Graphic design of the ether - discrete mathematics in its pure form
Graphic design of the ether - discrete mathematics in its pure form
Viktor Konovalov, for Telekritika, February 13, 2008
Design, or rather the correct effective design is a deeply analytical activity. It is generally accepted (and, unfortunately, most of the design / production / creative companies do so) that creative / design development, in particular, the development of air design begins with brainstorming, creative night vigils, searching for inspiration, hunting for muses and rainbow stimulants.
At best, the team receives a professional brief (which, by the way, in Ukraine only 1.5% of brand managers / marketing directors can competently fill out). Usually, companies are content with a clear description of the task, client preferences and 17-20 typical points, after reading the answers to which, we can assume that the task has been set.
It may be strange to hear it from my mouth (a person whom experts still stubbornly call a designer), but the main and crucial component of an effective result is not a creative design and not refined correct elaboration of nuances, trend typography and talent from the minimum form to extract the maximum. meaning, and well-verified algorithm, which is based on a discrete analysis.
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In order to prove that the theory really works, I will step by step demonstrate the theory in practice (from the projects closest to the subject of Telecriticism, I will describe the key points of our proposal for the STB tender for air design).
So, at the first stage (let's call it abstraction), you need to look for a global task, a basis. The easiest way to describe this stage is to return to the sources (there is such a wonderful phrase “See the root”). So, for any commercial channel, two main tasks need to be achieved: a) a high rating, b) sales of advertising (which is not always interconnected, as discussed in more detail below).
Whatever the point problem (up to the creation of corporate business cards), the result will be effective only if it matches the basis. This is a basic rule. And I am surprised at the underestimation of each contact with the brand (from personal experience: a properly created business card brings in its pure form about 5% of business success, which is much more than the more conservative components of success). This is the question of why the design of a business card sometimes costs more than a thousand dollars - the laborious process of analytics will always precede even an extremely short time to develop the final design. Let's return to the basis: it (the two main tasks mentioned above) need to be detailed. For this, an analysis is carried out for each thesis, an information field is studied, a hypothesis is checked, etc. As a result, we obtain the following detail.
The main factors for achieving a high rating are:
- positive (in any visual identification of the channel);
- Interactive with the target audience (imposing a position pushes away, interactive provides the involvement and relevance of authoritative information channel);
- “long-playability” (one of the most important criteria is the same positive perception during repeated viewing);
- trendiness (the freshness of perception is due to the feeling of the surrounding information noise).
As for the ad sales, by the word “marketability” I mean not a direct consequence of the high rating, but the potential (psychological) tendency of the client to be placed on the channel. And I am ready to say that in Ukraine there are brand managers who analyze the quality of the channel’s audience not only by purchasing power and interests. The loyalty of the audience to the channel is also projected onto loyalty to the advertised brand.
The main factors of merchantability are:
- positive
- emphasis in the design of the air on the ad unit, and not on the openers / closers of the ad unit (it’s the brevity and ease of perception of the openers - a guarantee that the channel will not be switched);
- stylistics of air design (corresponds to the style of an advertising visual). The ideal environment for the largest advertisers (in particular, for alcohol) is that in which their commercials are organically introduced into the air, do not seem alien and have an “aftertaste” effect, this means that the visual range of the channel continues the images of the video. Each of the factors is subsequently detailed.
At the second stage it is necessary to formalize the client's task. Now the information from the client is structured, optimized (the process is similar to the optimization of “graphs”). So, for the STB project, the result is as follows:
1. Main communication Target:
a) create a more emotional image of the channel;
b) create an emotional binding of the viewer to the channel;
c) create a sense of significant bright events? able to surprise;
d) create the feeling that STB is the leading national channel;
d) to create the feeling that STB is a channel of bright quality programs.
2. Stylistics
a) patterns;
b) color;
c) we strengthen indicators of vigor and dynamics.
3. Positioning
a) STB. There, de esteem;
b) STB. There, de joy;
c) STB. There, de miracle;
d) STB. There, de vŃ–dkrittya;
d) STB. There, de truth;
f) STB. Like-minded channel;
g) experience = understanding.
