Intro & start of 1st chapter

What advantages has new technologies brought to advertising?

For my dissertation I want to investigate what impact new technology formats have had on advertising. Digital technologies have evolved at a fast pace since the 80’s such as the Microsoft MS-DOS and Apple’s Lisa computer, which introduced the Graphical User Interface to today’s smart phones and internet advertising. These computers were the start of an era for pioneering the new digital age we live in. The technology since the 80’s to present has evolved fast and has had an impact and also created opportunities within advertising. It seems today most people use the Internet and have smart phones, which are great digital formats for targeting audiences at certain advertisements. Whilst the new technologies have rapidly developed as such speed I also want to find out what impact has this created within the advertising world.

I want to look into the advantages & disadvantages have the new digital formats have brought to advertising. Analysis advertisements from the 80’s to a present digital format advert to see whether or not the visual appearance of the adverts themselves has developed. Look into advertising strategies of advertising and how companies can receive evidence to see if the adverts are selling products. Also discuss restrictions regarding advertising designed for new formats. I think the four .. stated above based on research of visuals, target audiences, formats and restrictions are the four fundle mental principles I need to research into, to gain an understanding of what impact the new digital formats have had on advertising.

Chapter 1: Visual changes of advertising with the evolution of technology

The principles of advertisements are to sell a product or brand, from 80’s advertisements billboards and magazine adverts use language, Image and text to combine together to engage an audience with a product. This chapter will be analysing the visual development technology has had on adverts comparing 80’s traditional printed format adverts against screen based format adverts of present day. Both images I shall use to compare is an 1979 Coca Cola advert for Cicra magazine and a Facebook advert for Coca Cola, 2011. I have chosen to compare two adverts using the same brand, as this will make the investigation into the language, image and text fair because the purpose of the advert to sell the coca cola product is same objective.

Both adverts use similar language towards targeting the audience referring to the different dates they were produced for. The idea of the 1979 magazine is aimed at the working class 9 till 5 workers telling them to take a break. However in the Facebook advertisement the advert, the language used the phrase “Ahh Giver” suggesting interaction within the audience, to pass on a selected gift to another person using the Facebook social networking site. This is not a visual change but start of the user interaction era. The image has not evolved since the 80’s advert to the Facebook advertisement, both use image of the brand Coca Cola to support the text. The only difference visually is the appearance of the layout.

Structure

What impact has technology had on advertising?

Introduction
Discuss how fast technology has developed from the 80’s to present and how advertisements have been developed alongside the new formats.

Visual - Graphic Language & Typography / Image for advertising
How has technology changed the visual appearance of advertisements?

What advantages has new technologies brought to advertising?

Audiences and methods, selecting adverts to certain audiences

Analyzing adverts online and mobile, how did they used to analysis adverts, how do they analysis now, how is this better data to show how successful the new digital methods are.

Conclusion

New Structure for dissertation

What impact has technology had on advertising?

Introduction
Discuss how fast technology has developed from the 80’s to present and how advertisements have been developed alongside the new formats.

What advantages has new technologies brought to advertising?

Graphic Language & Typography / Image for advertising - Visual
How has technology changed the visual appearance of advertisements

Audiences and methods – How can companies market and analysis advertisements
Analysing adverts online and mobile, how did they used to analysis adverts- Is it better?
Armstron, S (1997) Advertising on The Internet, London : Konan Page

What Are there any restrictions with advertsing for new technology formats. Discuss banner sizes

Dissertation

Paul Brandreth
Graphics Design Level 6

Has technology changed the priciples of advertising?

Introduction/ history of technology distrubutions of advertsments from 1990- Presnt
Dyer, G (1982) Advertising as Commuincation, London, Methuen & Co. Ltd
Bullmore, J (1991) More Bull More, Oxfordshire: World Advertising Research Center
Turow, J (2009) The Advertising And Consumer Culture Reader, New York: Routledge

Audiences and methods – How can companies market and analysis advertisements
Analysing adverts online and mobile, how did they used to analysis adverts- Is it better?
Armstron, S (1997) Advertising on The Internet, London : Konan Page

Graphic Language & Typography / Image for advertising - Visual
Has new technologys change the priniciples of traditional advertisments
Compare 90’s advert- billboard to 2011 mobile advertsiments, try to find the same company or product. Or compare a 2011 billboard to a mobile advert using the same company. Comparing the 90’s to 2011 it already would have changed culturally due to trends.

