Disruption in Advertising

In modern world getting attraction from the targeted audience is one of the hardest tasks in a creative process. This is where the disruption in advertising comes to play. Also this can be defined as breaking the wall between the designer and target audience.

In the field of adverting, disruption is the creative change, which builds and further enforces the affinity of the brand with the end user. Indian advertising scenario is undergoing an interesting phase of disruption and the kind of campaigns being aired is an evident testimony about the same. One of the interesting disruptions that has recently happened and which underlines the changing role a girl is having in the family of her parents is reflected through the recent HDFC Standard Life Insurance Campaign where the girl gives the money to her father to buy a new car, and no under currents are associated with this whole process.

Furthermore because of the high competition in currant advertising industry the design should be able to get the attraction and same time it should survive within you target audience. To overcome this task designer have to work more on research and replaying processes 

You might have seen plenty of advertisements on the road sides or when you have flipped over magazines. I hope that you might have just skipped most of them, but there are some cool creative advertisements which would make you look twice. To create Creative advertisements, the designer must be innovative enough to  take away the attention of the audience. 

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Sources:

http://www.humsurfer.com/disruption-in-advertising-a-new-leaf

http://www.smashingtips.com/35-creative-ads-that-makes-you-look-twice

Too Much information

As I mention in information designing post information playing a vital role in percent society. Again in brief information can be define as s most restricted technical sense is an ordered sequence of symbols that record or transmit a message. It can be recorded as signs, or conveyed as waves. Information is any kind of event that affects the state of a dynamic system. As a concept, however, information has many meanings. Moreover, the concept of information is closely related to notions  of constraint, communication,  control,  data,  form,  instruction, knowledge,  meaning, mental stimulus, pattern, perception, representation, and even entropy. What if would happen if it is too much information

In a world full of information we seem to be constantly toggling between managing all the new impressions we get on a daily basis and feeling totally overwhelmed by information overload. With the arrival of the Internet we were told that things would become easier – less paper clutter to worry about and more time to enjoy life. But this isn’t so, as we’ve all found out in recent years. Paper clutter en masse, email inboxes bursting with unanswered mails, tasks pending for the sheer pressure of having too much to do – you name it, it has all become part of our reality.

It’s a challenge of modern life: email, Twitter feeds, instant messaging, text messages, and other snippets of information are coming at us so fast that it’s hard not to feel under digital attack. Sure, some of it’s important — and that’s precisely the problem. Turn it all off and you might as well quit the workforce. But read it all and your mind becomes so drained that it’s a challenge to get anything else done.

In some ways, technology has evolved in a way that puts mere humans in a bind. Consider the email conundrum. From the moment you wake up, it seems the inbox is calling your name. And if you’re like most of us, you answer its call pretty quickly.

“The brain hates uncertainty,” says David Rock, the CEO of Results Coaching Systems and author of “Your Brain at Work.” “It’s literally painful to not download your email the moment you arrive at your desk in the morning. But once you’ve processed 30 or 40 emails, you’ve ruined your brain chemistry for higher level tasks that are going to create value.”

In short, the brain’s capacity for decision-making evolved at a time when people had less to think about. Great, so now you have an excuse for not keeping up. But you still need a game plan.

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Sources:

http://en.wikipedia.org/wiki/Information

http://www.bnet.com/article/how-to-survive-information-overload/383397

Semiotics In Designing

Semiotics can be define as a sign processes, indication, designation, likeness, analogy, metaphor,symbolism, signification, and communication. Semiotics is closely related to the field of linguistics, which, for its part, studies the structure and meaning of language more specifically. In short Semiotic can define as a “study of signs and signifying practices”

Picture on Right shows a hand of a man. What is says to you. This is where the Semiotics building up. It varies according to the time it uses. For example when you met one of your friend it’s a HI5, when you leaving someone you know its bye. Sometimes it’s a STOP or it can be Five pounds.

Like vice Semiotics Developed and spread within people Time by time. The main thing vast world of semiotics is to understand what signs are. Signs point to a meaning, there are 

three types of signs, Iconic, Indexical and Symbol.

An iconic sign, Looks like what it represents. Here is an example a roundabout sign. It doesn’t have to look identical but anyone could understand that this was a directional map of a roundabout because of it’s characteristics. Another example is this fire exit sign. It clearly shows a door and a person walking out. Representing its meaning.

