visual campaign design leaf v0.3

James J

enner

Visual Campaign Des ign

Contents

Introduction4Lo

go

6Research

10

Des

ign

16Posters20

Task Analysis

38Appendix IIProcess Record42

58

Demographics &Style

Proc

ess

Publication

Style

Appendix I

Appendix III

4

Visual Campaign Design In t roduct ionLeaf is a new start up in the game

console market, initial focus is the ‘VR’ market.

Leaf’s name is derived from the concept of nodes in a network. Each node is a part of a greater whole, just as a leaf is a part of a tree, which in turn is a part of a forest.

This document presents the design for a Visual Campaign to create and

reinforce brand awareness.

The document presents the logo, the rhetorical images and concepts be-hind the campaign.

It is interesting to note that in 2012 that there were more than 1.9 billion people registered in virtual worlds, an area considered a key domain of VR (Karjaluo- to & Leppäniemi, 2013).

Goldman Sachs estimates $182 billion market for VR in 2025*

6 million wired VR head set

sales predicted for 2016

* Based on an accelerated uptake

1.9 billion people registered in virtual worlds,

2012+

+ Karjaluoto & Leppäniemi, 2013

6

Visual Campaign Design Logo

8

Visual Campaign Design Logo - Des ign Pr inc ip lesThe curves in the font convey action and dynamism. The

lines represent solidity, while also being elegant (not too thick to appear fixed, but not too thin to appear dainty).

Special attention was paid to the kerning that effects the L and E, while managing the overall tracking to keep a sense of balance while not spreading out too far and losing proximity.

The A, E and F incorporate the concept of totality, in that the entire object is con-sidered before worrying about the details.

Thus the shape is recognised before realising that it’s not the traditional

form for those letters. In addition the circles use the concept

of closure, giving the ap-pearance of a line when there is no line.

The circle on the L is to give a sense of balance and harmony

by being similar and thus part of the same group.

The leaf in the E is designed to

be minimal,

using as little design as possible to represent a leaf (Deiter Ram).

The two colours represent the leaf in the sun, one side is generally lighter as a leaf will have one side to the sun and the other in shade.

At the same time, the leaf purposefully breaks the similari-ty of the other elements that use circles, both in colour and in form, making the leaf stand-out and reinforce visually the word leaf.

Green was decided be-cause of the brand name,

the colour being derived from actual leafs.

As each brand has a ‘colour’ associat-ed with the brand, red was selected for Leaf’s secondary colour. The shade of red was select-ed due to it’s complimentary nature with green and it’s physical and psychological benefits. As red has the shortest wavelength in the visible spectrum, it is processed first by human physi-

ology. This creates the effect of quicker recognition and a sense of ‘popping’ out and appearing closer than other colours.

Other affects of red is a sense of energy, excites the emotions and motivates action. It

is seen as good luck in eastern

cultures (for example China).

Purple was selected as a supporting colour as it’s a compound colour to green and

can be used for highlights (for example User interfaces).

Stand out against the competition

Textually and graphically

representative

Conveying a sense of action

10

Visual Campaign Design

Influencing purchasing choice creates a dynamic where parents feel positive about the brand in addition to their children. This is must be considered as children have low influence on where to purchase a product or how much

to spend, it has been recognised that children are more involved in brand

choices (Kaur & Medury, 2011).

Due to the “on the go” nature of today’s society, traditional marketing is ineffective

(Pardun, 2013). However several captive markets exist for parents and children alike, places of public transport. Such

places are deemed appropriate and ac-ceptable for advertising, even though it is “captive advertising” (Pardun, 2013). Such approaches have been proven to reinforce brand recognition and recall (Wells, 2014).

A recent census of media usage for United States’ Teen-agers in 2016 estimated that 83% of 13 to 18 year olds have a game console in their home and 45% have a porta-ble game player (Rideout, 2016). This shows that saturation at the teenager years is very high. This tapers out during the 20s, however it’s reasonable to target the 15 to 20 year olds.

