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Semelhante a Bond + Coyne 'Control' (Breakfast at Jerwood)
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Bond + Coyne 'Control' (Breakfast at Jerwood)
- 2. the process the outcome the brief control control control
- 3. chance
- 7. set things up and let them go
- 11. invite others in
- 16. www.aol.com
- 22. leave it open to reaction
- 26. setting down the rules
- 30. so the challenge is…
Notas do Editor
- My name is Mike BondI am strategic director of design and communication agency Bond and CoyneMy role today is to talk about the concept of ‘control’ and how its can feature within the design process
- I am interested in how control can play a part in the creative process for all forms of visual communication…how the outcome of a creative process can (or should) be controlled…and how control can feature in the brief that kick starts the creative process
- ‘Control’ can manifest itself in a whole range of different ways within the creative process.One way is through the addition of the element of chance
- ‘Chance’ is used to devastating effect by photographer Peter Funch. In his series of images ‘Babel Tales’, Funch sets up certain parameters and then lets go of control.Control 1: Choose a single vantage pointControl 2: Set criteria for when to take a shot.
- In this series, the parameters for taking a shot were based on people fulfilling certain criteria.If, when they moved in front of the lens, they met those criteria, a shot was taken.The results are overlaid and the result creates a sense of disbelief and wonder.Here everyone but one man is running and can be seen several inches above the ground…
- A recent example of this in advertising was agency Mother’s IKEA campaign involving cats.100 cats were let loose within IKEA’sWembley store and the uncontrollable exploratory behaviour of the cats was recorded.This enabled the viewer to delight in the unknown.
- So setting things up and letting them go is another way of making use of the notion of control
- Damien Hirst is afamous exponent of the act of ‘letting go’ – a key aspect of his spinning paintings. The elements he controls are the size and shape of the canvas and the fact that the canvas was spinning. The effect the could not control was how the paint would react once it was dropped onto the canvas...adding to our experience when viewing the work.
- Art director Tim Brown also used this idea when creating one of his videos for TinieTempah (one of which won a MOBO award for best video recently). Here he controlled the typography which was made of matches – in this case spelling the word 'famous’.His 'letting go' was then to set fire to the word and filming the result...leading to a real sense of unpredictability.
- A well known example - perhaps the ultimate example of control being used within a media campaign - is Honda's 'Cog' advert for which a car was dismantled and its constituent parts used as dominoes. Control here leads to a sense of amazement for the viewer.
- Designers cannot - and indeed should not - know all of the answers. So one way of dealing with this and ultimately another way of relinquishing control, is to invite others in to the design process.
- A good example of this is IDEO's project in collaboration with the Design Council which looked at how design could impact on learning in schools. The project invited school pupils, head teachers and caretakers to participate and provide important insight that informed the project.
- Rapid prototyping and brainstorming were both employed as ways to discuss potential ideas and helped again to promote letting go of control and an ethos of 'anything is possible'. The result of the project was significant funding to develop a new school chair and table system.
- Charles Leadbeater is a writer and thinker who wrote a book all about this sort of collaborative approach but on a large scale – mass creativity. His book 'We Think' was released online as draft chapters, inviting readers to input and add before the book was finally published in print.
- When is comes to the outcome of the creative process, control can play a part again. One way it can do this is through flexibility - or even surprise - in application.
- Towards the end of 2009, AoL rebranded itself and as part of the rebrand, created a simple, bold logotype. One could say it was characterless.
- Where the identity became interesting was in its application. The brand marque worked in conjunction with images from which the logotype was cut out, therefore making the background image as much a part of the identity as the logotype itself. This letting go of control potentially leads us to judge the company as open, energetic and flexible.
- In products, packaging and spaces, brands can reduce their control by removing visual or physical barriers between their customers and their products and services.
- Since the advent of the eMac, a whole raft of products have appeared in the marketplace that use an element of transparency within them, thus allowing people to 'see inside'. Innocent is a brand that trades on openness and honesty. Its packaging (like many others nowadays) lets us see the actual ingredients in their food.
- Dyson is a company brimming with ideas and innovation - surprising perhaps then that it literally explodes it's products within it's press campaigns...letting us see their constituent parts and how they fit together. We are therefore encouraged to see the brand as intelligent and clever but also open and approachable.
- Restaurant chain Wagamamas (and others) has opened up it's kitchens so that diners can see how and where their food is being prepared. This means that customers are more a part of the dining experience and as a brand, the restaurants are laying bare their quality standards and processes.
- Another way in which the end product can utilise the element of control is by leaving the result open to the elements and open to reaction.
- Converse utilised perhaps the most uncontrollable of all forms of visual communication: street art. Commandeering wall space in Shoreditch, the brand posted and painted models wearing their trainers.
- These artworks were literally left to the elements that would wear them away over time (sun, wind and rain) but also due to their location, invited the street artists themselves to take over and amend the artworks.
- Another example of where an outcome is dependent on how people react to it is the Winchester School of Art MA website. It is a blog-based website and it's homepage and navigation system system visually reflects how active individual bloggers are. Here, letting go of control can encourage activity.
- So how do we set down controls for creative processes and design outcomes? Traditionally, this has been the role of the brand guideline document.
- Guidelines usually look something like this. They tell you about the logo, where to use, how not to use it, what colours, typefaces and layouts to use. In other words it gives you guidance on how to use the basic visual components of a brand.
- Guidelines are usually then paired with a brief which adds further controls and constraints such as timescales, budgets and sign off procedures. This can sometimes involve a client directing or predicting the result of the project. A brief should present the problem and not the answer, which does involves one final letting go of control...that is trusting a designer to solve the problem.
- A good designer thrives on working within constraints but a good designer is also able to generate ideas and directions from the smallest of start points. If the brief can act as a springboard not a template and the brand guidelines act as a source of inspiration for tone of voice and potential interactions then a much greater wealth of possibilities becomes available.
- So the challenge is...once the brief presents the problem, how can your brand guidelines provide the control but also enough inspiration for designers to act as the first domino?
- Thank you