二十多年前的酷暑,我探訪政大學生暑期實習,來到位於和平東路的勞斯廣告公司,心裡面吶悶著,一家只有數人的廣告公司為何能在強敵環伺的跨國廣告公司中出類拔萃?期間巧遇勞斯創辦人陳世倫先生,當時他正忙於公司業務與我只是匆匆一瞥。直到2001年他進入師大設計研究所在職專班進修,我們才逐漸熟識,並藉由他為人處世哲學,開始認識他的作品及作品背後的義涵!

八○年代的台灣工商業開始繁華,也開啟了廣告業的黃金歲月,當時有不少擁有美術基礎的人投入廣告設計行列並在其中游刃有餘,但僅有少數人的作品有強烈文化符碼與中國美學的思維。陳世倫教授早期在廣告界能脫穎而出的作品便是巧妙的運用這些概念,恰如其分的將商品的好處道出來。進入設計所後,他獨到的設計思維與創意模式更進一步淬鍊與催化,雖忝為老師,但從他身上獲益更勝於所教授的知識。之後,他轉入學術界服務,先後在中國科技大學與致理科技大學任教,毫不保留將多年寶貴實務經驗傳授下去。

世倫兄轉戰學術界後,不僅擦亮中國科技大學傳達設計系的招牌,百忙之中,不僅每年舉辦文創產業學術研討會,更帶領學生屢獲國際設計競賽大獎,如:紅點Red Dot設計獎、IF設計獎等,幾乎攘括所有的設計大獎,如此輝煌的成績在學術界中算是罕見。他以中國文字的造形結合影像設計的海報,無限延伸觀者的視野,這當中我最欣賞「山、水」與「日、月」系列的海報設計,即便是外國人一眼就能體會中國造字的奧妙與精髓,不得不佩服世倫兄的巧思與對漢字的徹底研究。令人敬佩的是,世倫兄不僅熱愛創作、勤作公益,對學術知識的追求更是無所懈怠,他在設計創作達巔峰之時進入台師大美術研究所攻讀博士學位,他的博士論文—「文化對比應用於廣告敘事及視覺修辭的研究」,將廣告敘事手法,隱喻、明喻及暗喻等意念,透過文化符碼與視覺再現的方式進一步的剖析與探討。

近年來世倫兄轉任致理科技大學,不僅榮升教授,更擔任創新學院院長暨多媒體設計系主任乙職,雖公務繁忙,但作為一個創意人、藝術家與設計大師等多重角色的人,必定無法忘情創作,學校事務再繁忙必然無法困住世倫兄源源不斷的創意思維與動筆的企圖。本次「漢字文化創意陳世倫設計展」不僅可以一窺陳世倫教授歷年的得獎作品外,更可以藉由他的作品理解博大精深的漢字文化與東方美學獨到之處。展覽一月份已經開始了,一直到3/4日截止,大家可以利用過年假期來欣賞。

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認識Elevator Pitch

Get Ready Anytime!

簡報是每一位商務人士必備的技巧,早期簡報技巧是廣告、傳播及行銷人員平日修練的必殺絕技之一。隨著時代的演進,已成為各行各業都必須學習的一門功課,即使是保守的公務體系,簡報更是貼近民眾重要的溝通工具之一,不論是高考或是一般公務人員的基礎訓練都少不了「簡報技巧」的課程,可見這門學問受重視與實用的程度。

還記得早期公務機關的招標作業,完全以價格作為決標的依據,因此,往往造成廠商低價搶標或圍標壟斷工程發包的情況時有所聞,但自實施政府採購法以來,上述情況改善不少,公務機關採行公開評比的模式,廠商藉由簡報來陳述自己對標案的規劃與執行的方式,因此,簡報的優劣往往是取得優勝的關鍵因素。筆者過去擔任公務機關的評審委員,每年協助各單位至少上百場以上的簡報評審,深刻的感覺到,「簡報技巧」已是參與公務部門競標的必修學分,因為在短短的十到十五分鐘的簡報過程,如何把企劃書說清楚、講明白是有一定的挑戰,此外,簡報中還要介紹公司過往的實績與競爭對手的差異,這些都必須在短短的時間內講述完畢,因此,壓力是相當大的,若無平日的練習是很難勝任的。

很多人誤以為簡報一定得製作投影片,架設好電腦投影機。許多的場合與狀況下,你被限制只有3~5分鐘的簡報時間,甚而只有60秒的時間來做簡報,這時候只有口頭說明最直接。在歐美非常流行的「電梯晤談(Elevator pitch)」,意思是簡報者只有非常短暫的時間可以說明構想,就如同在電梯間遇到老闆,你只有極短暫的時間介紹你自己或你對公司的想法建議,因為一旦電梯門打開,即表示時間到了,不管你有沒有講完就必須停止。許多創投的會議中,投資者的時間非常有限,任何的提案都必須在短時間內讓人理解,並產生興趣,因此,每個人都要學習如何讓自己的構想精簡,換言之,就是Keep it short and simpleKiss準則。

