Steve Price ran a three day workshop at Nottingham Trent University in March 2006 where students were challenged to question their role as designers and use their skills to promote just one word that defined their role. The goal was for students to create a means of explaining their role to non-designers. Steve brought in volunteers from around the university to get feedback, with the goal of surprising the students. Students presented their work and definitions to get feedback to help them refine their explanations of the designer's role.

1. Teaching
KHiB 2007/2008
KBU, Malaysia, 2007
Nottingham Trent University, 2001/2003/2004/2006/2007
Central Saint Martins, 2006
Winchester Art School, 2008
Birmingham University, 2009

2. University: KBU, Malaysia
Date: January 2007
Response-ability “Steve’s workshop was just excellent, it was
A three day workshop at Kuala Lumpor’s KB
amazing that the students could pick up so much
University aimed at challenging the students to
create a realistic pitch proposal for a potential
knowledge from him in this short engagement.
brand awareness campaign for Diesel Clothing. The ‘pitching’ exercise had injected so much
There were roughly thirty students in the excitement in this workshop, students were
workshop. They were asked to form groups of five. pushed not only to conceptualise, but also
The workshop, albeit short, began with an informal
to ‘perform’ a professional presentation that
presentation to the students about me, my work
and my life; so that they had a good idea of who I
Steve had required. Steve’s portfolios and his
was. work experiences had no doubt given so much
After I had briefed the group the workshop inspirations to all of us here at KBU School of
began in earnest with one-on-one discussions Design.”
between myself and each group. We set a schedule
Anis Laila Yap Abdullah
for each day and on the afternoon of the third day Head of Graphic Design BA
the students presented their work. KBU International School of Design
Myself and the tutors all played the role of client
and grilled the students during and after their
presentations so as to keep them alert.

3. Response-ability
Title: Response-ability
By: Steve Price
Duration: Monday 29th – 31st January 2007
Aims of the workshop
• to choose a topic that concerns you
• to produce a practical response to communicate that concern
• to embrace both the brand (with its guidelines) and your ‘concern’
• to work on a realistic project with a realistic timeline and present your work accordingly
Introduction
Like the world around us the role of the designer is constantly evolving. We are involved in more than just
layout and design, clients now employ us to consult on a vast array of areas such as strategy, marketing,
campaigns, brand development. Designers can work across almost every conceivable media platform there
is from banners to billboards and from paper to screen. Being a designer also means being constantly aware
of the world, social trends even (and perhaps even more importantly) anthropology.
But with this evolution of the world and our industry comes questions about our role in the modern world
as creatives. Every major brand, product and company seeks the advice and consultation of a creative
agency, and at the helm of that agency will be a creative/design/art director(s). So designers/creative
directors have a direct impact on our world. Now is the time to start really questioning what level of
responsibility that comes with that impact.
It is not just about designers suggesting more ethical, climate friendly methods of packaging, printing or
marketing platforms (although that is important). It is also about brands across all industries taking
responsibility for their own impact on the world to embrace their consumers and their world. For example,
youth markets Although aware of such concerns might perhaps engage more with them if certain brands,
in some way, spoke to them on their level and showed support for those concerns.
‘Response-ability’ is a play on words. It challenges you as an individual and as a creative person to consider
something that is important, to create (using your ability) a response – a message. It might also question you
and what you believe your role, your responsilibity is as a designer – is it all just about aesthetics?

6. Life’s a Pitch University: KHiB, Bergen
Date: October 2007
A two week workshop with ten very committed students at KHiB.
The project was a taste of reality. For two weeks they were to work
alone as if freelancers. I set the first project, then two days later they
received another project via email, and then another three days later.
The purpose of the workshop was not just about working on
multiple projects under realistic time frames. It focused on developing
their concepts in to presentable work that you could show a client.
The project reflected on the decisions that are involved in
working for yourself. What happens if you decide to commit to too
much work? What happens if you don’t commit to enough? How
to communicate with clients? How to present to a client? How to
propose costs and discuss those with clients.
I held interim seminars showing examples of presentations I had
given; the successful and unsuccessful. I had clients send me quotes
about what makes a good presentation for them.
The result was brilliant, the students worked tirelessly and
produced some great work in the process.

