Natalie Reuchlein Mastery Journal

MDM530 Week 3 Brand Strategy

Brand Vision Video

My take on brand vision video (¡revisado filme!)

The Role of Strategy in Branding

The role of strategy in the brand process encompasses intermediary relationship management between the company and the audience during the courting process. Courtship commonly includes an introduction, increasing communication, establishing trust, and expressing commitment. The case study illustrates the occasion where the intent of the credit union was expressed from their point of view, not from the audience’s. There are also consequences from non-communication situations such as relationships. That expands brand strategy to the concept of brand architecture. Lego is an umbrella brand with sub-brands (Srivastava & Thomas, 2016). Brand architecture relates closely to the company’s business model. Lego’s partnership with Shell Oil as a distribution channel started a backlash when Greenpeace depicted the Arctic covered in oil with Legos. Lego’s corporate values included sustainability. They ended their relationship with Shell although you can still buy Legos of Shell gas stations it seems you can’t buy them from Shell gas stations. The implications of a Brand growing far beyond identification and embedding itself into perceptions have benefits empowering consumer opinion but can also lead to misinterpretations and assumptions. Brand is no longer a department in marketing, it is entrenched in business decision-making at the highest and lowest levels. easyJet’s European brand strategy modeled after Southwest Airlines has been grown and extended into other business ventures including easyEverything internet cafes and easyRentacar (McAllister, 2001). Stelios, the owner of these easyBusinesses modeled himself after Richard Branson and his Virgin groups. So those architectures can definitely be leveraged to the advantage of businesses and consumers.

Collaboration in the Branding Process

Collaboration in the branding process facilitates shared learning and common clear understanding. The power of focus helps iterate and validate key concepts across the stakeholder spectrum to ensure faster decision-making and higher-quality deliverables. Not everything has to be prototyped and tested if a legitimate model of understanding the relationship is possible. One such analytical model is the Kapferer Brand Identity Prism. The communication between the company and the consumer is affected by internal and external perspectives and interactions (Lee & Lee, 2023). They are broken down into the company’s physique (visuals) and personality (tone), the customer’s reflection (the tribal ideal) and self-image (the individual ideal), and the product’s interaction through relationships (with the customer) and culture (brand values). In the credit union case study, there was insufficient understanding of the check-cashing customer culture and self-image. Only through research is the agency able to clearly elicit those dimensions and put them into action for the corrective process. The fieldwork is collaborative in addition to observational. There is interaction and shared learning (Almaas, 2006). The collaboration helps overcome barriers to understanding. Field research outcomes reflect the time and methods dedicated to gathering information. In the book Mastery by Robert Greene, the anthropologist Daniel Everett needed to immersive himself into Indigenous life to understand their language because it was interwoven into their lives. He had to learn to live like the tribe in order to understand their language and its formation. A result that cut against accepted linguistic principles. Assumptions can destroy innovation, but collaboration can bring it back.

Adjusting Strategy for Audiences

The process of adjusting strategy for audiences includes monitoring outcomes, research, and data gathering, modeling the system of communications, analyzing and identifying issues, and proposing solutions. The case study illustrates this model. The credit union did not understand the cause and effect of communications and product offer for their new segment. The agency took the time to go through the analysis steps and their actions led to improved outcomes. In a more ideal situation, the credit union would have monitored and adjusted. In sailing education course correction and change of course are concepts taught in navigation. Keep an eye on where you want to go and make adjustments to the course (Baucom, n.d.). Changing course is a change in destination. The credit union knew they were off course, but did not understand how to correct the course. The course is the equivalent of strategy if defining strategy as a plan. The worser-case-scenario is when lack of monitoring or inept course correction leads to brand crises. The acquisition of Twitter by Elon Musk is an example of ineffective communication. The deeper issues included Elon Musk’s bulldozer model of leadership and lack of concern for what people think (Zivkovic, 2024). The usage of Twitter on X continues but with a diminished impact. Remember to occasionally or systematically take stock of the object or destination and ensure that the brand is still heading in the right direction.

Annotated Bibliography

Brand Strategy: Annotated Bibliography Almaas, S. H. (2006). Book Review. Journal of Interprofessional Care, 20(1), 88–88. Psychology and Behavioral Sciences Collection. The authors book review on Interdisciplinary collaboration—perspectives and strategy, a book written by Oslo researchers in healthcare, differentiates collaboration from coordination. The consider collaboration as dynamic where those involved build relationships and learn together. They look at different theoretical perspectives that basically are barriers to coordination and how collaboration overcomes those challenges. Baucom, L. (n.d.). Correcting Course. Thriveology Podcast. Retrieved June 18, 2024, from https://player.blubrry.netthriveology The author is 22-year veteran as a marriage therapist. If he doesn’t know course correction, then who does? The author uses sailing to illustrate methods of course correction in relationships. Keeping an eye on where one is headed and how things are moving in that direction can also be applied as an analogy to brand adjustments. Lee, Y. K., & Lee, M. (2023). 42 The effect of brand identity extension through inter-industry collaboration. International Journal of Costume and Fashion, 23, 59–77. https://doi.org/10.7233/ijcf.2023.23.1.059 The authors are department heads in fashion and textile departments in their respective universities in Korea. Their paper is focused on inter-industry company collaboration but do review the relationship models between companies and consumers. McAllister, J. F. O. (2001, July 23). Easy All over Europe. Time Europe, 158(4), 44. An article about a company and its iconic owner. It’s a copy paste view of brand identities that work for the benefit of the owner and consumer. The easy family brand contains over 100 sub brands follow the same margin analysis pricing model. Which gives cohesiveness to the brand identity. Roundtrip between Paris and Amsterdam in July 2024 for $184.00. Can’t complain. Srivastava, R. K., & Thomas, G. M. (2016). Section 1 Brand Strategy. In The Future of Branding. Sage Publications Pvt. Ltd. The authors are researchers. The information is presented in textbook style. I focused in on the architecture section. We are beyond the one-to-one company to brand model and need to consider brands in the realities of current complexity. There are relationships between brands and their respective categories. Zivkovic, M. (2024, April 9). 16 PR Crisis Management Examples: What (Not) to Do. Prowly Blog. https://prowly.com/magazine/pr-crisis-management-examples/ The author is a marketing specialist and applied basic analysis of communications. Twitter was on list for what not to do. Just change the brand was the course correction. The company’s measure of success is that people are still using it. In the process they chased away advertisers and accounts. The erratic methods of correction caused the loss of steam.

MDM530 Week 4 Communicating Brand

Brand Communications Video

Effective Copywriting

Features and Benefits (MDM555 Wk 1)

Print ad

Benefits versus Features

Features are the journey and benefit is the destination. The word benefit can be described as well-being. The positive connotation is not the best word. Ideal is a better word. People’s ideals can be different. In the late 1980s, a BDSM shop occupied a retail shop in the Frankfurt Airport. If on a business trip, for example, a traveler could pick up a gift for a spouse. They could choose the snow globe at the souvenir store or a leather paddle at the BDSM shop. People’s ideals are different. Leather is the feature and excitement is the ideal. The research and the case study illustrate that what people value is important. That is the tip of the message or the benefit. The features reinforce that message. Permission-based reading is an effective way of communicating (VandHei, J., et. al., 2022). That means the structure of information is valuable and a benefit to the audience and the writer. The concept of not burying the lede is as important in copywriting as it is in journalism. What captures the audience’s attention is truth, the human ideal, and originality (Handley, A. 2014). The drawback of this structure is that some people value the features as a priority. How to touch that segment’s attention is a challenge.

Personas

Ultimately, true communication with an individual may be possible one day. But that level of transparency and technology doesn’t yet exist. We have public lives, personal lives, and secret lives. Personas are the grouping of individuals by their personal lives, their values, and their needs. Safety can be sold. Psychological comfort can be sold. For the themes in the case study, audiences may be grouped for the benefit of affordability. Smaller and electric both mean less use of fossil fuels. They may contrast in that one segment is cautious of battery technology. Copywriting is a method of translation. From facts to nuance. One neat psychographic profiling tool is reading what the audience reads (Scott, D. M. 2022). It enables the copywriter to write in their languages and mental models. Understanding the developed persona enables the writer to craft persuasive copy. The type of information should create a stimulus and incite a response (Weinschenk, S. 2013). The stimulus could be a signifier or a representation of meaning in place of a definition. Ultimately, a true icon draws a crowd because of its icon-ess.