我過去曾輔導過許多高中生或大學生,參加升學或就業時的面試,如何在短時間完整的介紹自己,並且讓人印象深刻?就是要掌握Elevator pitch的重點,這些包括:1. 了解此行的目的、2. 點出自己與其他對手的差異、3. 找出你與這家公司(學校)的重要連結、4. 提供對自己有利的數據(這些數據是對方感興趣的)5. 最好能在一分鐘內表達清楚。如果你能掌握這五點,相信必定讓人留下深刻的印象。

參考以下的例子:https://youtu.be/IxunO4S96F4

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原來新店以前有鐵路―萬華到新店的萬新鐵路

在新店居住超過十年了,竟沒發現原來新店以前是有鐵路支線的。

1921年日治時代建設,當時同台北廳還有到淡水及雙溪的支線,如今也只剩下雙溪了。

偶然間看1965年3月的聯合報,新聞是報導鐵路局決定要拆除萬新鐵道,這條全長僅10.3公里,卻有十二個站,如今,鐵道的舊址大都不復見了,僅有照片讓人懷念了!

IMG_2001[1].JPG

原來以前也有萬隆站,圖片來源:紀州庵文史館

IMG_1998[1].JPG

也有四川飯店,不知跟政大的四川飯店一不一樣?圖片來源:紀州庵文史館

IMG_1997[1].JPG

這在螢橋車站,汀洲路、廈門街口的地方。圖片來源:紀州庵文史館

 

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2012年美國超級盃Super Bowl剛剛落幕,來自紐約的巨人隊以21174分之差擊敗新英格蘭的愛國者隊,巨人隊的四分衛Eli Manning也獲得最佳球員獎。一年一度超級盃的盛事,除了是全美國觀眾關注的焦點外,另外,它也是廣告主暨行銷傳播業者豪賭的戰場,這麼精彩的金錢賽局廣告、行銷傳播人當然不能錯過。在介紹今年廣告戰局之前,大家知道嗎?超級盃剛開始時它的門票是賣不完的,那像現在是一票難求,而且更好玩的是,在前十屆開始轉播時,還禁止在比賽的城市中轉播,為了怕影響球賽票房,那像現在全球至少有超過十億人口收看超級盃,真是不可同日而語。

在賽前USA Today就介紹這次廣告的型態是Celebrity Bowl,相較於去年的跨媒體策略的Transmedia Bowl有顯著的差異,因為今年廣告動用許多A咖來代言,藉由名人代言結合超級盃精彩戰事,讓你全場四小時轉播Hold住,連上廁所的時間都沒;另一方面,今年沒轉播到的CBS就酸說今年廣告是Puppy Bowl,因為廣告一堆寵物出現。不管是Celebrity Bowl或是Puppy Bowl到底是誰比較受觀眾歡迎呢?且聽我細細道來:Celebrity這邊呢!今年請到的大咖有,小貝克漢David BeckhamH&M內衣代言,超級名模Adriana LimaVictoria’s Secret代言,Pepsi百事可樂則請到搖滾巨星Elton John結合英國選秀節目X Factor冠軍,年僅19歲的Melanie Amaro共同代言,最後還有Jerry SeinfeldJay LenoAcura的超級跑車NSX代言,這麼多的大咖令人目不暇接,撇開30秒廣告要價350萬美金的天價不說,代言人費更是驚人,難怪這是一場品牌的金錢遊戲。

1, 今年Super Bowl所有的大咖全集合(圖片引用自USA Today)

當然不是所有人都信大牌這回事,不少品牌寧願用寵物來代言,例如:可口可樂就喜歡用自家的北極熊,Doritos去年用那隻斧頭犬意外致勝後,今年除了持續用狗之外也加了可愛的baby大搞卡哇伊策略,此外,去年Bud light以人類忠實的朋友狗為主軸,今年持續這個策略,以流浪狗當綱演出。用狗當主角的還有福斯的VolkswagenSkechers運動鞋,另外,Career Builders用猴子,現代汽車用美洲豹。這麼多的動物出現在廣告中,難怪CBS要說這是Puppy Bowl了。

究竟是名人代言的Celebrity Bowl或是寵物擔綱的Puppy Bowl較受美國觀眾青睞呢?球賽結束後USA Today Admeter馬上做調查結果前五名依序分別是:Bud Light: WeegoDoritos: Sling BabyDoritos: Man's Best FriendM&M's: Just My ShellVolkswagen: Dog Strikes Back,看起來Puppy Bowl 大獲全勝,廣告中寵物與Baby一直是觀眾最喜歡的,而且不論男女皆然,看來帥哥、美女的名人代言不再奏效,是浪費錢,國內的廣告主也不要有名人代言的迷思啦!當然名人代言也不全沒有佳作,我特別推薦今年Pepsi for all的廣告,也見識到Melanie Amaro的演唱功力令人佩服。請看下面幾則今年Super Bowl受歡迎的廣告:




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201126日,全美眾所期待的超級杯大戰即將揭開序幕,先前各家美體就不斷預測,究竟是以進攻著名的綠灣包裝人隊(Green Bay Packers)或已經擁有六座超級盃獎座的匹茲堡鋼鐵人隊(Pittsburgh Steelers)最終會抱走冠軍杯。當然各家品牌都事先預告他們為超級杯精心拍攝廣告的訊息,不斷透過社群媒體放送出去,NFL(美國足球聯盟)更不斷炒熱球賽話題,例如:前一陣子Steelers的四分衛Ben Roethlisberger因為捲入性騷擾案被聯盟禁賽六場的新聞,讓整個球賽也增添不少八卦氛圍,連在轉播球賽時主播也在提這件事。比賽最中結果Packers3125力客Steelers,抱走超級杯的冠軍杯,也讓我們這些Steelers的粉絲們有些小小失望。

為什麼超級杯的廣告會變成眾所注目的話題焦點,除了它是收視率的焦點外,對廣告人來說它更有其歷史意涵在裡面。“1984”蘋果的麥金塔電腦廣告在超級杯中引起廣大的迴響,現在翻開美國廣告的教科書都會提到這件事,當年電視媒體一枝獨秀,自然成就麥金塔的傳奇,但在網路時代下情況是不是改變了呢?據這次轉播的Fox電視宣稱,他們在去年十月就將廣告時段銷售一空,可見想要在Super Bowl播出廣告,不只口袋要深,連搶位子的功夫也要一流,根據Fox的官方消息呢,播一支30秒.的廣告要花3百萬美金,這一次45屆的超級杯則有30個廣告主,60支廣告會在全球放送,但事實上觀眾看到的就不只是這樣,以我為例,我就至少看到91支廣告(我都有作筆記喔!),地方頻道會偷偷加廣告進去,Fox也暗渡陳倉自己節目的廣告進去,連我們PennState大學的形象廣告也進去,真是傷腦筋!所以一場球賽下來整整三個多小時才看完,廣告訊息可說是鋪天蓋地而來,這種商業模式與置入性手法,我們國家通訊傳播委員會(NCC)看了大概會經嚇到屁滾尿流吧!

如果你以為廣告只有廣告時段出現那就是大錯特錯了!中場的表演節目由普利司通(Bridgestone)輪胎贊助,來賓講評由Pepsi Mas(百事新產品)贊助,此外,還有播報台、字卡,甚至是球場的草地都出現贊助商的logo。時代不斷進步,廣告手法也不斷出陳推新,電視轉播雖然已經是舊媒體了,但是手法還是可以翻新,關鍵在於人的創意是否能讓觀眾看到訊息,廣告主心甘情願將鈔票捧上,而且還拜託你一定得收下。美國廣告人Watts Wacker說他們在操作廣告時,是沒有新、舊媒體之分的,頂多只是onlineoffline,也就是線上與線下媒體的分別而已。今年度的操作手法他們則稱為:Transmedia Bowl,也就是穿越媒體的訊息手法(注意喔!不是整合媒體手法),到底甚麼是Transmedia呢?我來說給各位聽聽,就是在A媒體看到廣告後(例如:電視),然後到B媒體(Facebook)buzz,也就是加入討論,或到C媒體(iPadiPhone)去下載coupon,百事可樂的數位總監Shiv Singh說,根據他們調查18~34歲他們的主要客戶中,有2/3的人會用他們的智慧型手機看轉播,59%會用email或簡訊談論球賽,另外18%會用手機上網看廣告的產品,百事可樂今年可是頭一遭在iPad上購買Super Bowl的球賽廣告,或許這就是未來廣告的趨勢,載具(platform)也兼具媒體的特色。

我們來看看幾則今年的精采案例:首先廣告一開場的是Ford的Fortis廣告揭開序幕,緊接著令我眼睛為之一亮的是,韓國汽車Kia Optima汽車廣告,這則以壯麗旅程“One Epic Ride” 為名的廣告,以海神為背景刻劃出這輛車子的傳奇過程,這支廣告令我心動,要不是有韓國情節,我一定很想擁有這輛車子,這支60secs廣告是Kia勒緊褲帶製作的,我相信製作費也灑下不少銀子,同樣是韓國Hyundai也推出330secs的廣告,但我個人覺的表現平平。Kia的廣告有顛覆我對這家汽車廠的印象,看來我們台灣凱子泰的Luxgen加油了,不要再出現前一陣子廣告抄襲的風波(這支廣告我還在部落格為文批評請參閱,沒想到記者沒新聞也拿去報導)。無名已經無法崁入影片了,請大家看連結。
http://www.youtube.com/embed/BLGj6iSZvak
歐系汽車中在Super Bowl中出現的有Audi, BMW, Mercedes-Benz, Mini Cooper, Volkswagen等,也是各顯身手、不遑多讓,不過我看好Audi A8這支60secs廣告,這支專為Super bowl製作,看來是成功打動美國白領多金的階層,Mercedes-Benz在廣告中被Audi A8譏為毫無用武之地,幽默中頗具殺傷力,相較之下Mercedes-Benz的表現則較平凡,Audi汽車近來在台灣也大也斬獲,看來他們全球策略是緊咬M. Benz不放。美系汽車中GM, Chrysler傳統美國品牌,自然不放過在全美觀眾面前再塑形象,令我訝異的是,近年來銷售已經起色的Ford汽車竟然在這次品牌大會戰中只有fortis在開場時小試身手而已。
http://www.youtube.com/embed/3snyXTNmFm8
http://www.youtube.com/embed/R55e-uHQna0
此外這支new passat的廣告也蠻可愛的。