7. LIFE’S A PITCH
THEN YOU GET ASKED TO DO [ANOTHER] ONE
Title: Life’s a Pitch – The you get asked to do [another] one
By: Steve Price
Duration: Monday 3rd – 14st September 2007
Aims of the workshop
• to work under realistic pressures
• to consider your decision making process regarding business
• to consider your role beyond just being a visually literate person
• to work on realistic projects with a realistic timelines and present your work accordingly
Introduction
Graphic design is extremely competitive. The industry is overwhelmed with talent (although not all good) –
very often competing for the same projects for the same companies, brands, record labels and various other
sectors. Commissioning editors, marketing managers, product managers, communication managers – the
people who commission us now have an endless choice of designers to call upon and frequently do, in vast
numbers. Standing out from the crowd has never been more difficult.
Good design is not always obvious to a client, and neither is its tangibility – unlike a new car, building or
product they cannot necessarily see, touch, smell, feel the value that you will bring to their brand, campaign,
product, etc. How are you going to sell your idea, yourself, your vision? Everyone does it differently. It is a
delicate balance of demonstrating your understanding of a brief, of being able to tackle a clients problem,
find a range of solutions whilst allowing them to feel part of the process. You also have to show your
understanding and research of their market, consumer, product and lastly show some ideas that no-one else
has with conviction, passion and enthusiasm – and all this (typically) for free.
Pitches are rarely (if ever) paid and as a designer you have to decide whether to take on these pitches in
order to be in with a chance of winning new business? If so how long do you spend on the proposal? Do
you need to get quotes from printers? How are you going to present it? How much is the project worth and
what do you think you can get for it? How long is it going to take you if you get the project? Do you want
the project? Do you like the client? That person sitting next to you is now your competitor.
You can choose not to pitch, but those that do are a rarity (and mostly out of work).

8. LIFE’S A PITCH
THEN YOU GET ASKED TO DO [ANOTHER] ONE
The project
Like the world around us the role of the designer is constantly evolving. We are involved in more than just
layout and design, clients now employ us to consult on a vast array of areas such as strategy, marketing,
campaigns, brand development. Designers can work across almost every conceivable media platform there
is from banners to billboards and from paper to screen. Being a designer also means being constantly aware
of the world, social trends even (and perhaps even more importantly) anthropology.
For the next two weeks we are going to test this with a dose of real-life work experience. You are going to be
running your own design company. You will choose a name that will represent who you are when presenting
your work to the ‘client’ – this can be anything you like, but do not spend any time thinking too hard. You
are going to be working on a pitch/brief that is either a live project of mine, or a pitch I have been invited
to partake in.
You can choose to work alone, or in pairs. You will be briefed, from there you will be expected to assemble
your ideas, and formulate a plan of how to tackle the project. If you are working as a pair consider what
your combined and individual strengths are and decide who is going to do what, and by when.
This is not just a design project where you hand-in some print-outs to your tutors. We are going to be your
potential clients, and you’ll be quizzed as such. You have ten working days (not including weekends), use
that time efficiently – you will be marked on this and the following:
1. your design work and understanding of the brief – what medium/format will the proposed work
take? Consider this for the client/product
2. presentation – think about how and what you use to present your work (is it just a pdf/powerpoint,
or a video/iChat-webcam, perhaps it has to take place outside?)
3. your consideration beyond the design work – are there any launch/promotion/marketing ideas for
the project/product? Is there a moral/ethical viewpoint you want the client to consider?
4. your financial proposal – what is it going to cost the client? (hint: don’t guess)
Remember

9. • One thing I’ve learnt is to trust my instinct – no idea is too ridiculous to suggest as long as it is relevant.
• The pitch will be awarded to the best proposal, remember this is not always the best design – its about the
whole package.
• As with real life you never just have one project to work on.
• I am here for any help and advice.

10. Work presented and produced by:
Horvaad

11. Work presented and produced by:
Nina Helland Sortland

12. Communication in Motion
A four week motion graphics workshop created and run by myself and University: Nottingham Trent University
Mark Hough. The students were asked to choose a film and re-design, Date: March/April 2001
animate and produce a new opening title sequence.
We began by showing our own work, briefing the students and
having a Q&A about what we do, and thoughts regarding their own
ideas for the project.
Alongside the practical work we held seminars aimed at providing
an insight in to the industry side of motion graphics, technical advice
and support for producing their work.
More importantly we refused to allow them to work on the
computer for the first week. This was to emphasise and encourage the
students to produce ‘scamps’ and storyboards to present their ideas. It
meant that we could also create a more informal dynamic with a large
group that didn’t normally get to work around each other (shared
studio space).
At the end of the workshop the students all showed their work. But
as a surprise we hired the local cinema in the Lace Market (a trendy
part of town) so that they could all get a real sense of their work. We
even provided popcorn!