Writing Ad Copy that Sells

There is a joke about Americans. People who speak several languages are called multilingual. People who speak two languages are bilingual. What are people called if they only speak one language? American. So that is part of the American Persona. May not be universal but it lends itself to truth. The point of writing copy that sells is a way of speaking the language of the persona, the audience, or everybody. Bring words to life. The slogan “Don’t mess with Texas” written by Mike Blair and Tim McClure, reached every citizen of that state when it came to littering. It targeted the “bubbas in a pick-up truck” but went viral before viral was a thing. It doesn’t use the work littering. It’s not a definition. Headlines grab attention, body copy fills in the pursuasive information and a call to action clarifies the ask. You don’t close a sale until you ask for the business. You may not like the answer, but at least you have one. That is part of the metrics on effectiveness. “I can see the sunshine in the rain,” wrote Bodies Without Organs (BWO). Emotional words strengthen headlines and add humanity to the message. (Ogilvy, D. 2011). It’s not just the power of the words, it’s also the power of the sentence. The right story resonates and increases the effectiveness if they resonate. Some themes that have proven value include the power of the human face, talking the talk, playing with words, and explaining the difficult (Handley, A. 2014). Originality is more appropriate in the approach than in every aspect. Great artists may starve to death, however their work becomes recognized as phenomenally original. Copywriters don’t have that kind of time.

The Volkswagen Golf study

The Volkswagen Golf print ad uses humor. The headline says one thing the body narrows the headline benefit to the actual benefit of fast delivery times. Other content also supports the fast delivery times to immediately. The call to action is implied. Buy your new car today and drive it today. That's the benefit.

Annotated Bibliography

Handley, A. (2014). Everybody Writes. Wiley & Sons, Inc., Hoboken, New Jersey. Ann Handley is a Wall Street Journalist with journalism experience. In the book she covers both rules and methods. The journalist in her shows with identifying truth, humanity, originality, and perspective. She uses great examples to further her claims. It goes back to recognizing the benefits. The results. Ogilvy, D. (2011). Confessions of An Advertising Man. Vibhatsu. How can one write a paper on copywriting without mentioning David? He breaks things down into copy body maxims and individual words. He uses a bit of old-school misogynist humor which I chuckle at because it reflects the battle of the sexes. The maxims are do’s and do not’s. The details go down to individual words. The power of words is important to every writer but for a copywriter it appears the constraints of space add to the need for exactitude. Sawyer, R. (2006). Kiss & Sell: Writing for Advertising: (Redesigned & Rekissed. Switzerland: Bloomsbury Visual Arts. I bought this visual tome. There is a slew of themes presented with ad examples. If I must write something on cue and am stuck, I will reach for this book to unstick myself. Just a few examples that grabbed my attention include provocations, wealth, emotions, and no words. The book is a sensory experience. And isn’t that what a copywriter wants to contribute to? Scott, D. M. (2022). The New Rules of Marketing and PR (8th ed.). Wiley. The first edition was the first place I learned about how to create personas. The author writes a lot of questions. These are the same questions you need to ask when developing a buyer persona. He suggests reading the publications the buyer might read. It’s an interesting way to create a psychographic profile. It can reveal underlying values. VandHei, J., Allen, M., & Schwartz, R. (2022). Smart brevity: The power of saying more with less. Workman Publishing. The founder of Axiom wrote this book. This is about the news, but the rules apply because of the constraints. It seems concise is becoming important in all communications as the audience attention span decreases because of the sheer volumes of available information. One of the core ideas is the recommendation to paragraph “Why does it matter?” It’s a step to link to what does it meant to me? Consequence in this case could be positive or negative. Doesn’t a benefit mean a positive addition or a negative removal? Wrinkle remover. Hair coloring. Lots of products work on the removal aspects. Weinschenk, S. (2013). How to Get People to Do Stuff: Master the art and science of persuasion and motivation. New Riders. When you mean business on pure behavior you mean Pavlov’s experiments. The experiments were illustrating the relationship of stimulus and response. The work and the works of others also move towards additional stimulus and stimulus replacement. The crowning jewel is getting people to do stuff automatically.

Brand Voice and Tone (MDM555 Week 2)

Radio Spot

Brand Voice

The brand voice is the unfolding of brand personality and style through intent, values, and interactions with audiences. Planned and unplanned touch-points enable both parties to contribute to brand characterization through communications. While the case study sets an example by Volkswagen on the leverage of expanding the methods of communication, additional study materials bring a lighter and simpler process to small and medium-sized businesses. The affordability of self-research makes asking defining questions accessible (Brand Identity Breakthrough, 2022). The goal of the process remains similar for all brands – ensure sustainability, strengthen relationships and leave a legacy. The case is furthered through discussions about the value of employees in maintaining and presenting brand identity. Many employees interact with customers face-to-face (Cucchi, 2022). If employees churn, they take their part of brand understanding and representative abilities with them. Even, if the face-to-face is conducted through the product. Products that don't make the grade will not lead to a great relationship. Losing a best-in-class color designer could have brand implications if transitions are managed poorly. Attaining an evergreen brand is an arduous task. However, the rewards positively affect all parties. There may be setbacks to overcome. However, the idea of evolving the relationship sets the psychological atmosphere for each part of the organization to continue to craft and refine its products, services, and customer conversations. It may be unsettling to those who wish to return to the past and consequently to the belief that the company defines the brand. Just filling communication with emotion is not the answer. Logistics, as an example, can make or break a brand (Uncensored CMO, 2024). Both internally and externally, the copy is the vehicle to look forward and respond to the changes new mediums and increased engagement bring to the concept of brand voice.

Writing for Radio

Writing for radio requires succinct, well-crafted, universally understandable, and audibly original scripting. Readers of Raymond Carver will understand his craftsmanship of short stories is very similar. Every word seems chosen, every sentence has meaning, and the plot is elementary compared to a Dostoevsky novel. The novel can be engagingly complex but the short story has punch. The historical articles on writing for radio are very similar to the assigned reading. Highbrow tone may be a method, but highbrow vocabulary will challenge listeners less erudite than a college professor. The range of the vocabulary should reach the broadest spectrum of listeners (Smith, 1942). The differences reside in the changing nature of perspective so the words and themes of the past don't reflect the language and topics of today. The word "stomach" was considered vulgar in a story from 1937 (Upson, 1937). So the lens of what is acceptable and meaningful changes over time. TED Talks is a great succinct method of communication although in radio not only is 20 minutes too long, but the level of concentration for comprehension is at a different level. What would a radio spot advertising a TED Talks event sound like? A copywriter could script several messages such as learning something new, the unexplainable explained, or great ideas. Volkswagen (VW) Golf Radio Commercial: Grand Launch fits with the brand's humorous tone and also supports the voice which is a car for the people as the name itself explains. So the radio copy brings the approachability, reliability, and innovativeness of Volkswagen via mentions of the product attributes. It's a bus wrap advertisement over the airwaves.

Brand Tone

Brand tone is the communication style. The approach could be based on segmentation or psychographics. It could be an overarching tone. Is it scientific, inspirational, or off the cuff? Volkswagen's tone is described by myself and others as humorous. However, it is deeper than that. If it's a car for the people it speaks to average people. As reference in the case study ad, running out of gas probably doesn't happen as frequently to folks who own Mercedes or Porsches. It is an extension of Germany's economic goals rooted in practicality. The small attribute appeals to those seeking reliable affordable transportation. The tone of humor makes the audience comfortable and is a great explanation for those friends with massive American cars. The voice and the tone's consistency keep the brand recognizable not just in radio ads, but across all mediums and channels. Volkswagen brand improves buyers' decision justifications through its combination of friendliness and rationality Intel owned the chip market for a while. Its technical voice focuses on innovation, performance, and details. Intel grabbed that voice and turned out a tone that made people comfortable in buying a computer. That "Intel Inside" sticker gave buyers confidence. Likely, some people saw an AMD sticker and questioned the capabilities of the computer. "Comfortable" is not a product attribute but it is an emotional selling point. Brands that veer from their voice create confusion and inhibit message effectiveness. Healthy eating at McDonalds doesn't make sense. Try describing Pepsi. Facebook holds popularity, but what do they do? They seem to be trying anything to make money. In contrast, Coca-Cola's veering from its classic personality is done in such a way that it remains authentic. It takes a well-developed campaign to add a different perspective. Those are generally something that would be acceptable to the audience so it extends the connection. Not an official tone but Neil French coined the term "Have a coke and shut the f$#*& up!" and the strength of the brand had people latch onto that slogan. In some circles, it spent time as extremely colloquial.

Project learnings

In 1997, Radio Mercury gave an award to Ortho for their Antstop Fire Ant Killer radio commercial. It was about killing fire ants fast. It was a phenomenally amusing spot. This course covered both the nuances of context and the mechanics of creating a radio commercial. The project grew the understanding of spoken words per minute. It also required practice in editing out pauses and "umms". Listening to the recording led to multiple takes to adjust of pace and tone.