Parents have a large influence on their children’s gaming habits. Parent’s negative or positive perception directly impacts how they mediate their children’s game play. Mediation can range from stop-ping game play or engaging with the children by playing the games (Shin & Huh, 2011). This raises the question on such perceptions on purchasing games. However a benefit of parent’s involvement in game play is teenagers utilising the medium in socially desirable ways (Shin et al., 2011).

As such, engaging Parents as a second-ary demographic is critical in accessing the primary demo-graphic.

45+ Years

40 - 45 Years

0 - 5 Years

5 - 10 Years

10 - 15 Years

15 - 20 Years

20 - 25 Years

25 - 30 Years

30 - 35 Years

35 - 40 Years

Research - Demograph ics

Secondary

Primary: Secondary:

Primary

15 - 2525 - 45

12

Visual Campaign Design Research - Sty le

WARM

INVITING

WARM

STYLISH

FUTURE

MOTION

12

W A R M

S T Y L I S HI N V I T I N G

14


activation of working memory (Tellis & Amber, 2007).

Thus the approach is to leverage on the pop-ularity of Art Deco, utilising it’s lower cognitive load (due to simplified imagery) and create a

sense of well-being to transfer to the viewer.

Research - Sty leus that pleasant feelings

aroused by the form of advertising carries over to the brand. This creates favourable “...attitudinal and behavioural brand

responses” (Kim et al., 1998; Rosengren, Europe-an Advertising Academy & ICORIA, 2013). This is strengthened when we understand that emotions and feel-ings are formed pre-cognitively, not requiring the

Based on the keywords and the storyboards, Art Deco was researched as a style.

Art Deco is considered a supremely theatrical style clas-sical, symmetrical, rectilinear form with it’s peak running from 1925 to1937. The sources of inspiration for Art Deco came from areas such as cubism, futurism and Bauhaus (Guffrey, 2006).

It is considered the period when the poster came of age, leveraging the “great expansions” following WWI. This was defined by growing optimism and a party atmosphere, heavily influenced by the machines, skyscrapers, air travel, fast cars and luxury liners (Knowles, 2014).

Art Deco has remained constantly

popular for the last three decades (80’s, 90’s, 00’s). This is perceived as a result of the styles ability to work with con-temporary environments, it’s affordability and the basic principles that good design is not worn down by the passage of time ”...or the whims of mere fashion.” (Knowles, 2014).

“Given a choice, many Americans would

put on a blind-fold and pick out of a hat an-

other year in which to live – any one of the

past five hundred” - Ger-ald Clarke (Guffey, 2006).

Other studies have shown that lower cognitive load creates for easier brand recall on the person viewing the imagery (Kahneman, 1973). Transfer theory tells

14

“Art Deco will allow lower cognitive load

and leverage transfer theory for wellbeing”

16

Visual Campaign Design Des ign Process

16

Style

Research

Concepts

Ideate

Present

Revise

Review

Deliver

Collected styles and con-cepts that are appealing.

Three different types of styles were collected into

three mood boards.

Investigated demograph-ics to determine primary and secondary targets. Researched advertising

and rhetoric effective-ness and performed field

research. Surveyed effec-tiveness of advertising on

“Gamers”.

Created ideas based on the mood boards and research results. Sketched identified concepts, ex-ploring different ideas and selecting one.

Using Illustrator imple-mented a rhetorical image. When matured, used as basis for initial concepts of other two. This included discarding untenable ideas.

Presented concepts in workshop and gathered feedback on the concepts.

Further developed the rhetorical images based on feedback received. This included exploring different suggestions, which sometimes were discarded.

Performed review of latest changes to rhetor-ical images with peers, tutors, etc.

Delivered the final rhetorical images when reviews identified no further issues.

18


WARM

INVITING

FUTURE

MOTION

Des ign Process

WARM

STYLISH

20

Visual Campaign Design Posters

20

Different WorldsCaptures the imagination of exploring the “last frontier”, visiting civilisations and seeing horizons that are in a dif-ferent galaxy. To evoke visions of early pulp fiction where the future was a place of hope.