13. Brief
Communication in motion
Duration: four week project
Deadline: March 29th 2001
Tutor: steven price
Date: March 1st 2001
Introduction
Graphic design is fundamentally about the communication and information. Albeit in billboards, books, tickets,
television adverts, the bible or a brand identity, graphic designers are the mediators between the interpretation and the
audience. This is never more applicable than when concerned with 'motion graphics' for film credits, tv commercials,
interstitials or documentary inserts. There are many platforms for designers to visualise their creative process in
animated sequence, but what is more important is the basis of all projects concerning graphic design: understanding,
meaning and interpretation of content.
Films, title sequences, opening/closing credits are about narrative, context, form and the use of space (on the screen).
For the audience, they enable the transportation from reality to an environment of thought and meaning; the viewer
can allow him/her self to be submerged within a story. All films and television programs have some form of
promotional material through the various platforms of media, but it is the use of imagery, text, colour and movement
on screen that creates a platform for designers to animate their creative process.
Aim
Your aim will be to produce one of the following options:
1. open or end title sequence for a film (to be agreed upon by you and your tutors)
2. a promotional sequence for a film (N.B this is different from title sequences)
3. a promotional sequence and 10 second interstitial for a channel four documentary (title/theme to be discussed)
In order to establish a concept for creating these animated sequences you will need to establish a contextual
understanding of both the medium and the content that you are dealing with. For example, if you produce a credit
sequence for a film, or even a trailer, it is vital to understand the films' characteristics; the plot, the lighting,
cinemaphotography, directorship, the meaning, colour themes and probably most importantly: how the film made you
feel, not as a designer, but as an audience member.
You may note that there is no time limit set by these choices because that should be decided upon by you as
individual designers according to the content and concept. The choices of film/documentary will be discussed
throughout the project within the group seminars, although it may be advised to use an existing film or programme.
whilst working on this project you will be expected to take part in discussion groups concerning the language of films,
television programmes and their title sequences. N.B your participation and communication will be an essential
part of the process. (see schedule).
Summary
I aim to work with you based on our experiences within the industry, to establish a working relationship based upon an
understanding of the medium, but to also allow you the opportunity to produce work within a medium that you may
not have previously used before. I will look to use our time (of one day a week) as productively as possible so that you
may gain from our experience and discussions. I will be primarily concerned with your individual process of working,
your ideas, concepts and responses to the brief, more so than the end product.

14. Meaning through Motion University: Nottingham Trent University
Date: March 2002
I was invited back to run another four week workshop with the second
year BA Graphic Design students. This time I was asked to run a
similar project but to create something more abstract.
The students were asked to choose a word from a list and
then animate that word. The group worked individually and were
scheduled to present their developments twice a week to myself and
the tutor.

15. Brief
Meaning through motion
Duration: four week project
Deadline: March 15th 2002
Tutor: Steve Price
Date: February 11th 2002
Motion Graphics
The printed word on the page, static, but a powerful form of communication. A single word can inspire a myriad of meanings and
experiences and spark the imagination in the minds eye. Designers have sought to capture these thoughts and portray them in
print. New technologies have enabled the designer to go even further with movement and sound adding yet further dimensions to
the visual interpretation.
By adding movement and sound designers can lead the viewer on a journey, where elements are animated to portray a thought,
convey a message and evoke an emotion.
Project Aims
• To express personal ideas to an audience about the meaning of words, semiotic or otherwise.
• To understand the differences of designing for screen as apposed to designing for print
• To create a piece of thought provoking work to express an emotion or a mood
• To develop skills with motion graphic technologies
Design Brief
Express one of the following words in the form of an animated sequence. Use image, typography along with sound to convey to
the viewer your definition of the word. While you may employ a personal/experimental approach, strive to convey your ideas in a
way that in intended to provoke a particular response.
Urban
Pollution
Decay
Structures
Symmetry
Generation
Serendipity
Populace
Descent
Utopia
Hallucinate
The Quicktime clip produced must be 320pixels x 240pixels to run for a maximum duration time of 60 seconds. It can contain any
elements you feel is necessary to convey the chosen word, but it must not contain actual video footage.
Learning Outcomes
• Demonstrate the advantages of using the medium compared to print
• Use image and/or sound to express a mood to create a reaction to the viewer
• Investigate motion graphics computer software technology
• Have an understanding of Quicktime Video clips to play back on computer screens
Submission Details
• A Quicktime clip 320pixels x 240pixels with a maximum running time of 60 seconds that can play back on
a standard desktop computer.
• Two A2 Storyboards to support the concept.