Annotated Bibliography

Brand Identity Breakthrough: How to Craft Your Company’s Unique Story to Make Your Products Irresistible. (2022). Publishers Weekly, 269(4), 42. The book review details the authors intention to open-up brand identity, which is also brand voice, to small-to- medium size businesses. It covers the process in a way that is accessible without costly research. The angle of defining values and asking questions surrounding who, what, and why. Identifying the reasons why a company matters can be revealed by asking employees because of their interaction with customers. Cucchi, J., & Glaister, N. (2002). Brand expression matters. Advertising Age, 73(39). Authors look at the expression of brand including voice. It doesn’t make up for a bad product. They look at touchpoint because that is where the consumer experiences the brand ‘face-to-face’. The fact that that relationship is through employees make employee churn more important to address. To keep consistent brand voice growth, those who use their voice to contribute to the brand voice, are critical in new ways. Hasan, M. (2024). A Study on the Impact of Brand Personality on Consumer Preferences and Loyalty. IPE Journal of Management, 14(3), 27–36. Author uses a framework based upon consumer behavior and psychology to conduct research in the relationships between the three dynamics. The method looks at personality, which can form the voice, focusing on human characteristic. Since the author considers brand personality as perceptions, it takes the view of the audience. The conclusion developed through regression analysis illustrates the connection. If a brand can align with an audience’s values, they are more likely to positively impact consumer preference and loyalty. Different strokes for different folks. Horberry, R. (2010). Brilliant Copywriting. Pearson Business. A conversation with copywriters’ interview-style puts practitioners in the driver’s seat. Numerous insights emerge from those conversations. The key ones that struck a memory include the similarity between journalism and copywriting in the purpose being reading the piece to the end. The differences in that articles of journalism have a conclusion, while copy strives to leave an impression, to drive action. Copywriters occupy a translator position between client and consumer. How to convey the points of the client in a way that audiences understand. Rogalle, E. (2022). 2.5 Case Study: Brand Voice. Full Sail Online. Author focuses on breaking the barrier of expected. The Volkswagen ad explored beyond the boundaries of brand design. It represents the theme of the advertising activity in the execution of the ad in appealing to the unconscious, and consequently furthers the development of brand voice. Be you. Show don’t tell. Fiction and advertising meet in story methods. Smith, S. S. (1942). Radio Vocabulary. Quarterly Journal of Speech, 28(1), 1. The author introduces listener vocabulary range. The history validates this idea. Programs today can rate a piece of written work my reading level and range. Thorndike’s dictionary was the one at the time. More than four or five blackouts, meaning words not understood, and the audience member tunes out. Speak the language of the people or count them out. [Uncensored CMO]. (2024, May 1). Scott Galloway on the end of the brand era, monetising rage and how to create wealth [Video]. YouTube. https://youtu.be/ROgRD9GN4lQ?si=v9xjGnfPgde0JKun Scott’s reputation is built upon his teaching and his advising. His general point of view is that brand’s best opportunity to create shareholder value was great marketing, great brand, with a mediocre product. Today’s world of easy access through technology to ratings and other people’s opinions means “product is the new black again.” Great companies don’t need to advertise. Upson, W. H. (1937). Writing for the Radio Is Easy. Saturday Evening Post, 209(42), 10–80. A historical perspective that goes to radio’s roots. It’s a story about the author entering the radio business. The conflict is over the use of the word ‘stomach’ over the radio. It’s considered vulgar. And there is where writing copy for radio is unlike writing a thesis paper. It’s about the colloquial. TED Talk presenters can stay home.

Brand Trust (MDM555 Wk 3)

TV Spot Assignment

Brand Trust

Brand trust describes the quality of the relationship between audiences and institutions, where the institutions build a reputation of reliability. Over time consistent brand experiences improve brand trust (Sumarmi 2023) and enable buyers to start to release cash without high scrutiny. It is an evergreen concept that needs ongoing maintenance and care (Cucchi & Glaister, 2002). Volkswagen and Nike both dented their brand image and it took effort to survive. Pollution and child labor are topics that hold importance to audiences in the United States. Recuperations from such debacles drag down many established brand characteristics (Rogalle 2022). The case study shows Volkswagen’s ability to recognize its mistakes and take clear actions to make corrections. Nike’s sweatshop scandal took a bit to gain momentum, but Nike finally established their ability to change the pieces of their operations that led up to the revelation. The critics of these situations would include the Gordon Gecko crowd in the worship of shareholder value and the line “greed is good.” Those who believe that companies have more than just financial stakeholders, using a broader stroke of stakeholders. Those are categories of society that have indirect vested interests in corporate performance, whether it be suppliers, government, or customers. The danger of these types of situations is the timeline of a scandal and any possible exaggerations.

Taglines

Taglines are forms of language creativity that say much with little and strive towards memorability. There are numerous forms but they ultimately need to communicate information in a structure that seems familiar to audiences (Kavgić & Kavgić, 2018) Two recognizable companies with reflective tag lines include Pitney Bowes with “We Power Transactions That Drive Commerce,” and Target with “Expect More. Pay Less.” Pitney talks about what they do and is striking an impression. Target chose to go with ideas that are relatable to customers. Each of the taglines is concise, uses powerful words, and carries stickiness. Headlines grab attention. Taglines grab memory. Taglines are part of the payback for attention. From an information design perspective, the information can instill curiosity about the gaps or missing pieces (Pontis, 2013). So if a group wants to go to a movie, it may not be the movie review or the actor interviews, it could very well be the tagline that drives the compromising decision.

Public Service Announcements

Public service announcements provide awareness, recommendations, and actions to situations that affect the general public. They usually carry factual information, and a more official tone, but can also use different writing methods based upon the topic (Friedmann, 2006). (RED)’s tagline for preventing the spread of AIDS is “Preventable and treatable diseases are only preventable and treatable for some. (RED) works to end that injustice.” They don’t focus on the disease as much as they do on injustice. Their PSA’s focus is on saving lives and injustice as a contributor to epidemics. They cover the current state of the AIDS epidemic, the people who are helped, and the workers who get it done. The American Heart Association is “100 years. Bold Hearts,” as they reach a milestone. Their PSAs are very personal. They have members who have been affected by heart events and talk about their journey to recovery. Non-profits are often combatting political disinformation. Political spin is damaging to help bring awareness. Any communications need to be able to work around or charge through barriers. They each used numbers to support their claims, so if they can grab attention, they each seem to have well-crafted copy. The facts help explain the magnitude. In the White House info on the care economy, they utilize dollars and spend (House, 2024).

MDM555 Week 3: Annotated Bibliography

Cucchi, J., & Glaister, N. (2002). Packaging, design and brand `voice’ can mean as much as how a product performs. Advertising Age, 73(39), 24. Written by the founders of a brand expression agency. The article uses examples to illustrate the importance of multiple aspects of brand identity. Whether it is packaging print or other forms of copy, the physical representations not only communicate to buyers but also stands as reminder to employees. Identity indicates the of behavior the company or government agency expects. The authors stress the daily aspects of brand expression as an evergreen identity. Friedmann, A. (2006). Chapter 5. Ads and PSAs: Copywriting for visual media. In Writing for Visual Media (2nd ed.). Elsevier. Its textbook style contains lots of lists. Special effects, humor, and visual storytelling. I question the overarching statement that PSA’s can choose any of these forms. Maybe some can, but there is generally a certain tone that follow PSA’s that have negative consequences along with verifiable facts. House, T. W. (2024, April 22). Fact Sheet: Vice President Harris Announces Historic Advancements in Long-Term Care to Support the Care Economy. The White House. https://www.whitehouse.gov/briefing-room/statements-releases/2024/04/22/fact-sheet-vice-president-harris-announces-historic-advancements-in-long-term-care-to-support-the-care-economy/ It’s from the White House. It’s well rounded. As our population ages, the importance of senior care grows. The reality of both parent’s working in order to support their families is leading to growing childcare needs. This communicates the focus owned by the VP of the US is taking to support the president’s initiative on care services. They include improving access to home care and support to caregivers. The piece services up numerous facts. Kavgić, O., & Kavgić, A. (2018). Creativity in Film Taglines: Extralinguistic, Textual and Lingustic Analysis. Annual Review of the Faculty of Philosophy / Godisnjak Filozofskog Fakulteta, 43(1), 101–125. The choice of academy award winners is akin to cherry picking, but also lends those crafted films skills to the study. The author’s dive into linguistic elements. The methods are broken down into extralinguistic, textual factors, and linguistic creativity. Extralinguistics uses relatable references, textual factors us information about the film, and linguistic creativity, works towards memorability. Very reminiscent of rhetorical approaches. Pontis, S. (2013, December 3). Sensemaking Activities in Information Design. Sheila Pontis. https://sheilapontis.com/2013/12/03/sensemaking-activities-in-information-design/ The sensemaking field of study is still fragmented with different areas of focus. Pontis does a good job of visual communication. Moving the design from bit picture, through connection, and to the core. Certain frames aid in the design and scenarios propose recognizable ways to contribute to effective communication. These can be usefule for advertising paratext. Rogalle, E. (2022). 3.5 Case Study: Brand Trust. Full Sail Online. The author details an expensive escape plan from the Seneca effect, a Bardi concept where growth is slow, but decline is fast. The work and approaches that Volkswagen took is a recovery strategy. Admit fault, mend any wounds, and stay in the light. Sumarmi, S., & Wijayanti, H. (2023). Brand Experience and Brand Loyalty: Mediated by Brand Trust. Jurnal Ilmiah Manajemen Dan Bisnis. The paper uses Partial Least Square – Structural Equation Modeling (PLS-SEM). The good news is that it’s not a math lesson. Brand loyalty is the oasis companies dream of occupying. It means less promotional needs and higher profits. The study’s results show that brand experience and build brand trust, but it’s not a direct effect on brand loyalty. Brand loyalty stand out as a longer-term result.

