D&AD Reseach + Development by Tom Doherty

SAVE YOUR

FUTURE

D&AD Research Contents

• The Brief • Brief Analysis - Key Points • Aviva Brand Identity + Campaigns • Target Market • Initial Concepts & Mind Mapping • Ambient Media • Time-Lapse • Development • Deliverables • Evaluation 2

D&AD Research The Brief

The Issue People are not saving enough for their future. Ageing populations, along with recent economic turmoil, means that people don’t financially forward plan.

The main barriers to saving are that many people do not realise that they need to. This is further compounded by a lack of disposable income, and the fact that many are more concerned with paying off debt.

The challenge In these straightened times, make saving ‘front of mind’. Dispel the impression of savers as dull, miserly, unadventurous people. Inspire people to play the long game, even if it means cutting down on spending in the short term.

Considerations Saving is a difficult thing to stir people to think positively about. Some often see it as impossible; boring or overly cautious by others; and for others, it’s simply never occurred to them. How can we re-frame the act of saving among young people - making it relevant, feasible, important, interesting, and dare we say it, even cool? •Trust in banks and financial institutions is at an all time low. •Money is tight for people before they even think about saving. •Aviva want to change behaviour through this advertising; they want to re brand savings, own the issue and be seen as a company that shows the benefits of savings in a different light to enable a social change in the way young professionals think about saving.

Target audience When you’re young, you’re immortal. No plans for the long-term future, or worries about your future way of life. We all assume the state will look after us in our old age, or that our employers will provide us with adequate savings. Unfortunately, this is no longer the case. This is a global issue, and to stop the next generation facing a penniless future, 18-25 year olds need to start saving now. Background As a rule, young people don’t save. Most of us never reach the point where we suddenly feel able to put money aside. Something always comes up. The irony is that, by the time you retire, a pound saved early in life is worth much more than a pound saved later in life.

This is a real-life issue that Aviva wants to champion. Any creative ideas that help communicate the needs, and change thinking, could well be picked to become actual communications.

Deliverables A strong, clear engagement idea that will change the audience opinion on saving. The idea can be dramatised across any media channels you feel appropriate, and can include creation of new online destinations or branded utility/content. Use of emerging techniques and platforms is welcomed. We’re looking for an engagement that will resonate in any particular country and ideally be strong enough to work globally, in different markets. Take it where you want (funny/ abstract/ serious), but remember this is a serious issue and shouldn’t be trivialised. Deliverables (Entry) Upload a presentation film of your work (max 2 mins). You may also upload supporting images and/or post supporting objects and/or upload a zip folder of supporting interactive work. or Upload images of your work. You may also post supporting objects and/ or upload a zip folder of supporting interactive work.

D&AD Research Brief Analysis - Key Points

Who? 18-25 age group What? Aviva savings accounts Where? TV / Print

Social Media Nightlife University Work Friends

Facebook, Twitter Student Union/Bars Travel Smart Phones Popular Culture Magazines

Saving The Future Aviva Change Money Aspirations Global Market

Challenging Engaging â&#x20AC;&#x153;Coolâ&#x20AC;&#x2122; Accessible Desirable Different

Billboard Adshel TV Advert Viral Direct Mail Magazine Spreads Ambient Guerilla

Abstract Humorous Shocking Typographic Motion Graphics Print based Web based

D&AD Research Brand Identity & Campaigns

Aviva has grown from the merger of a number of businesses to become the sixth-largest insurer in the world providing retirement, investments and insurance to 44.5 million customers in over 25 countries. Since forming in July 2002, over 40 brands have migrated to Aviva, and in 2009/10 three of our most significant markets (UK, Ireland and Poland) completed the brand migration to Aviva.

about working hard to deliver a distinctive customer experience, where our customers consistently feel recognised.

This change is part of the transformation set out by Andrew Moss, group chief executive, in October 2007 in the “One Aviva, twice the value” vision, which aims to maximise the company’s full potential as a global group.

Why this brand promise?

“A consistent, recognisable name and branding across its markets around the world is an important part of Aviva’s strategy to succeed in an increasingly competitive and global marketplace.” What we stand for?