16. Design Means University: Nottingham Trent University
Date: March 2006
A three day workshop where the students were challenged to question
both the role as designers and to use their skills to promote just one
word, in whatever form they felt defined their role.
The object was to create a means with which their role could be
explained to someone who wasn’t a designer. To surprise the students
I brought in a whole host of volunteers from around the University
campus and town to listen to and ask questions of the presentations.
The result was a very compelling debate about design at large,
and it gave each student the chance to really discuss and attempt to
educate the kinds of people that could very well be a client of theirs
one day.

17. BA(Hons) Graphic Design Nottingham Trent University School of Art & Design Module GDES20065 Project 1 2005|06
Gd2
Project brief
Title Design means _____________™
Tutor/s Steve Price, Alison Barnes
Duration Mar 20th – 23rd
Aims of the project
• to define your role as designer - there is no right or wrong answer
• to work on a project within a realistic timeline
• to produce a visual response to the brief and be prepared to present it and yourself at the end
Introduction
“During a 45-minute journey, I had been exposed to more than 130 different
advertising "elements" showcasing more than 80 brands. I was "looking" at
adverts for 29 minutes but couldn't recall a single brand without prompting.”
‘Shopper's eye view of ads that pass us by’
Owen Gibson, media correspondent, Saturday November 19, 2005
In a 90 minute commute to work, Owen Wilson (of the Guardian Newspaper) saw 250 adverts from more
than 100 brands in 70 different formats. The number of those he could recall without prompting was 1.
Escaping this for those that can afford to seek it is becoming harder, advertising and information is
everywhere. Space is an expensive commodity, global-growth, for the rich and powerful has become a
powerful reality.
Communication is a vehicle with which information is delivered, which is why the message can sometimes
be misguiding, confusing, misleading, unclear and distorted. Whether it is spoken, written or signalled, the
medium really is the message. Graphic Design is the medium most commonly used to communicate this
and many other forms of information, and it is an ever-expanding industry of possibilities but with that
comes other challenges and competition.
It is now time for us as designers (and you as under-graduates) to start questioning, reviewing and
redefining our/your role and the responsibility that could/should accompany it. Stand up, stand out and
really start thinking. Could/should our creative abilities be used to also bring about more space, meaning,
substance, clarity, emotion or even nostalgia to a message? Or were the likes of Ken Garland (‘First
Things First’ Manifesto, 1964) and more recently Rick Poyner merely shouting in the wind. Is our role and
responsibility limited to aesthetics? Is it simply about selling, for example, dog food?
Whatever your beliefs about the role of design, and responsibility of the designer,
‘Design means _____________™’ is an opportunity for you to partake in this debate. It is a chance to
produce a message that you want to communicate, to educate, inspire, expose, eradicate or perhaps just
share.
The task
• Choose a word or phrase to reflect your message of what design could ”mean”, to fill in the blank.
• Work individually – this is about you and you and your message.
• Do not disclose your subject to any of your fellow students - the ability to surprise, shock or capture an
audience is achieved by the originality of the delivery.
• Use whatever medium you wish (image, typography, space, colour, motion, sound, interaction, etc) to
convey your definition of the subject – there are no restrictions (apart from time).
• Consider your choice of medium that will best express the emotion or a mood for your message
Staff contact
You will undertake this project without interim tutorials.