Writing for New Media (MDM555 Wk4)

Reflection Video

Remix Video

The video is a retake of the original. It is simplified and focused to improve the content and the message.

Design Research

MDM565 Week 1 Text

X-Height

The origin story regarding the measurement of text begins in the 18th Century. The original measurements included the height of the typeface from the top of the capital letter to the bottom of the lowest descender plus leading, which is the space between lines (Lupton, 2004). The reality of that measurement vs the perception of it are two different things. Imagine measuring a cowboy from the top of his hat to the bottom of his boot. The too-tall-hat cowboy may be the tallest cowboy. If the cowboy is a typeface, he would be measured in points. In the digital world, a point and spacing has a written format such as 8/9 pts, representing 8-point character height to 9-point spacing. To pair fonts effectively the comparison of x-heights, the measurement from the baseline to the mean line best represented by the bottom to the top of the lowercase x, can reflect a closer visual perspective of different sizes. Seeing the difference is nice, but when composing a written form of communication with different typefaces, the pairings of distinct typefaces with similar visual space displacement can be judged best by comparison of x-heights (Saltz, 2014). Of course, there are other aspects of pairing that can be considered, but the x-height is the closest mathematical measurement to bring typefaces into some congruence. For design purposes, whether looking for differences or similarities, hierarchy is important to show lead-ins and other forms of clues to the content. Two similar-sized point typefaces could represent 2 different levels in the hierarchy. The larger the x-height, the more vertical space the letters consume, giving the impression or perception of a larger type and thus ranking higher in the hierarchy. Typefaces also have a width measurement for the horizontal space most measurable in the form of the lowercase m. That can be considered weight, girth, or body type in humans. These comparatives are a good starting place. Ultimately, measurement in typefaces is more than mathematics. Measurement is a mirage and gains more final meaning, short of a complex calculus equation, from visual comparison.

Font Families

Font families enter existence regularly in today’s technology world. The letterforms, sets of basic alphabets and numerals, do not lend themselves to a defined classifications system or taxonomy, such that exists in sciences. They can be viewed from a time-period perspective that begins with the first printing machine and continues today with both print and digital formats (Ambrose et al., 2020). There are steadfast anatomical terms for letterforms such as brackets, arms, ears, serifs, etc. that can be grouped for helpful identification. Then there are styles, legibility, readability, and usage that can be used to categorize. The Vox system was developed in 1954 and still has some interesting perspectives on how to group typefaces. Families seem to be multiplying faster than our families in society. Then the pesky brain gets involved. Through tests where participants relate different typefaces to four flavor profiles of bitter, salty, sour, and sweet, there is clear congruity. Round typefaces represent sweet and angular typefaces relate to bitter, salty, and sour (Velasco et al., 2015). These cross-modal correspondences add a different dimension to the categorization of typeface families. Effective usage of fonts for communication starts with the typeface choices. If a business uses an angular typeface for their Doughnut Shoppe, they do so at their peril. Even as the physic of typefaces becomes framed within rational categories, the world of psychology disrupts the organization with an overlay of the neocortex’s ability to recognize patterns. Just like a child learns the A, B, and C’s of the alphabet, so must a designer build awareness of the Typefaces of A, B, and C’s. To be more exact, fonts influence our attention, perceptions, and emotions. Understanding font structure and font psychology Is critical for building connections with audiences.

Expressive Typography

Expressive typography emerged in the 1970s thanks to Herb Lubalin. The use of tight spacing, overlapping typeface ascenders and descenders, and attention to detail influenced designers around the globe (Strizver, 2014). The results took standard typography into the arena of graphic elements. Sandra Hyndman expanded upon the typeface taste studies in furthering the concepts of how people to typography. She conducts typo-sensory experiments that explore the effects of neuroscience on those relationships (Type Tasting, n.d.). Expressive typography has expanded to letterforms that evoke emotional responses. Sandra even created a card game to see if you are dating the right type for your personality. What started as a bold rule-breaking event and grown its repertoire to understanding the ways humans make sense of the world around them has likely fueled the growth in the number of fonts available on the open market. Word marks that started as identifiers can now become closer attuned to brand identity and personality. Now the use of fonts in advertising can represent what is seen as expensive or cheap. The future holds quite a different view of how fonts are categorized. Language is fluid and dictionaries of quality need to keep up with shifts in meaning. The first psychological font dictionary is yet to be created. Ambrose, G., Harris, P., & Theodosiou, S. (2020). The Fundamentals of Typography. Bloomsbury Visual Arts. Ambrose, G. & Harris P. (2010). The Visual Dictionary of Typography. AVA Publishing; eBook Collection (EBSCOhost). https://login.oclc.fullsail.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=295755&site=ehost-live Strizver, Ilene. (2014). Type Rules: The Designer’s Guide to Professional Typography: Vol. Fourth edition. Wiley; eBook Collection (EBSCOhost). https://login.oclc.fullsail.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=650345&site=ehost-live Lupton, E. (2004). Thinking with type A critical guide for designers, writers, editors, & students. Princeton Architectural Press. Saltz, I. (Director). (2014, October 17). Typography: Choosing and Combining Typefaces. LinkedIn Learning. Strizver, I. (2014). Type Rules. Type Tasting. (n.d.). Type Tasting. Retrieved July 6, 2024, from https://www.typetasting.com Velasco, C., Woods, A. T., Hyndman, S., & Spence, C. (2015). The Taste of Typeface. I-Perception, 6(4), 1–10. Academic Search Complete.

Typeface/Font Study

MDM565 Week 2 Imagery

Imagery Case Study

Communicating with images for events to specific audiences.

Combining text and images

One of the ways to approach the combination of text and images is to see text as objects (White, 2022). Whether you are using grids, columns, or any other type of structure to enable the use of design principles, the visual placement and interaction are best envisioned as pieces of a puzzle. This helps determine the integration and hierarchy before you even make font choices. It gives great flexibility that can be fine-tuned. To effectively combine text and images they should match the subject (Halimi, n.d.). This helps establish the clarity of the message but also improves emotional impact and engagement. Chaos is not complexity. If the rule of thumb is broken with intent or purpose the shock factor could be engaging through humor or contrast, but in general audiences expect a certain amount of cohesiveness. The designer shouldn't overwork the audience. Shepard Fairey, an artist famous for the Obama Hope poster, uses a combination in his "We the People" series produced as a pre-Trump warning. It was highly controversial in schools because it was seen as political. Perhaps it's because only white people deserve to have their dignity defended. Each piece has an image of a person that represents the diversity of our society and is paired with a different message. We the people...defend dignity, are greater than fear, protect each other, and are indivisible. Fairey uses red white and blue colors and a formal font choice. The text and the images bring together the nation and its people. Now we the people are now chanting, "Send them back." Ein Volk, ein Reich, ein Fuhrer!

The elements of visual design

The elements of design include point, color, line, shape, form, pattern, and texture. They are more than just a feature of drawing. They carry semiotic symbolism, visual perception, psychological effects maybe even physiological influence. Color is thought to change heart rates. Vertical lines make things look thinner than they are. Horizontal lines make things appear wider than they are. Long curves can seem comforting. Short curves are chaotic. These lines could be actual or implied (Poulin, 2018). There also is an underlying process to utilize these elements including determining the message, encoding the message, and presenting the message. The viewer who is attracted to the message interprets the message and understands what actions are possible (Fine, 2016). This means designers need to understand the visual context of the elements. This could include semiotic frameworks that are cultural and therefore different for different audiences. The Ford Pinto failed in Brazil because one of the slang connotations of the word Pinto included "small male appendage." For its Think Different ad campaign, Apple uses one element, a portrait. This portrait is of Bob Dylan. There is no color except in Apple's logo. Bob Dylan is a recognized innovator in the music business. The message has an emotional appeal and is encoded in the design decisions. Dylan's image paired with the Think Different tagline, enables people to believe that they could be innovators as well. If the element was a portrait of a postal worker, the audience would likely be confused. Using Bob Dylan, and others considered innovators, shifts the brand perception and influence attracting people who want to do something original. Doesn't the average Joe find Apple users a bit more innovative and creative than PC users?