All for One and One for AllTo embrace the adventure, honour and comradeship. Evoking the nostalgia of simple times of right and wrong, usurp-ing the plans of the evil while fighting for the good. All the while being very stylish.

Soaring Above CloudsThe idea of flying for the joy of flying. Invoke a sense of freedom and light-ness, to see the world from above the clouds while experiencing the thrill that early test pilots experienced when exploring the rare land of faster than sound travel.

22

Visual Campaign Design Poster Deta i l

Gradients and colours to evoke the Art Deco style

24


Details to entice and capture the viewer’s

attention

26


A sense of lightness to evoke positive

feelings

28

Visual Campaign Design Posters - Phys ica l Examples

28

30


really think these cataclysmic events are inevitable?”. The message implies that the viewer takes a “breath of fresh air amid the dystopian dust” (Pacatte, 2015).

Posters- Insp i rat ion & Pr inc ip lesSimilarity via the silhouettes of passengers on public

transport. This is enhanced by the same shape, size and colour for each passenger. The law of similarity is then bro-ken by the central figure to draw the attention of the viewer. The general dimensions are the same, however the head

has different head ware that breaks similarity based on shape and colour.

Transfer theory is leveraged to transfer positive feelings and emotions from the posters to the brand (Kim et al., 1998). This creates a positive emotional encoding tied to the brand, increasing the desired response with brand.

A mixture of golden ratio, rule of thirds and composition-al balancing was leveraged for each poster to create a visually pleasing image and avoid overpowering elements.

Parent’s influence their children’s engagement in games and gaming devices, based on the parent’s per-

ception of the impact of the game. Negative perceptions increase restriction, while positive perceptions increase en-gagement of parents with the children (Shin & Huh, 2011).

The approach to focus on positive perceptions was influenced heavily by lessons from Disneyland’s prob-lems when updating Tomorrowland in 1998. Originally portrayed as a future you wish to visit, the emerging popular view of a dystopic future forced park officials in 1998 to create a retro to-morrow land of a future that will never actually occur. (Guffey, 2006) p22-24.

This is exemplified in the movie Tomorrowland. It’s power-ful riddle of “You have two wolves, one representing dark-ness and despair, the other light and hope. Which one lives? ‘The one you feed’”. Instead of embracing the never ending trend of “plague-flood-road warrior-kids-killing-kids” in movies (Edelstein, seitz, & Lorentzen, 2015). In addition to the negative/positive viewpoint. Tomorrowland embraces

the retro-chic/Art Deco feel.

This drove an approach that leveraged Art Deco by creating visions of possibil-

ities, be it past, present or future. This utilises the semiotic concept of a myth, the cultural perception of a potentially idealistic world and carries across as a secondary message.

This secondary message encourages engagement with parents who desire a different impact to their children than the perceived harmfulness of aggressive computer games. The hidden secondary message asks the questions “Aren’t you tired of all these mayhem and scorched earth survivalist movies?” and “Do you

Semiotic myth as secondary message

Using and breaking similarity to draw

the viewer’sattention

Radiating Lines to capture the eye and

create depth

Positive EmotionalEncoding for Parents

Rule of Thirds, Golden Ratio, Compositional

Balancing

32

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34

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Visual Campaign Design Append ix I - Task Ana lys i s

Visual Communication Task Analysis Document | Design Portfolio 2

Page 1 © 2016 Creative Industries, QUT, CRICOS No. 00213J UNIT NO: DXB102 UNIT TITLE: Visual Communication

with your tutor and/or research similar brands and design exemplars. As your project progresses update and refine this document, filling in all relevant sections to summarise your approach. 1. Write down the Keywords / Identity for your selected brand (For example: Technological, Organic, Fluffy) Futuristic, Uplifting, Stylish, Nostalgic, Warm, Inviting 2. Context for the Design The Brand What is the name of the brand?

Leaf

What is it? A game console

What is its key purpose? Provide Entertainment

How should the brand communicate its identity – where would be key places a brand such as this could establish its profile (billboards, local publications, online placements)? You may need to research similar brands to identify all possibilities here.