18. BA(Hons) Graphic Design Nottingham Trent University School of Art & Design Module GDES20065 Project 1 2005|06
Timetable
Monday 20th March Briefing
Thursday 23rd March (3pm) Deadline & presentation – all will be revealed, that’s all I can say.
Links & reading
‘First Things First’ (the original 1964 manifesto)
http://kengarland.co.uk/KG%20published%20writing/first%20things%20first/index.html
‘Shopper's eye view of ads that pass us by’ Owen Gibson, The Guardian.
http://www.guardian.co.uk/uk_news/story/0,,1646240,00.html

20. B.O.B. Presenting is never easy; if it is to two people or two thousand. University: KHiB, Bergen
Date: October 2008
A two week workshop with ten more third year students from KHiB. Getting up, remembering your lines, is not easy. Which is why the
The project was still based on ‘reality’ with the students producing details of the third and final presentation was a kept a secret from the
pitches, but this time for much more challenging briefs as well as students.
presentation formats. I arranged a Pecha Kucha night; a concept created by Mark
This workshop focused more on presentation and communication. Dytham (Tokyo) whereby speakers are invited to a public place
Presentations can win or loose work and there are guidelines (usually a bar or auditorium) to present twenty slides of their work,
and golden rules that should be considered. So alongside the with only twenty seconds per slide to talk.
practical, conceptual work the students were set three very different I hired a local cafe/bar in Bergen, I made posters, I invited a
presentations. local designer (and former KHiB graduate) Magnus Helgeson from
Following the briefing the students were immediately asked to Grandpeople and sound artist Jeremy Welsh to talk alongside myself
prepare an informal presentation for the following morning, entitled and the students.
‘Me, Myself and I’. Presenting six slides that told me who they Each speaker had 20 slides x 20 seconds. It is a great format, and
are. They could show and tell as much as you like but there are no the evening went really well with lot of the students admitting that
animations or video. Just six slides and only 20seconds per slide. they were very nervous, but afterwards felt elated and rewarded from
Presentation two was more formal and was for them to presen having taken part. To follow are the briefs for that workshop, and the
their work for the main project that everyone had to participate in, subsequent live briefs that I set as well as examples of work.
called ‘Vesterålen’. A (live) brief that required the students to consider
not just the design, but research in detail the many facets that are
involved with branding and marketing a location.

21. B.O.B
By: Steve Price of Plan-B Studio (www.plan-bstudio.com)
Duration: Monday 1rd – 12st September 2008
Aims of the workshop
• to work under realistic pressures on a live project(s)
• to understand and develop your skill-set and role as a designer
• to develop your presentation skills and understanding of your own capabilities
• to consider your decision making process regarding business decisions
• to work on realistic projects with a realistic timelines and present your work accordingly
Introducing B.O.B
Graphic design is extremely competitive. The industry is overwhelmed with talent (although not
all good) – very often competing for the same projects for the same companies, brands, record
labels and various other sectors. Commissioning editors, marketing managers, product managers,
communication managers – the people who commission us now have an endless choice of
designers to call upon and frequently do, in vast numbers. Standing out from the crowd has never
been more difficult.
Good design is not always obvious to a client, and neither is its tangibility – unlike a new
car, building or product they cannot necessarily see, touch, smell, feel the value that you will bring
to their brand, campaign, product, etc. How are you going to sell your idea, yourself, your vision?
Everyone does it differently. It is a delicate balance of demonstrating your understanding of a
brief, of being able to tackle a clients problem, find a range of solutions whilst allowing them to
feel part of the process. You also have to show your understanding and research of their market,
consumer, product and lastly show some ideas that no-one else has with conviction, passion and
enthusiasm – and all this (typically) for free.
Pitches are rarely paid for and as an independent designer/small company you have to
decide whether to take on these pitches in order to be in with a chance of winning new business?
If so how long do you spend on it; a day, two days, a month? Do you need to get quotes from
printers? How are you going to present it? How much is the project worth and what do you think
you can get for it? How long is it going to take you if you get the project? Do you want the project?
Do you like the client? Are their moral obstacles? The person sitting next to you, maybe a friend,
is now your competitor or partner.
Remember: You can choose not to pitch, but not pitching means you definitely won’t get
the new work.

