Journey from Concept to Creation

  One of the most effective ad types is often referred to as the David Ogilvy layout. This layout contains a dominant visual, a headline under the visual, and a two or three column copy block under the headline...black letters on a white (or light colored) background --  along with the logo and contact info which is usually placed at the bottom right hand side. While this may seem simplistic, especially to young graphic designers who are eager to demonstrate their prowess, it has been proven time and again to be highly effective. William Bernbach's Volkswagen ad, discussed in my previous blog, is a classic example. While this "Picture Window" ad layout itself is quite simple, the elements of this 1960 ad design (art director, Helmut Krone) – concept, headline, visual, copy, etc. -- are of exceptional quality. This ad is also a great example of informal balance, especially in terms of the size and composition of the photo. The weight of the typography balances against the light gray color of the photo background… and the small black VW.
Bernbach by the way, has "violated" one of my pet peeve rules by allowing widows and orphans in the body copy. But, upon closer examination his reasoning becomes clear.
He used his "creative license" to balance the weight of the third copy block against the car in the photo... balancing the VW logo with the car in the process.
    Informal balance still requires balanced optical weight but
the weight is distributed differently. Informal balance is more dynamic and exciting and it usually results in a more interesting design... and interesting and unusual shapes tend to attract attention. With informal balance, all of the elements are still balanced, but the balance can be distributed in terms of color, value, shape, position, texture and direction.
    The use of informal balance requires a higher level of artistic ability than does formal balance. The study of classical art is invaluable in helping to develop a better understanding of informal balance. In the Volkswagen ad, the photo composition of the car uses informal balance (directional balance) beautifully. This technique is used to sell through the "unique selling proposition" of the ad as presented in the “Think Small” headline and copy -- and Bernbach's copywriting was truly masterful.
   I would argue, by the way, that the ad uses a combination of both formal and informal balance to achieve its objective. [There is good reason why this ad is considered the greatest ad of all time.] Regardless of the type of balance, the optical center (a point just above center and slightly to the left) should always act as the ads pivot.
   There is also a third type of balance – radial balance. This is when all the elements of the design “radiate” from a center point in a circular fashion. Radial balance is a great way to lead the eye into the focal point in the center of the ad.

    There are few art directors at the advertising agency or design studio level who did not receive formal training. Those "lucky" enough to get an agency job after graduation typically work an entry level job as an assistant -- pushing the mail cart or going out for burgers for a couple of years prior taking the helm as a designer or art director. There are a handful of top (and quite expensive) creative schools from which top agencies recruit entry level creatives. Three of these (Portfolio Center, SCAD Atlanta and Creative Circus) have campuses in Atlanta and in addition to other creative schools such as The Alliance Theater School, they contribute to a great local talent pool.
    Nevertheless, not all persons called on to produce designs or layouts are so fortunate. Many are asked to develop visual graphics without the benefit of formal training – sadly, never having the experience of being sent out to get burgers for the creative staff. But there is hope. These burger deprived “creatives” can improve their design work immeasurably by learning these fundamental design principles…and understanding how to apply them. This brings me to the next principle -- Sequence.
    Through habit, the eye moves from left to right and then top to bottom, from big elements to smaller ones, from dark to light, from color to non-color, and from unusual shapes to common shapes. The advertising designer can start eye travel anywhere in the ad and control its direction… left, right, up or down. In a well-designed ad, a directional pattern should be evident. The professional designer takes the reader by the hand and leads him or her through the ad to the climax.
    To illustrate this principle, I will point again to my Sunshine Biscuits’ poster. Note how the viewer is guided through the ad with the crayons leading the viewer from the main visual to the headline. While the main visual will attract immediate attention, the crayons help to lead the viewers’ eye into the headline… and the “warm and fuzzy” message which contains the benefit mentioned in previous blogs. In addition, The contrast of white space behind the house tends to focus the eye on the artwork… this is helped a bit by the rays of the sun -- in tandem with the chimney -- which lead the eye into the house. The shape of the door and direction of the crayons then help to lead the eye into the headline. It should be obvious that sequence is closely related to emphasis, as noted in my previous blog.
    Officially, there are two more principles left to talk about. I will leave you guessing this time about the next one... This blog reminds me of how the Sunshine Biscuits' marketing director loaded me up with a big box of snacks for "inspiration" while I was creating this poster... so I’ve been thinking about food while writing this and it is definitely time for a healthy snack… no burgers for me… those Cheez-it’s are looking pretty good… or maybe some Krispy crackers and peanut butter… yum.