Refer research. In store and street/public transport locations are deemed the appropriate location for brand reinforcement.



The Demographics / Audience Who is the key market for this brand? 15 to 25 year olds.

Is there more than one target audience (e.g. primary and secondary)?

25+ year olds, parents. Quite possibly up to 50 year olds (tapering with age).

Briefly profile your audience’s demographics – interest, situation etc.?

Children: being entertained, playing with friends or online with similar interested groups. Limited access to finances, able to influence parents in purchasing, but not on cost or where to buy. Parents: Wellbeing of their children. Do not wish to expose their children to what is considered harmful. This can include the perception around violence games.

Is it a niche audience or a broad audience? The base is all teenagers and early 20 year olds, irrespective of gender.

3. Design Outcomes Logo / Logo variations: Visual Design What is the type of representation (Line / Form / Colour)?

Curved firm lines, giving a sense of movement while conveying a future.

Does the design work because it uses a specific style? What is this?

The style is futuristic, which works as this reflects the product while standing out from the competition.

Communication What is the principle message of the logo?

The Future Now

Is there more than one message? Try to articulate the message/s as clearly as possible.

Part of the whole, not by yourself. The leaf is a part of a tree which is a part of a forest. Thus the leaf represents a node that while an individual is a part of the network. As a player of a gaming device you are not by yourself, you are a part of a larger community.



Rhetorical Images: NB. This following section will be developed on an ongoing basis as the project progresses, but use this section as early as possible to start identifying an understanding and direction for the work. Visual Design What is the type of representation (style, aesthetics)?

Art Deco

What does it do (emotional)? Sooths the mind, gives a sense of balance and intrigue. Captures the imagination and makes you think beyond yourself.

How is it used (lifestyle/context)? Gives a sense of yearning of the perception of a better world that was, with the current world so complex. While at the same time portraying a possible future that is exciting and the viewer would wish to be a part of. This is to capture the spirit of adventure that existed during the Art Deco period where adventure with endurance plane flights, development of trains and cars, achieving areas never achieved before (north and south pole both reached in early 1900s).

Audience Target persona / type example: Describe a specific audience for the image?

Fred is a 16 year old who lives in a Family house with his Mum and Dad. He has several younger siblings.

Describe their demographic (Who), interests, skills, background etc.?

Fred is interested in space ever since he saw the Space X grasshopper rocket land after a test flight. Fred dreams of being an astronaut on day. He is reasonably adept with computers, smart phones, etc and is generally the person his parents ask for help if they get stuck with an electronic device.

Psychographics - Why will your persona desire this brand?

Fred has known about VR for a while and loves the idea of being able to experience another environment virtually.



Communication What is the principle message of the images?

Expand your horizons, see tomorrow now, go beyond where you are now.

Is there more than one message?

Yes. Feed the good wolf – from Tomorrowland (Disney movie). The concept is that if we feed anger, depression and despondence so on then that will be our future. However, if we feed hope, imagination, excitement and a sense of wonder then that will change how we ourselves and the world. The idea is to embrace a hope for the future and dream of what tomorrow will be, which may be in our life time. Such dreams and visions empower us to achieve them. If they are never dreamed, then who would ever try?

What is the type of rhetorical appeal?

As the major source of information for the target market is not via advertising, the main focus will be parents. As adults the appeal is to provide a sense of nostalgia for the childhood vision of a fantastical bright future. This leverages the desire of parents to instil upon their children a sense of hope and imagination, instead of the trend towards despotic view that is the trend in movies and books for the last few decades. Disneyland has faced problems when updating Tomorrowland in the late 90’s. Originally portrayed as a future you wish to visit, the emerging popular view of a dystopic future forced park officials in 1998 to create a retro tomorrow land of a future that will never actually occur. (Guffey, 2006). Tomorrowland is a movie that embraces retro and looks at visions of the future. It’s powerful riddle of “You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? ‘The one you feed’”. Instead of embracing the never ending trend of “plague-flood-road warrior-kids-killing-kids” in movies (Edelstein, seitz, & Lorentzen, 2015) this utilises art deco to create a vision of possibilities, be it current or future. This encourages engagement with parents who desire a different impact to their children than the perceived harmfulness of aggressive computer games. This lets both children and parents ask the questions “Aren’t you tired of all these mayhem and scorched earth survivalist movies? Do you really think these cataclysmic events are inevitable?” and take the approach inspired from Tomorrowland by creating a “breath of fresh air amid the dystopian dust” (Pacatte, 2015).