Johnson, F.L (2008) Imaging in Advertising, New York: Routeledge
Goddard, A (1998) The Language of Advertising, London: Routeledge
Bullmore, J (1991) More Bull More, Oxfordshire: World Advertising Research Center
Cobley, P (2003) Introducing Semiotics, USA: Totem Books
Klein, N. (2005) No Logo, London: Harper Collins Publishers

“One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relations of women to themselves.” Berger(1972: 47)

“Soon after we can see, we are aware that we can also been seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visual world” Berger (1972/ 9)

“Publicity increasingly uses sexuality is never free in itself; it is a symbol for something presumed to be larger than it; the good life in which you can buy whatever you want. To be able to buy is the same thing as being sexually desirable… Usually it is the implicit message, If you are able to buy this product you will be loveable. If you cannot buy it, you will be less lovable.” Berger (1972/ 144)

“Men survey women before treating them. Consequently how a woman appears to a man can determined how she will be treated”(Berger 1972/ 46).

“Advertisements are selling us something else besides consumer good: in providing us with a structure in which we, and those goods, are interchangeable, they are selling us ourselves.” Williamson (1978 /13)

“These early days of research into woman’s place in film history quickly established the fact that women had been excluded from the production and making of films, possibly in proportion to their notorious exploitation as sexual objects on screen” Mulvey (1989/113).

Delivery of product- What restricitons do new tecnologies have compared to more traditional advertising formats. Look at the restricitons to screen size, typography used, button size. Technolgy side.
Armstron, S (1997) Advertising on The Internet, London : Konan Page

Where is the money within advertising. Over a period from 90s to present analysis the use of modern technolgy and the decrease of traditional advertising. Charts, Information, why?
Armstron, S (1997) Advertising on The Internet, London : Konan Page
Turow, J (2009) The Advertising And Consumer Culture Reader, New York: Routledge

Conclusion


Bibliography
¬¬
Berger, J. (1972) Ways of Seeing, London: Penguin
Burke. J. (2000) Vision, the Gaze, and the Function of the Senses in Celestina, Pennsylvania: The Pennsylvania State University Press
Mulvey, L. (1989) Visual and other pleasures, Hampshire :Palgrave
Mulvey, L. (1996) Fetishism and Curiosity, London : British Film Institute
Toland Frith, K. (1997) Undressing The Ad, New York : Peter Lang Publications
Williamson, J. (2002) Decoding Advertisements, London : Marion Boyars Publishers Ltd
Baudrillard, J. (2006) Simulacra And Simulation, United States of America: The University of Michigan Press
Klein, N. (2005) No Logo, London: Harper Collins Publishers
Cobley, P (2003) Introducing Semiotics, USA: Totem Books
Turow, J (2009) The Advertising And Consumer Culture Reader, New York: Routledge
Nava, M (1997) Buy This Book Studies in Advertising And Consumption, Oxon: Routledge
Bullmore, J (1991) More Bull More, Oxfordshire: World Advertising Research Center
Miller, D (1987) Material Culture And Mass Consumption, Oxford: Basil Blackwell Limited
Armstron, S (1997) Advertising on The Internet, London : Konan Page
Dyer, G (1982) Advertising as Commuincation, London, Methuen & Co. Ltd
Sharma, C (2008) Mobile Advertising, New Jersey: John Wiley & Sons Inc.
Cappo, J (2003) The Future of Advertising, United States of America: McGraw-Hill Books
Gauntlett, D (2007) Creative Exploration, Oxon: Routeledge
Johnson, F.L (2008) Imaging in Advertising, New York: Routeledge
Goddard, A (1998) The Language of Advertising, London: Routeledge

http://www.guardian.co.uk/technology/appsblog/2011/sep/05/mobile-advertising-inventory-google

http://www.mobilemarketer.com/cms/news/advertising/7312.html

http://www.asab.org.uk/Resource-Centre/~/media/Files/ASA/Reports/The_regulation_of_new_media_advertising.ashx

http://www.amazon.com/Mobile-advertising-formats-smartphones-INTELLIGENCE/dp/B002F1RBVI

Feedback from Linneys Blog - Placement

I’m Paul Brandreth a third year student currently studying BA Graphic Design at Leeds College of Art. As part of my October half-term I took the opportunity to gain a weeks work placement at Linney Design, Mansfield. This was my first placement so I wasn’t too sure what to expect but had an idea of what I wanted to gain from the week. The week started off with a briefing for Molson Coors to encourage more women to drink beer.

