Together, me and Callum wrote a brief based on a make-believe alcohol company commissioning a logo.
Thursday, 23 October 2014
Level 5- Writing a Brief or Commission- Pt1. What a Brief Needs
To help understand a commission more we should know how one is put together. Working in groups we were given the task to write for the other people in our group, either in pairs or threes. I worked with Callum and we wanted to create a graphic design oriented brief for Robin, Danielle and Liam.
From understanding the briefs we regularly get for our modules I can state briefs should usually have these things:
From understanding the briefs we regularly get for our modules I can state briefs should usually have these things:
- A 'title' relating to the project
- A specific and realistic deadline
- Image specifications-
- Size
- Format
- Method of Delivery
- Any research/inspiration/influential work that should be referenced
- A specific purpose
- Possibly a budget (if working with installation art, exhibitions etc)
- Material specifications (if needed, i.e. must be digital, pencil)
- Project 'checkpoints' to see progress and to be signed off by client
- Any other important information as deemed by the client
Level 5- Communicating and Understanding Briefs- Pt2. Understanding and Organising Briefs
At university we currently receive our module assignments in the form of a brief, in hopefully the same format we would receive in the working world.
In these briefs we receive the details and specifications of the work needed, as well as learning outcomes and assessment criteria, which would probably not be included in a commission. However, what our module briefs don't come with is a binding contract of work.
Contract:
Noun
Most clients will include a written contract with their provided brief which ensures the artist will be paid in full according to the work required. A contract is a powerful thing in the world of business which is not easily broken without serious legal repercussions. A minor breach is not usually a huge problem as a material breach is, explained here:
However if that same plumber used a very poor quality of plastic pipe which was prone to failure and could jeopardize the integrity of the wall structure and function of the plumbing, then this would be a material breach because there is a defect in the performance, safety and durabilty of the plumbing, which is the 'heart of the matter' so to speak.
So if I received a contract in which I was to use acrylic paints but instead used gouaché with an acrylic medium to thicken it, and the result was better or the same than the envisioned outome, that would be a minor breach of contract and should be okay. If I took that same contract and used digital medias to produce the work, that would be a material breach because the 'performance' of the work would be affected and the client would not receive the 'substantial benefit' they wanted from the work.
Clearly, then, it is important to be able to comprehensively read and understand a given brief, and to uphold any contracts as needed. A brief can help an artist massively in that there is always a clear direction in which the work should be heading and the brief should always be kept near to be able to reference it. Unfortunately a brief can also be a hindrance in that your opinion may differ to the client's about some colour, composition or content within the work. In this case communication is an integral part of the commission as it may be possible to use your own personal experience and artistic eye to show the client possible variations of what they wanted.
Different people have different ways of organising themselves in regards to a brief. Some people highlight important parts or stick the brief where they can constantly see it, i.e. at the beginning of their working sketchbook or at the wall of their workstation.
Personally I remember vital information from briefs easily such as deadlines and specifications, but I always write the deadline in my work diary and 'checkpoints' at which I should have 'chapters' of the commission finished. I also write at the deadline date the work required and the formats they should be in.
[1] http://resources.lawinfo.com/business-law/what-happens-when-a-contract-is-broken.html accessed 23/10/2014
[2] http://www.legalmatch.com/law-library/article/material-breach-of-contract.html accessed 23/10/2014
In these briefs we receive the details and specifications of the work needed, as well as learning outcomes and assessment criteria, which would probably not be included in a commission. However, what our module briefs don't come with is a binding contract of work.
Contract:
Noun
A written or spoken
agreement, especially one concerning employment, sales, or tenancy, that
is intended to be enforceable by law.