22. The B.O.B workshop (part 1)
The world around is evolving at a rapid pace. Technology and applications are as vast as the social
networks that have exploded online. Designers are now involved in more than just layout and
design, clients now employ us to consult on a vast array of areas such as strategy, marketing,
campaigns, brand development.
Designers can work across almost every conceivable media platform there is from
banners to billboards and from paper to screen. Being a designer also means being constantly
aware of the world, social trends even (and perhaps even more importantly) anthropology.
For the next two weeks you are going to be tested with a of real-life workload. You are
going to be running your own design company. Choose a name that represents who you are when
presenting your work to the ‘client’ – this can be anything you like, but do not spend any time
thinking too hard. You are going to be working on a pitch/brief that is either a live project of
mine, or a pitch I have been invited to partake in.
You can choose to work alone, or in pairs. You will be briefed with a project on Monday
morning around 11am. After that from there you will be expected to assemble your ideas, and
formulate a plan of how to tackle the project. If you are working as a pair consider what your
combined and individual strengths are and decide who is going to do what, and by when.
This is not just a design project where you hand-in some print-outs to your tutors. We are
going to be your potential clients, and you’ll be quizzed as such. You have ten working days (not
including weekends), use that time efficiently – you will be marked on this and the following:

23. The B.O.B workshop (part 2) – Presentation is everything
Whether you become freelance/self-employed, or employed; presenting to your creative director,
a client or just your colleagues is about presenting yourself, your ideas and your work. It is an
integral part of a designer’s job.
It is fundamentally about communication. Speak too quietly, or without any sign of
interest or passion and the client might pick up on it. Be too loud, obnoxious or arrogant and this
can equally work against you.
Too long, too short, too boring, too informative, too creative… There are many different
ways to do it. There are no right ways, but there are certainly wrong ways. There are lots of
theories: imagine the audience being naked (almost impossible). However, there is one
interesting theory that says ‘there is nothing that cannot be presented in six slides’.
Over the course of the next ten days you are going to give three presentations. They will
all follow a similar format; you will present from a laptop/projector a series of slides/jpegs. Each
slide will be shown for 20seconds and 20 seconds only. In that time you will say what you need
to say and move on. This is based on the Japanese created ‘Pecha Kucha’ (meaning chitter-
chatter). It is a quick, simple, (sometimes) amusing way to present your work, yourself, your cat,
who cares!
Presentation 1: Me, Myself and I - Tuesday 2nd September (@ KHiB)
You will present 6 slides/jpegs that tell me/us who you are. You can show and tell as
much as you like but there are no animations. No video. Just one slides/jpegs x 6. You will have
20seconds per slide. That is two minutes.
Presentation 2: Vesterålen - Monday 8th September (@ KHiB)
You will present 6 print-outs that show your research, findings, interesting facts
concerning the Vesterålen project. Again, you can show and tell as much as you like but there are
no animations. No video. Just six print-outs on the wall. You will have 20seconds per print-out.
That is two minutes.
Presentation 3: Pecha Kucha Style - Friday 12th September (@ TBC)
You will present 20 slides/jpegs of anything you like. There are no animations. No video.
Just twenty slides/jpegs. You will have 20seconds per slide. That is 6mins 40secs.
Considerations for B.O.B
This is not a project where you just hand-in some print-outs to your tutors. It requires absolute
commitment. You will be marked on your research, your development work as well as the final
executions and ideas. As well as how, where and in what form you choose to present will also be
under heavy scrutiny.
You will present your final project at the end of the workshop to the client who will be visiting
on Friday 12th September. You have ten working days (not including weekends), use that time
efficiently – you will be marked on and need to consider the following criteria
1. your design work and understanding of the brief – what medium/format will the
proposed work take? Consider this for the client/product
2. presentation – how you present your work and yourself. Think about how and what you
use to present your work (is it a pdf/powerpoint, or a video/skype webcam, perhaps it has
to take place outside? Or just work on the wall – encourage discussion and
communication)
3. your consideration beyond the design work – are there any launch/promotion/marketing
ideas for the project/product? Is there a moral/ethical viewpoint you want the client to
consider?
4. your financial proposal – what is it going to cost the client? (hint: don’t guess)

24. Remember
• Trust your instinct – no idea is too ridiculous to suggest as long as it is relevant
• Do not panic, breathe deeply and manage your time wisely
• I am here for any help and advice in person for two weeks, or via email 24/7:
steve@plan-bstudio.com or cell phone: +447971 207 276