這次灑下最多銀子的是PepsiCo,中場的評論贊助不算,自家品牌Pepsi Maxx, Doritos(玉米片), 立頓Lipton Brisk tea總共上了7支廣告,除此之外,Pepsi也在iPadFacebook中置入廣告,看來iPad的風潮已經燃燒了。Coca-Cola的廣告雖說沒有像Pepsi那麼順應潮流,但這次他們拖播的260 secs廣告也是大成本的動畫特效廣告,具有東方傳奇的色彩,故事背景類似功夫熊貓的場景,3D、阿凡達的類似場景充斥廣告的風格呈現,或許從這個潮流中可以嗅出當前美國人的口味。最後要提的是啤酒廣告,美國人看Super Bowl啤酒一定是少不了的,美國人大體來說算是愛喝酒的,當然酒商也都趁機大發利市一番,我們鄰近的啤酒批發商週末是不開門的,可是在Super Bowl這天意外的營業,為了應付美國人看球賽的需要,當然美國最大酒商Anheuser Bush(旗下品牌如:Budweiser, Bud Light, Stella Artois)也大手筆刊播5支廣告。
http://www.youtube.com/embed/1mjRU6b4ecw
Pepsi max今年算是小成本的製作,錢都灑到媒體刊播了。
http://www.youtube.com/embed/Uaz5R7HjHA8
Coca-Cola製作費看起來比較貴喔!

這幾個廣告播出後結果如何呢?根據USA Today的廣告測量(Ad Meter),結果最佳的是Bud Light的廣告最受歡迎,這支廣告蠻討喜的,以一堆狗狗為主角,因而大獲受測者的青睞評定第一,另外一隻以斧頭犬狗狗的Doritos廣告贏得第二,驗證一件事,動物比俊男美女更吸睛。不過我覺得Ad Meter的測量方法不見的準,因為它是在球賽轉播時找來一群人來評分(1~10),受測者有多少?性別、年齡層、教育層度完全沒說,我想大概是媒體當成新聞在炒作,是否有研究價值則見仁見智,我的看法就跟這群受測者的偏好就不太一樣。
http://www.youtube.com/embed/qcN4S0jSYI0
http://www.youtube.com/embed/hpjaOUjUPUc這兩則廣告是Ad Meter評定最受歡迎的廣告,沒有大卡司,狗就是主角。

想看所有廣告的朋友請到這裡:http://www.usatoday.com/money/advertising/admeter/2011/super-bowl-ad-meter/43271432/1  。這個部分我只介紹電視廣告的部分,下階段我要說明Social Networking如何與offline media供同操作,以達到所謂Transmedia的效果。(賴建都教授,資料來源:usatoday.com)

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A field without a formalized body of history and a community of academic historians could hardly be called a profession.Katherine McCoy (2005, p. 8)  

1. Introduction

Design or advertising activities normally evolve with the development of the social economy. In early days when there was no professional education in design, people tended to resort to people who knew about art and painting to produce design. Therefore, “graphic” related subjects already existed in the early art education, and Taiwanese art was originated from the art and craft education in the Japanese colonial period. The art and craft education in that period of time was already implemented in the direction of developing art education, and there were plenty of young painters devoted themselves to art education. Thus, in the middle of the colonial period, the art education started to flourish in Taiwan.

According to Yen (2000), significant design activities sprouted in the colonial period and presumed that design related activities started from the Japanese colonial period. Though there were no art schools in that period of time, plenty of outstanding young artists already had their stages to perform under the Japanese rule. These artists later became the pioneers of local Taiwanese artists after Taiwan ’s restoration to the Chinese government. From literatures and references we also had a picture that these pioneers of Taiwanese art also worked as artistic designers and commercial designers in that period of time. Due to the fact that the concept of “design” did not actually exist in Taiwan , many design works were taken by painters, e.g. Ishikawa Kinnichiro and Yan Yue Tao Fu.