Our aim is to make recognition the familiar quality that distinguishes Aviva from our competitors, anywhere in the world - just as Apple means user-friendliness and Fed Ex means reliability.

better - and our businesses will benefit from their loyalty in return. Our brand is a valuable asset It lives in the heart and minds of customers, investors and employees. It’s what people recognise and it’s the reason they trust us. So we need to protect it and help it grow. That’s why it’s important that everything we do looks and feels consistent.

All of us, regardless of country or culture, have a sense of our own significance - that we matter, that we deserve to be treated with dignity. Interactions which abuse that sense of ourselves tend to frustrate and anger us, while those which acknowledge and appreciate us are highly satisfying - in customer interactions, that means more loyalty and better “word of mouth”.

Aviva has committed to deliver one distinctive experience for our customers, wherever we are in the world - we want them each to feel that “no one recognises me like Aviva”.

Our global consumer research reveals that most of our competitors are particularly bad at recognising peoples’ individual significance. This research also tells us that small human touches can make a huge difference to a customer’s experience.

So why have we selected this as our “brand promise”? And what does it really mean for the company? Becoming “One Aviva” is about much more than sharing one name - it’s

So it’s clear that by taking extra care to recognise customers as individuals, each and every time we engage with them, we will connect more powerfully, serving their needs

Aviva Logo

D&AD Research Brand Identity & Campaigns

Avivaâ&#x20AC;&#x2122;s advertising campaigns are much like the rest of their work - very corporate, with a very defined theme to them. This is something weâ&#x20AC;&#x2122;ll need to take into consideration when producing our work. This page shows some examples of past Aviva campaigns. There is a huge emphasis on the three colours featured in their logo, yellow, blue and green, as well as white. This will be key when getting the audience to acknowledge who the adverts are being produced by, and can be creatively used to our advantage.

D&AD Research Brand Identity & Campaigns

D&AD Research Target Market

To understand the brief fully, we needed to investigate the demographic it is targeting. Trends within the 18-25 age group could possibly give us a route into understanding what approach would be appropriate, and the different mediaâ&#x20AC;&#x2122;s we could use. Social media such as Facebook, Twitter, Myspace, Bebo etc. are a great tool to explore when targetting the 18-25 age range. The majority of the people who use these sites are within that age bracket, and the average user visits the sites on average 2-3 times per day. When producing our campaign we will give strong consideration with regards to utilising these medias.

D&AD Research Target Market

Smart phones such as apple iphones, and Blackberries are another good avenue to explore. The “app” revolution has given advertisements added inter-activity and the potential to be more than just an advert. A good example of advertising using this alternative media is the “Carling ipint” app, that gives the illusion, that someone is drinking Carling lager. Its very simple, but a great way to advertise and create buzz. The app is fun, interactive and accessible and we believe it is targeting a similar target market to the brief. Creating an interactive advert is definitely something we’d like to explore.

D&AD Research Target Market

To get the target market to engage with what we’re trying to accomplish we need to make it interesting. Trends within popular music can offer Television adverts added appeal if the music is something the market identify with. Music is something most 18-25 year olds have an interest in, and something that can be used to reach people. Penetrating through the barrier of disinterest is challenging, and perhaps something that might require less conventional means to reach the audience. Guerilla and ambient advertising are an excellent way of catching people off guard, and make them think about what we are trying to say, University student unions, bars, clubs all play an important role in the demographic’s life, and the potential to reach people, and have an impact is significant in these places. Ambient media is definitely something we’re going to explore when cultivating ideas because we want to challenge the audience, and make them think about what we’re saying.

D&AD Research Target Market

Another good way to reach an audience is to advertise within printed media they purchase regularly. FHM and Cosmopolitan are just two examples taken from a broad spectrum of magazines that are quite specific to that audience. The potential to add more copy to a printed advert can work well, as long as the image or message is striking enough for people to take interest in the first place.