At the next stage (let's call it the search for associativity of factors) we are looking for the answer to the question - with the help of which each of the theses of the two previous stages can be implemented. To do this, emotions are assigned to each thesis and a possible mechanism for their implementation. Perhaps this is the most creative of the analytical stages.
So, on the above points, we get this result. Interactive with the audience is realized through: a) reflection / association of the target audience with the channel, b) demonstration of emotions. “Long-playability” (the criterion of which - repeated demonstration is not annoying) is realized through: a) a plurality of versions of the video sequence, b) transformations, c) impression / surprise / delight, d) water / fire. Positive is realized through warm colors, feelings, emotions. Trend is given through: a) content design, not shells, b) simplicity of design, c) typography, d) useability.
Now let's go through the positioning formulas: “STB. There de esteem is realized through the positive and the key word "love"; “STB. There is joy ”- also through the positive and the key word“ joy ”; “STB. There de miracle ”- through surprise and the key word“ miracle ”; “STB. There de vіdkrittya "- through the scale; “STB. There de truth ”- through interesting facts and transparency; the formula “STB – like-minded canal” is realized through empathy, a reflection of the target audience, a sense of knowledge of the world (through information content of screensavers, interesting facts, scale), good memories that the channel gives, a reflection of emotions and, naturally, a positive (there is a place of love, joy, feelings).
Next, we create an image that promises “Unique Point of Difference,” an experience that means understanding. This task is realized through such an associative series: the rules of a constantly changing world, joy, the structure of the world, empathy. To create a more emotional image of the channel, we turn to such concepts as joy, visualization of people's emotions, visualization of emotions in the form of images, love, positive, surprise, sound, scale, zoom, frame dynamics, surprise. In turn, we create the emotional binding of the viewer to the channel with the help of interactive and reflection of the target audience.
To create a feeling of bright, meaningful events that can surprise, we turn to surprise, surprise, frame dynamics, brightness, brightness of the color gamut, impression. The formula “STB is the leading national channel” is achieved with the help of scale, simplicity and conciseness, a sense of significance, the ability to surprise and impress; and the formula “STB is a channel of bright, high-quality programs” - with the help of content design and trend matching (tv design2.0).
We create stylistics with the help of patterns, elements of nature (landscape). Colors - in yellow, burgundy (sunset) and white (reflection of the bright sun in the water) colors. We strengthen indicators due to vigor, zoom, fast-forward, dynamics, transformations.
Now we turn to the next stage of the work - discrete analysis (I call it the search for a formula). Let's start factorization (prioritization): select the common links of the graphs, optimize the structure (this narrows the field of creative searches and gives you the opportunity to see the priorities). The result is what can be called STB 2.0.
STB 2.0 Decision associative series: patterns of nature - water crystals - water - Black Sea - drops - positive - empathy - the words “love” and “joy” - sun - scale - horizon - nature - landscape - view from a high point - breathtaking - complex processes seem simple - a huge amount - reflection, transparency - water, light refraction - dynamics, transformations - change of tempo rhythm - hitting - leaving - surprise / impression - sudden wave - blind rain - splashing - simplicity - typography, emotions, the word transmitted m - the device of the world, interesting facts.
Based on the factors, the subconscious immediately gives the formula “world structure, interesting facts: the shape of water crystals expresses emotions (water memory effect)”.
Next is the hypothesis testing queue. The formula is a resource that integrates the components necessary for achieving an effective result, evokes the emotions we need from the target audience and creates the message we need. Thus, the memory effect of water is a trend study, which is gaining increasing popularity. The most striking result is that the structure of water is modified depending on the words and even music spoken to it (the most beautiful form of the crystal is “love”, exquisite - “understanding”, etc.). The crystals form a magnificent ornament.
In general, the test is similar to the reverse unwinding of meaning (additional components are generated in the process): for example, the shape of water crystals expresses emotions - then water droplets - splashing, a sudden wave, blind rain - further surprise, impression, dynamics, transformation, scale, tempo change - and as a result, "long-play". The shape of water crystals expresses emotions - then water - sea - sunset and bright sun - color yellow and burgundy ...