In early days posters, packaging, newspaper ads, trademarks, catalogs or even the commercial constructions and costume drawing, the practical designed objects demanded in the market, were produced by people with basic art backgrounds who most of the time graduated from general colleges. In 1947, Taiwan Provincial Normal College established the painting and handwork department and recruited teachers from Ishikawa Kinnichiro’s students. The original mission of “painting and handwork” department was to prepare the middle school art teachers, but later the graduates of the department became the main force of faculty in university of art department. Ishikawa’s student, Chen Hui-Kun once taught the course “patterns” in the department, and that was a few of design related courses offered in the painting and handwork department. There were plenty of the first group of graduates posing significant impacts on the design education in Taiwan, e.g. Shih Tsue-Feng, Kao Ching-Chung, Yiu Hsiang-Chi, Sung Chih-Hsiung and so on, among which Shih Tsue-Feng served as the head of the art and craft department in National Arts College for 8 years since 1964 and later the head of the art department in Chinese Culture College for 5 years, posing great influence on the early design education. Kao Ching-Chung taught in the industrial design department in Taipei College of Technology. Yiu Hsiang-Chi taught in National Arts College and Sung Shih-Hsiung worked in the relevant industry of advertising. Those were the pioneers of design educators in Taiwan after colonial age.

Design-related contents already appeared in the field of drawing, painting and handcrafts, for example geometric paintings, coloring, patterns, crafts and so on. Therefore, in the research on the origin of the Taiwanese design, it is once again proved that the design education in Taiwan was originated from art education, and a part of it came from the “drawing, painting and handicraft” subjects in the Japanese colonial period. Such assumption is similar to the theory that the design education in the west comes from the field of art. As McCoy mentioned that design discipline has been slowly moving in art schools and university art department, it has been decades’ development and finally realized that design is not simply a commercial application of fine arts ideas and processes (McCoy, 2005). Therefore, in researching the origin of design education, I shall trace the track of the history in the “drawing, painting and handicraft” subjects in early days in Taiwan.

Looking back at the development of design education in Taiwan, it has long merely been a few courses offered in the art department but only caught people’s eyes in the 1960s. In the early 1960s, a number of local TV stations, advertising agencies and news agencies were established one after another. The market then demanded a large quantity of talent of art, illustration or design backgrounds; thus the art and craft department in schools became the cradle of incubating design talent. As Frascard addressed (2001) that “design exists because there are needs to meet, tasks to undertake, goods to sell, people to train, objects of many sorts to help…(p. 15),” Frascard clearly explained what design was to meet human needs, wishes and desires. In the early 1960s social and economic movement made the market, especially in advertising industry, the market need forced the educators in art department to face the problems of design education. Once American graphic design professor Steven Heller called “Advertising: the mother of graphic design (Weill, 2003, p. 134).” Owing to the reason that the design curricula in early days emphasized more on the field of art with little interest in applied design, it was obvious that the education in the art department didn’t meet the requirement of being a professional design practitioner.

As I review the references conflicts, debates and critics came from both academic and industry, at the same time, owing to the termination of American Aid, the United Nations as well as the government defined developing industry as the main mission and expanding exports. Later the government promulgated “Statute for the Encouragement of Investment”, and in the process of rapid industrialization, promoting the handicraft industry in the private sector was another mission. The “living room factories” revealed the era of the gradual boosting economy in Taiwan. The Taiwan government and private societies in the 1960s invested quite a lot of efforts in the design industry. As I am to investigate the history of design education in Taiwan and found very few of publications or documents discussed the design education in formal school system. How design was taught in the university art departments or art schools? And who were the qualified professionals to incubate our young designers during the adolescence age? The history of design education in Taiwan still remains mysteries for us to unfold, especially in the 1960s.

2. Statement of research problems

The word “design” did not exist in that period of time, and all the drawn patterns or promotional materials were made by capable painters, and that was the reason why all the design activities or design courses were taught in arts departments only. Taiwan Normal College (later became National Taiwan Normal University in 1968) played a very important role in terms of promoting arts. However, general colleges or normal universities were established for incubating art teachers, whose expertise were not able to practice the requirement in the design or advertising industry. In 1957, the art and craft department in National Arts College (a 5-year curriculum) and Private Fu-Hsin Trade and Arts School were established, and since then the design education in Taiwan had entered to the field of art and craft. The 3-year art and craft curriculum in National Arts College was later established in 1962 and the arts department of Chinese Culture College in 1963, which was the incubating period of Taiwan ’s design education.

In that period of time, those schools began to add graphic design, commercial design and three-dimension design to replace the existing “pattern” course, and National Arts College further divided the second year curriculum into “product design section” and “adornment design section.” A transforming society required many people of design backgrounds to join design and advertising industry’s work force, and schools, institutes echoed their demands to develop design curriculum to prepare students meet their requirements. And here I would like to raise my questionhow were these courses taught? What was the core knowledge introduced in the early stage of design education? Who were the persons to teach design in the 1960s?