The principles of design

Contrast, repetition, alignment, and proximity (C.R.A.P.) is a distilled version of the many possible principles. They are usually part of all works of design, interconnected, and represent a core that when utilized will enable immediate improvements (Williams, 2019). The book also throws in a chapter on the typeface. It is a concept of a separate step on the stairway to heaven. Another perspective more familiar to professional graphic designers might be unity, Gestalt, hierarchy, balance, contrast, scale, and dominance. Jakob Nielsen identified ten rules for user experience design that rely on the principles of visibility, findability, and learnability. Whitney Hess, an empathy coach said, "Design is not a monologue; it’s a conversation" (What Are the Principles of Design?, n.d.). Many disciplines contribute to design principles and range from behavioral scientists to ergonomic designers. The list is bound to grow, however, not every principle is necessary nor applicable to every design. The Unilever Clean Future campaign's ad utilizes a nice balance with some asymmetry. There is a balance in the "U" that represents Unilever. There is the color used for the product and the clothes or the needs of our lives. The purity in nature is represented by water, sky, clouds, and sun with appropriately clean colors. There is contrast and vibrance in color, alignment in the transition, dominance of both clothes and the sun, scale, and white/blue space. It's a good example of the choice of principles used for this particular design. Outside of some core principles, there is a palette of opportunities to opt for.

References:

Fine, P. C. (2016). Sustainable graphic design: Principles and practices. Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc. Halimi, N. (n.d.). Text and Image. Philosophica University of Tetova. Poulin, R. (2018). The language of graphic design: An illustrated handbook for understanding fundamental design principles. Rockport Publishers, an imprint of The Quarto Group,. What are the Principles of Design? — Updated 2024. (n.d.). The Interaction Design Foundation. Retrieved July 20, 2024, from https://www.interaction-design.org/literature/topics/design-principles White, A. W. (2022). The elements of graphic design: Space, unity, page architecture & type. Allworth Press. Williams, R. (2019). The Non-Designer’s Design Book. Peachpit Press.

MDM565 Week 4: Continuity

Critique Response

Reflection Video

Organizational Structures

MDM570 Week 1 Sonic Branding Part 1

Design Project: Sonic Branding Assets

Sonic Branding Notes

The Valentine’s dance targets audiences who enjoy dancing and want to create special memories. The sonic brand incorporates a piano melody, environmental sounds, and a voiceover to create an upbeat and romantic atmosphere, encouraging people to embrace the celebration and create lasting memories. The dance offers an alternative to just dinner and drinks, transforming a Valentine's evening experience into a lasting memory instead of just a treat. With today's active lifestyles, we aim to attract a more discerning type of customer who enjoys physical activities and has a basic understanding of formal dance. We want a sonic brand that can have several different messaging components, including identity recognition, a representation of the offer, and a clear audio picture to shape expectations. Research shows that people often go out to dinner to celebrate Valentine's Day, and we want to draw them away from an isolated culinary experience. Partners also give gifts, which we will not capitalise upon for this year's launch. Couples also find other ways to spend quality time together, such as cooking together, watching movies, or spa days, which are all great ideas, but we hope to draw people away from more sedentary activities and bring them into action. Opportunities exist for dance-only tickets for those who would like to join later. Irrespective of that business decision, the sonic brand is not impacted because it is already focused on the dance and celebration portion, not bringing dining into the scheme. People also look to create special memories on Valentine’s Day, and what is a better memory other perhaps dancing together for the first time. In addition to the self-focused activities, some people go to nursing homes and other facilities. We will be having a donation time sign-up at the event for people to follow up on. The piano was chosen for the music logo. The other components were selected for their brisk tempo/rhythm as opposed to that of a slow Waltz or other slower paces (Jones, 2015). Environmental sounds represent a celebration, but do not include anything akin to dinner conversation or dinner-like socialisation. The sounds will be drawn from outside sources, except the piano, which was notated and then created in GarageBand.  The piano is using the F major scale for its brightness instead of the D major, which is more of a deeper, longing sound.  They are simple chords of A, E, F, and C, using typing entry in GarageBand. Some scientists find no indication of an innate emotional link to music and claim it is a learned response (Kemp et al., 2024). Either way, it is still an opportunistic tactic. The music is an upbeat romantic pick that should hopefully drive thoughts to the joy of dancing. Its faster pace lends a cheerful mood. The voiceover is meant to project fun intimacy and closeness, but not to be overly romantic. The sound effects are meant to represent the celebrational aspect of the event, with a cork popping, as from a champagne bottle, and glasses clinking. The sounds will come together as a complete representation of the brand, but can also be used selectively depending upon the communications channel and usage (Allen, 2021). Also included is a voiceover of "I think I love you" obtained from a free text to voice application with limited adjustments. In process is a new recording with better tonality for the final product and to protect voice artists from AI thievery (Sibahle, 2023).

References:

Allan, D. (2021). Super Sonic Logos: The Power of Audio Branding. Business Expert Press. Harmony, R. (2016). 12 Music Theory Hacks To Learn Scales And Chords. Revolution Harmony. JONES, K. (2015). Get Rhythm. Film Comment, 51(3), 78–78. Academic Search Complete. Kemp, E., Cho, Y.-N., Bui, M., & Kintzer, A. (2024). Music to the ears: The role of sonic branding in advertising. International Journal of Advertising, 43(6), 1039–1059. https://doi.org/10.1080/02650487.2023.2273645 Sibahle, M. (2023). Voice artists fear AI will “steal” their voices. ITWeb. What is sonic branding? How to create a Sonic DNA? —Amp sound branding. (n.d.). Retrieved August 8, 2024, from https://ampsoundbranding.com/sonic-dna?_gl=1*2c28ln*_up*MQ..

MDM570 Week 2 Sonic Branding Part 2

Sonic DNA

The Valentine's Day Dance originated from the idea of framing the celebration as fun and light, rather than deeply romantic. The concept was quick-acid tested with work colleagues in their twenties. The feedback included great comments about dating in NYC, referred to as a numbers game. There were very positive comments about the idea. The original vision board used tongue-in-cheek comments reflecting the passionate chase of the man and the stereotypical flippant viewpoint of the woman, but not necessarily gender dependant and more reflective of the roles in the dating game and human behavior. The Valentine's Day soundscape includes background music, sound effects, and a voiceover. The background music was chosen for its atmospheric, urban, club motif instead of the sentiment of the holiday. It's not Van Morrison. It's not on a list of wedding songs. It's not something that would bring a Valentine's Day memory with an ex-partner. Bernard Herrmann’s music for Hitchcock’s _Psycho_ set the tone of the movie with the qualities of the strings played in a piercing way (Stone & Ament, 2017). So, following a similar line of trying to match the feeling of the party vision around the holiday theme. The sound effects include a throat clearing, chatter, applause, an improved choice of cork popping, champagne pouring, and glasses clinking. These are all diegetic, originating in the world of the dance scene, as is the music. The throat clearing may be non-diegetic and used as a cue to the beginning of the presentation. The cork popping illustrates Jack Foley's idea that sound is not just made for a movie; it's performed (Yewdall, 2007). Taking this further with technology led to immersive audio, enabling new levels of perceived reality. The quality of fitting the sound to the purpose needs to go beyond technically correct and reach the illusion of actuality.

References

Case, A., & Day, A. (2019). _Designing with Sound: Fundamentals for Products and Services_. O´Reilly. Stone, D. E., & Ament, V. T. (2017). _Hollywood sound design and Moviesound Newsletter: A case study for the end of the analog age_. Routledge. Yewdall, D. L. (2007). _Practical art of motion picture sound_ (3rd ed (Online-Ausg.)). Elsevier/Focal Press.