"he has just signed a contract keeping him with the club"
Most clients will include a written contract with their provided brief which ensures the artist will be paid in full according to the work required. A contract is a powerful thing in the world of business which is not easily broken without serious legal repercussions. A minor breach is not usually a huge problem as a material breach is, explained here:
"A minor, or nonmaterial, breach of contract entitles the non-breaching party to actual damages suffered. Therefore, if your mechanic used a different brand of oil that was of at least the same quality as that named in your contract, then you likely would not have a material breach of contract. You did not suffer any damages and may have, in fact, received a better product." [1]A material breach is usually much more serious than a minor breach:
"A material breach is a breach that reaches to the heart of the contract’s subject matter and negatively affects the outcome of the agreement. The essential requirement for a material breach is that the non-breaching party did not receive the “substantial benefit” of the bargain.An example of these breaches would be if a plumber was employed to install some copper pipe inside the walls in a bathroom. If he used silver pipe, which was actually of a higher or equal quality, this would be considered a breach of contract but a minor breach because there are no adverse effects on the quality of the work commissioned by the homeowner.
A material or “major” breach usually has the effect of defeating the parties’ intentions in the contract. If the breach seems unfair or has gone beyond the terms of the contract, it is usually a material breach." [2]
However if that same plumber used a very poor quality of plastic pipe which was prone to failure and could jeopardize the integrity of the wall structure and function of the plumbing, then this would be a material breach because there is a defect in the performance, safety and durabilty of the plumbing, which is the 'heart of the matter' so to speak.
So if I received a contract in which I was to use acrylic paints but instead used gouaché with an acrylic medium to thicken it, and the result was better or the same than the envisioned outome, that would be a minor breach of contract and should be okay. If I took that same contract and used digital medias to produce the work, that would be a material breach because the 'performance' of the work would be affected and the client would not receive the 'substantial benefit' they wanted from the work.
Clearly, then, it is important to be able to comprehensively read and understand a given brief, and to uphold any contracts as needed. A brief can help an artist massively in that there is always a clear direction in which the work should be heading and the brief should always be kept near to be able to reference it. Unfortunately a brief can also be a hindrance in that your opinion may differ to the client's about some colour, composition or content within the work. In this case communication is an integral part of the commission as it may be possible to use your own personal experience and artistic eye to show the client possible variations of what they wanted.
Different people have different ways of organising themselves in regards to a brief. Some people highlight important parts or stick the brief where they can constantly see it, i.e. at the beginning of their working sketchbook or at the wall of their workstation.
Personally I remember vital information from briefs easily such as deadlines and specifications, but I always write the deadline in my work diary and 'checkpoints' at which I should have 'chapters' of the commission finished. I also write at the deadline date the work required and the formats they should be in.
[1] http://resources.lawinfo.com/business-law/what-happens-when-a-contract-is-broken.html accessed 23/10/2014
[2] http://www.legalmatch.com/law-library/article/material-breach-of-contract.html accessed 23/10/2014
Level 5- Communicating and Understanding Briefs- Pt1. Communication
As an artist, it's highly likely I will receive future work in the form of a brief or commission. But what exactly are briefs and commissions?
Brief:
Commission:
Noun
So that leaves us with e-mail, Skype, telephone, texting and IM, social media, and letters via the post. The internet does play a big part in the garnering of commissions for relatively new artists, through websites and online portfolios, so I would imagine the first port of call would be contact through e-mail followed up by a phone or Skype call. In my own recent experience with an art organisation I was first contacted via Instagram and then through e-mail. After around a week of e-mail conversation the director contacted me through the phone after I provided her with my mobile number and we were able to confirm the details more easily. This is because telephone conversations (and physical conversations for that matter) are instant- whatever you say is transmitted instantly and the other person can react accordingly. Text, e-mail, IM and such can be responded to at the recipient's own pace, and because of this it's easier to phrase your reply in the best way possible.
Brooding about a reply can also have it's disadvantages. For some people it can be far too easy to overthink your reply and send something totally stiff and way too formal. So a balance must be found between the methods of communication to avoid any misinformation or dissent between the client and the service provider.
Another advantage to having actual conversations with somebody is that it's much easier to interpret tone and intention. How often have you read a text or e-mail, only to think whoever has messaged you is in a mood or upset, or even angry with you? More than once or twice I would bet. Text is not usually a medium that can hold emotions like a voice can and can be misunderstood more than a 'real' conversation.