The brief was research driven and also progressed at a fast pace. What I really liked at Linney Design was to be surrounded in an environment of a range of specialized skilled professionals, whether it was multimedia staff or copywriters, the range of people was a great help when discussing my work and gaining of ideas. I also worked with a team of designers for a Hasbro brief with few restrictions which made the creative aspect to answering the brief fun and enjoyable. Just from listening to the designers I learnt a lot from the way they think and consider how and why the product would work. The week was busy and time flew fast. There are many positives I will take away with me and also several ideas and processes I have noticed and learnt that I can improve to narrow the gap between my design practice and the design industry.


No tags


5 Comments for Paul Brandreth’s work experience blog

SimonDunn - October 28, 2011 at 5:35 pm

Congratulations on a very good week Paul, we really enjoyed having you in the studio and we were very impressed with your ideas, graphic ability and work ethic. We hope to see you back soon.


JL - October 29, 2011 at 3:29 pm

A breath of fresh air Paul, it was great to have you around. You can’t teach passion and desire, I’m sure you are going to do well in your career. Stay in touch.


Luke Tonge - October 31, 2011 at 9:55 am

Great to see this on the blog!


JK - November 1, 2011 at 9:20 am

Agree with the guys here, a great result from your week with us Paul. You showed some great control in your design work and used initial stimulus to drive influence into your work without it ultimately appearing hackneyed. Well done and see you soon Paul.


Paul Brandreth - November 3, 2011 at 11:15 am

Thank-you again for the opportunity of the work placement and the comments too. The week flew past and I gained a lot from the time scale of the briefs to the way different designers approach briefs. The week helped me inform myself what I need to achieve within my own design practice to improve to industry standard.

Thank-you

Paul Brandreth

Dissertation

How do adverts persuade people into buying things they don’t necessarily need, through the promise of a more fulfilled life?

Consumerism, why do we need to buy these products - leading to the language used research into the difference between male and female adverts & ....

Consumerism

Language

Difference male / female adverts

Talk about mobile phone apps being advertised for a more fulfilled life

Semiotics, critically analysis adverts

Robbie Porter

Dissertation

How do adverts persuade people into buying things they don’t necessarily need, through the promise of a more fulfilled life?

Consumerism

"We must rapidly begin the shift from a thing-oriented society to a person-oriented society. When machines and computers, profit motives and property rights are considered more important than people, the giant triplets of racism, militarism and economic exploitation are incapable of being conquered. A nation can flounder as readily in the face of moral and spiritual bankruptcy as it can through financial bankruptcy."

Dr. Martin Luther King, April, 1967

As Dr. King keenly observed more than 30 years ago, society should encourage its members to look to their relationships with others for fulfillment, but instead, it promises that if we buy the latest gizmo or the snazziest new fashion, then we will be happy and popular. Of course, that is a lie, and the prized possession is soon forgotten, replaced by something better, faster, cooler, newer, which is soon forgotten itself. The cycle never ends, which is why I have launched my anti-consumer philosophy.

The goals of this philosophy are modest:

• 1. To save the planet and all of its life forms from a global environmental collapse fueled by spreading hyper-consumption.
• 2. To increase the overall happiness and fulfillment of the human race by encouraging simplicity, and by doing so, reduce war, cruelty and suffering worldwide.
• 3. To preserve the planet's spiritual and cultural traditions from annihilation in the face of the global consumer religion promoted by multinational corporations and their lackeys in national and supra-national governments.

http://www.sustainableenterprises.com/Planet/anticonsumer.htm

Ric Bell

E.ON

The Brief

Engage generation ‘Y’ in a relationship with E.ON that champions new ways to use energy in the home and empowers them to enlist others in an energy revolution.

Concept/Proposition

Call to Action:

Help E.ON lead the biggest energy revolution in a generation.

Tone of Voice:

Open, honest, urgent, fresh, emotive, warm hearted.

Target Audience

18-25’s have been labelled the most educated, affluent, assertive and IT-literate generation in history, the ‘digital natives’ spending their childhoods in cyberspace and teenage years in MySpace.

Dubbed the ‘internet generation’, they owned computers and mobile phones very early on in life, wrote blogs, listened to iPods and downloaded music. They value motivation and doing things for the love of them over money and other material concerns. They use technology to help them.