As I tracked back the references, and found that design courses were taught by the persons came from: 1) graduates of Taipei Normal College in the Japanese colonial period or students of other Japanese painters (such as: Ishikawa Kinnichiro), 2) artists once studied abroad in Japan and 3) some Chinese painters retreating to Taiwan with the Chinese national government. Some of these Chinese exiled artists were students of Hsu Bei-Hong of Peking Arts College, students of Liu Hai-Su of Shanghai Arts College and graduates of Hangzhou Arts College. After the 1950s, due to the political shift, artists from mainland China gradually had in hand the art education in Taiwan, giving the legitimacy of the entire art education to Chinese ink painting, and such atmosphere indirectly affected the development of the design education. It calls my attention and curiosity how design could be taught in such situation?

The art and craft education in colleges and universities faced the problem of transformation in the 1960s. The general public tended to confuse “design” with “art”, and the society often called the people doing design “craft artisan” and have been labeling the name since then. Such phenomenon was due to the reason that most teachers in art and craft programs or departments were painters in early days, so design and painting easily confused people with their differences. We can see from literatures in the past that many people practicing design raised blistering criticism on such phenomenon. Peng(1980)  pointed out that Commercial design was regarded as a brand-new walk of life and was at the top priority of design students’ choice of career. However, the design education in that period of time was still at this initial stage of development, plus there were no former experiences to follow, so everything had to be done from the very beginning. People in charge of design education had only very vague idea of conducting design education, resulting in that today we still stay with “insufficient facilities”, “too many redundant teachers” and “too formalized system” and even occupy students’ valuable time by giving them courses unrelated to design(Peng, 1980). I would like to raise my second questions that how are the talent incubating by such design education capable of working in this modern “top career?” Was it really like Peng’s statement that design education was well-facilitated to incubate our young designers?

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Research means that someone is interested in a vague object, or something that catches one's attention, and that object can be a person, an event, a story or a phenomenon. One may start to think it from different perspectives.

At the beginning we may find it ambiguous to us, and we need to use different strategies and tools to peel or unfold the problems. We will start to ask questions, and what are these important matters for us? Are there any places or persons that we can get the resources from? And have perfect answer to our questions.

After we have a clear image of questions, we will find a suitable method to conduct. And we are about time to start to frame our work by different tools that we are familiar with. We may conduct a field observation and record everything we have seen or heard, or ask the experts, the persons who have involved with. We have to carefully select a subject(s) to ask questions step by step, and make sure all the processes systematically.

As We have collected all the data and information we need, we may start to interpret and analyze the information to answer questions clearly. we may build an argument and motivate readers to understand or accept our claim. Try to have different representations of the finding and make it easy to read for readers to follow. To sum up the processes of research is a systematic procedure to investigate or explore something that is meaning to us!

According to Booth, Colomb &William(2008, p.10), a research means “…gather information to answer a question that solves a problem.” Research can be defined to scientific research, artistic research, and historical research, and what art education does is artistic research.  Artistic research accepts subjectivity which makes it unique.

 

Reference:

Booth, W. C. Colomb, G. & William, J. M. (2008). The Craft of Research (3rd Ed.), The University of Chicago Press.

賴建都 教授 發表在 痞客邦 留言(1) 人氣()

參考下列資料:http://smokingwarning.pixnet.net/blog/post/4259944

賴建都 教授 發表在 痞客邦 留言(4) 人氣()

線上遊戲廣告置入形式與效果測量

2009年全球廣告產業在一片愁雲慘霧中度過,放眼2010年廣告景氣是否會開春?根據英國的全球廣告研究中心WARC(World Advertising Research Center)樂觀預估,整體廣告業將會復甦,特別是on-line部分將會再登另一高峰,果真如此,台灣各家廣告代理商是否作好準備了呢?

根據尼爾森媒體調查,2007 年7~12 月的NetWatch 網際網路調查,發現台灣線上遊戲的人口從2000 年的119 萬五千人攀升到2007 年的395 萬人,預估2010 將超越600 萬人,整體遊戲產值將超越120億。近年來線上遊戲改採免費遊戲的型態,也吸引許多遊戲新手投入,讓遊戲人口持續增加,幾乎已經接近上網人口的一半,換言之,平均每四個人就有一人在玩線上遊戲。

根據美國IAB 互動廣告局(Interactive Advertising Bureau)2006 年的調查發現,遊戲產業已成為全球娛樂產業的主要媒體大宗,以全美2006 年遊戲軟硬體的銷售就超過25 億美元,其中光是線上遊戲就高達12 億美元,遠超過錄影帶光碟及書籍、唱片市場的銷售。而根據DFC Intelligence 的統計,線上遊戲在2009 全球的市場規模已高達57 億美元,全美約有一億二千萬遊戲人口,預計未來人數仍會持續的攀升。另一方面,根據資策會MIC 的調查,2008 年台灣線上遊戲的市場規模將超過新台幣100 億元,預估2010年將達到新台幣120 億元。資策會也預估,由於線上遊戲的規模越來越大,投入的消費眾也越來越多,因此,廣告主投入遊戲置入廣告的預算也會隨著成長。