     By stating that unity is the most important principle, I did not mean to detract from the importance of the other principles -- they are all critical to good design and if any of these principles are violated, the overall design will certainly suffer. In addition to evaluating unity, the creative artist should make a decision as to which design element will be emphasized. Emphasis can be provided by singling an element out, moving it away from the clutter of other elements, making it bigger, bolder or more colorful. The emphasized element might be placed at optical center to ensure its being seen, but it may also be placed elsewhere. The most important rule about emphasis is that all emphasis is no emphasis. Separate elements should not compete for primary attention. Where several items get equal billing, emphasis is cancelled out. In a poorly designed layout, the elements fight for attention. In the poster for Sunshine Biscuits®, there is little doubt that the emphasis is on the child-like house illustration. It is big, bold and colorful. Plus, it has the added benefit of selling the products.
     One challenge in creating proper emphasis can involve dealing with the tendency of clients to want their logo and/or phone number to be enlarged so that it ends up visually fighting with everything else in the ad. David Ogilvy even wrote a poem about this -- “If the client moans and sighs, make the logo twice its size…” While you might have to struggle with the client over this issue, it is your job as the designer to explain what should be emphasized to enhance the effectiveness of the work. In these cases, I try (Lord knows) to convince the client of the need to put the benefit forward as the most important item (see previous blogs). If you are successful in convincing your target market of the benefit, and that the benefit is substantial and worthy with regard to the competition, they will find the phone number all by themselves. The best clients will leave design decisions to the professional designer.
     This brings me to one of the reasons I decided to take this little side trip in the first place. While many designers work in a vacuum, good designers recognize that their work is an extension of strategic planning. The purpose of advertising is usually to sell the benefit via the creative promise (I'll talk about the creative promise in a later blog.). Or, the purpose might be to position the product or service, to enhance the image of the client, and/or to brand the image in the mind of the target market. The principle of emphasis plays a major role in helping to achieve these goals.
     Emphasis applies to all design work…including collateral...and video. The designer should evaluate which element has the highest priority in the design and make it the primary element. As I noted in the last blog, emphasis is closely related to unity. Emphasis is also very closely related to the principle I will talk about in my next blog... Sequence (eye travel).

    The first mistake I usually notice in a poorly designed ad is a violation of unity. If an ad has unity, all of the elements are tied together and appear to be related. Unity keeps the ad from falling apart. In a unified ad, all of the elements have similar shape, size, texture, color, character and mood. The type in a unified ad has the same character as the art.
     I created this giant poster for Sunshine Biscuits® to help promote their Habitat For Humanity® program. The target market was mothers of young kids who would be shopping in Kroger® food stores. (The giant poster was placed in cookies/crackers aisles.) It was featured in the Atlanta Business Chronicle in their special issue on Atlanta's Best Advertising. I will use it as reference in discussing the five principles of design.
    White space (negative space) can help provide unity while also giving the ad an interesting shape. Negative space should be to the outside of the ad – ad elements should never be separated with white space; this causes the ad to fall apart. Negative space should not be trapped inside the ad…it needs to have a path outside the ad elements. In keeping with the law of proportion (another principle to be discussed in an upcoming blog) the white space around the edges of the ad should have an irregular shape. This adds interest and attracts
greater attention.
    Here is a little trick on how to evaluate unity of design shapes. If you “black-in” all the elements of the ad leaving the negative space or white space alone, the elements ought to look unified. They don’t necessarily have to physically connect but they must relate to each other visually. If there is too much negative space between the elements, they lose unity with each other.
    As my foosball analogy illustrates, none of the five principles work in a vacuum…they are all necessary and inter-related. If any one principle is violated, the work will suffer. By the way, in addition to proportion, Unity is very closely related to another principle, “emphasis” which will be the subject of my next blog.