In the end, we have the result: a brand movie is a logically complete sequence of visuals, connected in meaning and stylistically. We create for the subsequent "cutting", each fragment is a resource for independent use.
The storyboard can simply be described in the following fragments:
1) breathtaking beautiful view of the sea early sunset. Location - over the sea (pier, a viewing ledge a la Alushta);
2) a sudden wave, vertically rises on the base of the pier with splashes high up, before our eyes forming a semblance of a waterfall reflecting the rays of the sun;
3) the camera is rapidly flying towards streams of water, as if frozen in the air because of the tremendous speed of increase;
4) the camera flies through separate drops refracting the yellow sun;
5) the camera falls into a drop, maximizing it;
6) the effect of a microscope - the appearance in a drop of water of a beautiful crystal of the structure of water (corresponding to the word "love"), next to the typography of the word "love";
7) in parallel with the manifestation of the crystal, the camera pulls away, thereby forming the crystals. Slogan: “STB. there is de love. ” Logo ...
Similarly done with the words "miracle", etc., the crystals are different and in shape correspond to the word.
So, the conclusions and consequences. Firstly, a professional agency will never offer a client several radically different solutions (as in logical operations, only one can be the most effective result). Different variants can be the production of a formula, in the case of branding - composition plasticity, typography, but by no means a logical basis.
Secondly, the implementation of the formula is 20% of the time spent on the project. Therefore, the main actual component of the broadcast design budget, in particular, is the analytical process (which, unfortunately, in Ukraine, where people are used to paying for "design", is a difficult to understand thesis). Why a logo similar to which you can “draw” in a few hours costs more than 10 thousand dollars, I hope, it is obvious to the audience, who understands how time-consuming the process led to the formula underlying the design.
And, thirdly, an effective design should be perceived as a set of in-depth analysis, highlighting the decisive factors and performance criteria, as the correct balance of weights (priorities), the formula for efficiency and visual implementation. In the absence of one of the components of the design turns into an ineffective beautiful picture.
Naturally, in order to save your patience, I intentionally simplified each of the stages, but I hope that the overall idea (and, for some, the guide to actions) was still possible.
Viktor Konovalov, for Telekritika, February 13, 2008
Design, or rather the correct effective design is a deeply analytical activity. It is generally accepted (and, unfortunately, most of the design / production / creative companies do so) that creative / design development, in particular, the development of air design begins with brainstorming, creative night vigils, searching for inspiration, hunting for muses and rainbow stimulants.
At best, the team receives a professional brief (which, by the way, in Ukraine only 1.5% of brand managers / marketing directors can competently fill out). Usually, companies are content with a clear description of the task, client preferences and 17-20 typical points, after reading the answers to which, we can assume that the task has been set.
It may be strange to hear it from my mouth (a person whom experts still stubbornly call a designer), but the main and crucial component of an effective result is not a creative design and not refined correct elaboration of nuances, trend typography and talent from the minimum form to extract the maximum. meaning, and well-verified algorithm, which is based on a discrete analysis.
')
In order to prove that the theory really works, I will step by step demonstrate the theory in practice (from the projects closest to the subject of Telecriticism, I will describe the key points of our proposal for the STB tender for air design).
So, at the first stage (let's call it abstraction), you need to look for a global task, a basis. The easiest way to describe this stage is to return to the sources (there is such a wonderful phrase “See the root”). So, for any commercial channel, two main tasks need to be achieved: a) a high rating, b) sales of advertising (which is not always interconnected, as discussed in more detail below).
Whatever the point problem (up to the creation of corporate business cards), the result will be effective only if it matches the basis. This is a basic rule. And I am surprised at the underestimation of each contact with the brand (from personal experience: a properly created business card brings in its pure form about 5% of business success, which is much more than the more conservative components of success). This is the question of why the design of a business card sometimes costs more than a thousand dollars - the laborious process of analytics will always precede even an extremely short time to develop the final design. Let's return to the basis: it (the two main tasks mentioned above) need to be detailed. For this, an analysis is carried out for each thesis, an information field is studied, a hypothesis is checked, etc. As a result, we obtain the following detail.