In its simplest form, Semiotics can be described as the study of signs. Not signs as we normally think of signs, but signs in a much broader context that includes anything capable of standing for or representing a separate meaning.

Structuralism is an analytical method used by many semioticians. Structuralists seek to describe the overall organization of sign systems as languages. They search for the deep and complex structures underlying the surface features of phenomena.

Social Semiotics has taken the structuralist concern with the internal relations of parts within a self-contained system to the next level, seeking to explore the use of signs in specific social situations.

Semiotics and the branch of linguistics known as Semantics have a common concern with the meaning of signs. Semantics focuses on what words mean while semiotics is concerned with how signs mean. Semiotics embraces semantics, along with the other traditional branches of linguistics as follows:

·                                   Semantics: the relationship of signs to what they stand for.

·                                  Syntactics (or syntax): the formal or structural relations between signs.

·                                 Pragmatics: the relation of signs to interpreters.

On Paradigms Barthes suggested...

Roland Barthes (1967) outlined the paradigmatic and syntagmatic elements of the 'garment

system' in similar terms.

The paradigmatic elements are the items which cannot be worn at the same time on the same part of the body (such as hats, trousers, shoes).

The syntagmatic dimension is the juxtaposition of different elements at the same time in a complete ensemble from hat to shoes.

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Sources:

Lecture Notes

http://www.boxesandarrows.com/view/semiotics_a_primer_for_designers

Information Desingning

Information designing is plying a big role in current designing industry. In present people need information daily. For example Route directions, maps, it can be a steps of mixing paint, Number of Votes for idle or a politician, who is the leading goal sorcerer, league standing, maps and even every little thing is everything is information. Firstly information can be numbers and letters. So the challenge is how I should represent this very attractive and understandable manner to particular target audience. Rather than showing these bar chart or a pie chart designer should be very creative. This is where the Information designing begins. Legibility, typography, colours, identity, layout will be the same rules for the Game

Information design is primarily about perception, how people translate what they see and hear into knowledge. The Art of Instructional Design displays an entertaining array of the most ingenious, stupid, beautiful, and horrible visual solutions that instruction designers and illustrators have invented to help us handle modern technology and everyday products.

These works of art show us how to floss out teeth properly, where to insert the printer cartridge, which button to press to transfer a phone call, how to use chopsticks, how to open a milk carton, and how to exit the plane in case of an emergency landing. Open Here also includes a diverse sampling of images: the finest cut-away drawing of a truck's diesel engine, a revealing expanded view of a model airplane, and detailed full-color photographs of a sewing machine in a 19th-century manual.He is a professor of Visual Information design at the University of Technology in Delft, The Netherlands.

Paul Mijksenaar is a designer of visual information and is founder and director of the international design bureau Mijksenaar, based in Amsterdam and New York. Mijksenaar is a specialist in creating visual information systems, such as wayfinding signage for railway stations and airports including New York's JFK, LaGuardia and Newark, and Amsterdam's Schiphol. His work for the Port Authority of New York and New Jersey was echoed in the set design for Steven Spielberg's film The Terminal.Besides his practice he is also a professor in Visual Information Design at the faculty of Industrial Design Engineering at the Delft University of Technology in the Netherlands. He also writes a monthly article in the Dutch newspaper NRC Handelsblad about everyday problems and solving them using information design.

As a designer it is important to understand impotence of information designing and importance of creating your own visual language. For that your own way of using font and illustration style can be very useful. In Paul Mijksenaar’s designs contains a uniqueness, same time It’s easy to identify this design of Paul Mijksenaar.

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Sources:

Lecture Notes

http://en.wikipedia.org/wiki/Paul_Mijksenaar

http://sk.aphelis.net/post/131943988/open-here-the-art-of-instructional-design

Ethics

Ethics, also known as moral philosophy, is a branch of philosophy that addresses questions about morality that is, concepts such as good and evil, right and wrong, virtue and vice, justice, etc.

Ethics and the idea of ethical advertising have recently become an extremely hot topic at currant society. The whole issue has captured peoples’ attention both for personal (doing some good for our consciences) and professional reasons (doing some good for our bottom line as well as our Clients’). However, there are a wide variety of interpretations of what this means and how committed individual people are to the idea.