D&AD Research Initial Concepts & Mind Mapping

D&AD Research Ambient Media

We decided to further investigate ambient advertising after coming up with several concepts based around something being empty, or not there. The images we have found illustrate the kind of feel we’d like our advert to have, and the kinds of places we’d potentially like to use them. The 3M Adshel is a really powerful statement, whilst also being humorous and clever, whist the Old Timer “all you can eat” advert is clever in the fact that it’s unavoidable as you’re driving and invades the experience, which is the same kind impact we’re hoping to create.

D&AD Research Ambient Media

Here are a couple more interesting Adshel / bus stop ideas that we liked. The first is interactive, the typographic element is deliberately small so the person has to bend down to read what the advert says. We really like the idea behind this, getting people to interact and take notice. The second is an advert for Windex window cleaner. The idea here is excellent, and a great example of ambient advertising. The spray from the bottle is clear glass, whilst the surrounding glass is frosted, giving the impression that the spray is cleaning the glass.

D&AD Research Time Lapse

The idea of a time lapse-featured idea began with the basic concept of the brief, the concept of saving for a brighter future. We thought the best way to convey an ‘investment’ would be to show the start and ending point, the benefit and ‘prize’ you get after all the hard work is done. The benefit of using the time lapse means that we can denote a journey, a passage through time in which the viewer can, in detail, see the growth and sprouting of their seedling. We decided that we all liked the idea of using a seed, then have a time lapse over the

period of time it takes to grow. So for instance the screen-shots of the video above depicts the growth of several radish seeds. The idea of using a seed, or a plant, was fairly straightforward. The best metaphor for ‘growing’ money and ‘investing’ is that of a plant or more specifically a tree. Although, due to how long a tree takes to grow it wouldn’t be a feasible choice, though using a tree is more of an accurate depiction. Even though, using a seed would still suffice. The metaphor being that it takes a ‘long’ time to grow, and from such a small almost insignificant seed, sprouts something that is

much more valuable and sustainable. Which is more or less how saving money works, you ‘plant’ a ‘seed’ and then after a period of time it ‘sprouts’ into more, money, naively speaking. There are others ways that we could approach the same underlying message, such as print-based work: billboard ads, newspaper, phone applications, flyers, direct mail etc. but because of us working together in a group, we want to seize the opportunity to try something slightly out-of-our comfort zone.

D&AD Research Time Lapse

The way a time lapse works is rather simple. In essence all you have to do is take pictures of something from the same spot, over a period of time and then merge them into a video. So if we were to make the exact set-up as the video above we would start by finding a glass box, a fish-tank would be sufficient. Then simply fill it will soil and place the seed right at the edge of the tank, so it sits against the window. An average seed like the one above, would take approximately nine to ten days to sprout like it has. So we would have to figure out how many shots to take, one per hour I would have thought. So if we take one shot per hour, and account for the daytime hours only we would have a sufficient amount of

photos. Although, we would have to figure out how long the video wants to be, and then figure out the camera timings. The lighting would possibly have to be some sort of fluorescent lights so the seed would grow, as we can’t do it outside, which would also account for the same lighting in all the shots. The camera would be straightforward too, just by setting it on a stable surface on a tripod, taking the shot every hour. Then essentially ‘merge’ them together to form the video.

The process is pretty simple, and obviously this isn’t a perfect method by any means. There would be a lot of trial and error during the process, not just with the technical side but with the physical growth of the plant. Although, I think it should be do-able considering that all three of us can handle a specific role to make the process for efficient.

D&AD Research Time Lapse

The Barclays advert has a similar message, but it takes a back seat. The basic idea of growing money is there, although there isn’t much emphasis on it really. The main point in this advert is to try and persuade people into putting their money in a fixed term bond, which is what the greenhouse sort-of bubble is portraying. However, despite that the same idea of growing money is there, with it being an investment and a precious one at that.

Unlike this our idea is based much more around the fact of getting people the ‘grow’ their money rather then ‘protecting’ it, that would be a completely different ballgame all together. I like the quirky aspect of actually having the money growing off of the stem, I suppose it makes it much more understandable and opens it up to broader audience. As it wouldn’t be necessarily fair to assume everybody would understand such metaphor. The same applies to our

idea, we can’t be too naive to believe everybody in our demographic of 18-25 year old will understand the metaphor, or even want to for that matter. With taking into account the attention span, and interests that this wide age group has I think it will have to quite engaging otherwise the viewer will just switch off. That being the last thing we want to achieve.