The level of technology in their daily lives revolves around the energy they use. This will need to be sustained into the future and they will need to be the ones to help achieve this. The energy future that E.ON is building needs bright, young, talented people to make it happen not only as consumers, but also as employees helping to lead it.

Considerations

• E.ON’s ambition is to be the first energy company to emotionally connect with people through providing simple, effective products and services beyond basic supply. E.ON want people to see that they can choose an energy brand that they trust, based on added value and differentiation through unique technology and services.

• The results E.ON want to achieve are driven by a necessity to harness a forthcoming community approach to energy. In the near future distribution of energy will move from national to local level with more decision-making by communities, firstly in the energy they use but also the surplus energy they feed back into the wider network.

• You may need to think about how you can change perceptions to make saving energy considered ‘cool’ or ‘appealing’ and wasting energy as socially unacceptable. How can you make a decarbonised lifestyle appear attainable and desirable, something for 18-25’s to aspire to in partnership with E.ON?

• How can you reach the target audience influencers – these are the individuals who lead the way in shaping opinions and can be recognised as the leaders amongst their generation?

• The best examples of Direct Communications are not only relevant to the audience they are appealing to, but are measurable and form the basis of a continuous campaign between brand and consumer. Winning work will demonstrate how these objectives can be achieved.

• Is the use of E.ON’s branding necessary for your response? How does the target audience respond to branded and unbranded types of communications? Can they change the perception of a brand by presenting the central messaging before identifying the organisation?

Mandatory Requirements

Use of the E.ON Logo on the first part of your campaign is optional. If you choose the unbranded route, you will need to detail ‘your reveal’.

Deliverables

This category will be judged in two rounds with physical work not required until round two. Please see the Formatting Guidelines PDF.

Studio Deadline

Tba

Oxfam

The Brief

Oxfam’s mission is to eradicate poverty and suffering with the help of others. They know there are large groups of people across society who share their values and concerns. These people are ripe for engagement, the challenge is reaching them and encouraging them to act in meaningful ways. Taking action goes beyond just giving money; it means doing something to help, being noticed asking for change, putting pressure on people who can make change happen – either alone or in groups, online and offline.

Successful work will present something that triggers these mutually shared values, aligning supporters with Oxfam’s pledge to overcome poverty and suffering, and through this engagement and empathy, inspiring them to action.

Central to this brief is the challenge of ‘campaign engagement’. Work that is successful will not just provoke immediate (and possibly one-off) action. It will open up the possibility of long-term attitudinal and behavioural change in a wide range of people. It will demonstrate that taking positive action benefits everyone. It will generate new long-term supporters aligned with Oxfam, rather than just one-off responses to particular issues. You are trying to create a relationship between Oxfam and it’s supporters.

Concept/Proposition

Oxfam is a global movement of people passionate about putting an end to poverty.

We respond fast in emergencies, and stay to help people rebuild their lives.

We work on long-term projects with people determined to shape a better future.

And we campaign for genuine, lasting change.

Together, we’re up for moving mountains, going that extra mile. Together we’re humankind.

Target Audience

Oxfam need to reach a wide demographic of new people and inspire in them a desire to become involved with Oxfam. They may not yet be engaged at all with any charity or they may occasionally support specific campaigns.

Considerations

• We are looking for work that inspires action. Read the supporting documentation to understand Oxfam’s definition of action.

• Supporters are increasingly issue-led rather than loyal to one charity. We are looking for work that inspires loyalty to Oxfam.

• We are looking for work that identifies new ways and opportunities for Oxfam to communicate and amplify the voices of the poor and the suffering.

• Belonging to a tribe is an important part of society’s norms - how can people demonstrate their allegiance to Oxfam?

• How can Oxfam counter scepticism. Scepticism that takes many forms: doubt that aid really does work, that any one person can make a difference or that real change is possible.

Mandatory Requirements

Oxfam Logo / URL

Deliverables

This category will be judged in two rounds with physical work not required until round two. Please see the Formatting Guidelines PDF.

Studio Deadline

Tba

Taschen

Taschen

The Brief

With the advent of the multimedia tablet, such as the iPad, an opportunity for TASCHEN has arisen to produce digital publications for these devices. Using the 30th Anniversary edition of the magazine as your template, create a digital format of the publication that makes full use of a tablets capabilitIes, that will appeal to current and new audiences.