Sonic DNA Video

Sonic Audio Logo

MDM570 Week 3 From Static to Dynamic

Mastery Journal

I used a holiday card motif to deliver a message and invite prospects with a clickable link button. The communication goal of motion design can be defined as putting the e into motion. Emotions drive our behavior and choices. The good news for those working on a global scale is that while language has many differences and translation interpretations, motion communicates effectively in a similar way across the world, across cultures, and across genders (Stone & Wahlin, 2018). Stone and Wahlin link motion and language at the intersection of rhetoric. Those methods of communication include metaphor, hyperbole, antithesis, anaphora, and more. The language, if using objects, includes scale, color, orientation, position, direction of movement, and speed. The combination of structure, which is the style of communication, and the language, which is the means of communication, allows many different emotionally driven connections. For design, Shaw recognizes 2 types of design approaches: type-driven, character-driven, illustration-driven, or info-driven. The approaches are really where the focus lies in the animation. The heroic element can be the casting of type or the illustration motion itself with supportive or integrated type. It can be information, usually with data being the core element, as in infographics, or it can be a typical character type representation that the viewer can recognize (Shaw, 2020). The planning of concepts, styles, and the use of technologies is critical for an effective work product. Planning for delivery systems is becoming crucial as well. There is ongoing growth in the number of connected devices and their different presentation capabilities, from screen size to interaction. I chose a flat design illustration approach with an illustration-driven design. The subtle shading kept things simple. The color palette is bright but toned-down shades deeper than primary colors. The motion is used to communicate the subtle art of blowing a heart to smithereens, and the interaction between the two dancers is represented. I used two typefaces: a sans-serif for the labels and a serif for the invite messages. I animated text to visually imitate the word itself. I faced a mapping exercise for the shatter effect that proved difficult, but the heart shatter, although a bit rough, made it through the project. Morphing with key frames led to challenges with the anchor points in the key frame transition. The images were created in Illustrator, and the usual import process worked fine until the morphing process was attempted. Of the numerous solutions attempted viable solution could not be found, nor the root cause. The motion design could be smoother with a higher level of understanding about nodes and how their distance affects speed, either stretching or shrinking the timeframe. The idea from the storyboard was realized, and a style in the process of bringing a work product like this to fruition has some solid foundational work in place. 12 Principles of Animation | Basic Animation Principles | Adobe. (n.d.). Retrieved August 23, 2024, from https://www.adobe.com/uk/creativecloud/animation/discover/principles-of-animation.html  Shaw, A. (2020). Design for motion: Fundamentals and techniques of motion design (D. Shaw, Ed.; Second edition). Focal Press, Taylor & Francis Group. Stone, R. B., & Wahlin, L. (Eds.). (2018). The theory and practice of motion design: Critical perspectives and professional practice. Routledge, Taylor & Francis Group.

MDM570 Week 4 From Static to Dynamic

A/V Script

MDM570 Week 4 Pitch Perfect

Design Strategies and Motivation

MDM615 Week 1 Messaging

The creative brief

Title and Overview:

Title: Colony of Voice Overview: Campaign for: An organization where people explore public speaking for personal growth.

The Need:

Need: Achievement.

Target Prospects: People who want to share their authentic knowledge and personal perspective through public speaking.

Psychographic Information:

• Interest – Finding valid insights to drive holistic solutions.
• Lifestyle – Freethinking, care, curiosity, trendsetting, and a bit crazy.
• Value – Awareness, cooperation, personal growth, and leadership.
• Behavior – Hard-working, action-oriented, and communication-fluent.

Believability:

We demonstrate a proven path for speakers to spread their insights and achieve their objectives as influencers. Features reflect a world-class framework and relevant, incisive supporting information and tools. Benefit: A chance to change the world. Features:

• Interest-oriented – Community Organization with a Participatory Culture that hosts regular events and a yearly conference.
• Lifestyle-oriented – Connection Platform fostering growth opportunities with between innovative thinkers and idea implementers.
• Value-oriented – Presentation Format to ensure that speakers are not just time-effective, but also that the ideas are evidence-based, viable, and compassionate.
• Behavior-oriented – Promotional Campaigns for increasing reach and Educational Resources for continuation and expansion of the ideas and their presentations.

MDM615 Week 2 Tone and Voice

Brand Personality / Tone Attributes:

• Curious – The Colony listens, asks questions, and is an informal knowledge repository.
• Connected - The Colony believes in higher meaning and sees linkages between ideas and between people.
• Advocate – The Colony is deeply principled and ethical with the ability to understand othiss intentions and provide guidance, introductions, and instill cooperation. Achiever – The Colony helps turn ideas into action. They are proactive, motivated and ambitious to expand awareness and attain positive change.

Positioning / Onlyness:

• Colony of Voice is the only public speaking organization in the US Northeast Region that provides a participatory venue enabling idea creators to share within a supportive culture and community.

Narrative:

Johnny stared at his screen, another publisher's rejection email staring back at him. His fingers were sore from all the typing it took to write the article. Was it worth it, he thought, the weight of his unshared ideas giving him agida. Johnny was more than just an analyst. He wanted to be a storyteller. His insights about solutions to environmental change yearning to break free. He started searching for other options to share. Public speaking was a skill he always wanted to develop. A random click on the search results led him to the Colony of Voice website. The messege seemed quite different from Toastmasters and other professional speaking organizations. We are not just talk. We are a cooperation. We are a method. The organization's description read like a manifesto of hope. A participatory culture? A platform for innovative thinkers? His heart began to race. He submitted a request for a phone call. When the video call connected, he wasn't facing interrogators. They were listeners. Curious eyes, nodding with genuine interest. They didn't just hear his words – they explored the background of his ideas. "These ideas are very innovative," one interviewer noted. "How might we help you amplify this?" Johnny felt something shift. This wasn't about just public speaking. This was about collaboration. The Colony wasn't just offering a speaking slot. They were offering a community. A space where ideas weren't just presented, but nurtured. Where compassion met evidence, Where positive change emerged.

Design Rationale

The target members of the organization need to achieve their goals to actualize their work and effort in building expertise. The type of people who have been and continue to be on stage during TED conferences. TED events, their structure, and their program are quite interesting and important. Speakers take specialized information and turn a key message into a digestible nugget for the audience interested in technology, entertainment, and design. Truth People wants to take ideas with these types of vision and better stimulate action to drive recognizable and maybe even measurable results. The structure will be designed to go beyond the insight and ensure the audience is related to the endeavor. “The people who are crazy enough to think they can change the world are the ones who do,” said Steve Jobs. Yes, the target presenter is a tad crazy. They have gone beyond the necessities in life and driven themselves to a deeper understanding in their field. They have found their true calling, which includes identifying their true interests, pursuing a deep understanding, and challenging established boundaries to create a unique and valid perspective(Greene, 2012) . Having achieved this deep understanding, many have an innate need to share that knowledge, to educate others, and to invest time in people(Bailey, n.d.). These insights stem from studies of TED speakers in particular and experts in other disciplines with all sorts of outlets for their knowledge. The challenge for the Truth Speaker organization is to find experts who developed their insights and also attract idea implementors who capitalize and leverage other people’s ideas using concrete initiatives. The design needs to address both of these types of prospects and attract them to the organization. The organization must not just attract people to join, but also people to participate. This is not a gym membership whose no-show paying members are a nice sweet spot. The mission of the organization will include sparking idea movement to incite momentum.

The assets of Truth Speaker will appeal to the opportunities using bold and authoritative styles. The color palette will be in muted tones instead of the bright revolutionary posters of the past century. The information will be focused on an effects-based reasoning model. The term for the series could be representative of the nature and psychographics of the speakers. Radicalize the Status Quo as an example. The tone of the designs will be professional but in an outrageous way, much like the imagery of revolutionary posters and calls to action. Design will also rest upon fighting the forces of disinformation or the control of information as an imperative. In-person public speaking is, itself, a representation against the bits and bytes of artificial intelligence and a nod to the truly human characteristics of analog and biological creativity.

References: Bailey, C. (n.d.). Chris Bailey. The 7 Characteristics of Highly Effective People Who Give TED Talks. https://chrisbailey.com/7-characteristics-people-give-ted-talks/ Greene, R. (2012). Mastery. Viking.

MDM615 Week 3 Look and Feel

Color Palette

A rainbow can lead one to believe the world is full of all sorts, kinds, hues, shades, and saturations of color. As can dabbling with color wheels, color theory, and digital design technology. In the arts and design world, even so, color has been a constrained resource since the beginning of time. Initially constrained by the materials used to create color, then constrained by the application of color for print, CMYK as an example, and then with the emergence of digital, constrained by communication wormholes or consumer-based attention preferences, and industry trends (Color Psychology, n.d.). The landscape of logos of corporations shows the palette of primary color usage and the tendencies within those colors, as can be seen in the image below. More recent studies analyze brand logo design by the perception of time. Darker logos are viewer as traditional and lighter logos are percieved as younger (Zeng et al., 2025). Overall preferences show that it is fitting for traditional brands to continue to use traditional brand colors. More modern brands benefit from a lighter color palette. Irrespective of the age of the brand it can manage color strategy on how they want their product or service viewed. Colony of Voice has more narrowly focused its benefit to “A chance to change the material world for the better.” The world has many outlets for technology and other digital solutions appropriate for markets but actual real world solutions has an attention deficity to contend with. Recently the US Federal Governement, due to political antics and cosplay, has halted $18B in NYC infrastructure funding (“US Halts $18 Billion NYC Infrastructure Funds as Shutdown Hits,” 2025). US infrastructure remains behind in maintenance and replacement. The narrowing of conversation also narrows the focus. The first breaking of the rules for Colony of Voice is breaking from primary colors and that rational is primarily consumer-based. Following the perspective of innovative ideas to the consumer audience preferences and the outcomes future focus of the speakers the choice of colors will reflect a lighter more modern palette. Even to the point of reducing uses of black and white in design work products. It will still have contrast and a bit of color flair, but leads ideas forward.

