the middle age range of the target audience and plays all three characters in the campaign to further emphasize the production message. In two products, Euphrosyne and Thalia, the model is staged in a full body shot, and in one, Aglaia, a close up is utilised. Close up has been chosen in this product as the fragrance represents and is supported by the tagline ‘Beauty’ presented as a tattoo on the model’s wrist. The use of the Fibonacci spiral was used to layout the original photographic image in which the direct gaze is suggestive of the model viewing herself in the mirror. These aspects deliberately further emphasize to the consumer the exquisite symmetrical nature of the model’s features. Despite the model being attractive, the use of the pen drawn arrows on the face connote plastic surgery, along with the direct address and cool ‘chocolate box’ expression, this engages the viewer sending a message of irony to the TA that they don’t need mechanical alterations to make them beautiful- they already are. Furthermore the message is that the only thing they need to accentuate their beauty is the fragrance, Aglaia.
The representation of women in this campaign is positive. The character of Euphrosyne could be seen to support ‘male gaze’ criticisms of portraying women as a commodity and although she simulates a gesture which could be suggested as submissive, holding her arms above her head as if being held down or tied up, I have tried to subvert that representation by staging Thalia, who could be seen as her binary opposite, in a similar stance, thus connoting the posture as an open, relaxed gesture, representing a woman who is comfortable in her own skin, day or night, single or attached, at work or at play. The colours used on the three products further support the connotations of each fragrance. On Euphrosyne the black, purple and red signify night, richness and passion which is supported by the tagline ‘pleasure’ and the rich heavy notes of the fragrance itself. On Thalia the natural tones of brown and creams signify Mother Nature, ‘blossom’ and the flowery notes of the fragrance. On Agalia the skin tones are dominant, the blues of the rest of the composition are drawn from the models eyes signifying fusion and calmness which is supported by the cool expression and the cool fresh notes of the fragrance. Each advert represents a part of the TA as well as the fragrance product itself.
Having trialled this campaign I have had extremely positive feedback. Both, teenage girls, aged 14-19, and professional women 20-36 claimed that the advertising would appeal to them, and as such they would look out for the fragrance in department stores. The majority agreed that when buying fragrance it was usually the scent which sold it to them, however they liked the message of the campaign and would definitely make an effort to try it out in testers. In order to address this I would like to improve the production by adding the experiential element, in a peelable sample, to the advertising pages. Obviously this would have a considerable impact on the cost of this advertising campaign.
Finally, I would like to remind you of my unique selling point: this campaign meets the needs and expectations of today’s women. Whoever they are, whoever they want to be- this fragrance will accentuate them. They will be beautiful, realize pleasure and they will blossom.
Beauty, Pleasure, Blossom?
That’s up to you!
In response to your creative brief I would like to introduce to you ‘The Graces’ 2011 Spring collection. The campaign draws its inspiration from mythology as suggested in your brief. The aim of the production was to show that a woman can be whoever she wishes to be, despite her current financial or emotional circumstances; that by the fragrance she chooses to wear she could reflect the personality she wishes to portray at that time or the person she is today: mother, career woman, seductress or goddess. These aims were an important element of the campaign as women today have so many roles in society. The ultimate message is that a woman can be multi-faceted. ‘The Graces’ reflect these complexities by offering three varieties: Euphrosyne, Thalia and Aglaia.
The brand of ‘The Graces’ is a new label for 2011. The heritage of the brand has been developed through its mythological connotations and the Garamond Font used in the brand nameplate connotes tradition, style and elegance. This gives the brand an alluded sense of familiarity for the consumer. The tagline of “Beauty, Pleasure, Blossom” stems from the representation that the three characters, Aglaia, Euphrosyne, and Thalia, portrayed in the myths from which they came. It also supports the production aim that women are more than they appear. All women, no matter what demographic they fit, aspire to be beautiful and seek pleasure, whereas blossom offers connotations of nature and motherhood.