The main factors for achieving a high rating are:
- positive (in any visual identification of the channel);
- Interactive with the target audience (imposing a position pushes away, interactive provides the involvement and relevance of authoritative information channel);
- “long-playability” (one of the most important criteria is the same positive perception during repeated viewing);
- trendiness (the freshness of perception is due to the feeling of the surrounding information noise).
As for the ad sales, by the word “marketability” I mean not a direct consequence of the high rating, but the potential (psychological) tendency of the client to be placed on the channel. And I am ready to say that in Ukraine there are brand managers who analyze the quality of the channel’s audience not only by purchasing power and interests. The loyalty of the audience to the channel is also projected onto loyalty to the advertised brand.
The main factors of merchantability are:
- positive
- emphasis in the design of the air on the ad unit, and not on the openers / closers of the ad unit (it’s the brevity and ease of perception of the openers - a guarantee that the channel will not be switched);
- stylistics of air design (corresponds to the style of an advertising visual). The ideal environment for the largest advertisers (in particular, for alcohol) is that in which their commercials are organically introduced into the air, do not seem alien and have an “aftertaste” effect, this means that the visual range of the channel continues the images of the video. Each of the factors is subsequently detailed.
At the second stage it is necessary to formalize the client's task. Now the information from the client is structured, optimized (the process is similar to the optimization of “graphs”). So, for the STB project, the result is as follows:
1. Main communication Target:
a) create a more emotional image of the channel;
b) create an emotional binding of the viewer to the channel;
c) create a sense of significant bright events? able to surprise;
d) create the feeling that STB is the leading national channel;
d) to create the feeling that STB is a channel of bright quality programs.
2. Stylistics
a) patterns;
b) color;
c) we strengthen indicators of vigor and dynamics.
3. Positioning
a) STB. There, de esteem;
b) STB. There, de joy;
c) STB. There, de miracle;
d) STB. There, de vŃ–dkrittya;
d) STB. There, de truth;
f) STB. Like-minded channel;
g) experience = understanding.
At the next stage (let's call it the search for associativity of factors) we are looking for the answer to the question - with the help of which each of the theses of the two previous stages can be implemented. To do this, emotions are assigned to each thesis and a possible mechanism for their implementation. Perhaps this is the most creative of the analytical stages.
So, on the above points, we get this result. Interactive with the audience is realized through: a) reflection / association of the target audience with the channel, b) demonstration of emotions. “Long-playability” (the criterion of which - repeated demonstration is not annoying) is realized through: a) a plurality of versions of the video sequence, b) transformations, c) impression / surprise / delight, d) water / fire. Positive is realized through warm colors, feelings, emotions. Trend is given through: a) content design, not shells, b) simplicity of design, c) typography, d) useability.
Now let's go through the positioning formulas: “STB. There de esteem is realized through the positive and the key word "love"; “STB. There is joy ”- also through the positive and the key word“ joy ”; “STB. There de miracle ”- through surprise and the key word“ miracle ”; “STB. There de vіdkrittya "- through the scale; “STB. There de truth ”- through interesting facts and transparency; the formula “STB – like-minded canal” is realized through empathy, a reflection of the target audience, a sense of knowledge of the world (through information content of screensavers, interesting facts, scale), good memories that the channel gives, a reflection of emotions and, naturally, a positive (there is a place of love, joy, feelings).
Next, we create an image that promises “Unique Point of Difference,” an experience that means understanding. This task is realized through such an associative series: the rules of a constantly changing world, joy, the structure of the world, empathy. To create a more emotional image of the channel, we turn to such concepts as joy, visualization of people's emotions, visualization of emotions in the form of images, love, positive, surprise, sound, scale, zoom, frame dynamics, surprise. In turn, we create the emotional binding of the viewer to the channel with the help of interactive and reflection of the target audience.
To create a feeling of bright, meaningful events that can surprise, we turn to surprise, surprise, frame dynamics, brightness, brightness of the color gamut, impression. The formula “STB is the leading national channel” is achieved with the help of scale, simplicity and conciseness, a sense of significance, the ability to surprise and impress; and the formula “STB is a channel of bright, high-quality programs” - with the help of content design and trend matching (tv design2.0).