    But for now, I'll take a little side trip and talk about the principles of design. I learned these principles while attending commercial art school. I have fond memories of art school. We got to draw live, naked female models…you know, studying the human form and all that. Mostly, we had to complete an enormous volume of assignments ranging from advertising techniques, drawing/painting, layout and graphic design and typography to printing technology. I was the only one in my class who was actually working in the field (and had been since 10th grade). While building our student portfolio, we learned about the “golden age of advertising.” I read about great copywriters and advertising men such as David Ogilvy and William Bernback.
    During lunch I usually headed right for the foosball tables. If I might brag just a bit (totally against my character as you already probably know from reading my previous blogs), I can say that I was quite the foosball player. I loved the game. I played all the major foosball joints in Atlanta and while the competition could be very stiff, there were few players who could beat me...none consistently (I know, I know, that was a self absorbed, arrogant, self-aggrandizing and conceited statement). I could go to any foosball joint, put a quarter on a table, and play for free ‘till closing time (the rule was that the challenger always paid). I played tournaments for cash prizes where dozens of folks crammed around the table in smoke filled rooms to get a look at the action. It was a blast! Life was good.
    I could draw a crowd around a foosball table and the college recreation center was no exception. My fellow students were dumbfounded when they witnessed my foosball prowess and finesse which included a full complement of shots… push shots, pull shots, foos shots, reverses and double reverses -- even a triple reverse. I could pass the ball from middle to front like no other -- with blinding speed. My opponent would hear a loud thwack and I would be tapping the ball with my front/center man, going back and forth with a hypnotizing motion.Then, with my usual sense of fair play, I would give them time to recover (and realize that I had not scored, but only passed to my front man as it was considered uncouth to score from the middle) and set up their defense. Then I would smash the ball into the goal using the back and forth motion to seduce them into a hypnotic rhythm; breaking the rhythm by suddenly pulling back twice and shooting. You could hear the ball crashing into the goal like cannon fire echoing through the cavernous cafeteria/recreation center and down the hallways -- enticing even more students to push through the crowd to witness foosball wizardry at its finest. I loved the looks on my opponents’ faces after I had blasted the ball into the goal. They were at my mercy. Move over James Cameron -- I was king of the world.
    Aside from foosball, art was my way of getting attention. It gave me a unique identity and in addition to my massive charm and rugged good looks, yet another way to impress the girls.
    While some of the friends I grew up with were musicians in a successful rock 'n roll band, I dreamed of being an advertising executive. While musicians would have to travel from one sleazy bar to another, I pictured myself drawing marker comps and storyboards sitting in my own advertising agency in a glass and steel office tower -- with my Porsche sitting in the parking deck. I loved the idea of having one of those hydraulically controlled giant drawing tables surrounded with all the cool tools of the trade. I would be a more modern, longer haired and far cooler adman than the Darrin Stevens of my childhood. Surely I would be a "babe magnet" and life would be good.
    Oop's sorry... back to reality. Ah yes -- principles of design. Well there are officially five of them. I believe a true artist uses them instinctively without necessarily being consciously aware of them while creating their art. Back in art school, I had no idea how useful these five little bits of wisdom could be -- nor did I realize how many ways I could use them. I know you are dying to hear all about them, but you'll just have to wait for my next blog 'cause I'm 'fraid my little side trip turned into a journey down memory lane.

   The strategy is the “big picture” of how you are going to achieve your objectives. When you write a strategy statement you think in broad strokes. The strategy is a culmination of everything I have covered in my blog thus far. It defines the structure for everything that follows in your creative journey. [It also involves the "marketing mix" -- the four P’s -- Product, Place, Price and Promotion including the various distribution channels.]
    As I said, all of the parameters I have discussed in previous blogs weigh heavily on the process of formulating the strategy -- including the Mission Statement, Unique Selling Proposition and Positioning Statement. Strategy is based on an accurate and detailed definition of the Target Market, includng the specific demographic, socioeconomic and geodemographic factors mentioned in my previous blog.
    There are obvious parallels between marketing strategies and military strategies. These may include offensive, defensive, flanking and guerrilla marketing strategies. The strategy will lay down the framework -- the specific action -- for the creative work plan or "creative brief." The strategy will lead to the specific tactics that will be recommended to best achieve the stated objectives of the strategic plan.
    Strategy ultimately dictates exactly what creative programs will be developed, who they will be targeted to, when they will be executed and what media will be used to deliver them.