This leads me on to the Target Audience for this campaign: women. The primary target audience for ‘The Graces’ is similar to the ITV Sales category W3: women aged 16-34. These women could be from any social demographic background, but would primarily be more affluent due to the price of the fragrance: £40 for 75ml. However, the campaign would not target these women exclusively as all ‘aspirers’ could buy into the glamorous lifestyle we are portraying and would offer additional revenue. In addition to the ‘aspiring’ primary audience, the individual fragrances in the range could also appeal to alternative audiences. Thalia, blossom, for instance would also appeal to ‘mainstreamers’, ‘utopians’ and mothers whereas Euphrosyne, pleasure, would appeal to egoists. The brand as a whole could even appeal to ‘drifters’, those who can’t make their mind up about who they are, thus buying into the whole range. This wide ranging target audience has many needs and this has been incorporated into the campaign through the portrayal of three very different personalities- the dark, sultry seductress that is Euphrosyne, who needs attention and prominence, she holds her arms above her head in a sexually submissive suggestive manner, is dressed in leather and wears heavy makeup, who gazes at the viewer from the dark of night; the hippy chick, Thalia, who needs to nurture and find meaning in life, she sits cross legged amongst natural tones and hues, in a floaty cotton dress, sexy yet motherly; and Aglaia, who needs affiliation and to feel safe, she is a beautiful, natural women who is self-doubting and cannot see how wonderful she truly is. These three characters meet the wide ranging needs of a vast target audience.
I would like the campaign is to be launched within the first right hand three pages of magazines Vogue, Tatler and Bazaar to begin. These high end magazines offer us the ability to target women who still have disposable income despite current economic situations; these women are more likely to be career women with many roles who would buy into our messages. The second phase of the campaign would then launch within Cosmopolitan, Company and Style magazines, further drawing more of the TA in. In terms of cross media promotions I believe that an event at this time would be inappropriate. However, press releases (see R&P pg 3) have been sent to many publishers, department stores and buyers. The advertising standards authority regulations have been adhered to in the development of these products and no unreasonable claims are suggested in my production. This is obviously important as if the ASA found my advertising to be inappropriate or not adhering to their standards they could ban this production.
Both primary and secondary research was carried out as was continuing research at each stage of development. These informed decisions that were made in the final layout of the adverts. For instance in using reed networks I discovered that an ethereal background was more popular than a field or nightclub setting. This supports the notion that the power of fragrance advertising lies in the ability to make the consumer dream. The escapism that fragrance advertising offers the consumer is clearly gratifying.
The codes of fragrance advertising that I have conformed to in this campaign are, firstly, the placement of an enlarged perfume bottle in the bottom right third of each layout. This offers the opportunity of exposure even in non purchase due to unconscious recognition in the consumer from flicking through the magazine. It is an enlarged bottle to engage with the ‘need for prominence’ and as a suggestion that the consumer will get more for their money. In addition I have used an attractive model in the campaign- she represents the middle age range of the target audience and plays all three characters in the campaign to further emphasize the production message. In two products, Euphrosyne and Thalia, the model is staged in a full body shot, and in one, Aglaia, a close up is utilised. Close up has been chosen in this product as the fragrance represents and is supported by the tagline ‘Beauty’ presented as a tattoo on the model’s wrist. The use of the Fibonacci spiral was used to layout the original photographic image in which the direct gaze is suggestive of the model viewing herself in the mirror. These aspects deliberately further emphasize to the consumer the exquisite symmetrical nature of the model’s features. Despite the model being attractive, the use of the pen drawn arrows on the face connote plastic surgery, along with the direct address and cool ‘chocolate box’ expression, this engages the viewer sending a message of irony to the TA that they don’t need mechanical alterations to make them beautiful- they already are. Furthermore the message is that the only thing they need to accentuate their beauty is the fragrance, Aglaia.