Preferably, to confer with a client, I would ideally like to have contact through e-mail and telephone with the option to meet, Skype and text if need be. As stated above these methods are generally the easiest in modern day life and discussion through mainly e-mail and telephone would allow me to discern the needed information the most easily (through attatchment or verbal instructions). All electronic methods would allow me to keep a record of the exchanges for future reference which is one pro to the digital medias, however physical conversations hold the key to getting information 'sraight from the horses' mouth', if you will.
Brief:
Noun
A set of instructions given to a person about a job or task.
"her brief is to turn around the restaurants' fortunes"
Commission:
Noun
An instruction, command, or role given to a person or group.
"one of his first commissions was to design the the next cover of the magazine"
So clearly a brief or commission will give me the instructions I need to perform the task set for me exactly how the client wants it. This is where communication becomes important. Without constantly communicating throughout a job, the direction of work may be misled and not meet the client's expectations. Today though, there are numerous ways of communicating with someone and usually a combination of methods is the best way to come to agreements.
Possible forms of communication:
- Skype
- Telephone
- Texting and IM
- Social Media- i.e. Facebook, Twitter, Linkedin etc.
- Physical Conversation
- Letter/post
- Fax
- Smoke Signal
- Telegraph
So that leaves us with e-mail, Skype, telephone, texting and IM, social media, and letters via the post. The internet does play a big part in the garnering of commissions for relatively new artists, through websites and online portfolios, so I would imagine the first port of call would be contact through e-mail followed up by a phone or Skype call. In my own recent experience with an art organisation I was first contacted via Instagram and then through e-mail. After around a week of e-mail conversation the director contacted me through the phone after I provided her with my mobile number and we were able to confirm the details more easily. This is because telephone conversations (and physical conversations for that matter) are instant- whatever you say is transmitted instantly and the other person can react accordingly. Text, e-mail, IM and such can be responded to at the recipient's own pace, and because of this it's easier to phrase your reply in the best way possible.
Brooding about a reply can also have it's disadvantages. For some people it can be far too easy to overthink your reply and send something totally stiff and way too formal. So a balance must be found between the methods of communication to avoid any misinformation or dissent between the client and the service provider.
Another advantage to having actual conversations with somebody is that it's much easier to interpret tone and intention. How often have you read a text or e-mail, only to think whoever has messaged you is in a mood or upset, or even angry with you? More than once or twice I would bet. Text is not usually a medium that can hold emotions like a voice can and can be misunderstood more than a 'real' conversation.
Preferably, to confer with a client, I would ideally like to have contact through e-mail and telephone with the option to meet, Skype and text if need be. As stated above these methods are generally the easiest in modern day life and discussion through mainly e-mail and telephone would allow me to discern the needed information the most easily (through attatchment or verbal instructions). All electronic methods would allow me to keep a record of the exchanges for future reference which is one pro to the digital medias, however physical conversations hold the key to getting information 'sraight from the horses' mouth', if you will.
Wednesday, 8 October 2014
Level 5- Conceptual Branding and it's Importance
Brand:
'Brand is the "name, term, design, symbol, or any other feature that identifies one seller's product distinct from those of other sellers."' [1]
Brands are particularly important in the world of advertising, marketing and sales- the main purpose is to make its product or service relevant for its target market and to set it apart from rivals. A brand is synonymous with identity, and having a solid, well thought out brand can be hugely beneficial to a buisness. Brands often come in the form of logos, and usually coupled with handy taglines, specific memorable colours and names and graphic shapes. Of course, one of the most important brand identifiers is the name. A name is what people will remember most, and is one of the biggest contributing factors in brand recognition and awareness.
Brand awareness is when a consumers can recognise a particular brand under different situations and can link the name, logo etc to certain parts of their memory. Most large companies aim for "Top-of-Mind" awareness which means when asked to name a general type of product that brand springs to mind- for example, someone could ask for a name of a coffee shop and they might say 'Starbucks' as the first thing that popped into their head. Strategic awareness happens when a brand is top-of-mind but also has qualities the consumer perceives as being 'better' than other brands. This distincts that brand from its competitors and can also be known as a 'unique selling point. Usually a 'conceptual brand' is one that isn't directly related to the product or service it aims to promote- a classic example of this is the pink ribbon logo for Breast Cancer research, support and more.
