Time Out: A Campaign Proposal for The Laing Art Gallery by Zoe Ling

TIME OUT

ZOE LING N0778581 FASH3000 9 SELF DEVISED PROJECT Fig 1. ‘Submerge Yourself’, 2021

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CONTENTS

THE PREFACE

THE CREATIVE CONCEPT

THE OUTCOMES

THE CONCLUSION

BIBLIOGRAPHY & REFERENCES

104

THE APPENDIX

120

THE PREFACE

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CONTENTS

THE PREFACE

THE CREATIVE CONCEPT

THE OUTCOMES

THE CONCLUSION

BIBLIOGRAPHY & REFERENCES

104

THE APPENDIX

120

THE PREFACE

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how can museums be used as a resource for wellbeing and reducing anxiety? When I first began this project, my objective was to explore two problems. Firstly, why anxiety is on the rise amongst young people and what can be done to reduce it, and secondly, how museums have been impacted due to COVID-19 lockdown restrictions. Due to my prior research into the museum sector (Ling, 2020), I believed these two issues could be brought together and solved with one idea; using museums as a resource for wellbeing. As my research progressed, I refined my target consumer down to a Gen Z adult - ‘the disconnected extrovert’ - and focused in on the Laing Art Gallery, a gallery in Newcastle Upon Tyne that has been hit hard by closures and restrictions. The root causes of the rise of anxiety became a key focus of my research, and I came to the conclusion that this is because the anxiety management techniques used by the consumer prior to lockdown are no longer allowed, and that they are making uninformed choices about alternative methods. This insight culminated in my big idea: ‘to use museums as a platform to inspire, motivate and educate consumers to make more considered choices about anxiety management’. ‘Time Out’ presents an integrated marketing campaign for The Laing Art Gallery that will support the adult Gen Z consumer through the end of lockdown and beyond, helping them transition from overwhelmed and stressed out to someone who takes active and effective control of their mental health. Simultaneously, the campaign will draw new audiences to The Laing once it reopens, giving it the financial and cultural boost it needs after nearly a year of closure.

the preface

PROBLEM: AMIDST THE COVID19 PANDEMIC, MUSEUMS HAVE SUFFERED HUGE LOSSES AND ARE FEARFUL ABOUT BEING ABLE TO ATTRACT BACK VISITORS.

PROBLEM: ANXIETY AMONGST YOUNG ADULTS IS AT AN ALL TIME HIGH AND CONTINUING TO RISE.

GAP: MUSEUMS COULD USE THEIR SPACES TO CREATE AN INNOVATIVE SOLUTION TO THE RISE OF ANXIETY

Fig 2. ‘Problem vs Need’, 2021

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the preface

PROBLEM: AMIDST THE COVID19 PANDEMIC, MUSEUMS HAVE SUFFERED HUGE LOSSES AND ARE FEARFUL ABOUT BEING ABLE TO ATTRACT BACK VISITORS.

PROBLEM: ANXIETY AMONGST YOUNG ADULTS IS AT AN ALL TIME HIGH AND CONTINUING TO RISE.

GAP: MUSEUMS COULD USE THEIR SPACES TO CREATE AN INNOVATIVE SOLUTION TO THE RISE OF ANXIETY

Fig 2. ‘Problem vs Need’, 2021

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the preface

consumer recap: the disconnected extrovert Prior to the Covid pandemic, social recreation was a huge motivator for The Disconnected Extrovert. The knowledge of having a party, night out or event that evening or weekend acted as a motivator to be productive in the daytime, as well as giving them a chance to take a break. As a natural socializer, spending time with others allowed them to recharge. Now, The Disconnected Extrovert has long stretches of time, but less incentives or means of restoration. The Disconnected Extrovert has a tendency to turn to easier but less effective options when it comes to managing their anxieties, such as distracting themselves with digital content instead of working out. They spend their days cycling between online uni on their laptop, social media on their phone and streaming services on TV. They long to escape from this monotonous routine but lockdown restrictions have put their usual activities on hold, and they are uncertain about other available options (Ling, 2021).

THE DISCONNECTED EXTROVERT the consumer post-lockdown 6

Fig 3. ‘The Post-Lockdown Consumer Profile’, 2021

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the preface

THE DISCONNECTED EXTROVERT the consumer post-lockdown 6

Fig 3. ‘The Post-Lockdown Consumer Profile’, 2021

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1996 - 2002 birth year GENERATION Z generation EARLY ADULTHOOD life Stage (Armstrong, 2007) THE EVERYMAN archetype (Jung, 1959) HOMOPHILIOUS personality type (Rogers, 1962) EARLY MAJORITY diffusion of innovation (Rogers, 1962)

THE DISCONNECTED EXTROVERT the consumer pre-lockdown Fig 4. ‘The Pre-Lockdown Consumer Profile’, 2021

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THE DISCONNECTED EXTROVERT the consumer pre-lockdown Fig 4. ‘The Pre-Lockdown Consumer Profile’, 2021

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brand recap: the laing art gallery The Laing gallery had to remain closed for more than half of 2020, which impeded the income they would usually have raised from their shop, cafe, venue hire and fundraising. To survive, the gallery received funding from local authorities and the arts council. Their parent company, Tyne & Wear Archives & Museums, launched an initiative to raise £220,000, to support their venues. In order to still reach consumers, the Laing produced a video of their ‘art deco by the sea’ exhibition, which was cut short by lockdown. As a small, authority funded gallery, they didn’t have the budget or technological capabilities to be able to create a virtual museum or extensive social media content, like many major galleries did worldwide (Ling, 2021).

the preface

VISUALS Baroque style gallery with art nouveau elements and a diverse collection of art and objects

VOICE Formal and knowledgeable, but also passionate and caring

BEHAVIOUR The gallery works to support individuals and bring the community together