The representation of women in this campaign is positive. The character of Euphrosyne could be seen to support ‘male gaze’ criticisms of portraying women as a commodity and although she simulates a gesture which could be suggested as submissive, holding her arms above her head as if being held down or tied up, I have tried to subvert that representation by staging Thalia, who could be seen as her binary opposite, in a similar stance, thus connoting the posture as an open, relaxed gesture, representing a woman who is comfortable in her own skin, day or night, single or attached, at work or at play. The colours used on the three products further support the connotations of each fragrance. On Euphrosyne the black, purple and red signify night, richness and passion which is supported by the tagline ‘pleasure’ and the rich heavy notes of the fragrance itself. On Thalia the natural tones of brown and creams signify Mother Nature, ‘blossom’ and the flowery notes of the fragrance. On Agalia the skin tones are dominant, the blues of the rest of the composition are drawn from the models eyes signifying fusion and calmness which is supported by the cool expression and the cool fresh notes of the fragrance. Each advert represents a part of the TA as well as the fragrance product itself.
Having trialled this campaign I have had extremely positive feedback. Both, teenage girls, aged 14-19, and professional women 20-36 claimed that the advertising would appeal to them, and as such they would look out for the fragrance in department stores. The majority agreed that when buying fragrance it was usually the scent which sold it to them, however they liked the message of the campaign and would definitely make an effort to try it out in testers. In order to address this I would like to improve the production by adding the experiential element, in a peelable sample, to the advertising pages. Obviously this would have a considerable impact on the cost of this advertising campaign.
Finally, I would like to remind you of my unique selling point: this campaign meets the needs and expectations of today’s women. Whoever they are, whoever they want to be- this fragrance will accentuate them. They will be beautiful, realize pleasure and they will blossom.
Beauty, Pleasure, Blossom?
That’s up to you!
Sunday, 30 January 2011
Original Photography- the guidelines
As part of Assignment 3 the AQA guidelines are that:
"Original material should be used wherever possible. If found material is used it must be manipulated in a suitable fashion such that the candidate’s own creativity is evident. "
But what does that mean?
It means that if possible original photography, i.e. your own photoshoot would be preferential.
However, if you simply cannot get original images- say you want an actress or sportsperson for example- then you can manipulate found images. But they MUST be obviously manipulated.
For example- using Evie's 'Eros' idea as an example:
"Original material should be used wherever possible. If found material is used it must be manipulated in a suitable fashion such that the candidate’s own creativity is evident. "
But what does that mean?
It means that if possible original photography, i.e. your own photoshoot would be preferential.
However, if you simply cannot get original images- say you want an actress or sportsperson for example- then you can manipulate found images. But they MUST be obviously manipulated.
For example- using Evie's 'Eros' idea as an example:
These two found images could be utilised if manipulated to show your 'own creativity'.
Resulting in something such as this:
Assignment 3: Fragrance Advertising: The guidelines
Straight from the exam board, these are the guidelines they give for Assignment 3.
Candidates are required to undertake a practical production which addresses all four key concepts, from conception to realisation, together with an evaluation of 700-800 words.
Each candidate must submit their own individual evidence of research and planning and their own evaluation.
For all of these productions the aim should be to strike a balance between creativity and the application of appropriate codes and conventions and media language.
Original material should be used wherever possible. If found material is used it must be manipulated in a suitable fashion such that the candidate’s own creativity is evident.
Advertising and Marketing
For print advertising, confidence in handling technology can be demonstrated by:
• appropriate integration of text and illustration (whether original or found material).
• language, register and content appropriate to the nature of the production and audience.
• evidence of consideration being given to typography: use of fonts, type size and colour.
• creation of a house-style.
Layout conventions should be utilised.
Advertising and Marketing conventions could include taglines, imperatives, direct address, copy, logos, or call to action.
Candidates are required to undertake a practical production which addresses all four key concepts, from conception to realisation, together with an evaluation of 700-800 words.