D&AD Research Development

These are two basic concepts that we tried initially. Expanding from the ‘empty’ and ‘nothingness’ thought on the previous page, we decided to try and use that as the campaign. We began with the idea of ‘do your savings look like this/that?’ In which then there would be something empty/derelict to then secure the concept with the viewer. So for instance there is a dried up river-bed behind the advert, wherever that may be. These are two different approaches, one which is slightly off-concept using almost graph-like-scales to compare size, and the other in the same styling as a British pound note, emphasising on the money aspect.

D&AD Research Development

We decided as a group that neither route was doing the concept any justice, in that neither one of them were really hitting the target market, or not engaging enough. Therefore we went for the utter simplicity direction, but giving the design a bit more versatility; from being able to adapt the sentence from the original (see above) it meant that we could apply the advert in many more situations, and not just next to something empty. The initial changes were using our six-senses in which we thought was an interesting path as then we could try and place them in every aspect of human life, no matter what theyâ&#x20AC;&#x2122;re doing. Not only did we expand on the type but also the design as a whole. Rather then using a huge ad, which would be hard to implement in a guerilla form, we made them much smaller so they can be applied anywhere and everywhere. Such as a public toilet door, or at the underside of a pint glass. Trying to get into every situation the demographic would situate themselves, almost forcing them to acknowledge.

D&AD Research Development

Instead of sticking to one form of advertising, which would hinder our campaign tremendously, we approached the use of stickers. From adopting the stickers we could easily apply them to every situation. So we are physically in peoples lives, sat there as a constant reminder. The stickers are only small, 81 x 81mm, so that theyâ&#x20AC;&#x2122;re not in-your-face but rather casually waiting to be seen. Letting the environment they are placed in do the talking. They act more as the bridge between the visual, and the consumer, the consumer and environment do all the hard work whereas this is simply just making the connection between the two. Looking at it from that aspect there is no need for large stickers, they would only dilute the idea, the concept and itsâ&#x20AC;&#x2122; perception. The idea can still easily be applied to billboards, ad shells, magazines etc. However with the sticker being placed in the corner, or somewhere away from the main visual element. Also, the sticker wouldnâ&#x20AC;&#x2122;t be placed in the environment and then photographed, but rather just placed neatly on top of the photograph. Mainly because it would probably be hard to pick out amongst everything else in the image, especially if the person is driving or on the move.

D&AD Research

Development

The images to left are some further quick page layouts for the campaign. The logo isn’t present however because we wanted to go along with the whole mysterious campaign. Until then the TV advert is released in which then everything ties together perfectly. Whether or not you could class these as page layouts I’m not sure but essentially we were experimenting with using the overpowering white page as the ‘shocking’ visual in this sense. Hitting home that this is absolutely empty, nothingness, hollow and emotionless. Using the white page as almost an emotional gateway into the reader. The type then being tiny in the centre of the spread (not taking into account the gutter of book in this instance), which then just adds to the underlying idea of the adverts. We tried a few variants, which continue to the next page also, changing the shade of the black. The gray, being as small as it is, almost looks illegible, which is this case could be both good and bad. It emphasises the emptiness, but also if the reader cannot read it, the message of the advert wont be received.

D&AD Research

Development

Making the type bigger on these layouts slightly detracts away from the idea. It looks more like type on a white background, whereas before with it being so small you could see that it had been done like that for a purpose, to help/reinforce something. Although these two just look a bit normal, generic really. The gray variation has a bit more depth to it but it seems a bit forced. Like it’s trying too hard to be noticed, and not to be noticed at the same time. The previous ones however had more of a balance to them. Having said that however, I don’t think we will be sticking to any of the designs yet, they all seem a little ‘under-designed’, even though there’s no content.