LAING ART GALLERY

VISION “the encouragement and development of British Art” Founder Alexander Laing

POSITION Government & donor funded. part of tyne & wear archives & museums

PROOF The gallery is a pillar of culture and community in Newcastle city centre

VALUES innovation, imagination, creativity, total inclusivity, security and sustainability MISSION To help people determine their place in the world and define their identities, so enhancing their self-respect and their respect for others 10

STRAPLINE We bring you art, history, science, archives...you bring it to life

Fig 5. ‘The Laing Gallery Brand Wheel’, 2020

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VISUALS Baroque style gallery with art nouveau elements and a diverse collection of art and objects

VOICE Formal and knowledgeable, but also passionate and caring

BEHAVIOUR The gallery works to support individuals and bring the community together

LAING ART GALLERY

VISION “the encouragement and development of British Art” Founder Alexander Laing

POSITION Government & donor funded. part of tyne & wear archives & museums

PROOF The gallery is a pillar of culture and community in Newcastle city centre

STRAPLINE We bring you art, history, science, archives...you bring it to life

Fig 5. ‘The Laing Gallery Brand Wheel’, 2020

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the preface

key insights Levels of stress and anxiety are increasing far more significantly in Generation Z compared to their elders

There is a disconnect between the methods young people most commonly use to cope with anxiety and those which they deem to be most effective

As even leaving the house is currently perceived as a risk, the emphasis must be placed on gain and reward in order to attract consumers. In light of this, museums need a clear new incentive to encourage visitors to return. This must go beyond what they can get online.

the big idea Use museums as a platform to inspire, motivate and educate consumers to make more considered choices about anxiety management

Museums share similar characteristics to natural environments, which are proven to have mental health restoring properties.

Experiences that are passive yet immersive are the most restorative

The wellness market is saturated with innovation but this is primarily digital. Since a major cause of anxiety is overwhelm relating to digital content, a non-digital solution may be more effective

Tracking and reflecting is a huge part of the current health and wellness market. Consumers want to see a physical record of their goals and behaviours, as this motivates them to maintain a routine.

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the preface

key insights Levels of stress and anxiety are increasing far more significantly in Generation Z compared to their elders

There is a disconnect between the methods young people most commonly use to cope with anxiety and those which they deem to be most effective

the big idea Use museums as a platform to inspire, motivate and educate consumers to make more considered choices about anxiety management

Museums share similar characteristics to natural environments, which are proven to have mental health restoring properties.

Experiences that are passive yet immersive are the most restorative

The wellness market is saturated with innovation but this is primarily digital. Since a major cause of anxiety is overwhelm relating to digital content, a non-digital solution may be more effective

Tracking and reflecting is a huge part of the current health and wellness market. Consumers want to see a physical record of their goals and behaviours, as this motivates them to maintain a routine.

THE CREATIVE CONCEP T

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the creative concept

With travel off the horizon, take your brain on a vacation to the museum, for a dose of relaxation and clarity... My creative concept is based around the Attention Restoration Theory (Kaplan and Kaplan, 1995.) principle of ‘being away’, which refers to “ the sense of being separate and apart from one’s usual thoughts and concerns”. Spending time away from the environment in which we experience stress is key for effective mental restoration, as it psychologically detaches us from our present worries and stressors (Daniel, 2014). Because of lockdown restrictions, the consumer has fallen into a pattern of spending day after day in their room, usually looking at a screen. Their work time and relaxation time are happening in the same scenario, in the same space. This lack of dedicated time and activity for mental restoration is a major factor contributing to the rise of anxiety in young people. With this concept, I aim to capture that blissful relaxation we all feel when on holiday, a time when we forget about our problems back home and immerse ourselves in the environment. With travel restrictions having been in place in the UK for almost a year, and with no foreseeable end to this, consumers are craving a holiday more than ever. I intend to take advantage of this, and present museums as a venue in which consumers can experience a moment of that ‘holiday brain’ mentality.

Fig 6. ‘Time Out Concept Collage’, 2021

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the creative concept

Fig 6. ‘Time Out Concept Collage’, 2021

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the creative concept

why this concept I chose this concept over my others (see appendix pg. 164-169) as it has a strong story behind it, and is based around evoking an emotional impact rather than just a visual trend. It is very much of the zeitgeist, as it relates to worldwide current affairs as well as the current lifestyle of the target consumer. The art deco influences connect with the brand, making reference to their recent ‘Art Deco by the Sea’ exhibition. When tested with the consumer, it also proved to be popular (see appendix pg. 158). Finally, this concept is supported by my insights about what makes a space immersive by having a clear cut colour scheme and a strong focus on detail.

overarching aims FOR THE CONSUMER Transition the consumer from a ‘Disconnected Extrovert’ to a ‘Proactive Relaxer’ by prompting them to try new anxiety management techniques and showing them how museums can be used to positively impact their mental health FOR THE BRAND Attract a new audience to the Laing Art Gallery as we move out of lockdown, to recuperate for the audiences that may no longer be able to visit, and the losses they have faced FOR THE FCP LANDSCAPE Challenge the wellness market’s reliance on digital platforms by showcasing how physical and spatial outcomes can have a powerful impact on consumer’s mental health

Fig 7. ‘Dovercourt Bay Holiday Lido’, 1930

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the creative concept

Fig 7. ‘Dovercourt Bay Holiday Lido’, 1930

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the creative concept

WE ARE:

WE ARE NOT:

OPEN

PERFECTIONIST

WARM

HIGH-MINDED

WELCOMING

CRITICAL

OPTIMISTIC

EXCLUSIVE

TRANSPORTIVE

AUTHORITARIAN

Fig 8. ‘Love is a 4 letter word’, n.d.

Fig 9. ‘Love is a 4 letter word’, n.d.