Each candidate must submit their own individual evidence of research and planning and their own evaluation.
For all of these productions the aim should be to strike a balance between creativity and the application of appropriate codes and conventions and media language.
Original material should be used wherever possible. If found material is used it must be manipulated in a suitable fashion such that the candidate’s own creativity is evident.
Advertising and Marketing
For print advertising, confidence in handling technology can be demonstrated by:
• appropriate integration of text and illustration (whether original or found material).
• language, register and content appropriate to the nature of the production and audience.
• evidence of consideration being given to typography: use of fonts, type size and colour.
• creation of a house-style.
Layout conventions should be utilised.
Advertising and Marketing conventions could include taglines, imperatives, direct address, copy, logos, or call to action.
New photoshop technique- use the eraser to create this look.
Saturday, 29 January 2011
Wednesday, 26 January 2011
Sunday, 23 January 2011
Exemplar: Institutions: How the media reported this press release.
From The Telegraph Newspaper amongst other sources.
Despite being distributed by beauty giant L'Oréal and the fact that Margiela is no longer part of his eponymous fashion brand, Maison Martin Margiela is trying to stay true to its 'no-label' approach, naming its first scent, Untitled.
L'Oréal is also behind the fragrances of denim brand Diesel, which now owns Maison Martin Margiela. The Untitled launch has been long-awaited since the avant-garde fashion label has been in business for more than 20 years and is just now releasing its first scent.
Launched in Paris this week, Untitled is a unisex frag -created by perfumer Daniela Andrier, the 'nose' behind YSL's Rive Gauche, Gucci Rush for men (that I heart), and several Prada scents- that is described as floral, woody, and very green (including notes of fern) as well as ambery and oriental.
The unisex element as well as the typical 'blank canvas' packaging contribute to the notion of a non-stereotypical scent that, according to a press release, "can be worn by anyone, anywhere".
A statement released last year read : "This signature scent will inspire radical new perspectives for perfumes with a more personal approach, following the success of the brands with star logos[...]" .
Untitled will become available at colette.fr in a world-exclusive 'preview' January 25 and will be rolled out internationally through April. It joins the ranks of other 'avant-garde' and 'niche' scents that are gaining in importance such as Standard by Comme des Garçons and Artek.
Despite being distributed by beauty giant L'Oréal and the fact that Margiela is no longer part of his eponymous fashion brand, Maison Martin Margiela is trying to stay true to its 'no-label' approach, naming its first scent, Untitled.
L'Oréal is also behind the fragrances of denim brand Diesel, which now owns Maison Martin Margiela. The Untitled launch has been long-awaited since the avant-garde fashion label has been in business for more than 20 years and is just now releasing its first scent.
Launched in Paris this week, Untitled is a unisex frag -created by perfumer Daniela Andrier, the 'nose' behind YSL's Rive Gauche, Gucci Rush for men (that I heart), and several Prada scents- that is described as floral, woody, and very green (including notes of fern) as well as ambery and oriental.
The unisex element as well as the typical 'blank canvas' packaging contribute to the notion of a non-stereotypical scent that, according to a press release, "can be worn by anyone, anywhere".
A statement released last year read : "This signature scent will inspire radical new perspectives for perfumes with a more personal approach, following the success of the brands with star logos[...]" .
Untitled will become available at colette.fr in a world-exclusive 'preview' January 25 and will be rolled out internationally through April. It joins the ranks of other 'avant-garde' and 'niche' scents that are gaining in importance such as Standard by Comme des Garçons and Artek.
Exemplar: Institutions: The Official Press Release for "untitled" by Maison Martin Margiela
L’Oréal’s Luxury Products Division announces the signing of a partnership agreement with Maison Martin Margiela for the creation of a first line of perfumes. This agreement expresses their shared wish to combine their expertise and reflect the unconventional and innovative world of Maison Martin Margiela through a perfume.