How have you used layout to enhance the visual communication?

The use of lines to draw the eye in. Small details fascinate and capture the attention of people to see if they can make out what they are

40

Visual Campaign Design Append ix I - Task Ana lys i s



Zeitgeist / Style What is the essential zeitgeist of the style (e.g. your style influence / era)?

The essence of the style is the futuristic view of the world through Art Deco.

Have you clarified the style employed and researched specific designers / approaches?

Yes. Art Deco is considered the period when the poster came of age. (Knowles, 2014) p205. Following WWI it was an age of great expectations, epitomized by growing optimism and a party atmosphere, heavily influenced by the machines, skyscrapers, air travel, fast cars and luxury liners (Knowles, 2014) p15-17. “The popularity of Art Deco has remained constant throughout the last three decades. This is undeniably the result of the style’s ability to set well in a contemporary environment, its affordability, and the simple fact that good design is never eroded by the passage of time or the whims of mere fashion.” (Knowles, 2014) p25.

Have you developed the style?

Yes, I’ve taken elements from various art deco styles to create a captivating series of rhetorical images. Each image utilises gradients and straight lines to capture the viewer’s eyes while adding a sense of motion. The sense of “ray’s” of light or radial straight lines are common in art deco posters. These have been incorporated into the posters as well adopting a simplistic image that uses shape and form to convey instead of detailed imagery.



4. Examples of designs Include approximately 4 types of images, advertisements and posters etc. that can provide inspiration for your series and use styles that you are drawn to (this is part of the background research of the field). These should be examples that influence your design and may be used in your design document to show your design influences. (NB. these should be inserted in the following pages)

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Visual Campaign Design Append ix I I - Process Record

WARM

INVITING

WARM

STYLISH

FUTURE

MOTION

FUTURE

MOTION

Mood Board ACapturing the vision of a doorway that leads to another world. An invitation to explore planet, a magic garden or another dimension. The focus is on inviting and warm.

Mood Board BExploring the world of Art Deco, both modern interpreta-tion and original. This was not just limited to posters, but included building details, aircraft and motor bikes from the Art Deco era.

Mood Board BThe 80’s saw the birth of technology adapted by culture, music, movies and art. A sense of vibrancy and excitement permeated the period. This board also explored the inspi-ration behind the original 80’s Tron movie, the lines created from cars on highways and roads via long exposure.

Initial ThoughtsCapturing of ideas and thoughts on paper while consider-ing the brand and the aspects of the brand that will be the focus for the rhetorical images.

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Initial SketchesInitial ideas were on a dark or dilapidated room with an open doorway or portal into another world (as per Mood Board A). Then regarded Art Deco (Mood Board B) and considered a frame with a silhouette of a considering the scene. This led to the thought that the three images could show the various stages along the journey. The first would be a silhouette at the door. The second on the road and the third would be in the distance within the scene.

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Sketch DevelopmentThe concept of the silhouette was explored further with thoughts on what type of silhouettes. This lead to the thought of themed silhouettes based on roles, spacesuit, pilot, robin hood, etc. This worked well with the positive viewpoint that the brand wishes to convey, an objective from research into the target audience (demographics) as well as appropriate ways to engage the audience.In addition, scenes from the first mood board were ex-plored as potential themes for each rhetorical image.

Append ix I I - Process Record

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Visual Campaign Design Append ix I I - Process RecordSketch Finalisation and SelectionThe silhouette idea evolved to the thought of a sequence of people who are bored, while one person takes on the vision of another world. At this point the ideation process finished for the initial rhetorical image. Selection was re-quired for the first image.