D&AD Research Development Throughout the course of the project we’ve made masses of decisions, whether as a group or from individual standing-points, and it would take more time then we have to document everything. And this is another example of one of those decisions. After gaining more perspective of the concept over a short amount of time we came to the conclusions that the sticker idea by itself didn’t really work all that well to what we were trying to say, and that by refining the idea and adapting it ever so slightly we could find something that worked better. Which is what you can see to the right.

ideas in the past matched up perfectly with technology such as phones and social networking, humour and engaging the demographic. Whereas this is more serious, and the content doesn’t fit any demographic because there isn’t any. But the concept as a whole, I think, is the best one we’ve done.

The basic premise is that we want to communicate emptiness, and nothingness, which is the metaphor for the ‘empty’ bank account/savings account. So we though that if that’s what we want to show, why don’t we just show that, show nothing? Of course there has to be some sort of type present, as it is still an advert. Therefore we decided to use the strap line “don’t leave yourself with nothing”. Although its grammatically incorrect, we struggled to find a decent alternative using the word nothing, however it is a phrase that people would say, rather then right, for our generation nonetheless. The only concern we have at the moment is that does it fit our target market? Our

D&AD Research

Development This is the concept we decided to use. It all honesty it didn’t really take us long as a group to figure it out. Our idea had basically shaped itself for the adverts regardless. Thinking about it we were rather lucky to have an idea which required little to no major decisions involving the design layout, for the magazine. Rather then using the type in the centre, and using a double page. We though it would be more efficient if it only used one page; we used a one-page ad in this instance as the two page just seemed a little too much. Rather daunting, which is what we wanted for the reader, but daunting in terms of the design. The single page advert works much better. Adjusting the typography, making it smaller and setting it to the left of the page so it’s not smack-bang in the middle drawing attention to itself, made it easier for the customer to understand whilst still keeping the ‘emotional gateway’ intact. The type was eventually set in black, just because the gray was overkill, it was trying to hard, so black does the trick perfectly.

D&AD Research Development The major thing that we had added here was the new slogan in the bottom right:

‘Save Your Future’ That along with the logo just rounded the design off. A group decision meant that we would use the logo for the magazine spread, in that it would be released along with the other ‘branded’ material that we had. Where the physical adverts such as the ad shells and billboards would be ‘brandless’. The added slogan originated in all honesty from a typographical error. When were verbally-brainstorming new phrases it was the predictable ‘save for your future’. Though when it was applied the ‘for’ was lost in translation. It works much better, the customer can almost see it both ways, with the ‘save for your future’ and ‘save your future’ even though the ‘for’ is missing your brain almost just fills in the blanks. I quite liked that, it could be misread emphasising saving money, and read as it stands meaning literally ‘saving’ your future, as a general statement.

D&AD Research Development

The next stage was to create the adshel. Since we already had the type styling from the previous application it meant the only thing we had to do was make it look transparent. As we we’re playing on the ‘empty’ direction it meant that we had to make the adshel look empty, just as the magazine was empty which meant a blank page, this has to be transparent. The concern with was that making something look transparent, or empty, was/is a real pain to do and that it will look fake undoubtedly anyway, unless you managed to get photographs of what’s behind the object. We didn’t want the quality of the outcomes to dilute the idea, this one however is probably the best example. As we could obtain images of what’s behind it, we could then manipulate several images into one. The other alternative was to try and sample the background from any area within the image, or grab another image and then try to sample from there, but then that’s when it doesn’t look totally believable.

D&AD Research Development

At first we thought using a vector image would probably be the most efficient in explaining and showcasing our idea. But then it sort of looks like a cheap way out, and we werenâ&#x20AC;&#x2122;t really satisfied with how it looked. The image above is our starting image. The first thing to do was to adjust the levels and crop the image slightly so the advert doesnâ&#x20AC;&#x2122;t

take a backseat in the image. The next stage being cutting out the advert thatâ&#x20AC;&#x2122;s placed in there already. It is a simple job by just using the pen tool to then cut around the inside skeleton of the adshel. The main thing we have to do is recreate the image behind it. Which will take multiple images from its perspective in order for it look convincing enough to place the content.