Maison Martin Margiela, avant-garde expertise:
Graduating from the Académie Royale d’Anvers in 1979, Martin Margiela joined Jean-Paul Gaultier’s team before founding Maison Martin Margiela in 1988. At the same time, Hermès entrusted him with the artistic direction of its collections from 1999 to 2004.
In 2002, Renzo Rosso, President of the Only The Brave Group joined forces with him becoming a majority shareholder in the House. Today, Maison Martin Margiela is structured around 32 single brand sales outlets and more than 500 multi-brand stores across five continents. In 6 years, their turnover has increased fourfold.
Often characterised as iconoclastic and experimentalist, Maison Martin Margiela bases its creative expression on recycling, transformation and reinterpretation: an emotion, a unique and timeless proposition which challenges shapes and rules.
White, a symbol of simplicity and purity, unifies all the premises and items belonging to the House; it has become its most obvious visual identity, just as anonymity has become its signature.
“In our constant search for new forms of expression and creation,the desire to design a perfume appeared obvious. This perfume must be in our image, an elixir of all that we are and are fond of. The L’Oréal teams give us the human support and skills necessary to launch us on this adventure, while respecting our history, identity and values. This partnership is also a union between two worlds which mutually complement, support, nurture and inspire.” Maison Martin Margiela.
An unconventional perfume expression:
For Patricia Turck Paquelier, President of Prestige and Collections International within L’Oréal’s Luxury Products Division, “By pre-empting the ‘No Logo’ domain, for more than 20 years Maison Martin Margiela has opened up a novel channel in the luxury market with its discrete label with four stitches.
This signature scent will inspire radical new perspectives for perfumes with a more personal approach, following the success of the brands with star logos. A requirement for the thousands of people world wide searching for unostentatious luxury.
As always with Maison Martin Margiela, we will explore new areas with them for an unconventional expression of their perfumes. This will also be a collective story, conducted by men and women who share values such as excellence in quality and their teamwork with L’Oréal.”
Maison Martin Margiela, avant-garde expertise:
Graduating from the Académie Royale d’Anvers in 1979, Martin Margiela joined Jean-Paul Gaultier’s team before founding Maison Martin Margiela in 1988. At the same time, Hermès entrusted him with the artistic direction of its collections from 1999 to 2004.
In 2002, Renzo Rosso, President of the Only The Brave Group joined forces with him becoming a majority shareholder in the House. Today, Maison Martin Margiela is structured around 32 single brand sales outlets and more than 500 multi-brand stores across five continents. In 6 years, their turnover has increased fourfold.
Often characterised as iconoclastic and experimentalist, Maison Martin Margiela bases its creative expression on recycling, transformation and reinterpretation: an emotion, a unique and timeless proposition which challenges shapes and rules.
White, a symbol of simplicity and purity, unifies all the premises and items belonging to the House; it has become its most obvious visual identity, just as anonymity has become its signature.
“In our constant search for new forms of expression and creation,the desire to design a perfume appeared obvious. This perfume must be in our image, an elixir of all that we are and are fond of. The L’Oréal teams give us the human support and skills necessary to launch us on this adventure, while respecting our history, identity and values. This partnership is also a union between two worlds which mutually complement, support, nurture and inspire.” Maison Martin Margiela.
An unconventional perfume expression:
For Patricia Turck Paquelier, President of Prestige and Collections International within L’Oréal’s Luxury Products Division, “By pre-empting the ‘No Logo’ domain, for more than 20 years Maison Martin Margiela has opened up a novel channel in the luxury market with its discrete label with four stitches.
This signature scent will inspire radical new perspectives for perfumes with a more personal approach, following the success of the brands with star logos. A requirement for the thousands of people world wide searching for unostentatious luxury.