    An advertising agency recommends and develops creative programs that are most appropriate for achieving objectives. The creative programs are an outgrowth of the tactics that the agency planners have concluded will best carry out the strategy. So, the next time you are producing or editing a corporate video or television commercial, try thinking about how your creative project relates to the overall strategy of the client... and other fun stuff like how the work will best achieve client objectives.
    The strategy is the first major turning point of our creative journey. It is critically important that the strategy is correct. While every strategic plan should allow for some flexibility to accommodate inevitable changes in various factors, It can difficult and costly to change strategy after the program has been put into place. It is imperative that all parties involved in the creative journey, especially your client, are fully briefed and committed to the strategy. It isn't much fun to try and change gears after you have begun to implement your strategy. I think I'll take a little rest stop so you can think it over and review the journey before we continue down the road.

 The first part of an objective is the “factor” that you want to influence. While this usually involves sales of widgets, this could involve a great number of things. You might want to sell Japanese kitchen knives that never need sharpening… garnish a bigger market share -- or really important stuff like help women to get unbreakable nails. Or, you might be trying to get people to quit smoking… get rid of “love handles…” lose 300 lbs in six weeks… grow more hair… get washboard abs (like mine)… get greener grass… or just create a “warm and fuzzy” feeling about a company via their corporate video.

 But no matter what the factor is that you want to influence, it cannot be a real objective unless it also contains the second part -- the degree of influence. This might be expressed as a percentage, a dollar amount, or some other measurable factor such as the "warm & fuzziness" factor or something. It can be determined by using break-even point analysis, previous year company and/or industry sales and market share data, or polling and marketing research.

 I know the suspense is killing you so here is the third component -- the time frame. If you do not have a time frame for achieving your objective, guess what... it ain't an objective. Of course different factors will obviously require different time frames. It takes longer, for example, to change prevailing negative attitudes than to generate traffic to a web site or to equip every home with one of those cool Japanese kitchen knives that'll cut right through tin cans and then slice tomatoes "paper thin."

   In addition to having all three parts, the objective must be specific, workable, measurable, and attainable... and challenging. It is futile to have an objective that cannot be achieved... it is also rather lame to have an objective that is too easy to achieve.

   Having a proper written objective that is agreed upon by all parties in advance of implementation is important... if for no other reason than the fact that you cannot measure success or failure without a "measuring stick." Some factors are, of course, more easily measured than others. For example, web site hits, retail store traffic and sales of nail polish are relatively easy to measure, while brand image and awareness are more difficult; sometimes requiring extensive polling and other market research. In all cases, having a written objective provides the benchmark for measuring success or failure of the creative effort.

   Positioning is all about how the target market perceives the brand with respect to its competition -- and how the brand will BENEFIT the target consumer. There are numerous ways a brand can be positioned… but it ALWAYS should be positioned in competitive terms… not some weak, pathetic, half-hearted claim… but a strong, sustainable and real competitive advantage.

   I’ll give one classic example of positioning and let you take it from there. If the soft drink market is saturated with cola drinks, you might want to offer something a bit different -- enter 7-Up® and its world-famous positioning slogan… “the Uncola®.” (A successful brand even without peanuts or a moonpie.) 

Ok, you win… here is another one. If your beer market research indicates that the market has little perceived difference between brands, develop a low-calorie beer along with a cool positioning slogan like, “Lite Beer from Miller®. Everything you always wanted in a beer. And less!” And the most famous of all... Bernback's "Think Small" advertising headline for the 1959 VW® Bug -- created long before the term "Positioning" was "coined" by Ries & Trout in 1969. [This ad is the number one ad of all time according to Advertising Age Magazine.] These famous advertising slogans are ALL ABOUT POSITIONING. If you are not “stuck on stupid,” you should be able to see how, in these examples, all creative aspects work together in communicating the positioning statement to a specific target audience (note the composition of the visual in the VW ad for example). Now, I’ll let you take it from here…

   …uh, except to say that when you create art you are in fact, creating an image in the mind of the audience. Like it or not, you are “positioning” the subject of your work in their mind. That is your job. So… since you are in effect doing this anyway, why not be smart and give it more than just a fleeting thought?