25. CREATIVE BRIEF
Purpose of Document
The purpose of this document is to provide the project specifics to the creative team involved so
that recommendations can best be developed for presentation back to the client. This document
should be used at all stages of the project, and can be refined and extended as and when
appropriate.
Project Contacts
Date: 25/08/07
Campaign/Project Name: Vesterålen reposition
Agency:
Creative/Art Director:
Project Manager (if needed specify by
agency):
Client Project Signatory Silja Szetu
Purchase Order Number (PON): -
st
Response Date: 1 September 2008
By when you need the agencies to respond to this
brief.
Background
Norwegians enjoy the second highest GDP per-capita (after Luxembourg) and third highest GDP
(PPP) per-capita in the world, and has maintained first place in the world in the UNDP Human
Development Index (HDI- an index combining normalised measures of life expectancy, literacy,
educational attainment, and GDP per capita for countries worldwide) for six consecutive years
(2001-2006).
The Norwegian economy is an example of mixed economy, featuring a combination of
free market activity and large government ownership. The government controls key areas, such as
the strategic petroleum sector (StatoilHydro), hydroelectric energy production (Statkraft),
aluminium production (Norsk Hydro), the largest Norwegian bank (DnB NOR) and
telecommunication provider (Telenor).
It’s oil and gas exports are vast and only Saudi Arabia and Russia export more than
Norway. However, more importantly Norway is also one of the world's largest exporter of fish.
This is made possible due to Norway’s coastline bordering the North Atlantic Ocean, which
extends over 13,050 miles (21,000km).
Almost 82% of all exports are to the EU, and a large percentage of that is fish; particularly
the Salt Cod to Italy, Spain and France. Everyday Norway exports the equivalent of 27million
meals of fish everyday!
Unlike most other countries in the surrounding EU and Scandinavia the population is sparse
and considerably lower at 4.8million (consider that in London alone there are thought to be
over 8million people alone).
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26. CREATIVE BRIEF
Brand/Product/Service/Offer
(Describe the product/service/offer that you are launching / promoting. What are the key features
and/or benefits? What are the details about the launch / product (if relevant) – how it is made,
packaged, distributed, priced, its history, strengths and weaknesses, issues and goals?)
We want to reposition our brand, products and district of Vesterålen to become the tourist
location of North Norway to compete with our biggest rival Lofoten. The two key focus points for
you to focus on are tourism and trade. Lofoten is one of the major resorts that attracted over
222,000 in the summer of 2007. We want to equal that, and over the next five years it is our
intention to do so.
Vesterålan has vast fishing export business but we currently sell most of our products
directly to Lofoten; almost all of the fish sold from Lofoten is bought from Vesterålan! Whilst we
do not wish to discount this as an existing sales revenue it is now time for us to start developing
our own products within the region for export to Europe.
We must also increase our long term economy with a sustainable investment in tourism.
We can boast some of the most spectacular attractions; fjords, coastline, beaches , whale tours,
historical trips and scenery – not to mention the northern lights!
Marketing Objective(s)
(What is/are the Marketing Objective(s) you are trying to achieve? Do you want to encourage
perceptual or behavioural changes? Do you want to create awareness? Are there specific
response rates or direct sales you want to generate? Prioritise them if there is more than one
For too long we have become lazy in promoting our area. We have relying upon our existing
relationship with Lofoten to provide a economical stability and jobs. We want to have a campaign
that will help promote the district in two areas:
1. Tourism – new location identity/brand and awareness national and international
campaign
2. Products for purchase and export
We want to increase our current tourism rates from circa 30,000 people to 200,000
within the next five years. This means trying to encourage people from places like Lofoten to
come to us instead. We must highlight our USP’s and make these in someway engaging for people
to want to visit us.
We want to have you create ideas for products that we might sell that can be produced
locally and sold both online, in resort and further afield. This is your chance to help us develop
our location and future economy.
Target Audience
(Who is the target market? What are their demographics, psychographics, attitudes, usage and
geographics? Are they existing or new customers? If existing, what do they think of the brand
right now? If this varies by communications channel (ATL, BTL, OL) please specify. Are there
any considerations by channel (e.g. OL- email penetration, web literacy?))
Tourism
Our expansive landscape here offers some of the finest walking, climbing, kiaking, fishing and
whale tours in Northern Europe. Our target for tourism is a broad demographic.
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27. CREATIVE BRIEF
With the current economy we are seeing a decrease in foreign visitors, but an increase in
Norwegians who are interested in their heritage and reluctant to travel due to huge costs.