Concept/Proposition

The TASCHEN Magazine has been in print for about 10 years. As a publication it directly creates a link with the readers. Helping to generate awareness of upcoming titles and deepening the relationship between TASCHEN and their customers.This success is partly why TASCHEN are looking to invest in its future and help to bring it to new audiences.

entrepreneurial spirit.

Target Audience

The target audience is very broad, considering the diversity of the titles published by TASCHEN. They are primarily interested in reaching the section that has the power to purchase tablet devices. They tend to be aged between 35 to 60 or 65.

These are also people that appreciate art, architecture, design and history and, in the case of TASCHEN, very illustrated or substantial coffee table books.

In essence, they appreciate print but are also interested in cutting edge technology. As a group they enjoy the latest advancements and the finer things in life.

Considerations

• Strong work will consider how to maintain the expected standard of a TASCHEN publication and preserve the value of the product. Creating a new, deeper level of relationship with the reader.

• How can the user experience be improved upon, to both differentiate it from the printed version but also to feel as a companion product, enticing a consumer to choose to buy both.

• The design should seamlessly integrate the capability of the tablet, from playing audio and video to allowing pictures to be viewed in greater detail. This type of approach will be especially necessary when using topics such as architecture as a subject.

• Tablet devices vary in size from 7–10 inches and designs should be scaleable between all. Additionally they can be held in portrait or landscape format. Strong work will consider how these differences can be accommodated without sacrificing a pleasant user experience.

• How the user will move between an index and contents, additionally the ability to dip in and out of content, both will need to be considered. Should it be similar in feel to leafing through a printed publication? Ultimately the use of the tablet should feel natural and intuitive, putting the user at ease and making the experience enjoyable.

• Future capability of tablets will include 3D and wireless communications between other devices within the home. You may wish to explore how these could potentially work, even if the technology is not currently present.

Mandatory Requirements

Use of the TASCHEN Logo

Deliverables

A fully functioning version of your design is optional, but the minimum entry requirements are as follows:

• An interactive or video presentation demonstrating the digital sequencing of the operation and functionality of your design, as a ‘slice through’ of the important features.

• Boards or static image files highlighting key concepts within your design including potential future capability as appropriate, the look & feel of the user experience and a supporting rationale.Please see the Formatting Guidelines PDF for more information.

Studio Deadline

Tba

MOS

The Brief

We have a history of unusual and creative brand awareness campaigns, from guerilla advertising to virals, all based around the distinctive logo. With so many new and varied products coming out, we feel it’s time to do this again, reminding people what the brand is all about and what it stands for.

We want to see exciting and innovative uses of the logo, that will gain the maximum amount of attention and get across to people what a unique and creative brand this is. We are open to all solutions and will pick and action the best idea for summer 2009.

The challenge is to demonstrate how the existing logo can be applied to different environments and media spaces. The brief is not to redesign the logo itself.

You can find the logo in the project pack at ycnonline.com

Concept/Proposition

— Authentic. Coming from an original vision, remaining always relevant and giving you something to

believe in that ultimately makes you feel good.

— Iconic. The desire for people to love us and hate us while competing with others to be the best.

— Hedonistic. Fearlessly seeking pleasure through intensifying the here and now.

— Confident. The belief in our knowledge and expertise and the conviction to pursue an ideal.

— Maverick. Behaving deliberately non-conformist because it ‘feels right’ to nurture an

entrepreneurial spirit.

Target Audience

Young adults. M.O.S music audience

Considerations

How can the logo be applied to other technolgus to show how the music is adapting to new genres.

Mandatory Requirements

If you wish you can incorporate the Castrol logo into your work, available in the project pack online.

Deliverables

Please adhere to the deliverables guidelines in the Awards section at ycnonline.com. Full details on the judging process and associated timings can also be found online.

Studio Deadline

Tba

M.O.S

Background

Ministry of Sound is an iconic, world-renowned brand, synonymous with dance music.

The club opened in London in September 1991 as a pioneering and unique venue at the forefront of a youth culture revolution, and over the past 17 years has played host to the biggest artists and DJs in the world. The record company which followed is now the biggest independent label in the world with countless No.1 albums and singles, and award-winning videos.

Today you can access Ministry of Sound through a range of products and media. It has international venues, national and international tours, releases over 170 compilations and chart topping singles annually, a radio station, collaborations with mobile networks, a music download site, electronics/audio ranges, clothing, vodka, fragrance ranges and ministryofsound.com.