  True… generally a successful brand will already have a competitive position… so more often than not, the creative director’s job is to communicate that position. It is a primary role of the marketing communications process. Therefore, the "Positioning Statement" has a well-deserved and honorable place in our journey to creative excellence. Ok, at long last I will finally let you take it from here…

   Any creative director who ever enjoyed a burger and fries (I’m trying to eat healthier myself) should know that you need to define your target market demographically. The major ratings services such as Nielsen®, Arbitron® and Birch® have very specific “demos” that are used in presenting program availabilities (avails) and radio station rankings (rankers). They are broken down into specific pre-defined groups such as Adults 18-49, Women 25-54, etc. Broadcast media is negotiated and purchased according to these demographic breakouts so it is logical to use them in defining the market quantitatively.

     As far as qualitative information, a well-defined target market can include psychographics (personality, interests, attitudes, opinions, lifestyles), socioeconomics (economic activity and social life) and geodemography (location dynamics). This might include “buying power index” information (BPI); lifestyle clusters (Boomers, Yuppies, Gen X, Empty Nesters, etc.); beliefs, attitudes and values (BAV); activities (golfing, boating, bungee jumping, nose picking, nail biting, music, nightlife, travel) and numerous other criteria that is available through various media resources.

   Is your target market business-to-business or consumer? How do you reach them, where do you reach them, what creative appeals will they be most receptive to? ... How does the product/service benefit them… What is the best way to communicate with them. How do you get their attention… arrest their interest… create desire within them… motivate them to take action? These questions cannot be answered properly until you have defined your target audience in writing.

   Defining the target market will affect your creative work in infinite ways; including the graphic treatment, photography, artwork, font selection, motion graphics, color scheme, page-style, creative appeals, copy points, shooting venues, location scouting, talent selection, brand personality, camera-work, editing, music, sound design/effects/foley, burgers, fries, hotdogs, milk shakes, sushi :-) , etc. While you don’t need a degree in marketing research to understand your market, it can’t hurt to know some of the basics. Who knows, your target audience might even start a love affair with you... er... at least with your creative work anyway.

   Understanding the mission statement -- and putting it in writing -- helps provide practical guidance in steering the creative effort. It also helps to define the client’s “Unique Selling Proposition.” We advertising folks call it the USP [we’ve got all kinds of cool acronyms -- CPM, CPP, GRP, AQH, HUT, etc. -- that help massage our egos by making us feel like we’re part of an exclusive club.]

     Like the other strategic aspects of developing a creative program, the USP is simple common sense. It answers the question, “What is unique about the business from the perspective of its customer?” What does your client’s business offer that a gazillion others don’t offer just as well? Why should I consume the products or services of this particular business instead of the other businesses that offer the same products or services? In short, what makes this specific enterprise unique? What sets it apart from the competition? Tell me why I need to buy one of YOUR stinkin' badges? How will it BENEFIT me? [I think I just heard a fist slamming on a desk.]

   So many questions, so little time. The answers lie deep within your soul… um… well... at least within defining the client’s USP. The USP basically says to the customer… “Hey -- if you buy this product, you will get this SPECIFIC BENEFIT that the competition DOES NOT (OR CANNOT) OFFER.” It is important that the USP represents a strong, substantial benefit to the customer… not a lame and weak argument. I would argue that the USP is the fundamental element of any successful creative program. It is the very thing that will make your client stand out from the competition. Btw… if you have read all of my blogs, you will remember that one of the four sections of the research phase specifically addresses the competition. Understanding the competition is crucial in defining what sets your client apart from the competition (all this common sense and wisdom in one place is just too much, eh?).

   Understanding the USP as well as the other aspects (such as the client’s mission), are crucial aspects of any creative program. I honestly can’t see how you can serve your client adequately without considering these basic, common-sense (that word again, ugh!) fundamentals in creating your work. But, not to worry, there is plenty more of this sort of stuff to talk about in my future blogs… trust me, our creative journey has only just begun.