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the creative concept

WE ARE:

WE ARE NOT:

OPEN

PERFECTIONIST

WARM

HIGH-MINDED

WELCOMING

CRITICAL

OPTIMISTIC

EXCLUSIVE

TRANSPORTIVE

AUTHORITARIAN

Fig 8. ‘Love is a 4 letter word’, n.d.

Fig 9. ‘Love is a 4 letter word’, n.d.

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the creative concept

TIME OUT AT THE LAING

the campaign name My primary research into the causes of anxiety amongst Gen Z adults identified that almost 50% of respondents found time management to be a major cause of their stress and anxiety (see appendix pg. 140). That means that the allure of time is one that will likely resonate with the consumer. My insights show that as even leaving the house is currently perceived as a risk, the emphasis must be placed on gain and reward in order to attract consumers back to museums. In light of this, museums need a clear new incentive to encourage visitors to return, which must go beyond what they can get online. The title for my campaign, ‘Time Out at the Laing’, makes this necessary incentive clear; visiting the ‘Time Out’ exhibition, and The Laing in general will provide the consumer with a break, a chance to escape from their stressful, online-only life for a period of time.

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TIME OUT AT THE LAING

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the creative concept

HEADLINE FONT Tomarik display line

the typography Museum campaigns aimed at young people typically choose an aesthetic that is very different to that of museums and galleries themselves (see appendix pg. 160-161). For example, choosing bold, sans serif fonts, playful graphics and modernised spaces in order to change the perception young people may have that museums are boring and high brow. However, this approach fails to embrace the beautiful, unique and historically significant identities that museums have. In my font choices, I have counteracted this by taking inspiration from some of The Laing Art Gallery’s artwork, specifically their Art Deco by the Sea exhibition and artists such as Septimus Scott and Tom Purvis, who were famous for their iconic travel posters.

SUBHEADLINE FONT Market Deco BODY FONT Futura

For my headline type, I’ve chosen to use Tomarik Display Line, as it is typical of the art deco style, and feels transportive and summery. Furthermore, it has quite a timeless feel, which keeps it relevant to the target consumer, as well as linking into the campaign’s core message of taking time out of your day. As my headline font is quite decorative, I’ve chosen to use a simpler subheadline font. Market Deco perfectly complements Tomarik Display Line as the shaping of the letters follows the cut-outs of the headline font. Finally, for my body type I am using Futura, as this is a simple, easy-to-read font that was common during the 20s and 30s, yet is still commonly used today, for example, by Wes Anderson on the title cards of his famously escapist films.

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HEADLINE FONT Tomarik display line

SUBHEADLINE FONT Market Deco BODY FONT Futura

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the colour scheme It’s so ingrained in the existing mental health and wellness landscape that light colours equal calmness and relaxation (see appendix pg. 162-163). However the Colour in Context theory (Elliot and Maier, 2012) suggests that our relationships between colour and emotion are far more complex and personal, and are highly influenced by the individuals culture, environment and formative experiences. Therefore, this type of colour scheme is not suited to every consumer; many people find bright, warm colours far more comforting. For my campaign colour scheme, I have selected bright, sunny shades - light blue, yellow and dark blue as the primary colours, with red as an accent and an off-white for backgrounds - as for most people, these colours are evocative of nostalgic seaside holidays, and therefore communicate warmth, joy and comfort. This colour scheme will be adhered to strictly across my whole campaign, in order to fulfill my insight into the importance of colour and detail when creating an escapist space.

Fig 10. ‘Colour Gallery’, 2021

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Fig 10. ‘Colour Gallery’, 2021

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the visual motif The visual theme of water is one which I have been repeatedly drawn to throughout this project, due to its versatile nature. It can be used to communicate anything from calm and tranquility to drama and danger, making it evocative of the fluid nature of emotions. Throughout my campaign, I intend to use water as a visual metaphor for the consumers’ feelings, from the stress they are currently under to the relaxation they will feel once they have visited the exhibition.

Fig 11. ‘Water Gallery’, 2021

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Fig 11. ‘Water Gallery’, 2021

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the logo It was important to me to create a specific logo that can be used across all elements of my campaign to tie them together and differentiate the elements of my campaign from other exhibitions and events happening at the Laing. I used the key theme of water to inspire a subtle change to the Laing’s existing logo, so it’s still recognisable, yet communicates a new direction for the Laing.

Fig 12. ‘Laing Logo Mock-Ups’, 2021

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Fig 12. ‘Laing Logo Mock-Ups’, 2021

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the tone of voice In my tone of voice, I aim to uphold both my campaign personality and the ‘inspire, motivate and educate’ message outlined in my big idea. Instead of shaming the consumer for their poor anxiety management choices, my campaign aims to uplift them to make positive changes that they can feel happy about. My brand lexicon provides an outline of key words which convey the overall message of my outcomes. Dynamic verbs such as ‘Dive’ serve to motivate the consumer, prompting them to take active steps to improve their mental health, whilst emotive language connects with the consumer desire to feel less stressed; words such as ‘relaxation’, ‘serenity’ and ‘bliss’ are very aspirational, making the benefits of visiting the museum crystal clear.