As always with Maison Martin Margiela, we will explore new areas with them for an unconventional expression of their perfumes. This will also be a collective story, conducted by men and women who share values such as excellence in quality and their teamwork with L’Oréal.”
Trend Hunter: Check out the new RSS Feeds at the bottom of the blog
Trendhunter feeds on: Top 10 Trends, Style and Fashion and Marketing Strategy now appear at the bottom of this blog. Check them out for inspiration.
Who is the target audience?
What do you make of this editorial? What ideology is being portrayed? What messages are at play?
What do you think of it?
What do you think of it?
Exemplar: My Fragrance Campaign- The Graces
Concept: My concept is based on Greek mythology.
The Graces were the beautiful daughters of Zeus and Eurynome. They personified grace and beauty divided between them to indicate the various ways in which the beautiful is manifested in the world and adorns it.The Graces were Aglaia (Beauty), Euphrosyne (Pleasure), and Thalia (Blossom ). They represented the assurance of peace and happiness.
My campaign will use the same model to represent all three characters- suggesting to the buyer that they can portray a different image of beauty dependent on their mood and which fragrance they choose to wear that day.
In the billboard campaign I will try to replicate the staging in the painting by Raphael of 'The Graces' to show all of the varieties of fragrance. The magazine images will portray, individually, the three varieties of fragrance.
Representation boards:
Magazine Mock ups:
The Graces were the beautiful daughters of Zeus and Eurynome. They personified grace and beauty divided between them to indicate the various ways in which the beautiful is manifested in the world and adorns it.The Graces were Aglaia (Beauty), Euphrosyne (Pleasure), and Thalia (Blossom ). They represented the assurance of peace and happiness.
My campaign will use the same model to represent all three characters- suggesting to the buyer that they can portray a different image of beauty dependent on their mood and which fragrance they choose to wear that day.
In the billboard campaign I will try to replicate the staging in the painting by Raphael of 'The Graces' to show all of the varieties of fragrance. The magazine images will portray, individually, the three varieties of fragrance.
Representation boards:
Magazine Mock ups:
Monday, 3 January 2011
Market Research: A deeper look at everyday life
A neat little presentation on customer motivation. Some good messages in this.
Sunday, 5 December 2010
Or perhaps you prefer the 2009 Mens Print winner!
Fancy a bit of Justin Timberlake?
Look at how similar the styling and use of colour is in the last two years Men's Print winners though!
And both are a total contrast to the 2008 winner...Tom Ford for Men...which I will leave down to you to research as it is far too provacative for these pages!
The Billboards
And the Magazine versions
Look at how similar the styling and use of colour is in the last two years Men's Print winners though!
And both are a total contrast to the 2008 winner...Tom Ford for Men...which I will leave down to you to research as it is far too provacative for these pages!
The Billboards
And the Magazine versions
Subscribe to:
Posts (Atom)
My Blog List: Year 11 Double
-
iPhone app Calander - Calander View for iPhone app Second Calander view for iPhone app Final Calander view for iPhone app Final Calander view with colour correction for iPhone
-
Articles; Relevant To My Target Audiences' Issues - *So far i have found an article and a blog which are relevant to the issues of my target audience. * *The first, a BBC magazine article, talks about the is...
14 years ago -
-
Similar Campaigns! - CALM - Campaign agaisnt living miserably: The Calm Zone is a website that was set up in response to the high suicide rate among young men, currently the big...
14 years ago -
Billboard Posters - My Partner Chloe researched the Codes and Conventions of Billboard Posters for our project. She found the following Codes and Conventions following the ana...14 years ago
-
The 'Lunch Bunch' - In order to appeal to kids and make them enjoy learning about good food, which will in turn appeal to the parents, i have chosen to create several characte...
14 years ago -
New Decision.. - Today we had a discussion as a group and decided that it would be easier to split up into smaller groups/individuals as working in a group of 4 was making...14 years ago
-
My Blog List: Year 11 Single
My Blog List: Year 10 Media
