June 17, 2009

Stepping into the client’s shoes

Posted by Kathleen Turaski

It’s not often that I find myself the client in a creative project, but for six months I did just that. I worked with People TV to film a short documentary about the Eastside Parks Network, a neighborhood project in which I’m involved.

1) A creative team needs to understand the ultimate purpose of every project. Compelling language and beautiful visuals mean very little if they don’t communicate the intended message. For my project, the editing team initially included some great interview footage, but it was only loosely related to the project. Reminding them that the goal was to build support for the park vision quickly brought the group back to the main focus of the film, and that portion of the interview was cut.

2) It’s not enough to know a project’s limitations – you have to focus on what can be achieved within them. Budget is a big one, but others include available resources and timeframe. For example, we would have liked an animation sequence showing that Kirkwood is on the subcontinental divide, which means some streams in our neighborhood flow into the Atlantic Ocean, others into the Gulf of Mexico. But creating such a sequence would have taken more time and animation skills than we had available. So we compromised by highlighting the streams on the one map we had available and using voiceover to describe where the streams flow.

3) It’s important to have a vision, but it’s equally important to have an open mind. The collaboration of inside knowledge (client) and outside vision (creative) can produce a stronger outcome. Originally, we planned to tell the park story through interviews with key participants taking place in the various parks. We wanted to include some footage of each location to give a sense of place. People TV helped us consider ways we could give a fuller sense of both the physical spaces and community involvement. We ended up showing a lot more scenes of activity in the parks with voiceover of the interviewees than initially expected – and that made for a much more interesting film.

On the other side – what I respected most about the People TV creative team was their patience and desire to educate us about the filming process. They created a positive experience that left all of us feeling good about our efforts.

And that’s what we’ll remember in the end.

Watch a 2-minute promo of the film >

FILM DAY: Chris Martin, an associate photographer with Resonance, worked with me as one of the camera crew.

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June 2, 2009

Getting started with social media

Posted by Kathleen Turaski

Every day, more organizations roll out their Twitter or Facebook presence. Others aren’t really sure where to begin. If you’re in this camp, here are three “first steps” you can take:

1. Start the conversation. Ask your constituents which social networking sites they use and what they like best about their favorites. Encourage your employees to do the same. You need to have some idea how your audience is engaging with social media before you can put it to use for you.

2. Have something valuable to say or share. Social networking is all about creating a community of shared interests. But the information you offer needs to be worth your audience’s time.

One way to create value is by passing along interesting information gathered from different sources about a specific topic. Including your perspective adds to the dialogue.

Another option is to broadcast new content that you create. This takes more work, but other online personalities can amplify your message when they share it themselves. People who are interested in your viewpoint will become loyal members of your community.

3. Be disciplined about postings and updates. As you create or contribute to a community of shared interest, your brand benefits. But that benefit will never be realized if you don’t make a commitment to consistently add new content.

Knowing how to build a network is the easy part. Doing it well to have it pay off for your organization takes a little more forethought.

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May 22, 2009

The visual language of life science

Posted by Michael Baxter

If life science had an Olympics, it would be the international BIO convention, which landed in Atlanta this week. More than 14,000 inventors, pharma reps, venture capitalists, and other industry players descended on the city, most of them looking to make a deal.

Some of that deal making took place in the physical nucleus of the conference, the Exhibition Hall. Picture a blizzard of logos, display graphics, video and printed materials, proudly displayed and roundly distributed in LifeScienceLand (our nickname for the Hall).

For a communicator, it was an excellent opportunity to experience the visual language of life science. A few observations:

• Yes! It is possible to present life science concepts and offerings without relying on images of molecular models, chemical equation honeycombs, the double helix and the lonely sprout springing up through the soil. To be sure, we saw more than a few of these old standbys. But it was striking how many organizations ventured beyond the expected.
  
  
• Life science remains a realm colored in greens and blues. If there was a defining accent color, it was surely yellow; the reigning “alternative” color was orange. Not surprisingly, what stood out most were the alternatives to the alternative: The monochromatic (gray and white) research company, the pharma display with the light-violet panels, the burgundy law firm.
  
  
• Considering the industry – life science – an astonishingly small proportion of printed materials at BIO offered evidence of organizational commitment to sustainability. Out of a random sample of 40-plus brochures and booklets, exactly two display a sustainability symbol of some kind – i.e., recycled content, chain-of-custody certification, or some other hallmark. (Props to Duke Energy and Georgia State University, by the way.)
  
  
• More than a few taglines were beautifully evocative – but woefully ineffective in articulating a clear or differentiated idea. Don’t have a brand position? Take refuge in a mellifluous phrase that essentially says, “We’ve got good life science, too.”

Though the impact of BIO 2009 can’t of course approach that of the 1996 Olympics, Georgia gained industry credibility by staging a good show. Congrats to Georgia Bio and the Georgia Research Alliance for their role in enhancing that credibility.

A glimpse inside LifeScienceLand, a world of green, blue – and evocative taglines.

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April 29, 2009

Mistaken identities?

Posted by Michael Baxter

The local paper, the Atlanta Journal-Constitution, raised more than a few eyebrows this week with the unveiling of its new print design. By 2 p.m. on day 1 of the new design, the paper’s online message board had received 200+ comments. The prevailing sentiment: Awful.

We’ll hold our harrumphs and hosannas on the design until our eyes adjust to the new font size, trimmer page width and other elements. But there’s one aspect of the new AJC look that continues to baffle us: The online presentation of its logo.

Simply put, the paper appears to be using three variations of letterforms in its logo on ajc.com. The standard bearer is the home page version – presented in serif, lower-case form. But there’s also a slimmed-down, alt-font version in the AJC Media Solutions section – and a bolder, sans serif iteration in the photo galleries and elsewhere on the site.

We suppose the AJC could have some kind of rationale for showing its logo in varying light. What it is, we can’t fathom.

So we suspect it’s an oversight. If that’s the case, then it’s an oversight that portends deeper problems. Inconsistency is the cardinal sin of brand identity. Where you find it, you also find negligence and neglect – hardly the hallmarks anyone wants to see at the paper of record for a city of 4 million people.

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March 27, 2009

Behind the curtain: An idea evolves

Posted by Michael Baxter

When it comes to creating communications that work, there’s no substitute for … time.

A quick sketch, a few words – this is how an idea is conceived. How it evolves is another matter.

The few words are expounded upon; in the light of the next day, they may be replaced. The day after, revised. Along the way, the new language gives rise to new ideas for imagery.

But as copy draft breezes into design, this new imagery may be problematic. See? There’s a better image right here.

Only the "better image" begs a new headline, phrase or word.

The end product — now far away from the first quick sketch and few words — is now ready to share with the client, who will have other ideas.

The evolution continues. But the final product will be worth it.

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