Immersive Dive Experience Relaxation Calm Clarity Welcome Escape Time Bliss Moment Breathe Holiday Serenity Warmth

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Immersive Dive Experience Relaxation Calm Clarity Welcome Escape Time Bliss Moment Breathe Holiday Serenity Warmth

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the creative concept

spatial architecture moodboard

The Victoria & Albert Museum

Maria Svarbova

Royal Museum of Fine Arts, Belgium

Bunny Williams

Sir John Soane’s Museum

National Gallery of Art, Washington DC

Fig 13. ‘Architecture Moodboard’, 2021

The Victoria and Albert Museum

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spatial architecture moodboard

The Victoria & Albert Museum

Maria Svarbova

Royal Museum of Fine Arts, Belgium

Bunny Williams

Sir John Soane’s Museum

National Gallery of Art, Washington DC

Fig 13. ‘Architecture Moodboard’, 2021

The Victoria and Albert Museum

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spatial detail moodboard

TILES WITH COLOURED GROUTING

ORNATE GOLD FRAMES FOR ARTWORK

WOODEN PARQUET FLOORING

INTRICATE CEILING MOULDING

Fig 14. ‘Detail Moodboard’, 2021

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the creative concept

spatial detail moodboard

TILES WITH COLOURED GROUTING

ORNATE GOLD FRAMES FOR ARTWORK

WOODEN PARQUET FLOORING

INTRICATE CEILING MOULDING

Fig 14. ‘Detail Moodboard’, 2021

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campaign USPs PROVENANCE

The campaign is created for The Laing Art gallery, and therefore takes reference from it’s brand identity and past exhibitions. My route to consumer will take note of the North East focus of my campaign and incorporate that where necessary.

PURPOSE

Using art galleries as a tool for mental health and wellbeing is something that has hardly been touched upon by mainstream galleries, despite the clear anecdotal and scientific evidence there is to suggest that it would be successful. My campaign will give museums a new purpose that is so desperately needed in the wake of the COVID19 pandemic; improving the wellbeing of the most relevant consumer; adult Gen Z.

PLATFORMS

My RTC will challenge the conventions of the current wellness market by experimenting with new platforms. Content that would typically be digital will be taken into real life, so consumers can experience wellness in a real, immersive way.

why it’s timely? 1. The Prince’s Trust annual happiness and confidence survey found that more than a quarter of young people have felt unable to cope with life during the pandemic (Hill, 2021) 2. Major UK museums have lost an average of 78% of their audience in 2020 compared to 2019 (Da Silva and Bailey, 2021) 3. The UK is currently under a travel ban, and there is no confirmed dates for when this will end (BBC News, 2021)

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campaign USPs PROVENANCE

PURPOSE

PLATFORMS

THE OUTCOMES & ROUTE TO CONSUMER

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the outcomes

consumer journey

FROM

The Disconnected Extrovert

The Proactive Relaxer

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the outcomes

consumer journey

FROM

The Disconnected Extrovert

The Proactive Relaxer

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INFLUENCES Because of their desire to fit in, The Disconnected Extrovert is primarily influenced by friends and peers their own age, both in person and online. This consumer is very mindful of trend, and typically conforms to what their influences say and do. They rely heavily on social media for keeping up to date with current affairs and discovering what is currently popular across fashion, music, entertainment, lifestyle and travel, rarely looking at other sources. Visual-based platforms such as Instagram and TikTok are their most used.

the outcomes

PREOCCUPATIONS This consumer prioritises fun, pleasure, comfort and short-term happiness. They want to make the most out of life, and enjoy being young and responsibility free. Their ultimate desire is to belong within their group, and to feel connected to other people. The Disconnected Extrovert finds future planning extremely stressful, so they prefer not to think about it too much and take things as they come.

THE DISCONNECTED EXTROVERT EMPATHY MAP BEHAVIOUR The consumer portrays a fun, spontaneous, life-of-the-party image, in particular to to casual friends and acquaintances, as this is how they are at their happiest. Even when they are feeling down or anxious, they distract themselves with fun activities and entertainment. Their emotions can be quite erratic, experiencing a lot of highs, but also really struggling with the lows. While they may open up to their closest friends, they also have a tendency to spin negative events into a funny story to entertain others, giving themself a bit of a ‘hot mess’ persona

PAIN The biggest frustration for The Disconnected Extrovert currently is the Coronavirus Lockdown. They loved their life before the lockdown, and just want it back. They feel that they are losing so much time from a key period of their life they can never get back. As they aren’t able to do any of the activities they enjoy the most, their life is full of negatives with very little relief. This has caused them to lose all motivation, and created a lot of anxiety, as the future is so unpredictable. Fig 15. ‘Consumer Empathy Map’, 2021

ENVIRONMENT The Disconnected Extrovert is currently spending time in a very limited environment. The vast majority of their time is spent in their small, city-centre flat which they share with friends, only leaving for lockdownallowed errands. Even outside of lockdown, they tend to frequent the same places over and over; their favourite bars, clubs and restaurants, the gym, their university campus or workplace. At home, they are almost constantly looking at a screen, whether thats their laptop for work, their phone for social media or their TV for some evening entertainment

GAIN The consumer measures their success based on their emotions. If they are happy and enjoying life, then they are succeeding. Numerical measures of success such as money or grades only matter to the consumer in the context of how they make them feel, for example, the relief of getting a good grade on a project you were nervous about. The consumer would ultimately want to have secure future plans, however they struggle to prioritise the work needed to get there over short term fun.

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the outcomes

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the outcomes

key touchpoints: during lockdown

key touchpoints: post lockdown

SOCIAL MEDIA The consumer uses social media sites consistently throughout the day, from morning until night. The most widely used sites are Instagram, TikTok and Twitter

PRODUCT PACKAGING Most forms of nondigital marketing have become redundant during lockdown, however one piece of physical material consumers are still regularly interacting with is product packaging, be that supermarket food packets, takeaway containers or amazon delivery boxes

STREAMING SERVICES The consumer typically watches TV and films in the evenings via streaming platforms such as Netflix and Amazon Prime. This may be on a laptop or TV screen. With a lack of other evening entertainment, this is often the focal point of the evening

Fig 16. ‘Lockdown Timeline’, 2021

SPACE & EVENT Once consumer are allowed to leave their homes again, they will be eager to live life to the fullest once again. This means that all kinds of events are likely to have high levels of engagement

PRINT Interactions over the last year have been all about digital, with the sense of touch being lergely restricted. This suggests that this sense will be heighted post lockdown, making a tactile piece of print material even more powerful