As you can see there is no blatantly obvious reason for matching a ribbon with cancer. Of course pink is a traditionally feminine colour which is probably why it was chosen but otherwise, you could pin any meaning down onto it.
However, a 'conceptual brand' should not be confused with 'the concept behind a brand'. A concept behind a brand is just what it sounds like- the idea, the story and essentially the heart and soul of a brand. This usually is what the logo, tagline, advertising and marketing campain will be based on and so it's vitally important to think up a likeable, believeable concept for your brand. It helps to give the brand a 'personality' so to speak and a real persona its' market can identify with.
A fantastic example of a brand with a good concept is the well known Apple logo, which is currently rated #1 on the Forbes magazine 'The World's Most Valuable Brands' list with a value of $104.3bil[2]. Possibly one of the greatest designed logos of all time, it didn't always look like this: the first 'prototype' of the logo was an image of Sir Isaac Newton sitting under an apple tree.
This logo was quickly replaced by the logo almost as we know it now- designed by Rob Janoff, it was a streamlined apple with a bite out of it and coloured with rainbow stripes to symbolise the fact the Apple II could generate colour graphics. According to Steve Jobs, the company was named while he was on his way home from an apple farm while following a 'fruitarian' diet and thought it was "fun, spirited and not intimidating"[4]. That was also why the first official logo was multicoloured- again, it would make you think the company was warm and inviting because of the colours and this helped give the brand a 'friendly' personality, encouraging targets to use their product.
From there the logo developed into the sleek and sophisticated monochrome apple we know today. The change in direction for the logo also encouraged a new marketing perspective, by trying to show users that Macs are professional and creative with their tv advertisements and using specific campaigns for their different products- i.e. Mac and iPod.
1. http://en.wikipedia.org/wiki/Brand , 08/10/2014
2. http://www.forbes.com/powerful-brands/, 21/10/2014
3. http://en.wikipedia.org/wiki/File:Apple_first_logo.png , 21/10/2014
4. CBC News. October 20, 2011, accessed 21/10/2014
5.http://en.wikipedia.org/wiki/File:Apple_Computer_Logo_rainbow.svg
'Brand is the "name, term, design, symbol, or any other feature that identifies one seller's product distinct from those of other sellers."' [1]
Brands are particularly important in the world of advertising, marketing and sales- the main purpose is to make its product or service relevant for its target market and to set it apart from rivals. A brand is synonymous with identity, and having a solid, well thought out brand can be hugely beneficial to a buisness. Brands often come in the form of logos, and usually coupled with handy taglines, specific memorable colours and names and graphic shapes. Of course, one of the most important brand identifiers is the name. A name is what people will remember most, and is one of the biggest contributing factors in brand recognition and awareness.
Brand awareness is when a consumers can recognise a particular brand under different situations and can link the name, logo etc to certain parts of their memory. Most large companies aim for "Top-of-Mind" awareness which means when asked to name a general type of product that brand springs to mind- for example, someone could ask for a name of a coffee shop and they might say 'Starbucks' as the first thing that popped into their head. Strategic awareness happens when a brand is top-of-mind but also has qualities the consumer perceives as being 'better' than other brands. This distincts that brand from its competitors and can also be known as a 'unique selling point. Usually a 'conceptual brand' is one that isn't directly related to the product or service it aims to promote- a classic example of this is the pink ribbon logo for Breast Cancer research, support and more.
 |
| Breast Cancer ribbon- credit to http://oakfield.ca/breast-cancer-ribbon.aspx |
As you can see there is no blatantly obvious reason for matching a ribbon with cancer. Of course pink is a traditionally feminine colour which is probably why it was chosen but otherwise, you could pin any meaning down onto it.
However, a 'conceptual brand' should not be confused with 'the concept behind a brand'. A concept behind a brand is just what it sounds like- the idea, the story and essentially the heart and soul of a brand. This usually is what the logo, tagline, advertising and marketing campain will be based on and so it's vitally important to think up a likeable, believeable concept for your brand. It helps to give the brand a 'personality' so to speak and a real persona its' market can identify with.