The initial concepts of a door and the journey were dis-carded as it requires all three images to convey the story. A single poster may create confusion as the message may be unclear. The door with a silhouette was also discarded as a major space would be taken up with the silhouette, cre-ating potential imbalance in the image. There was also too much complexity in some of the door concepts.

The final selection was the concept of a series of silhouettes with a single person who stands out both by the head gear (breaking the repetition and drawing the eye) and explod-ing into a vision of a fantastical world. Several concepts of the fantastical worlds were considered and the alien plan-et/civilisation was selected.

Field ResearchSearching of advertising for the brand occurred in tan-dem with the previous steps. Areas captured included train stations, trains, buses, street and in-store. Decided upon JC Decaux specification for “Citylights” advertising (W: 512mm x H: 920mm + 5mm bleed @ 300dpi).

SurveyDue to the author being an admin on a gaming server, an informal anonymous survey was conducted on where gam-ers receive information about games and game hardware. The overwhelming response was by watching other people play via many different mediums.

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1. Initial Draft First the concept of a planet with a city was developed.

2. Evolving CityCity and planet evolved, ideas that failed were discarded. Initial silhouettes created.

3. Fleshing out the ConceptForeground figure considered, rockets added and many, many fonts explored. Rule of thirds used for guidance.

4. Review and ReiterationWorkshop review led to repositioning of text/logo and focus on minute detail to capture the eye.

Workshop Review

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1. Initial DraftFirst the concept of a plane was developed. Using golden ratio, traced image of self to create concept of a queue.

2. Motion and ConsistencyAdded sense of motion, while workshop review identified lack of foreground to match other two images.

3. ReiterationBased on feedback, added foreground to match other im-ages, refined plane and applied text/logo positioning.

4. Review and ReiterationIdentified issues in foreground, disparity with silhouettes and tweaking of the text position.

Workshop Review

SecondReview

(workshop)

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1. Initial DraftCloned first image and traced Mont Saint Michelle. Creat-ed Musketeer hat and sketched layouts.

2. Tracing PosesApplied poses from selfies and traced. Retook photos when realised poses didn’t balance.

3. DetailUsed selfies to create face and Musketeer clothing utilising concepts of simplification based on light and shadows.

4. Review and ReiterationIdentified issues with text position, blandness foreground and shape of feather. Used custom brush to resolve feather.

Workshop Review

SecondReview

(workshop)

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5. Investigated AlternativesSketched to explore alternatives. Used photos with Photo-shop to explore alternatives.

6. Tested an AlternativeStarted new poster. Stopped after reviews identified the approach was at odds with the objectives of the images.

7. Applied Review ChangesApplied changes from second review by adding colour to capture attention as per other images.

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AaABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890 (!?#$%&@.,:;/*)

Futura PT

Append ix I I I - Sty le Guide

Typography

Layout

H1 HeadlineH2 Headline

CT Copy text

I Informational

LF_DG_W, Pier Sans 18pt

#000000, Futura PT 16pt

#000000. Futura PT 12pt

#202020

#404040

#5f5f5f

#7f7f7f

#999999

#b2b2b2

#cccccc

Colour

#233110

#476320

#6a952f

#8dc63f

#bbdd8c

#d1e8b2

#e8f4d9

#ee2c27

#f15652

#f5807d

#f8aba9

#99509f

#ad73b2

#c296c5

#d6b9d9

LF_LG_W LF_LR_W LF_LP_W

#001a0e

#00341c

#004e2a

#006838

#338660

#66a488

#99c3af

#b22825

#c15351

#d17e7c

#e0a9a8

#652977

#845492

#a37fad

#c1a9c9

LF_DG_W L F_DR_W LF_DP_W

LF_DG_W, Pier Sans 24ptH1 HeadlineH2 Headline

CT Copy text

I Informational

LF_DG_W, Pier Sans 18pt

#FFFFFF, Futura PT 16pt

#000000, Futura PT 12pt

LF_DG_W, Pier Sans 24ptAaABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890 (!?#$%&@.,:;/*)

Pier Sans Bold

12 COLUMNS A4 PORTRAIT

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