OURDOOR MARKETING Once public spaces open up, outdoor marketing such as posters and billboards will once again be a touchpoint with large reach and creative opportunities

Fig 17. ‘Post Lockdown Timeline’, 2021

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the outcomes

key touchpoints: during lockdown

key touchpoints: post lockdown

SOCIAL MEDIA The consumer uses social media sites consistently throughout the day, from morning until night. The most widely used sites are Instagram, TikTok and Twitter

Fig 16. ‘Lockdown Timeline’, 2021

OURDOOR MARKETING Once public spaces open up, outdoor marketing such as posters and billboards will once again be a touchpoint with large reach and creative opportunities

Fig 17. ‘Post Lockdown Timeline’, 2021

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the outcomes

campaign timeline CULTURAL MAY 17TH Museums allowed to reopen according to current roadmap

APRIL 21ST National Tea Day in support of Mind Mental Health Charity APRIL 19th Students anticipated to return to University

MAY 10TH - 16TH National Mental Health Awareness week

DURING LOCKDOWN

APRIL 17TH Instagram page is created and sponsored posts are activated

MOVING OUT OF LOCKDOWN

APRIL 21ST Tea for Time packaging is launched

MAY 1ST Poster installations are installed in two metro stations

CAMPAIGN

Fig 18. ‘Campaign Timeline’, 2021

MAY 1ST Exhibition promotion begins across The Laing’s usual channels; social media, website

POST LOCKDOWN

MAY 17TH Reflective postcards are available to buy from the Laing Gallery and their online shop

MAY 17TH - AUGUST 31ST Time Out exhibition is open at The Laing Art Gallery

SEPTEMBER 1ST Permanent changes are made to The Laing Art Gallery

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the outcomes

campaign timeline CULTURAL MAY 17TH Museums allowed to reopen according to current roadmap

APRIL 21ST National Tea Day in support of Mind Mental Health Charity APRIL 19th Students anticipated to return to University

MAY 10TH - 16TH National Mental Health Awareness week

DURING LOCKDOWN

APRIL 17TH Instagram page is created and sponsored posts are activated

MOVING OUT OF LOCKDOWN

APRIL 21ST Tea for Time packaging is launched

MAY 1ST Poster installations are installed in two metro stations

CAMPAIGN

Fig 18. ‘Campaign Timeline’, 2021

MAY 1ST Exhibition promotion begins across The Laing’s usual channels; social media, website

POST LOCKDOWN

MAY 17TH Reflective postcards are available to buy from the Laing Gallery and their online shop

MAY 17TH - AUGUST 31ST Time Out exhibition is open at The Laing Art Gallery

SEPTEMBER 1ST Permanent changes are made to The Laing Art Gallery

the outcomes

INSIGHT There is a disconnect between the methods young people most commonly use to cope with anxiety and those which they deem to be most effective AIM Create purposeful social media content that will encourage the consumer to rethink the anxiety management techniques they are using in a positive way

@LAINGTIMEOUT @laingtimeout is an instagram page created to reach the consumer in the space where they spend high proportion of their time; online. As this campaign values physical content over digital, the purpose of the instagram content will be purposeful; to prompt the consumer to think about how social media affects them, rather than just adding more content to an oversaturated space.

ACTION Release simple, digitised versions of the prompt cards on the campaign instagram page to elicit open consideration and reflection

Figs 19-20. ‘Instagram Mock-Ups, 2021

the outcomes

ACTION Release simple, digitised versions of the prompt cards on the campaign instagram page to elicit open consideration and reflection

Figs 19-20. ‘Instagram Mock-Ups, 2021

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the outcomes

In a playful nod to anti-social media message, the instagram page itself will appear blank, as each post will look like a plain white square. However, each upload will be a gif, so once the image is opened, the white square will appear to flip over revealing the prompt for reflection on the other side, as if it was a physical card. In order to keep the page as blank as possible, comments will be disabled. This encourages the consumer to consider the prompt only for their own benefit, not as something to be perceived by others. The individual instagram posts will be promoted as sponsored posts. Targeting will be used to define the audience as all genders aged between 18 and 24 in the Newcastle Upon Tyne area. This means posts will sporadically appear on the newsfeeds of my target consumer group, ideally when they are deep in a stressed social media scrolling session and in need of a mindset change.

SHORT TERM RESPONSE After seeing a post from the instagram page, the consumer stops for a moment to consider whether the way they are using social media is actually relaxing, or just a distraction LONG TERM RESPONSE The consumer begins to take more active control of their social media usage, no longer treating it as a form of relaxation, and considering alternatives instead Figs 21-26. ‘Instagram Post Mock-Ups’, 2021

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the outcomes

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TEA FOR TIME ‘Tea for Time’ is a collaboration between the Laing Art Gallery and Twinings. Twinings ‘Superblends Moment of Calm’ tea will be repackaged as ‘Tea for Time’, and feature a gallery of The Laing’s artwork on the back. This will be beneficial to both brands, by promoting the Laing’s exhibition, and by furthering Twining’s mental health initiative.

INSIGHT The wellness market is saturated with innovation but this is primarily digital. Since a major cause of anxiety is overwhelm relating to digital content, a non-digital solution may be more effective AIM Reach the locked down consumer in their home, through a method that encourages them to decrease their reliance on digital content ACTION Print a mini art gallery on tea bag boxes to grab the consumers attention when they are most in need of a break

Fig 27. ‘Tea for Time Front Mock-Up’, 2021

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Fig 27. ‘Tea for Time Front Mock-Up’, 2021

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don’t forget to pop your teabag into the food waste bin

Fig 28. ‘Tea for Time Net Mock-Up’, 2021

A typical alternative to digital marketing would be use of posters and billboards, however, as the consumer isn’t leaving their home frequently, this wouldn’t be an effective method of reaching the consumer during lockdown. Instead, Tea for Time makes use of underutilised advertising space and brings the campaign into the place the consumer spends most of their time: their home.