近幾個月作者因為進行國科會研究計畫的關係,訪問目前台灣幾家遊戲具代表表性的業者幾廣告代理商,發現遊戲業者普遍對廣告置入的形式與獲利模式尚無明確的概念,因為線上遊戲的獲利主要還是來自玩家的投入。另一方面,面對遊戲人口持續增加,廣告主個個磨刀霍霍,想與這群玩家進行溝通、說服,以行銷自家的品牌或產品,廣告公司當然對這個主題也相當的關注,只是礙於許多環節無法突破,例如:線上遊戲的廣告效果測量不易、廣告置入的方式複雜…等因素常讓代理商裹足不前。線上遊戲的種類相當多元,是屬於新的廣告模式,許多廣告主對它的型態與操作方式一知半解,即使是業者對於廣告效果的描述也是語焉不詳,往往令興致勃勃的廣告主打了退堂鼓,或許我們可以參酌美國互動廣告局IAB建議的作法來操作看看。

 隨著遊戲人口的增加,遊戲中的廣告置入(In-game advertising)也持續的增加中,並廣受廣告主的青睞,根據美國eMarketer 的調查,2003 年全美的一家代理遊戲廣告的公司Parks Associates 就預估2012 年全美遊戲廣告將高達8 億美元,洋基集團(Yankee Groups)更樂觀地預估在2011 年就會有9 億7 千萬美元的廣告投入規模。另一方面由微軟旗下Massive Inc.委託尼爾森的研究報告指出,在遊戲中置入廣告可提高品牌64%的親近性 (familiarity),至於品牌的評價也提升了37%,購買意願提升了41%,品牌回憶度則提升為41%,至於廣告評價則提升為69%。

 值得注意的是,美國總統新當選人歐巴馬在大選時投入四萬五千英鎊在熱門的線上遊戲置入競選廣告,這些投資比起他投入在幾個主要全國電視頻道上的廣告,雖說是微不足道,但卻成功地接觸到線上遊戲的年輕人,而這些人可能是不看電視的。歐巴馬陣營在美國線上遊戲龍頭藝電公司,選擇「狂飆樂園」、「瘋狂橄欖球09」、「雲斯頓賽車2009」、「NHL 冰球09」和「極限滑板」等,幾個受歡迎的線上遊戲置入競選廣告,對於總統大選結果極為關鍵的10 個州的玩家,如在網路進行連線遊戲就可以看到這些置入性廣告。相較於過去美國總統的競選廣告,通常只會選擇電視、廣播和報紙,近來雖加入網絡廣告,不過使用線上遊戲來進行宣傳倒是創舉,可見線上遊戲的廣告置入已成為國外廣告值得注意的是,美國總統新當選人歐巴馬在大選時投入四萬五千英鎊在熱門的線上遊戲置入競選廣告,這些投資比起他投入在幾個主要全國電視頻道上的廣告,雖說是微不足道,但卻成功地接觸到線上遊戲的年輕人,而這些人可能是不看電視的。歐巴馬陣營在美國線上遊戲龍頭藝電公司,選擇「狂飆樂園」、「瘋狂橄欖球09」、「雲斯頓賽車2009」、「NHL冰球09」和「極限滑板」等,幾個受歡迎的線上遊戲置入競選廣告,對於總統大選結果極為關鍵的10個州的玩家,如在網路進行連線遊戲就可以看到這些置入性廣告。相較於過去美國總統的競選廣告,通常只會選擇電視、廣播和報紙,近來雖加入網絡廣告,不過使用線上遊戲來進行宣傳倒是創舉,可見線上遊戲的廣告置入已成為國外廣告主的重視(新華網,2008)。

 

歐巴馬競選團隊於賽車遊戲中所置入的看板廣告“Vote early”,要線上玩家盡早投票給他。

資料來源:gamespot, 2008  http://www.gamespot.com/news/6199379.html

歐巴馬競選團隊於格鬥遊戲中所置入的看板廣告“Change”

資料來源:geekologie, 2008 http://www.geekologie.com/2008/10/fake_ingame_obama_political_ad.php

賴建都 教授 發表在 痞客邦 留言(1) 人氣()

這是九月初,我應邀到國際廣告行銷營的演講稿,彙整一陣子後,總算完成post到我的部落格。

第一章:創新工具與多元化媒體

新工具的不斷出現,媒體更顯多元,運用新工具新媒體也得到不錯的成績。

第一節:

Social media成為網路當紅辣子雞,『你plurk了沒?』,web 2.0時代來臨,影音上傳,bloggoogle search等開創一波新潮流

第二節:

在國外,可口可樂的fansFacebook上成立了溝通平台,參與者高達300萬人,多過歐巴馬的Facebook社群,但是最近人數被麥可傑克森的社群超越,國內的政治人物在Facebook上也開設有平台,比如馬英九,但是只有一萬多參與者,人數一直沒有增加。 最新的報導,可口可樂繼Facebook的成功經驗後,更將在iphone平台上設立社群平台。

第三節:

電影『海角7號』的成功,背後的力量來自網路社群的力量,由於PPT的社群力量把原本不看電影的人拉到電影院去了,成就了票房佳績。

第四節:

『敗犬女王』製作單位募集2000fans,利用Facebook,短時間造成空前的忠誠度超高的佳績。

第五節:

不起眼的小工具widget,也能做廣告。Widget 是一種可以在桌面顯示與執行的小軟體,提供使用者一個簡易的介面去執行一些常常用的功能,目前提供這種小玩意兒的公司主要有AppleYahooGoogle等。

第二章:金融風暴後的消費行為

根據調查在西歐與美國,有接近三分之二的消費者表示,金融風暴直接影響了他們買東西與使用媒體的行為。而在台灣也有因為新媒體的影響而成功的例子。

第一節:不可小看的口碑行銷(words of mouth)

可口可樂的兩名fansFacebook成立社團,從廣告傳播的立場來看,這種社群除了廣告的力量外,也有預防危機消弭消費者疑慮的功能,而可口可樂最後也參與經營這個社群,因此可口可樂除了使用傳統單向的媒體之外,也開始使用雙向的social media

第二節:

而『海角7號』,第一週票房平平,但到了第三第四週,設群文章明顯暴增,票房也跟著升高,而在第六第七週後,卓越的票房表現受到密切注意,票房再度上漲,除了捧紅演員之外,電影中的商品也一夕爆紅。信義鄉的馬拉桑小米酒與夏都酒店就是最好例子。

第三章:電視廣告浴火重生

電視廣告還有效嗎?Unilever在2005年就刪減了20%的電視廣告預算,而改以戶外廣告,以及以social media為主的網路廣告;無獨有偶的是海尼根也大幅刪減電視廣告預算,取而代之的是贊助行銷與店頭POP,這是30年來的頭一遭。

第一節:北美市場電視廣告的版圖被侵蝕,而網路廣告從1996年的600萬美元,一路上揚到2006年的69億美元,電視廣告要如何應變呢?

第二節:Stephen W. MarshallMarilyn Sue Roberts兩位教授針對美國Effie獎做了一個長期觀察的研究,以19992004年得獎電視廣告為研究範圍,運用內容分析法分析,發現:

    1.超過八成是30秒的廣告

    2.九成以上有key visual

    3.五成以上有強而有力的旁白

    4.八成以上有幫助記憶的標語口號及片尾音樂

    5.六成以上使用間接訴求

Effie獎是一各主要以效果為主要評估標準的廣告獎

Effie2009成功案例:成功的媒體組合

廣告商品:AXE淋浴良伴 (淋浴時使用的配備)
(
資料取材自Effie網站)

第四章:宅男與敗犬女王的消費法則

第一節:用有別於以往的方法來接觸宅男與敗犬女王

歐巴馬在大選期間投入4005000英鎊到online game,置入『狂飆樂園』、『雲斯頓賽車2009』、『NHL冰球09』、以及『極限滑板』等遊戲,針對的是對於大選結果有明顯影響的10個州的玩家。而結果顯示在這10個州都有不錯的成果展現出來,對大選的助益也著實不小。

前面也說過,電影『海角7號』的成功,背後的力量來自社群網路的力量,PPT的社群力量,把原本不看電影的人拉到電影院去了,成就了票房佳績。還有敗犬女王製作單位募集2000名,來自四面八方的fans,利用Facebook,短時間造成空前的忠誠度超高的佳績。

第二節:對於Game的廣告置入形式

Around-Game的廣告置入形式:在遊戲的頁面,運用額外的橫幅廣告(banner ads)與直立大型廣告(skyscraper ads)。In-Game的廣告置入形式:在遊戲中設立看板廣告,或者將商品以各種方式融入遊戲的方式。經過眼動儀的測試二者,in-game的方式的注視點較為集中,因此建議around-game的廣告費用應該比較便宜一些。

第五章What’s next step?

第一節:新廣告、新媒體、新形式

由於新媒體的誕生,使得原本的廣告形式因為新的媒體的表現方式不同而必須有所改變,這就產生了新廣告,而這種新廣告又回過頭去影響既有的廣告形式。

第二節:重新定義消費者

打破傳統研究消費者的窠臼,因為如果廣告在網際網路的年代是一種內容的話,那消費者其實換個角度來說是個使用者,勢必不能用過去的方法來界定與研究他們,勢必要用心的思維來研究,比如研究網路重度使用者,這類與以往的消費者不同的研究。

第三節:社會與法律議題

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