There is no secret that advertisements are supposed to persuade you to buy a product. That’s their job. Advertising may attempt to educate you or entertain you, but beneath it all, the ultimate goal is always to sell you. So, it’s only natural that advertisers would resort to all kinds of slippery tactics as a way of getting you motivated to buy. The question is this: are these strategies ethical? Do companies have an obligation to tell the truth or does the goal of selling the product override such ethical concerns.

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Sources:

http://www.suite101.com/content/ethics-in-advertising-a36723

William Bernbach

William (Bill) Bernbach was an advertising creative director. He was one of the three founders in 1949 of the international advertising agency Doyle Dane Bernbach (DDB). He directed many of the firm's breakthrough ad campaigns and had a lasting impact on the creative team structures now commonly used by ad agencies.


William Bernbach is one of the most famous advertising designers; He is responsible for so many drastic changes in the advertising industry after World War II. In his career path he was one of the founders of DDB, he held responsibly for all creative output in this company.

One of the first advertising successes he had is the” You don’t have to be Jewish to love Levys” advertisement. Showing a plethora of culture all enjoying this Jewish manufactured rye. The design played on the roles of stereotypes to convey the message to its audience. He served as the creative engine behind the agency helping billings to increase from approximately US$1 million to more than US$40 million by the time he retired. DDB grew to become the 11th largest advertising agency in America by 1976, when Bernbach stepped aside as Chief Executive Officer to become chairman of the executive committee.


Bernbach is created is the the Volkswagen campaign, “Think Small”, this is the piece that he is best remembered for. This time task was to sell German manufactured and designed car (VW beetle) to American market. 

The reason this advertisement stood out from the reset was in fact because of the white space. Back in the 1950′s American Auto-mobile advertising was all about public appearance and image. Trying to sell the audience the idea of buying into “big call is better”. From a design angle this image below was the ongoing trend. A filled brightly illustrated page with information points about several aspects of the car, generally using hand rendered type headings and large logos. Always following the trend to encourage the viewers to Try and test it at their nearest dealers. It was in black and white! The ad campaign however generated favorable publicity because the advertisements were brilliantly written, for instead of marketing it to consumers as a luxurious, spacious vehicle as all its competitors were doing, it focused on the benefits of its compact size and affordability

His work often was characterized by simplicity. He also is credited with being the first to combine copywriters and art directors into two-person teams—they commonly had been in separate departments—a model that still exists in advertising agencies today. Bernbach won many awards and honors for his work within the advertising industry during his career. He was also named "Top Advertising Agency Executive" in 1969 and He designed the Advertising Hall of Fame "Golden Ladder" trophy.

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Sources:

Lecture Notes

http://en.wikipedia.org/wiki/William_Bernbach
http://adage.com/century/people001.html

SO ME

SO Me is a Parisian graphic designer/animator. His name came about from people looking at art work and saying “That is so me!” so he adopted and adapted the phrase. His real name is Bertrand De Langeron. He is the art director for Ed Banger Records. He has created videos for Kanye West, Kid Cudi, Justice, and more recently, MGMT. He won the 2005 MTV European award for his video for Justice called "We Are Your Friends.”  He is also the main designer for the clothing company Cool Cats.

He is a Master in Vernacular Typography. In his designs one of his favorite areas is using graphic in motion pictures. He uses lot of bold text and range of text in his designs. Below video perfectly reflects his unique identity in his designs and same time its good example for a viral teaser.

So Me's is a designer who reflects a very strong personal style. His unique style of designing was actually the reason he got into Ed Banger, who are now one of world favorite labels producing music today.

In his designs what you can clearly identify is classy typographic combined with Graffiti type, but malformed into his own style. The way So-Me creates shapes out of his type and incorporates images seamlessly is truly remarkable, and yet his style is always compact yet the legibility is always there. His influence that reflects most in his work is defiantly pop art using a bright range of colors and flat images. This can more predominantly seen in the “Cool Cats” Brand.

His series of designs at Ed-Banger Records, we can clearly identify his work revolving music. For example the music he did with daft Punk. Finally So- Me is designer who Create new trend designing sector and designer who always maintain his standards.