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biodegradable teabags and fully recyclable box

the outcomes

The name ‘Tea for Time’ encourages consumers to use their tea break as time to take a moment to themselves to truly relax and be mindful. It also ties in to the overall ‘Time Out’ message of the campaign.

typical values

per 100ml infusion

Energy

10KJ / 2Kcal

Fat

of which saturates

Carbohydrate

of which sugars

Want to talk tea? Call us on 01264 313444, visit our website at twinings.co.uk or write to us at: R Twining and Company Limited, South Way, Andover, Hampshire, SP10 5AQ

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don’t forget to pop your teabag into the food waste bin

Fig 28. ‘Tea for Time Net Mock-Up’, 2021

we source with care www.sourcedwithcare.com

biodegradable teabags and fully recyclable box

the outcomes

typical values

per 100ml infusion

Energy

10KJ / 2Kcal

Fat

of which saturates

Carbohydrate

of which sugars

Want to talk tea? Call us on 01264 313444, visit our website at twinings.co.uk or write to us at: R Twining and Company Limited, South Way, Andover, Hampshire, SP10 5AQ

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the outcomes

This outcome taps into the moment of the consumer’s day when they’re feeling most drained; mid-afternoon. After hours of working from home, the consumer is bored, burnt out and in desperate need of some mental restoration that will spur them on until the end of the day. At this time, the consumer typically takes a short break to make a hot drink and have a snack, and will scroll through social media for some stress relief. Instead of overwhelming themselves with social media content, this packaging provides a purposeful alternative; the consumer can spend a couple of minutes looking at the art gallery, which will be much more effectively restorative. Even if the packaging only grabs the consumers attention for a moment, it will prompt them to consider something that may not have crossed their mind before: visiting an art gallery.

SHORT TERM RESPONSE The consumer feels much more relaxed after spending their break away from their devices. They decide to look into The Laing or art galleries in their area that they could visit once they reopen. LONG TERM RESPONSE The consumer starts spending more of their breaks way from devices and instead doing more restorative activities. This helps them to feel consistently less stressed and anxious 58

Fig 29. ‘Tea for Time Back Mock-Up’, 2021

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Fig 29. ‘Tea for Time Back Mock-Up’, 2021

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INSIGHT Experiences that are passive yet immersive are the most restorative AIM Bring random moments of restoration to the consumer’s day, to inspire them to try anxiety management techniques they have never thought about before ACTION Transform unexpected city spaces into makeshift art galleries by displaying posters advertising the exhibition in ornate gold frames, like those used by The Laing

Fig 30. ‘Time Out Poster Mock-Up’, 2021

TIME OUT POSTER CAMPAIGN The Time Out poster campaign takes a more guerilla approach to the outdoor marketing typically used by the laing, transforming a simple poster campaign into an escapist art gallery installation.

the outcomes

Fig 30. ‘Time Out Poster Mock-Up’, 2021

Fig 31. ‘Time Out Installation Mock-Up’, 2021

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Art deco inspired posters (see appendix pg. 174-181) serve as both visual artworks and subtle advertisements for the Laing. Transportive slogans and visuals play on the theme of water, and present The Laing as a blissful, escapist holiday destination. The posters will be framed in ornate gold frames, similar to those used by the gallery, to elevate the campaign and take it from simple posters to an installation that transforms it’s space into a miniature art gallery. These installations will feature in two Tyne and Wear metro stations; Jesmond and Manors, as these are located in the areas with the highest student populations. The metro is synonymous with Newcastle culture, and it’s billboards and poster spaces are frequently used by the Laing to promote exhibitions. Students typically use the metro to travel to and from university, so it is likely that their mind will be on the pressures of their workload as they wait at the platform. Viewing the gallery installation will distract their mind as they focus on the art and enjoy the space, demonstrating how impactful art galleries could be for their overall mental health.

SHORT TERM RESPONSE The consumer experiences a moment of joy and forgets about their stresses. This emotional impact makes the campaign stick in their mind, so they make a plan to visit the exhibition LONG TERM RESPONSE The consumer now associates mental restoration with visiting museums, so they make a point to visit them more regularly

Fig 32. ‘Time Out Installation Mock-Up’, 2021

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Fig 32. ‘Time Out Installation Mock-Up’, 2021

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TIME OUT EXHIBITION ‘Time Out’ is an exhibition hosted at The Laing Art Gallery. The exhibition is free to attend and will take place from the 17th of May until August 31st. It features art from the Laing’s ‘Art Deco by the Sea’ exhibition which was cut short due to the Coronavirus Lockdown.

INSIGHT Museums share similar characteristics to natural environments, which are proven to have mental health restoring properties. Experiences that are passive yet immersive are the most restorative. AIM Encourage the adult Gen Z consumer to visit museums and galleries, and therefore educate them about the mental health benefits of spending time in museums through experience ACTION Create a passive yet immersive exhibition space that is designed to maximise the restorative properties of museums and make visiting The Laing both accessible and exciting for the consumer

Fig 33. ‘Time Out Exhibition Mock-Up’, 2021

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Fig 33. ‘Time Out Exhibition Mock-Up’, 2021

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flat plan and consumer journey

The consumer enters the gallery into the waiting area. If necessary, they may be instructed to queue or have tickets checked.

Fig 34. ‘Time Out Exhibition Flat Plan’, 2021

They are greeted by a member of staff who can answer any initial questions. They will be offered an audio headset. 68

Free exploration within the gallery. The consumer is allowed to explore in their own way, at their own pace

The consumer exits the gallery. They choose a complimentary reflective postcard from the wall display.