D&AD Research Development

This next part was to merge photographs together in order to create the transparent effect of the adshel. Using the four images (to the left) in which were taken from the perspective of the adshel, it was possible to mimic what it was seeing; trying to get one image that fits perfectly is impossible, since we could never perfectly recreate its perspective we had to take multiple shots and then overlap certain areas to create the backdrop. Each image having a slight variation in perspective meant that we could fade certain parts of each layer to create what should be a perfectly matching image.

D&AD Research Development

After the replacement image was created then we had to recreate the skeleton of the adshel so that it looked 3 dimensional and thus had an empty section in the middle where the content would go. This is easily done, by just cutting around the outside of the adshel using the pen tool. We could then recreate the shell and place it behind the â&#x20AC;&#x2DC;emptyâ&#x20AC;&#x2122; adshel. Making it smaller and slightly changing the perspective means that it gives a rather convincing look. After that all that was left to do was place the image inside and complete the final touches to make it stand out that little more.

D&AD Research Development

The next stage was to add a sheen and reflection to the adshel so that it actually looks like it is there. By sampling part of the background image it made it possible to then add a layer effect to it and thus give the illusion that it is being reflected. By doing the same with an image of a building it was possible to recreate it so that it looks as though there is something behind it, in the generic form of a street. The last part of the process was then to add the type. Since this is part of the ‘mysterious’ or ‘unbranded’ selection of adverts it means that we won’t be applying the logo. It gives a feeling of anticipation to see what it is and who is advertising it, creating more brand awareness when its revealed. In terms of applying the type it was straight forward by typing it out and then turning the type into and image and changing the layer mode so that the lighting and textures adapted it so it looks like it is there.

D&AD Research Development

This is another variation of an adshel. It features in what seems to be a subway, which we thought matched the target rather well. In terms of geographic placement i.e. London it is unavoidable to use the tube so areas such as these should, hypothetically, be brimming with our demographic. Following the same procedure as the previous adshel it was easy to recreate the background image. As this time we only had to repeat a pattern whereas before it was an entire environment.

D&AD Research Development

Since we’ve done both of the adshels it was time to develop the billboard designs. Since we couldn’t just stick flat type to the wall like we could in the adshels we made some rough 3 dimensional type just to illustrate our understanding and application of the idea. In terms of realistically convincing the billboards are probably the least, which were really our main concern. However, if the concept can be seen and understood then surely there isn’t a problem in terms of final execution. Mainly because finding a viable empty billboard frame image is virtually impossible. Having said that though I think the concept is clearly shown and doesn’t dilute the idea in any way, shape, or form.

D&AD Research Development

These are some attempts we made right at the start of the implementation of the billboard. As you can see neither of them particularly look convincing. In theory, the above example should work, however the steel frame didn’t apply itself too well into the environment. Going through the method of cutting out a billboard to place on a image didn’t work in general, it looks out of place and odd, whereas finding one and replacing

the advert with the background seemed more convincing once it was done. Although trying to make the background convincing is another story. The one to the above right was another variation we started, although getting midway through the process we realised it was too much hard work and effort for something that doesn’t look good enough.

D&AD Research Development

This is the image that we used for the advert. It was the highest resolution image we could find of a billboard that wasnâ&#x20AC;&#x2122;t held up against a city scape or complex background.

Following the same steps as the adshel one we cut out the existing background so then we could start to recreate the brickwork that would be behind it.

As you can see this image is one which has the billboard already placed in the image, or photographed. Unlike the previous attempt where we were placing existing images on top of others.

D&AD Research Development

The next stage was to recreate the brickwork. The image above shows the finished brickwork of the advert, however it is still in its rough form in terms of edges and depth perception. It was quite a time consuming process, as we had only a small amount of brickwork to sample from, and then to duplicate that to span the width of the billboard trying not to

make it look like a direct copy. Then further duplicating those upwards, slowly changing the perception so it matched the bricks either side. That was the hardest part, making sure the cement matched up either sides of the billboard frame, so it didnâ&#x20AC;&#x2122;t look like the wall suddenly changed position. Certain parts of it do look a little odd, however it adds a little more character to it. And its the advert that does the talking, not the wall.