Line Quality

Artificial intelligence is on the way to becoming the greatest grift in human history. The New York Times has sued ChatGPT for copyright infringement because the machine learning used New York Times articles to teach its AI model (Allyn, 2025). Despite these challenges, Artificial Intelligence is keeping the world economy afloat, so any legal constraints are limited. This is already affection the design industry by limiting job opportunties for recent graduates in graphic design (Graphic Design Graduates “competing” against AI for Jobs, 2025). Graphic design trends for 2026 are combatting this situation through movements termed Tactile Rebellion and Anti-AI Crafting with styles that reflect raw authenticity, intentional mistakes, multisensory tactile layers (think online human verification images), and organic imperfections. Classical design studies illustrate how lines help create structure as in real or grids, foundation, movement, real and implied alignment, hierarchy and simplicity. Lines are essential for graphic design and is used in other forms of design such as the rule of thirds in photography and video when framing (Poulin et al., 2018). Lines also support viewer action by supporting eye flow (Marsh, n.d.). Our eyes prefer to follow curved paths over unclear straight lines. Line quality, and the quality of a line depending on the definition being utilized, can be studied to a seemingly endless number characteristics that affect design quality, readiblity, and understanding. Considering the competing and sometimes contradictory trends due to this shift in environment, the sweet spot needs to be found to grab consumer attention, to differentiate, and to ultimately deliver the value of the Colony of Voice. Moving towards materiality as a key component of speaker’s ideas and topics, leads to the materials themselves. Materials we utilize are either formed from materials found in the environment, Mother Earth, or are developed from those materials. Plastic is produced with the use of fossil fuels to conduct polymerization. The line quality is defined by the sweet spot and the connection to Mother Earth. Curved and flowing symbolizing water. Straight and rigid signifying order, the part of nature humans directly impact. Dotted and fragmented representing the diversity and variation in nature.

Imagery

Lifestyle photography creates a human connection when introducing complex or even just new products and solutions. The imagery must achieve specific goals by including relatable contexts and authenticity. The photography should reflect the values of the brand. It should illustrate the quality of the product or service. It can be used to showcase the people behind or using the product or service. It should build emotions and be shot outside the studio. In order to reach these goals the photography should ensure clarity, depth, consistent tonal quality, and coherence across the brand (Product Photography, 2024). Illustrations help grab audience attention, create interest, increase believeability. They can be used with a title or without and still achieve effective communications. Testing shows how they instill a response from the audience (Bowers & Long Jr., 1974). Illustrations can be used to communicate information about futuristic ideas, project images that illustrate hidden reality, solidify obcurity and portray characters using personas or fictional names and identities. And in cases of going backward to go forward, taking time tested ideas and returning a modern solutions, such as with Janine Benyus utilizing biomimicry or Reima Pietilä and shamanistic architectural design (Broner-Bauer, 2021), the ycan see into the possibilies. Colony of Voice requires a time based approach. The past incorporates the concrete achievements and can be shown with photography. The present represents the moment and can be communicated with both photography and illustration. The future portrays the aspirations and illustration can fuel the imagination of the audiences. By utilizing these modes and methods together, a visual picture of the intentions of Colony of Voice can be constructed and shared.

Animated Logo

Media Assets Final

Letterhead Package

Animated Logo w/audio

Social Media Package

Design Rationale

Research

Topics researched include strategies, tactics, and technical capabilities from different perspectives such as accepted formats, professorial theoretic, market case studies, and technical training in available tools. This is essential to being different but not too different. The creative brief and design strategy led to the creation of fundamental element to the brand. At this point, the brand launch or introduction needs to pull from that work product, building blocks and configure, stylize and test the messaging. The process is similar to a Lego project. You can do amazing things with the Lego blocks you have in hand. If a custom piece is needed, that too can be accomplished because within general constraints, it shouldn’t be too late to introduce a dimension that could be highly effective in driving action.

Solving Problems

Professional design software, like Adobe Creative Suite, goes beyond just creating vector shapes, editing videos, and adjusting audio. It’s about workflow, efficiency, and quality. It also creates an environment where rework is not overly challenging. Changes can be made at the element level, and the way they’re linked to the final design can be seamlessly adjusted. It’s a learn-now-or-pay-later situation, so it’s best to have digital asset organization and proper technical execution. This transforms a design hobby into a professional activity. The realization that speed matters, deadlines count, and the ability to navigate the design process is crucial for success. Production issues arise for various reasons and necessitate resolution, potentially necessitating adjustments to design elements. To foster creativity, manufacturing engineering emphasizes the concept of “design for manufacturability.” This principle holds equal significance in the digital asset realm, encompassing aspects such as sizing, formats, layouts, postal requirements, and the effective utilization of visual elements (Adobe Learn - Learn InDesign The Anatomy of a Stationery Suite, n.d.). While seasoned designers may perceive these as basic prerequisites, when a designer seeks to innovate and push the boundaries to express the brand’s visual identity and individuality, it becomes crucial to operate within the existing system and adhere to established guidelines. Social media are among the channels that have different image size or dimension requirements. Compliance improves visibility, quality and professionalism. Those characteristics ultimately affect outcomes. This is basic blocking and tackling. The fun happens beyond launch when social media strategies play a role in campain executipon both conceptually and visually in various channels.

Collaboration

The prototypes were reviewed by a favorite, authentic, and sometimes brutal critics, as well as the instructor. It is insufficient, but did lend insights. The emphasis was on consistency, and suprisingly, good appreciation of the logo in its position on the letterhead and helps the eye recognize it on its own.

Acquiring Competencies

The prototyping revealed missing components of the initial research. It highlighted the need for a comprehensive strategy that considers the audience’s preferences, psychographics, and demographics. However, it also emphasized the importance of effective communication tactics based on delivery strategies and compliance with communication and media channels. These factors can mildly or significantly impact design elements. Prototyping is an iterative process and the very nature of iteration will drive changes. In 2005 Kenwood, an audio equipment manufacturing company, relaunched their brand to course correct its reputation for testing new technologies and then dropping them consequently ending the life of their own products. The relaunch needed to reveal the dramatic turnaround (Palenchar, 2005). This is a reaction to negative opinions by their customer but also a clear strategy that needed to be communicated. Whether a company is a relaunch or and initial launch the companies strategic direction needs to be accurately reflected in the creative brief and the design solution. Prototyping needs to test and address those business objective as well. It’s not just a message that needs to be communicated, it is the right message to drive the right action, even if it’s a change in perspective, which hopefully will lead to improved sales. So testing effectiveness needs to address interim milestones not just final metrics. For the sake of simplicity it is often best to spearhead an activity with core principles. All the necessary concept need to support captivating visuals, compelling content and clear branding(“How to Launch Your Brand on Social Media,” 2024). Having identified and understood fundamental principles or key elements to success helps organize gaps in competencies that need to be addressed, either build or buy, during the execution of a launch.

References

Adobe Learn—Learn InDesign Create engaging flyers and brochures that inspire. (n.d.). Retrieved March 12, 2026, from  Adobe Learn—Learn InDesign The anatomy of a stationery suite. (n.d.). Retrieved March 12, 2026, from Elliott, S. (2011, June 23). Building a Buzz in Social Media Ahead of Traditional Marketing. The New York Times. How to Launch Your Brand on Social Media. (2024, March 4). Drewe & Kate.  Loewner, S. M. (2012). Breakthrough Communication Tactics: Using Social Media in Your Agency. Policy & Practice  (19426828), 70(2). O’Leary, N. (2010). Planning a Social Uprising? Try Social Media First. Media Week, 20(2), 11. Palenchar, J. (2005). Kenwood Launches New Brand Strategy. TWICE: This Week in. Consumer Electronics, 20(2), 35. Schneider, J. (2015). 10 Tactics for Launching a Product Using Social Media. Harvard Business Review Digital Articles, 2–5.

MDM650 Week 3: Prototyping Continues

Mid-Point Ratonale

Research

The differences between templates and representations came out of the lecture. The difference is important as templates must function, but representation exist for presentation and critique. The idea of decoration vs. attention grabbing aesthetics needs to be established. Clearly the aesthetics need to reflect back to the creative brief and vision board, but leeway in creating campaign proposals for brand launch needs to be clearer for the thesis. There was also research into decent organization of the project assets as well as production process.