The consumer enters the reflection area. They take a seat at the desk and fill out their postcard.

The consumer has the option to purchase a full set of the reflective postcards from the checkout point.

The consumer hands their headset back to a member of staff and exits the exhibition back into the main Laing Gallery

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flat plan and consumer journey

The consumer enters the gallery into the waiting area. If necessary, they may be instructed to queue or have tickets checked.

Fig 34. ‘Time Out Exhibition Flat Plan’, 2021

They are greeted by a member of staff who can answer any initial questions. They will be offered an audio headset. 68

Free exploration within the gallery. The consumer is allowed to explore in their own way, at their own pace

The consumer exits the gallery. They choose a complimentary reflective postcard from the wall display.

The consumer enters the reflection area. They take a seat at the desk and fill out their postcard.

The consumer has the option to purchase a full set of the reflective postcards from the checkout point.

The consumer hands their headset back to a member of staff and exits the exhibition back into the main Laing Gallery

the outcomes

INSIGHT Uncertainty is the overriding issue within the museum sector during the pandemic. Frequent changes in rules and regulations make it impossible to plan ahead. OUTCOME The flexible waiting space will allow the exhibition to adapt to whatever rules may come into place; it could be used for queueing, checking tickets, regulating the capacity, track and trace, or simply as a seating area.

Audiotours InHand Guides will be offered to consumers at the exhibition entrance. However instead of playing informational audio, they will be loaded with a guided meditation to help the consumer keep focused on mindfully experiencing the gallery and not becoming distracted by other thoughts or worries. This adds an optional multi-sensory dimension to the experience and will be particularly useful for those who have never tried any anxiety management techniques before.

Fig 35. ‘Time Out Exhibition Mock-Up’, 2021

Fig 36. ‘Audio Headset Mock-Up’, 2021

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Fig 35. ‘Time Out Exhibition Mock-Up’, 2021

Fig 36. ‘Audio Headset Mock-Up’, 2021

Fig 37. ‘Time Out Exhibition Mock-Up’, 2021

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EVALUATE Based on the campaign, the consumer believes that visiting The Laing will be beneficial to them

CONSIDER The wants to try a new anxiety management technique

BOND The consumer understands how the museum can benefit them

On their first visit, the consumer may be in a positive mood, excited to visit a new exhibition. The emotional bond is key here; the consumer will remember how the museum relaxed and refreshed them, so they know it’s a resource they can use when they do feel down or anxious

ADVOCATE The consumer tells their peers about the experience

VISIT The consumer decides to visit The Laing ENJOY Visiting The Laing exhibition has a positive impact on their mental health

(Court, Elzinga, Mulder and Jorgan Vetvik, 2009) Fig 38. ‘Loyalty Loop’, 2021

Fig 39. ‘Time Out Exhibition Mock-Up’, 2021

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EVALUATE Based on the campaign, the consumer believes that visiting The Laing will be beneficial to them

CONSIDER The wants to try a new anxiety management technique

BOND The consumer understands how the museum can benefit them

ADVOCATE The consumer tells their peers about the experience

VISIT The consumer decides to visit The Laing ENJOY Visiting The Laing exhibition has a positive impact on their mental health

(Court, Elzinga, Mulder and Jorgan Vetvik, 2009) Fig 38. ‘Loyalty Loop’, 2021

Fig 39. ‘Time Out Exhibition Mock-Up’, 2021

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INSIGHT Museums share similar characteristics to natural environments, which are proven to have mental health restoring properties (Kaplan and Kaplan, 1995.) OUTCOME My exhibition space follows many of the visual expectations of museums and galleries in order to maintain this naturally restorative environment. Curved forms, architectural ceiling details, polished wood floors and ornate gold frames were all selected with respect to the conventions of traditional museums and galleries.

The reflection area is a practical space for the consumer to fill out their reflective postcard. Situated after the gallery but before the outside world, it provides a moment that is often forgotten in our rushed lives; a chance to pause and consider how the experience we have just partaken in has affected our mood. The desired outcome of this space is that the consumer will realise how much better they feel after spending some time in a gallery, and therefore want to visit again.

Fig 40. ‘Time Out Exhibition Mock-Up’, 2021

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Fig 40. ‘Time Out Exhibition Mock-Up’, 2021

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INSIGHT Extreme attention to detail and colour is key when creating an escapist space: it has to feel ‘unrealistic’, like a different world with practicalities removed OUTCOME The exhibition space follows a cohesive scheme of colours and textures throughout every room, tying the whole space together. The use of bright colours separates the space from the rest of The Laing, making it feel like an even deeper point of escapism.

Before leaving the gallery, the consumer will have the option to purchase a full set of the reflective postcards from a checkout point for £4. This will enable them to continue their anxiety management journey beyond this exhibition; the cards can be used after any type of anxiety management activity. The checkout area itself is kept simple to fit with the escapist, ‘unreal’ nature of the space; just a digital POS with the card sets displayed on simple shelves behind.

SHORT TERM RESPONSE The consumer experiences positive restoration and therefore forms a connection between that feeling and visiting art galleries LONG TERM RESPONSE The consumer continues to return to the Laing as well as other museums and galleries when they are in need of a break from their stressful schedule Fig 41. ‘Time Out Exhibition Mock-Up’, 2021

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TIME OUT POSTCARDS This set of six prompt cards will be available to purchase from the exhibition and The Laing’s online shop. In a subtle reference to the holiday theme of the campaign, the prompt cards take the form of postcards, with visuals on one side and space for reflection on the other.