We create stylistics with the help of patterns, elements of nature (landscape). Colors - in yellow, burgundy (sunset) and white (reflection of the bright sun in the water) colors. We strengthen indicators due to vigor, zoom, fast-forward, dynamics, transformations.
Now we turn to the next stage of the work - discrete analysis (I call it the search for a formula). Let's start factorization (prioritization): select the common links of the graphs, optimize the structure (this narrows the field of creative searches and gives you the opportunity to see the priorities). The result is what can be called STB 2.0.
STB 2.0 Decision associative series: patterns of nature - water crystals - water - Black Sea - drops - positive - empathy - the words “love” and “joy” - sun - scale - horizon - nature - landscape - view from a high point - breathtaking - complex processes seem simple - a huge amount - reflection, transparency - water, light refraction - dynamics, transformations - change of tempo rhythm - hitting - leaving - surprise / impression - sudden wave - blind rain - splashing - simplicity - typography, emotions, the word transmitted m - the device of the world, interesting facts.
Based on the factors, the subconscious immediately gives the formula “world structure, interesting facts: the shape of water crystals expresses emotions (water memory effect)”.
Next is the hypothesis testing queue. The formula is a resource that integrates the components necessary for achieving an effective result, evokes the emotions we need from the target audience and creates the message we need. Thus, the memory effect of water is a trend study, which is gaining increasing popularity. The most striking result is that the structure of water is modified depending on the words and even music spoken to it (the most beautiful form of the crystal is “love”, exquisite - “understanding”, etc.). The crystals form a magnificent ornament.
In general, the test is similar to the reverse unwinding of meaning (additional components are generated in the process): for example, the shape of water crystals expresses emotions - then water droplets - splashing, a sudden wave, blind rain - further surprise, impression, dynamics, transformation, scale, tempo change - and as a result, "long-play". The shape of water crystals expresses emotions - then water - sea - sunset and bright sun - color yellow and burgundy ...
In the end, we have the result: a brand movie is a logically complete sequence of visuals, connected in meaning and stylistically. We create for the subsequent "cutting", each fragment is a resource for independent use.
The storyboard can simply be described in the following fragments:
1) breathtaking beautiful view of the sea early sunset. Location - over the sea (pier, a viewing ledge a la Alushta);
2) a sudden wave, vertically rises on the base of the pier with splashes high up, before our eyes forming a semblance of a waterfall reflecting the rays of the sun;
3) the camera is rapidly flying towards streams of water, as if frozen in the air because of the tremendous speed of increase;
4) the camera flies through separate drops refracting the yellow sun;
5) the camera falls into a drop, maximizing it;
6) the effect of a microscope - the appearance in a drop of water of a beautiful crystal of the structure of water (corresponding to the word "love"), next to the typography of the word "love";
7) in parallel with the manifestation of the crystal, the camera pulls away, thereby forming the crystals. Slogan: “STB. there is de love. ” Logo ...
Similarly done with the words "miracle", etc., the crystals are different and in shape correspond to the word.
So, the conclusions and consequences. Firstly, a professional agency will never offer a client several radically different solutions (as in logical operations, only one can be the most effective result). Different variants can be the production of a formula, in the case of branding - composition plasticity, typography, but by no means a logical basis.
Secondly, the implementation of the formula is 20% of the time spent on the project. Therefore, the main actual component of the broadcast design budget, in particular, is the analytical process (which, unfortunately, in Ukraine, where people are used to paying for "design", is a difficult to understand thesis). Why a logo similar to which you can “draw” in a few hours costs more than 10 thousand dollars, I hope, it is obvious to the audience, who understands how time-consuming the process led to the formula underlying the design.
And, thirdly, an effective design should be perceived as a set of in-depth analysis, highlighting the decisive factors and performance criteria, as the correct balance of weights (priorities), the formula for efficiency and visual implementation. In the absence of one of the components of the design turns into an ineffective beautiful picture.
Naturally, in order to save your patience, I intentionally simplified each of the stages, but I hope that the overall idea (and, for some, the guide to actions) was still possible.
Source: https://habr.com/ru/post/22482/
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