Solving Problems

Organization was a problem that needed to be resolved. There is now a decent file structure in place and a process for working documents and final asset locations. For now this suffices with absence of a document management system or a digital asset management system. This replaces the class by class file structure where many assets were lost in the shuffle.

Acquiring Competencies

The individual skills that have been built are now component in the machine. So there are process and technical competencies that continue to be acquired. From a design perspective the integration of a cohesive work product is driving my learning and reading plan. There is a need to refine some of the work beyond deadlines. Long classes are no longer viable so discrete learning is based upon identified needs. It’s more important now to be able to reference any missing skills and quickly fill in the gaps.

Brochure Outside

Brochure Inside

Swag Mug

Swag Gear

Design Rationale

Research

Research becomes an iterative process while designing a Brand. This is one of those reasons plans are often useless because environments change. Strategy is the same way. It is a living document. Great concepts during the initial creative brief led to actually having to share information about what differentiates Colony Of Voice from the competition in terms of public speaking. Following the concept of biomimicry, a mission statement was created based upon observation of nature and how it works organically (Benyus, 2002). The result – “Colony of Voice cultivates resilient communication ecosystems where evidence, compassion, and viability converge. We empower speakers to transform insights into impact through adaptive frameworks that honor diversity of thought, demand relevant expertise, and sustain the energy required for authentic influence.” Revisited the inspiration for the pattern designs element, and they remain fundamentally sound and aligned with Native American vessels made to “aide both material and spiritual existence”(“Fire Earth,” 2023, p.52). Even though Colony Of Voice is an evidenced-based organization it should honor the beliefs of our shared histories and as it tries to reconnect with the material and natural world. In Buddhism, according the Dalai Lama, the beliefs that have been scientifically disproven are called destructible beliefs. In a way of life that accepts transiency and letting go of attachment, this makes sense. Designer just need to apply that mentality to their own work just as authors have to kill their darlings (it’s cliché) > Marketplace scanning = Understanding both the economic viability AND the human desirability of opportunities.

Solving Problems

To address these clarity issues, a speaker framework was developed based on communication best practices. Axios’s founder, emphasizing the importance of this framework, instructed every reporter to begin with the significance of the information to keep the content relevant to the reader (Fortune Editors, 2024). Strict structures can facilitate the creation of clear and memorable communications. Moreover, permission-based reading was implemented, allowing readers to explore the story at their own pace to their own depth. In the realm of public speaking, the speaker must be attuned to the audience and have a strategy to maintain the speech’s effectiveness especially if it loses momentum. This framework played a crucial role in deepening the definition of Colony Of Voice’s character. To attract speakers who are experts in their field, Colony Of Voice needs to establish itself as an expert entity, and the name for this field is Insight Architecture. It’s components align with the original creative brief but expand upon the details. For instance, nature’s energy efficiency, structural adaptation, cooperative dynamics, and constraint-harnessing are transformed into ensuring evidence, structural design, compassion integration, energy management, and feedback readiness. These ideas culminate in the best possible knowledge transmission. Graphic design challenges necessitated the creation of a few new design components for the assets. A block graphic featuring the tagline and logo graphic will be used across various assets. Adjusting the tracking on the typography resulted in a more block text that is suitable for its intended purposes. For some assets, detailed design documents for actual printing will depend on the supplier’s guidelines. There are opportunities for interactive design by launching on social media sites, but there is no strategy yet developed for ongoing brand management to capitalize on those types of opportunities.

Collaboration

These days prove difficult in requesting other’s time. The promise is there the wait is on.

Acquiring Competencies

Beauty in design, at least when defined in certain ways, is crucial. Color contrast captures attention, abstraction creates timeless symbols, and showcasing creativity beyond conventional advertising tactics fosters positive audience interaction (Sarikahya, 2023). Design must consider the audience’s context, as receptiveness can be influenced by memories, cultural factors, biases, and other perceptions. This necessitates research and awareness in design. Professionals must stay informed about industry trends, successes, and failures. For instance, the Apple advertisement that crushed musical instruments with technology was a massive insult to musicians and their art. It fueled significant backlash. While hindsight is 20/20, the designers should have considered alternative perspectives to automation and technical capabilities. Design and business intersect through market scanning. Businesses prioritize strategic intelligence, while design teams must understand the human context, including the broader market, not just the targeted audience, as offensive messages can resonate with anyone. Conversely, a concept and design that support it can create a positive impression across the marketplace. Business and design scan the marketplace through different lenses, yet they’re examining the same terrain. The business lens inquires, “Can we succeed here?” The design lens asks, “Should we create this?” Together, they collectively address, Designing something that not only succeeds but also holds significance. The most successful products and servicdes arise when marketplace intelligence recognizes economic sustainability and human value as equally indispensable requirements—not competing priorities. Colony Of Voice asset designs used both design principles and comparative research to reach something attractive and hopefully not just decorative or just utilitarian.

References

Benjamin Sass & Laura Battini. (2025). Mortals, Deities and Divine Symbols: Rethinking Ancient Images From the Levant to Mesopotamia: Studies Offered to Tallay Ornan. Archaeopress Archaeology. eBook Collection (EBSCOhost) (4236823).  Benyus, J. M. (2002). Biomimicry: Innovation inspired by nature (Reissued). Perennial. Booth, W. C., Colomb, G. G., & Williams, J. M. (2011). The craft of research (3. ed., [Nachdr.]). University of Chicago Press. Fire Earth. (2023, May 1). Native American Art Magazine, 93. Fortune Editors. (2024). Why the cofounder and CEO of Axios says focusing on “smart brevity” pays off. Fortune.Com, N.PAG-N.PAG. Business Source Complete (176987603). Geran, M. (2002). Coming Full Circle. Interior Design, 73(10), 101. Academic Search Complete (7572748). Kahneman, D. (2013). Thinking, fast and slow (First paperback edition). Farrar, Straus and Giroux. Meadows, D. H., & Wright, D. (2011). Thinking in systems: A primer (Nachdr.). Chelsea Green Pub. Sarikahya, E. (2023). The Impact of Shape and Form Aesthetics in the Context of Products in the Field of Graphic Design. Online Journal of Art & Design, 11(2), 276–289. Art & Architecture Source (163064497).

MDM650 Week 4: Prototyping Completed

Midpoint Design Rationale

Research

Research conducted to identify the best process, structure, and methods for creating a radio ad. The hook will be slightly humorous to grab attention the description introducing the organization Colony of Voice, will be more formal.

Process

1) Writing script in Fountain with VO, SFX info, and estimated timing

Draft the script as plain text (short lines, clear speaker labels, SFX, timing notes). The title is 30s — Colony of Voice Intro. The voice-over will have a hook line, a message, and a call to action with a length of 60-80 words and a total time of 30 seconds.

2) Audio recorded in Adobe Audition

Use a multi-track session with a sample created at 48 kHz which is common for broadcast.

3) Track set-up

Track 1: Voice (narration / VO), Track 2: Music bed, Track 3: SFX. Note: Not likely, but may need more tracks for additional voices or layers.

Solving Problems

Further research on writing for radio will be conducted. At that point any problems that surface from the draft will be addressed before the recording takes place.

Collaboration

Need to plan for a listening review.

Acquiring Competencies

Having worked with Adobe Audition previously, the toolset knowledge is sufficient Writing for radio

References

A Look Back at “Cloverfield” and Its Mysterious Marketing Campaign. (2016, March 10). Yahoo Entertainment. ARG Stats – Christy Dena’s Field Notes From Earth. (n.d.). Retrieved March 25, 2026, from Benson, A., & Perry, S. D. (2006). The Influence of Humor in Radio Advertising on Program Enjoyment and Future Intent to Listen. Journal of Radio Studies, 13(2), 169–186. Communication & Mass Media Complete (28081168). Goli, A., Huang, J., Reiley, D., & Riabov, N. M. (2025). Measuring consumer sensitivity to audio advertising: A long-run field experiment on Pandora internet radio. Quantitative Marketing & Economics, 23(3), 347–377. Business Source Complete (188356398).  Harvey, D. (2026, January 5). 7 Best Digital Campaigns That Will Shape 2026 Marketing. Danny Harvey Media. Lost Experience. (n.d.). Grokipedia. Retrieved March 25, 2026, from  News | ARGNet: Alternate Reality Gaming Network. (n.d.). Retrieved March 25, 2026, from  StackAdapt. (2025). StackAdapt and iHeartMedia Bring Broadcast Radio to Programmatic Advertising. Business Wire (English). Regional Business News (bizwire.20251104447356). 

Radio Ad Script