D&AD Research Development

We had to edit the wall slightly, because you could see quite clearly where some parts had been duplicated. With how unique marks on the wall had been repeated throughout, they needed to cloned out so that it looks like a unique piece of wall, over repeated unique pieces of wall. Although the wall has been placed in the frame proportionally it stills needs some

depth. As it looks a lot more like a picture of a brick wall. Which I suppose is a sufficient alternative for our campaign but we felt that having it actually empty would emphasise the advert more.

colour but you can see the drastic changes it gives already.

The shadows were added to the inside of the left bar and on the top. Which gives it the illusion that the wall is really there, it needs some extra touches such as lighting and

D&AD Research Development

The next part was to implement the type to the image. Since we wanted to go for the look of using actual 3D type, as if it was produced in real life, we decided that we would render out the strap line and then apply it in Photoshop. This way it gives it a more ‘real’ feel or at least it explains better that the type would be bolted to the wall or so.

The type isn’t perfect by any means, and is rather hard to make look as though it is actually there, but the concept speaks for itself and is easily understood.

D&AD Research Development

These are two other variations of the type we tried. We tried it with the black as the white seemed rather illegible against the light-gray wall. Originally we didnâ&#x20AC;&#x2122;t really mind the black but now it takes away from the emptiness and nothingness of our campaign. Also the centred type was a change from the one in the bottom corner. We though that if people are driving past it quickly, they wouldnâ&#x20AC;&#x2122;t have time to take everything in, or even find the

type in the bottom corner. The image to the side of it is the same but in a white variation. It works better in the centre in my opinion, unlike the previous where it may be harder to read, or see, whereas this one has the best of both worlds with emphasising the campaign but also being easy to read.

it creates intrigue and gets the viewer interacting with the campaign. Which is what we want, creating brand recognition, or in this case making people aware that the brand will be revealed thus they will waiting for a reveal.

However, the previous one, if walking by or moving slowly works much better. As

D&AD Research Development

These are the freeze frames from our television advert. The idea here is an adaptation of our billboard and adshel idea where we are trying to emphasise nothing. The video starts with static, as though the broadcast has been interrupted, which is then supplimented with the “no signal” colour

bars. The video then cuts out, leaving nothing but a black backdrop for around 5-7 seconds. Then the words “DON’T LEAVE YOURSELF WITH NOTHING” appear, and that is the main message behind the advert. The audience are asked to identify what they have just seen with nothingness, and question why they’re looking at nothing. Then comes the reveal,

“OPEN A SAVINGS ACCOUNT WITH AVIVA... SAVE YOUR FUTURE”. The reveal is where people make the connection, that by not having a savings account, they have nothing and no future.

D&AD Research Deliverables

Press Ad One

Press Ad Two

D&AD Research Deliverables

Adshel One

Adshel Two

D&AD Research Deliverables

Billboard One

D&AD Research Deliverables

Billboard Two

D&AD Research Evaluation

To evaluate our advertising campaign, we started looking at where the seed of our idea came from. When presented with the brief we went off and brainstormed what possible routes we could take. Throughout our time with the project, we as a group have progressed from initial concepts and ideas to fully blown ideas only then to decide to go back to the drawing board. Initially we began with more complex and Interactive approaches via interesting concepts in communication variables such as mobile phones and the internet. Although, we felt there was a better, more ‘obvious’, direction that we could explore in order to find an idea which is simple, interesting and more contemplative.

with nothing’ to advertising media, such as billboards, ad shells, magazines etc. However by making these empty, by stripping them of any physical material, it highlights our premise of pure emptiness and emphasises our campaign. The only other alternative would be to place in on a plain, white background. Although, white isn’t empty, the billboard isn’t empty; the advertising media being stripped to its bare bones then focuses on the literal state of being empty, rather then a metaphoric. Overall, we as a group have been educated by this experience and have learned to tackle many challenges we faced.

The premise of our idea is that of purity and utter simplicity. We chose to undergo the route of using the concept of nothingness and emptiness in order to emphasise the psychological and evocative emotions of feeling empty, and being in an ‘empty’ state. Our idea was to apply ‘Don’t leave yourself