A fantastic example of a brand with a good concept is the well known Apple logo, which is currently rated #1 on the Forbes magazine 'The World's Most Valuable Brands' list with a value of $104.3bil[2]. Possibly one of the greatest designed logos of all time, it didn't always look like this: the first 'prototype' of the logo was an image of Sir Isaac Newton sitting under an apple tree.
 |
| Apple's first logo, 1st April 1976, Ron Wayne [3] |
This logo was quickly replaced by the logo almost as we know it now- designed by Rob Janoff, it was a streamlined apple with a bite out of it and coloured with rainbow stripes to symbolise the fact the Apple II could generate colour graphics. According to Steve Jobs, the company was named while he was on his way home from an apple farm while following a 'fruitarian' diet and thought it was "fun, spirited and not intimidating"[4]. That was also why the first official logo was multicoloured- again, it would make you think the company was warm and inviting because of the colours and this helped give the brand a 'friendly' personality, encouraging targets to use their product.
 |
| Apple logo,May 17 1976, Rob Janoff [5] |
From there the logo developed into the sleek and sophisticated monochrome apple we know today. The change in direction for the logo also encouraged a new marketing perspective, by trying to show users that Macs are professional and creative with their tv advertisements and using specific campaigns for their different products- i.e. Mac and iPod.
1. http://en.wikipedia.org/wiki/Brand , 08/10/2014
2. http://www.forbes.com/powerful-brands/, 21/10/2014
3. http://en.wikipedia.org/wiki/File:Apple_first_logo.png , 21/10/2014
4. CBC News. October 20, 2011, accessed 21/10/2014
5.http://en.wikipedia.org/wiki/File:Apple_Computer_Logo_rainbow.svg
Wednesday, 1 October 2014
Level 5- Target Markets and Consumer Needs
During this semester we have the task of hosting a Halloween party for us and our fellow students.
To target your consumer properly three things must be known.
To make this a successful event, market research is needed to be able to know the consumer needs of our target audience.
Target Market:
To target your consumer properly three things must be known.
- Who? This is one of the most important factors. Your target market may, for example, be children (children's books) but the consumer is the parents. If they don't like the look of something their precious child will be exposed too, they won't buy it full stop.
- Why? Another important part of the target is why they would buy a product. If their aim is to study, would they buy a games console or a laptop? If they want to have fun, would they rather purchase an algebra book or some tabletop puzzles?
- When? Birthdays, holidays and seasons are all vital in the marketing and targeting of a product. Thick, winter hoodies probably wouldn't be in as much demand in the height of summer as they would be come October, and how many people would buy a bikini at Christmas? Getting the timing right is just as important as targets and reasonings.
and whether or not they have the means to spend on parties and nights out or not.
Most students here are between the ages of 18-26 (with some obvious exceptions), and
with the new halls of residence opening around the corner from the uni it means more students can go out and stay out as opposed to last year.
The rent around this area is fairly cheap compared to the rest of the country (£50-£100p/w sometimes including bills i.e. gas and electricity), and being further up north means that the general cost of living is lower too, with shops being cheaper. Being in the town center means there is less to spend on travel too, opening up a larger budget for 'entertainment' and socializing.
The chosen venue for the party is the Art Café which is on campus. The other option was the theatrical town hall although the cost of this was too high, which would have meant the ticket price would have been higher thus driving our profits down. The only downside to using the Art Café is that some people might think it's a little amateur, although this can be avoided by decorating it and advertising it well.
One of the most important consumer needs for this party is that it need to be cheap, aesthetically pleasing and a lot of fun.
Food probably won't be needed as when drinking most people get a takeaway pizza when the night ends, or eat beforehand. There would need to be music either in the form of a DJ or live bands. Personally I think a DJ would be better because most people know chart and pop songs and if you know music you're more likely to enjoy and dance to it. A DJ is also much likelier to be cheaper than live bands as more than one would be needed to fill the whole night. There is a lot of diversity in the college too which means one band definitely won't fit all.
Target Market:
- Students age 18-26
- Both males and females
- Diverse music tastes
Consumer Needs:
- Cheap entry
- Cheap drinks
- Close location to campus
- A range of music
- Good decorations, spooky atmosphere
[1] http://en.wikipedia.org/wiki/Target_market , 01/10/14
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