The brand was established with a vision to do things better than, and different from, everyone else, and this belief is carried through everything we do. We are not afraid to break new ground, be provocative and challenge convention.

The Challenge

We have a history of unusual and creative brand awareness campaigns, from guerilla advertising to virals, all based around the distinctive logo. With so many new and varied products coming out, we feel it’s time to do this again, reminding people what the brand is all about and what it stands for.

We want to see exciting and innovative uses of the logo, that will gain the maximum amount of attention and get across to people what a unique and creative brand this is. We are open to all solutions and will pick and action the best idea for summer 2009.

The challenge is to demonstrate how the existing logo can be applied to different environments and media spaces. The brief is not to redesign the logo itself.

You can find the logo in the project pack at ycnonline.com

Brand Attributes

— Authentic. Coming from an original vision, remaining always relevant and giving you something to

believe in that ultimately makes you feel good.

— Iconic. The desire for people to love us and hate us while competing with others to be the best.

— Hedonistic. Fearlessly seeking pleasure through intensifying the here and now.

— Confident. The belief in our knowledge and expertise and the conviction to pursue an ideal.

— Maverick. Behaving deliberately non-conformist because it ‘feels right’ to nurture an

entrepreneurial spirit.

Deliverables

Please adhere to the deliverables guidelines in the Awards section at ycnonline.com. Full details on the judging process and associated timings can also be found online.

Castrol

The Brief

Create awareness of which oil to buy for cars. Make Castrol stand out

Concept/Proposition

The challenge is to create a range of packaging solutions that improve the stand-out, pouring experience and navigation of the Castrol brand, resulting in improved consumer loyalty and affinity.

We are keeping things deliberately very broad. For the purpose of this exercise there are deemed to be no manufacturing restrictions.

Target Audience

You may wish to consider males/females separately, or produce something that appeals to both.

Considerations

Areas I need to investigate to deliver an effective solution.

Mandatory Requirements

If you wish you can incorporate the Castrol logo into your work, available in the project pack online.

Deliverables

For guidance on how to submit your work please adhere to the main deliverables information at http://student.aisforawards.org

Any additional supporting information referenced in the brief, including artwork and logos, can be found in the project pack at http://student.aisforawards.org

Studio Deadline

Tba

Castrol

— Castrol

Create a range of packaging solutions that improve the stand-out, pouring experience and navigation of the Castrol brand.

Context

As vehicles have become more complex, sophisticated, and reliable the level of owner interaction has reduced significantly and oil changes are carried out by specialists in automotive workshops.

There is, however, a continuing need to ‘top-up’ oil between services to replenish that which is ‘burnt off’ during everyday usage. As a category, oil has become more complex with a range of products to suit different needs. This has resulted in it being very difficult to easily identify and navigate the category. In fact, research indicates that consumers spend eight minutes on average at fixture, considering their purchase.

However, despite this, on average 84% of people drive their car with lower oil levels than recommended. Having the correct level can result in fuel economy gains of 2-3 mpg, and reduced wear and tear on the engine.

Finally the consumer experience of pouring oil is always rated as below average using traditional packaging solutions.

The Creative Challenge

The challenge is to create a range of packaging solutions that improve the stand-out, pouring experience and navigation of the Castrol brand, resulting in improved consumer loyalty and affinity.

We are keeping things deliberately very broad. For the purpose of this exercise there are deemed to be no manufacturing restrictions.

Target Audience

You may wish to consider males/females separately, or produce something that appeals to both.

Mandatories

If you wish you can incorporate the Castrol logo into your work, available in the project pack online.

Deliverables, Artwork and Additional Information

For guidance on how to submit your work please adhere to the main deliverables information at http://student.aisforawards.org

Any additional supporting information referenced in the brief, including artwork and logos, can be found in the project pack at http://student.aisforawards.org

YCN Student Awards 2009/10 | http://student.aisforawards.org

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Top Trumps 2012 London

Top Trumps 2012 London

The Brief

Design a set of Top Trump cards for the London Olympics

Concept/Proposition

Explore how Top Trump can make a new series of cards to bring in revenue

Target Audience

Young Adults/ Children

Considerations

How can the top trump cards become back in date and help sales.

Mandatory Requirements

Keep the brand guidelines and concept of the game of Top Trumps.

Deliverables

Final design solution

5 Presentation Boards, Video if necessary

Studio Deadline

-