INSIGHT Tracking and reflecting is a huge part of the current health and wellness market. Consumers want to see a physical record of their goals and behaviours, as this motivates them to maintain a routine. AIM To prompt the consumer to dedicate set time to anxiety management and provide them with a place to consciously consider the impact of the experience ACTION Create physical prompt cards consumers can use to record and reflect on the time they spent actively managing their anxiety, which will help them make more informed choices in the future

Fig 42. ‘Time Out Postcard Mock-Up’, 2021

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Fig 42. ‘Time Out Postcard Mock-Up’, 2021

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The visual design of the postcards takes inspiration from artists of the art deco movement such as Gert Sellheim and Tom Purvis. The colour and simplicity of the designs ties in with the immersive, ‘unreal’ aesthetic of the surrounding space, while the handcrafted papercut element adds depth. Each postcard design features a different prompt on the reverse to aid reflection. The statements are open, and not specific to any sort of experience, so that after visiting the gallery, the consumer can use them to reflect on anything they want. The address section is repurposed so the consumer can fill in the practical details of their anxiety management, allowing them to efficiently record and track their progress.

Figs 43-46. ‘Time Out Postcard Mock-Up’, 2021

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Figs 43-46. ‘Time Out Postcard Mock-Up’, 2021

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Figs 47-48. ‘Time Out Postcard Mock-Up’, 2021

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Figs 49-51. ‘Time Out Postcard Mock-Up’, 2021

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Figs 47-48. ‘Time Out Postcard Mock-Up’, 2021

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Figs 49-51. ‘Time Out Postcard Mock-Up’, 2021

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The postcards are double hole punched across the top edge, as when they are displayed in the gallery they will be hung from pegs in the wall. When sold as a set, the cards will be bound with metal binder rings so they can be easily taken out, filled out and popped back in as and when the consumer desires. Further cards or other bits of reflection can also be added into the collection; it is adaptable to however each individual consumer wants to work.

SHORT TERM RESPONSE The consumer begins to better understand how the activities they partake in affect their mental health LONG TERM RESPONSE Physically seeing their progress stored in one place motivates the consumer to keep consistently managing their anxiety and reflecting on it for the long term Figs 52-53. ‘Time Out Postcard Mock-Up’, 2021

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INSIGHT The maintenance stage of behavioural change lasts from six months up to around five years. (transtheoretical model ref). Only after this time is the risk of relapse reduced to almost zero. AIM To aid the long term improvement of the consumers mental health by communicating that The Laing will be there as a means of restoration for the long term

CHANGES TO THE LAING Two features will be introduced into The Laing permanently to aid consumer restoration long-term; audio headsets and reflective postcards. This will not only benefit the consumer, but also The Laing, by ensuring that this new audience will keep returning.

ACTION Incorporate some of the restorative features from the Time Out exhibition into The Laing’s other galleries and exhibitions on a permanent basis A new reflective postcard design will be produced for each future exhibition. These will be complimentary, so visitors can reflect on the experience afterwards. Like a collectable item, they can be slotted into the consumers original collection.

SHORT TERM RESPONSE After the Time Out exhibition has ended, the consumer decides to visit the gallery again, and with the help of these new changes, has an experience that is equally restorative

The Audiotours InHand Guides with a recorded guided meditation will be made available for consumers to use in any of the Laing’s galleries or exhibitions. This will help the consumer enhance any exhibition into a fully restorative experience.

LONG TERM RESPONSE The Laing becomes the consumers go-to option when they are in need of some calm and relaxation

Fig 54. ‘Time Out Postcard Mock-Up’, 2021

Fig 55. ‘Audio Headset Mock-Up’, 2021

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SHORT TERM RESPONSE After the Time Out exhibition has ended, the consumer decides to visit the gallery again, and with the help of these new changes, has an experience that is equally restorative

LONG TERM RESPONSE The Laing becomes the consumers go-to option when they are in need of some calm and relaxation

Fig 54. ‘Time Out Postcard Mock-Up’, 2021

Fig 55. ‘Audio Headset Mock-Up’, 2021

THE CONCLUSION

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the conclusion

campaign overview PRODUCT PACKAGING Reaching the locked down consumer in their home, through a method that encourages them to decrease their reliance on digital content

POSTER CAMPAIGN Bring random moments of restoration to the consumer’s day, to inspire them to try anxiety management techniques they have never thought about before

INSTAGRAM PAGE Purposeful social media content that will encourage the consumer to rethink the anxiety management techniques they are using in a positive way

LIFESTYLE Due to lockdown restrictions, the consumer is trapped in a monotonous cycle of working from home and using social media and streaming content to entertain themselves

PROMPT CARDS To prompt the consumer to dedicate set time to anxiety management and provide them with a place to consciously consider the impact of the experience

EXHIBITION SPACE A passive yet immersive exhibition space that will allow the consumer to learn about the mental health benefits of museums through experience

TONE OF VOICE Knowledgable and passionate yet warm, positive and unintimidating

PERSONALITY Open, warm, welcoming, optimistic and transportive Fig 56. ‘Campaign 360’, 2021

ASPIRATION A vibrant social life which allows them to unwind and recharge after work; the life they had pre-lockdown

NEEDS A new way to take a break and restore their mental health away from their devices and usual environment

360 DEGREE APPROACH

INTERNAL DRIVERS The gallery is passionate about being an inclusive environment, supporting individuals and bringing the community together

VISUAL IDENTITY A ‘blank canvas’ brand; they adapt their visual communications to suit the exhibitions they are currently running

AIMS Reduce stress and anxiety amongst the target consumer group DESIGN RECIPE Sunny primary colours and bold, art deco style fonts, reminiscent of a vintage travel advert

PRODUCT The inspiration, motivation and education required to help consumers try new anxiety management techniques

Attract a new audience to the Laing Art Gallery Challenge the wellness market’s reliance on digital platforms

EXTERNAL DRIVERS The gallery is governement and donor funded, and a pillar of culture and community in Newcastle city centre

IDEA Use museums as a platform to inspire, motivate and educate consumers to make more considered choices about anxiety management