However we also need to look at other markets globally that do travel and do spend money – we
will require you to steer this. Particularly Japan and the far east as well as North America (New
York, Boston and Canada).
Products
We have no specific ideas in mind what these might be, but given our local fishing businesses it is
perfect to consider fish as a base ingredient as we have the industry and infrastructure already in-
place. Our market for this is both tourists, region and national Norwegians as well as ideas for
mass export to the rest of the world. Catering trade is also another profitable audience.
Key Proposition
(What is the single most important thing we should say?)
We are Vesterålen; a place of natural beauty, possibility and exploration.
Supporting Rationale
(What is the key reason to believe the Key Proposition? What are the most compelling facts in
priority order including research where appropriate (do not simply list product features))?
Tourism
‘The proof is in the pudding’ – meaning we have it all here, you just have to see for yourself.
However we will need to make sure that people understand this. We are not Lofoten, we know
that, but it is about quality, not quantity. Here are some key features to emphasise:
1. Scenery: Fjords, Coastline, Beaches, natural splendor
2. Seasonal: the winter can be just as beautiful as the summer, but for different reasons
3. Adventure: kayaking, climbing, fresh water fishing, whale watching, walking, hiking
4. Northern Lights
Products
This is dependent on what product(s) you feel we can make and export. We already make most of
the salt cod (Klippfisk) that is exported to Spain and Italy. But our fish is some of the best, and we
are now reverting from big trawlers to more environmentally sound fishing boats that are either
using line methods, or smaller trawler nets: as apposed to the unsustainable, expensive freight
ships that drag the entire sea bed: this is a massive selling point:
1. The best Norwegian fish
2. Line caught (sustainable) fish
3. Kilppfisk
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28. CREATIVE BRIEF
Desired Consumer Take Out
(What do you want the consumer to think/feel/do as a result of the campaign?)
Simple: ‘Why haven’t we been here? Let’s go!’
Tone of Voice
(What is the tone and style to be reflected in the brand / creative?)
Historical, but modern. Subtle, small but beautiful. Friendly. Charming. Aspirational.
Inspirational.
Creative Starter
(List starter ideas, if any, that you would like the agency to consider when developing the creative
concept.)
Tourism
We want you to break the mould. We are not just looking for a simple ad campaign in magazines
and billboards (but do not discount this if appropriate). We want to set new standards and attract
a wide range of audience/tourists which means finding new ways to meet their aspirations.
Products
Fresh water fish
Line caught fish
Sustainable methods being used
Communications Requirement(s)
(Are there any specific media/formats that you would like to be considered (e.g. press ad, radio,
post card , online)
Break the mould. Impress us.
Budget
(What is the budget? If this is a multi-phased project / campaign please give the breakdown )
We want you to give us an estimate of costs for:
1. A new identity
2. Brand message and promise for the district of Vesterålen.
3. Campaign for tourism promotion
4. Branding, packaging, launch and promotions for the product(s) you recommend
developing
5. Online presence
We realise that a solid brand and online presence is likely to form a large proportion of our costs.
Brand is king. Having a cohesive brand and web presence is key to our success.
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29. CREATIVE BRIEF
Timing
(When should launch / campaign be in the market and why? Supply any key dates and stages.)
th
You will present on Thursday 11 Sept 2008, time TBC.
Mandatory & Legal Requirements
(What must be included in the copy, Terms & Conditions if available? What, if anything, must be
avoided? Are there any legal constraints? What are the necessary qualifications if any?)
N/A
Considerations
(Are there additional opportunities (e.g. ambient)? Are there any special issues to be
considered? Blue Sky thinking and if so why? What area should the communication cover-
national or regional?
Looking at London first for direct marketing, but orders could come from anywhere with the
website.
Creative Executional & Delivery Requirements for presentation
Based solely on what we expect you will need for the initial launch, this is a breakdown of what
we would like to see presented:
1. A new Vesterålen identity; inc. overall consideration for the brand message and
promise
2. Campaign for tourism promotion
3. Branding, packaging, launch and promotions for the product(s) you recommend
developing
4. Online presence
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Plan-B Studio Limited

31. Else & Sunniva (a.k.a. Jatterful)
Working as a pair seemed to work well for Else
and Sunniva. There presentation was good, well
rehearsed and delivered.
Some of their projects focus was a little
misdirected at times, but overall they went further
than anyone else in thinking about different aspects
of the project; the place, the placement of camp
sites, the ecological/sustainable angle, the web site.
They also presented their own design ideology
concerning their belief that imagery could and
would sell the place much better than many words.
Their opening line was Vesterålen is spellbinding
and images are a powerful tool to sell it’.